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Title: Dress design
: an account of costume for artists & dressmakers

Author: Talbot Hughes

Release date: January 10, 2011 [eBook #34903]

Language: English

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THE ARTISTIC CRAFTS SERIES

OF TECHNICAL HANDBOOKS
EDITED BY W. R. LETHABY

DRESS DESIGN

larger image

A Long-trained Muslin
Dress. About 1800.

DRESS DESIGN

AN ACCOUNT OF COSTUME FOR ARTISTS & DRESSMAKERS BY TALBOT
HUGHES · ILLUSTRATED BY THE AUTHOR FROM OLD EXAMPLES ·

TOGETHER WITH 35 PAGES OF HALF-TONE ILLUSTRATIONS

LONDON
SIR ISAAC PITMAN & SONS, LTD.

Bath, Melbourne, Toronto, and New York

Reprinted 1920

GENERAL PREFACE TO THE SERIES

In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to
state what are our general aims.
In the first place, we wish to provide trustworthy text-books of workshop practice, from
the points of view of experts who have critically examined the methods current in the
shops, and putting aside vain survivals, are prepared to say what is good workmanship,
and to set up a standard of quality in the crafts which are more especially associated
with design. Secondly, in doing this, we hope to treat design itself as an essential part of
good workmanship. During the last century most of the arts, save painting and
sculpture of an academic kind, were little considered, and there was a tendency to look
on "design" as a mere matter of appearance. Such "ornamentation" as there was was
usually obtained by following in a mechanical way a drawing provided by an artist who
often knew little of the technical processes involved in production. With the critical
attention given to the crafts by Ruskin and Morris, it came to be seen that it was
impossible to detach design from craft in this way, and that, in the widest sense, true
design is an inseparable element of good quality, involving as it does the selection of
good and suitable material, contrivance for special purpose, expert workmanship,
proper finish and so on, far more than mere ornament, and indeed, that ornamentation
itself was rather an exuberance of fine workmanship than a matter of merely abstract
lines. Workmanship when separated by too wide a gulf from fresh thought—that is,
from design—inevitably decays, and, on the other hand, ornamentation, divorced from
workmanship, is necessarily unreal, and quickly falls into affectation. Proper
ornamentation may be defined as a language addressed to the eye; it is pleasant thought
expressed in the speech of the tool.
In the third place, we would have this series put artistic craftsmanship before people as
furnishing reasonable occupations for those who would gain a livelihood. Although
within the bounds of academic art, the competition, of its kind, is so acute that only a
very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic
craftsmen, there is every probability that nearly every one who would pass through a
sufficient period of apprenticeship to workmanship and design would reach a measure
of success.
In the blending of handwork and thought in such arts as we propose to deal with, happy
careers may be found as far removed from the dreary routine of hack labour, as from
the terrible uncertainty of academic art. It is desirable in every way that men of good

education should be brought back into the productive crafts: there are more than
enough of us "in the city," and it is probable that more consideration will be given in
this century than in the last to Design and Workmanship.

PREFACE

The designing and making of Costume is a craft—sometimes artistic—with which we
are all more or less concerned. It is also, in its own way, one of the living arts, that is, it
is still carried forward experimentally by experts directly attached to the "business." It
has not yet been subjected to rules of good taste formulated by Academies and
Universities; but when Inigo Jones, the great architect, was asked to make some
designs for fancy dress, he based them on the Five Orders of Architecture, and
ponderous fancies they were.
If we look for the main stem of principle on which modern Costume develops, we seem
to find it in the desire for freshness, for the clean, the uncrushed, and the perfectly fitted
and draped. Probably a modern lady's ideal would be to wear a dress once, and then
burn it.
A correlative of the ideal of freshness is the delight in perfect "cut," and the rapidly
changing fashions are doubtless conditioned in part by the desire for the new and
unsullied. "Novelty" is a guarantee of newness.
In such ephemeral productions it would be vain to seek for certain fine types of
excellence which were once common when dresses were not so lightly cast aside. So it
is necessary that we should understand what the ruling principle is, for it is one which
will not be set aside at the bidding of well-meaning reformers. I will only venture to
say that it would be desirable to make the attempt to separate in some degree the more
constant elements of dress from those which are more variable. It will seem a pity to
more than outsiders that a "well-dressed" person need wear so little which deserves to
have been made by human hands, and nothing which deserves to be preserved. Fine
laces and jewels are allowed to be antique—could not the circle of such things be a
little broadened? A properly groomed man carries about on him literally nothing worth
looking at. We might surely look for a watch-chain with some delicacy of handiwork—
something beyond mechanical reductions of iron cables. Fine buttons might
conceivably be made to go with the studs, or be made of crystal, amethyst, and silver or
gold. Women might allow of the transfer of fine embroidered applications from one
dress to another, or make more use of clasps and the like. I am confident that when it is
pointed out, it will be felt as a shortcoming that no part of a fine lady's dress need now
be too good to throw away. Although the present volume is cast into the form of a
history, it is also intended to be a book of suggestions; and the hope is held that modern

dressmakers may refer to it as much as, or more than, those who are interested in dress
from the historical point of view.
In any case the author's accurate knowledge of the facts, and his many bright sketches
—which are often drawn from examples in his own remarkable collection—make the
present volume an admirable handbook of English Costume. The more technical
"patterns" which are included amongst the illustrations will be found most valuable to
all who wish to go deeper than the first glance reveals.
W. R. LETHABY.
1913.

CONTENTS

PAGE
General Preface to the Series xi
Preface xiv
List of Plates xxiii
Introduction 33

CHAPTER I

Prehistoric Dress—Female 40
Prehistoric Dress—Male 41

CHAPTER II

The Development of Costume to the Tenth Century—Female 45
The Development of Costume to the Tenth Century—Male 49

CHAPTER III

Tenth to the Fifteenth Century—Female 57
Tenth to the Fifteenth Century—Male 71

CHAPTER IV

Fifteenth Century—Female 84
Fifteenth Century—Male 92

CHAPTER V

Sixteenth Century. Character of Trimmings 109
Sixteenth Century. Henry VIII—Female 113
Sixteenth Century. Henry VIII—Male 118
Sixteenth Century. The Reigns of Edward VI and Mary—Female 124
Sixteenth Century. The Reigns of Edward VI and Mary—Male 129
Sixteenth Century. Elizabeth—Female 133
Sixteenth Century. Elizabeth—Male 139

CHAPTER VI

The Character of Trimmings through the Seventeenth Century 142
James I 142
Charles I 143
The Commonwealth 145
Charles II 145
James II and William and Mary 146
Seventeenth Century. James I—Female 147
Seventeenth Century. James I—Male 150
Seventeenth Century. Charles I—Female 154
Seventeenth Century. Charles I—Male 160
Seventeenth Century. The Commonwealth—Male and Female 168
Seventeenth Century. Charles II—Female 169
Seventeenth Century. Charles II—Male 174
Seventeenth Century. James II—Female 178
Seventeenth Century. James II—Male 180
Seventeenth Century. William and Mary—Female 184
Seventeenth Century. William and Mary—Male 186

CHAPTER VII

The Character of Decoration and Trimmings of the Eighteenth Century 190
Eighteenth Century. Anne—Female 193
Eighteenth Century. Anne—Male 198

Eighteenth Century. George I—Female 201
Eighteenth Century. George I—Male 207
Eighteenth Century. George II—Female 211
Eighteenth Century. George II—Male 214
Eighteenth Century. George III to 1800—Female 217
Eighteenth Century. George III to 1800—Male 231

CHAPTER VIII

Character of Trimmings of the Nineteenth Century 237
Nineteenth Century. George III—Female 241
Nineteenth Century. George III—Male 246
Nineteenth Century. George IV—Female 248
Nineteenth Century. George IV, 1820-30—Male 254
Nineteenth Century. William IV—Female 258
Nineteenth Century. William IV—Male 263
Nineteenth Century. Victoria—Female 264
Nineteenth Century. Victoria—Male 273

Patterns of Various Reigns from Antique Costume 276
Patterns to Scale 283
Patterns to Scale, Detailed List 353
Index 359

LIST OF DESCRIPTIVE LINES TO THE PLATES

FRONTISPIECEFacing Title
A Long-trained Muslin Dress,
about 1800.

PLATE IFacing p. 39
Boots and Shoes from the
Fourteenth to Nineteenth
Century.

PLATE IIFacing p. 42
A. Elizabethan Robe in Plush,
1585-1605.
B. Elizabethan Robe in Silk
Brocade, 1565-85.
C. Elizabethan Male Robe in
Velvet Brocade, 1580-1615.
D. Back-piece of Elizabethan
Doublet in Embroidered Linen,
1580-1605.

PLATE IIIFacing p. 55
A. Elizabethan Jump (or Jacket),
about 1600.
B. Portrait of Lady in
Embroidered Costume, between
1620 and 1640.

PLATE IVFacing p. 58
C. Youth's Jacket of Linen
embroidered in Worsted, 1635-
65.
D. Linen Male Jacket
embroidered with Gold and Silk,
1600-40.

PLATE VFacing p. 71
A. Jerkin—Period James I.
B. Lady's Bodice of Slashed and
Vandyked Satin, 1635-50.
C. Jerkin of Embroidered Linen,
1630-60.
D. Jerkin of Embroidered Linen,
1580-1635.

PLATE VIFacing p. 74
A. Collar and Cuffs set with Lace,
1600-30.
B. Embroidered Leather Jerkin,
1620-1640.
C. Top of Stocking, Embroidered
Linen, 1625-50.

PLATE VIIFacing p. 87
A. Herald's Coat, Embroidered
Velvet and Silk, First Half
Seventeenth Century.
B. Lady's Bodice of Black Velvet,
1630-60.
C. Black Silk Jerkin, 1640-50.

PLATE VIIIFacing p. 90
A., B., C. Three Suits—Period
Charles II.

PLATE VIIIaFacing p. 103
A. Suit of Embroidered Silk,
1610-30.
B. Three Sword-hangers
Embroidered in Gold, Charles II.
C. Braided Suit, 1670-90.

PLATE IXFacing p. 106
A. Lady's Embroidered Silk
Jacket, 1605-20.
B. Lady's Bodice of Silk
Brocade, 1680-1700.

PLATE XFacing p. 119

A. Black Velvet Bodice, 1600-25.
B. Five Embroidered Waistcoats,
between 1690 and 1800.

PLATE XIFacing p. 122
Sixteen Leather Boots and Shoes,
between 1535 and 1850.

PLATE XIIFacing p. 135
A. Lady's Outdoor Costume,
1785-95.
B. Costume, Early Eighteenth
Century.
C. Silk Brocade Dress, 1760-80.

PLATE XIIIFacing p. 138
A. Silk Coat, 1735-55.
B. Brocade Silk Coat, 1745-60.
C. Embroidered Cloth Coat,
1770-90.

PLATE XIVFacing p. 151
A. Embroidered Silk Dress with
Pannier, 1765-80.
B. Brocade Dress and Quilted
Petticoat, 1750-65.

PLATE XVFacing p. 154
A. White Cloth Coat, 1775-90.
B. Silk Dress, 1740-60.
C. Embroidered Velvet Coat,
1753-75.

PLATE XVIFacing p. 167
A. Silk Brocade Dress, 1740-60.
B. Silk Brocade Sack-back Dress,
1755-1775.
C. Dress of Striped Material,
1755-85.

PLATE XVIIFacing p. 170
A. Silk Suit, 1765-80.
B. Quilted Dress, 1700-25.

C. Silk Embroidered Suit, 1765-
80.

PLATE XVIIIFacing p. 183
A. Brocade Bodice, 1770-85.
B. Flowered Silk Dress, 1750-70.
C. Silk Brocade Bodice, 1780-95.

PLATE XIXFacing p. 186
A. Silk Brocade Dress, 1775-85.
B. Embroidered Silk Jacket,
1775-90.
C. Brocade Jacket, 1780-95.

PLATE XXFacing p. 199
A. Gold-embroidered Muslin
Dress, 1795-1805.
B. Nine Aprons, between 1690
and 1750.
C. Dress of Spotted Stockinette,
1795-1808.

PLATE XXIFacing p. 202
Twenty-three Boots and Shoes,
from 1800 to 1875.

PLATE XXIIFacing p. 215
A. Linen Dress, 1795-1808.
B. Silk Bodice, 1825-30.
C. Silk Bodice, 1818-25.

PLATE XXIIIFacing p. 218
A. Muslin Dress with Tinsel
Design, 1798-1810.
B. Silk Dress, Period George IV.
C. Satin and Gauze Dress, 1820-
30.

PLATE XXIVFacing p. 231
A. Outdoor Silk Jacket, 1798-
1808.
B. Embroidered Muslin Bodice,
1816-1830.

C. Embroidered Muslin Bodice,
1824-1825.
D. Satin and Gauze Bodice,
1820-30.

PLATE XXVFacing p. 234
A. Silk Dress, 1800-10.
B. Cotton Dress, 1800-10.
C. Embroidered Muslin Dress,
1820-30.
D. Silk Gauze Dress, 1824-30.

PLATE XXVIFacing p. 247
A. Morning Coat of Chintz, 1825-
45.
B. Cloth Coat, 1808-20.
C. Cloth Overcoat, 1820-35.

PLATE XXVIIFacing p. 250
Outdoor Silk Dress, 1825-35.

PLATE XXVIIIFacing p. 259
A. Silk Pelisse, 1820-30.
B. Cotton Dress, 1830-40.
C. Silk Spencer and Cape, 1818-
27.

PLATE XXIXFacing p. 263
A. Embroidered Silk Gauze
Dress, 1820-30.
B. Gauze Dress with Appliqued
Design, 1825-35.
C. Printed Linen Outdoor Dress,
1827-1847.

PLATE XXXFacing p. 266
A. Printed Silk Bodice, 1840-50.
B. Gathered Linen Bodice, 1837-
47.
C. Silk Bodice and Bertha, 1845-
55.

PLATE XXXIFacing p. 270

A. Embroidered Muslin Outdoor
Dress, 1855-65.
B. Riding Habit, 1845-75.
C. Gauze Ball Dress, 1840-55.

PLATE XXXIIFacing p. 279
A. Silk Dress, 1860-70.
B. Gauze Walking Dress, 1850-
60.
C. Silk Dress, 1848-58.

PLATE XXXIIIFacing p. 282
A. Silk Dress with Court Train,
1828-1838.
B. Silk Afternoon Dress, 1872-
78.
C. Silk Coat and Skirt, 1855-56.

DRESS DESIGN

Plates originally printed in collotype are now produced in half-tone

INTRODUCTION

The subject of Historical Costume covers such a multitude of detail that a volume on
each century could be written, with hundreds of illustrations. Thus it is, most works on
costume are expensive and bewildering; but I hope this small practical handbook will
be a useful addition to the many beautifully illustrated works which already exist.
I have divided the matter into centuries and reigns, as far as possible, in this small
work, besides separating male and female attire, thus simplifying reference. A special
feature has also been made, of supplying the maker or designer of dress with actual
proportions and patterns, gleaned from antique dresses, as far back as they could be
obtained; and I am much indebted to the authorities at the Victoria and Albert Museum
for the permission given me to examine and measure their unique specimens; also to
Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield, Mr. Box Kingham, Mr. Hill, Mr.
Breakespeare, and others, for their valuable assistance with interesting specimens. I
have used outline drawings in the text, as being more clear for purposes of explanation.
The dates given to the illustrations are to be taken as approximate to the time in which
the style was worn. Many of the photographs have been arranged from my own
costume collection, which has made so much of my research simple, reliable, and
pleasant. I am also happy to state that before the final revision of this book I have heard
that my collection of historical costumes and accessories will, after a preliminary
exhibition at Messrs. Harrod's, be presented to the Victoria and Albert Museum as a gift
to the nation by the Directors of that firm. Thus the actual dresses shown in these plates
will find a permanent home in London, and become valuable examples to students of
costume. The coiffures in the collotype plates are not to be judged as examples, for it
would have consumed far too much time to set up these figures more perfectly, but all
the bonnets, caps, and accessories given are genuine examples.
In a book of this size, one cannot go into the designs of materials, &c., which is a study
any earnest student would not neglect, but in this connection I would draw attention to
the comparative colour density and proportion of designs chosen for various effects.
It has been my endeavour to arrange a greater variety of the forms which make up the
characters of each period, and also to give a wider knowledge into the footwear, or
details of the footwear, than is usual in most costume books.
In a review of the styles I would not press any choice for building new designs, as I
believe in close individual research and selection, which may utilise many interesting

features from costume settings even in periods which are almost scorned. I believe the
purest beauty is found in the simple forms of dress and decoration settings from the
12th to the 15th centuries, schemed to the natural proportions of the figure. The grace
of line and movement is often aided by the short train, which can be so happily caught
up in many ways; the slight drag of the train always keeps the front clear in outline,
besides showing the movement of the limbs. Length of fall in the material was desired,
the figure creating its own folds with every turn, but a belt was often placed rather high
under the breast. There is little reason with nature of fine form to make dress into
sections by a corset waist. A long, lithe, complete curve in outline—much happier
unbroken, except by the girdle—is certainly the most artistically useful conception, not
breaking the rhythm (as does the harder belt), while it also induces much beauty in
lifting and arranging the drapery. The long falling sleeve also has the same qualities,
giving a greater fullness of shape, a variety of colour (by a difference of lining), with a
winglike motion, besides softening the angle of the elbow.
I think the next garment for high esteem is the chasuble-shaped tunic (with or without
sleeves). Falling cleanly from the shoulders, it stops at a charming length for the skirt
to take up the flow of line. The delightful effect of partly-laced or clasped sides was not
missed by the ablest designers. How refined, too, was the character of decoration of the
old period! The art of concentrating effects is seen to perfection, retaining the breadth
of shape and length unbroken. Jewelled embroidery of fine enrichment was wrought on
the borders, neck settings, square corners, the girdle, and the clasps. The preciousness
of effect was truly appreciated by the enclosing of the face in the purity of white lawn
and zephyr-like veilings; the circlet and the long interlaced plaits and charming nettings
were all tastefully schemed. Has woman ever looked more supreme through all the
centuries of extravagant styles and distortions? I believe not: but I have come to the
conclusion that, at whatever period of seeming insanity of style, the woman of fine
taste can overcome all obstacles by her individual choice and "set up," and has really
always looked fascinating.
There was another form of decoration at this period—the cutting of the edges into a
variety of simple or foliated shapes, giving a flutter and enrichment to forms in a
simple manner, and this, in conjunction with the increasing richness of materials, was a
valuable aid to lighten the effects. It was probably initiated by the heraldic
characteristics in vogue.
The pricked and slashed details had much the same result in enriching surfaces.
Later the fan sleeves of the 18th century were enhanced in a similar way by the curved
and scalloped shaping, which was used as late as the Victorian sixties with happy effect
on the polonaises.
Now, as regards the finest corset dress, the palm must be given to the sack-back dress
of the eighteenth century (not in the period of its distortion with hoops), and a full

setting showed it to greatest advantage.
This type of design lent itself to more variety in beauty of arrangement than any other;
the looping, reefing, and tying always set gracefully in accord with the back fall. The
easy exchange of the stomacher also gave additional chance of effect, and the beauty of
the fan-shaped sleeve, with its lace falls at the elbow, was a delightful creation. How
rich and refined this character could be, without the monstrous forms and head-dresses
which later invaded it and turned it into ornate absurdity!
When we examine the period of Charles I, we find much charming dignity in the
adaptations of earlier inventions; the collar settings were noble, indeed perfect, in
arrangement, and the bodice decoration and proportions most interesting.
For the grace of girlhood no dresses are happier than those of the early 19th century to
1830, and the inventions in trimmings through this period were prolific in beauty and
lightness of style.
Analysis of the many fashion-plates and original dresses of this period will well repay
all interested in beautiful needlecraft and dress design. The arrangement of frills,
insertions, gathered effects, applied forms, and tasselled or buttoned additions, will be
found full of beauty and novelty, especially in the dresses of white embroidery. Plates
XXIII and XXIV (see pp. 218-231) give some happy examples of this time.

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Plate I.—Boots and Shoes from the 14th to the
19th Centuries.

1. Charles II.
2. James II.

3. William and Mary.
4. George II.
5. George III., 1770.
6. George III., 1760.
7. George III., 1780-1800.
8. 1870-1880.
9. William and Mary.
10. 1680-1700.
11. 1680-1702.
12. 1750-1775.
13. 1580-1625.
14. 1710-1730.
15. Henry VIII.
16. Semi-Clog, 1780-1800.
17. Henry VIII.
18. 1778-1795.
19. Late 15th Century or early 16th Century.
20. 1500-1540.
21. Late 14th Century to middle of 15th Century.
22. 1530-1555.
23. 1535-1555.
A word on the most condemned flow of fashion during the Victorian era. There are
many dresses of real charm to be found amongst the mass of heavy styles which must
not be overlooked in studying design and style. Even the crinoline dress, when treated
with the exquisite silk gauzes, as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282),
was as alluring as any woman could wish, and the original design of the jacket in the
latter figure, with its richly embroidered, long-skirted front cut short at the back,
arranged itself perfectly on this type of undersetting. There was notable refinement of
effect and beauty of proportion in many dresses of the sixties, as exemplified in Fig. A,
Plate XXXII (see p. 279), the waist being set rather high, and the very full skirt carried
back by the crinoline being held thus with its cross ties.

CHAPTER I

PREHISTORIC DRESS. FEMALE.

The woman's attire would have been chiefly a shortish skirt or wrap of coarse linen,
wool, or leather, gathered in front or folded at one hip; grass cloth may also have been
in use in most primitive tribes. Probably the upper part of the body was kept bare,
except for many ornaments and necklaces, but a bodice or jacket cut in the same simple
form as the male shirt, with a heavy belt or girdle, would have been used, and certainly
a large shawl, which could be wrapped over the head and round the figure during
inclement hours. Dyed or painted patterns on the cloths might well have been also in
use, their chief designs being stripes, circles or dots, zigzag lines, diamonds and plaid
squares, rope patterns and plaited patterns. The hair would have been loose, plaited, or
coiled on top, held by bone pins or circlets of bronze.

PREHISTORIC DRESS. MALE.

We have little description or illustration to certify the actual dress of the early
inhabitants of Britain, but we can draw conclusions with pretty certain assurance, from
the knowledge of their mode of living. From their attainments in artistic design and
handiwork, it is clear they had arrived at a very high state of savage culture before the
Roman invasion; and we have only to study the better types of savage life still in
progress, to picture how our own primitive race would be likely to dress under the
conditions of climate. The thousands of "finds," which accumulate evidence every year,
give us a closer acquaintance with their customs and work. The rest we must imagine
from our general knowledge of what they had to contend with in climate, forest, cave,
and floods.
These early people, it is presumed from certain discoveries, had long known the art of
coarsely weaving flax and wool, which must soon have been in general use, from its
being healthier and cleaner than the garments of skin. And very probably a coarse linen,

with simple dyes of red, blue, yellow, and brown, was in use here when the Romans
came.
The head-dress consisted of a cap of fur or wool, probably decorated with a feather,
over loose and most likely very unkempt hair falling to the shoulders. The Gauls cut
their locks from the back of the head, often tying up the remainder in a tuft on the top;
no doubt the hair was sometimes plaited or pinned up with wood, bone, or bronze
ornaments. Bone pins, teeth, and boar tusks were carried in the ears, as well as studs of
bone or stone in the underlip, and even the cheek may have been so decorated, as it was
amongst the Esquimaux. The face and body were painted with red and white ochre and
a blue stain. The neck was adorned with strings of teeth, stones, amber, jet, bronze, and
probably beads of glass or baked clay coloured. Amulets and tokens, armlets and
bracelets were all in use. Also the torque, a twisted rod of gold flattened or curled
together at the ends, was a mark of dignity. A wristlet of wood, bone, or leather was
worn when the bow and arrows were used. The arms were a spear of flint or bronze and
a dagger of the same, a hatchet or heavy club, a mace studded with flint or bronze
spikes, and the sling, which would have necessitated a leather wallet to carry the
stones; fish spears and snags. Also the bolas for felling cattle seems to have been
known; in fact nearly all the usual implements appertaining to savage life were in use.

larger image

Plate II.

(a) Elizabethan Robe in Plush. 1585-1605.
(b) Elizabethan Robe in Silk Brocade. 1565-
85.
(c) Elizabethan Male Robe in Velvet
Brocade. 1580-1615.
(d) Back-piece of Elizabethan Doublet in
Embroidered Linen. 1580-1605.

Measures, see p. 281.
Sleeve pattern of C, see p. 300.
The first item of male attire was of two skins fastened at the shoulders, and from this
we get the early chasuble form (which may be so beautifully treated, even to the
present time), girt with a leather thong or strap at the waist. One skin lapped the other,
and hardly needed sewing together at the sides, while thus it was easier to throw off; it
may also have been tied up between the legs. The fur was worn both inside and out,
according to the weather; this large skin wrap would also be worn cross-ways with the
right shoulder free, and the simple cloak of various lengths with a hole for the head to
pass through was no doubt one of the first discoveries in costume.
A loin cloth or skin may have been worn alone, caught up through the legs and fastened
at the back of the waist with a heavy belt and set well down the hips. This would hold a
number of personal necessities, in the shape of a wallet and dagger. The legs would be
wrapped with skins, tied up or crossed by leather or sinew thongs, or with hemp or
grass rope. Skins were probably also used on the feet, gathered and tied above the
instep and round the ankle.
The enumeration of these items will give a pretty definite idea of how the early race
would appear in their more or less attired form. In fighting, they cleared for action (as it
were) and discarded all clothing, their only protection being a shield of wicker or wood
covered with leather; it may have been studded with bronze plates or painted with
grotesque characters, as were their own bodies, in true savage style, to strike fear into
their enemies; it is even possible feather decorations formed part of their "get up."

CHAPTER II

THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY.
FEMALE.

The female head-dress consisted chiefly of flowing hair banded with a circlet of various
shapes, but a development of braiding plaits is found very early, and the hair was
probably arranged so before the Roman era. These plaits were generally brought over
the shoulder to the front, the hair being parted in the centre, thus making an oval
forehead. Various caps began to show originality, and jewels were set in the centre of
the forehead on the little crown-like hat, which must have been most becoming.
Squares of coloured stuffs were draped over the head and shoulders, sometimes upon
white linen squares, and many ladies began to bind the face and head, shutting out the
hair, in the 8th century. The kerchief draping is very important to study, because it was
the general mode amongst the people.
Heavy collars of ornament and strings of beads, hanging even to the waist, are
noticeable features of these centuries, also large ear-rings.
A full cloak, with a large clasp or brooch, opened in front, or was turned to free one
shoulder; there was also a long "drape" thrown round over the opposite shoulder or
brought picturesquely over the head.
The ecclesiastical form of cloak as described in the male attire was also formed about
the 6th century; its graceful line was frequently bordered completely with a band of
ornament, and it was clasped just across the breasts.
The complete circular cloak, with a hole for the head, is seen very early, decorated with
a pinked edge, which may also be noted on some of the short dresses of the middle
classes. Aprons are no doubt of the earliest origin. A loose tunic falling to the hips was
girded rather high up the body, as in the classic dress, and bands passing both outside or
crossing between the breasts and going over the shoulder came from the same source;
these were with, or without, short sleeves to the elbow. A long loose robe was the chief
attire to the 6th century, belted rather high in the waist, and caught up with a girdle at

the hips; these girdles gave a great interest to the early centuries, with the art of
arranging the fullness of skirt into its hold.

Fig. 1.
From the 6th century the dress became closer fitting, and a short bodice is seen; the
neck was cut very low, either square or round in shape, and this style had short tight
sleeves or tight sleeves to the wrist. The later tunic of the 9th century marked the
beginning of the slit-open upper sleeve, and a greater length of the neck opening, which
came to be fastened down the front to the waist.
The early skirts (to the 6th century) were hung from the hips, and were often attached
to a heavy girdle band, the fullness was gathered mostly at the back and front; other
skirts hung from a higher belt and were again caught up in the girdle. A V-shaped neck
setting was worn by the Franks, from which probably came the shaped front piece that
will interest us in the 13th century. The shoes were similar to the male shapes described
later, and the same mode of binding the stockings was sometimes imitated.

THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY.
MALE.

In taking the long period from the Roman occupation to the 10th century, we can
discover a real development of style in costume, as with the system of vassalage a
distinction of class arose. No doubt the Romans introduced a finer tuition of weaving,
needlecraft, decoration, and dyeing; and later the various peoples coming from the
Continent, when settled under Alfred in the 9th century, produced a solid style of
barbaric splendour.

Fig. 2.

Fig. 3.
The male hair dressing, from the rugged mass of hair, soon became well combed and
trimmed square across the neck: ear-rings may still have been in use by some nobles till
the 11th century, and chaplets were worn upon the hair. The Saxon beard was divided
into two points. Small round tight caps of wool, fur, or velvet, and rush or straw hats of
a definite shape were in use to the 10th century. Tight caps, with lappets tied under the
chin, and hoods appear on the short capes about the 8th century, or probably earlier.
The garment was of the simplest form, cut like a plain square loose shirt to the middle
of the thigh, and this was put on over the head. The opening to pass the head through
was the first part to receive a band of decoration. The sides were sometimes opened to
the hips and the front caught between the legs and held at the waist. A garment opened
down the front, and another wrapped across to either shoulder is also seen. A belt girt
the waist, and the tunic was pulled loosely over it. This also carried the essential
requirements in the shape of a pouch, dagger, knife, comb, sword, &c. The neck was
ornamented with chains of bronze, gold, beads, and charms, and up to the 8th century a
bronze ornamental armlet was worn, besides a wristlet.
The men of the ruling class from the 8th century were clothed in a long garment of
simple shape, falling to the ankle, richly bordered at the hem and neck. This generally

had long tight sleeves, and often over this a shorter tunic, reaching just below the knee,
sometimes sleeveless, or with rather full sleeves tightening to the wrist.

Fig. 4.
A plain square chasuble shape was in fashion from the 8th century, reaching to the
bottom of the calf of the leg, and richer materials began to be used; no belt was passed
round this, as it was allowed to fall straight.
Loose breeches were worn from very early times, and a loose trouser to the ankle,
being tied there or bound crosswise from the boot sometimes right up the thigh. The
same binding was done even with the bare legs and later hose: close-fitting short
breeches and cloth hose became a feature in the 10th century, and with the latter an
ornamental knee-piece or garter below the knee sometimes finished the strappings.
The cloak was the "grand garment," heavily banded with ornament and fastened with a
large clasp on one shoulder, or at the centre of the breast. Long circular cloaks of
varying lengths, put on over the head, were much favoured, and when caught up at the
sides on either shoulder gave a fine draped effect.
Another cloak of ecclesiastical character, sloping in a curve from the neck and not
meeting in front, is seen on many notable figures from the early 8th century, large

clasps bridging the width low down on the chest.

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Plate III.—(a) Elizabethan Jump (or Jacket). About 1600.
(b) Portrait of a Lady in Embroidered Costume. Between
1620 and 1640.

Fig. 5.—Types of Shoes.
British, Roman, Norman to 13th century.

No doubt the sandal of various forms was much used for footwear through this period,
also a simple low shoe which was held on by the leg-strappings, as, about the 8th
century, shoes are seen with loops at the upper edge, these being attachments for the
binding, and this was no doubt a method from the prehistoric times.
There was also a soft boot reaching to the calf, laced up the front; and, after the 8th
century, a rather pointed shoe, open down the instep, laced, tied, or gathered into a
buckle about the ankle.

CHAPTER III

TENTH TO THE FIFTEENTH CENTURY. FEMALE.

The head-dress of women now began to show a preference to confine the hair with nets
and to close in the face, which continued till the 15th century. The circlet and long plait
or plaits and the flowing hair remained till the 14th century. In the 12th century we
discover the hair gathered in nets at either side of the head, covering the ears. A low-
crowned hat was bound over with a band of lawn or fine material passing underneath
the chin, otherwise the plaits were looped up under a circlet which was also worn with
the flowing hair.
A square effect was aimed at in the 13th century with tight side-plaits bound into a
shape or netted hair was strapped to the head as in Fig. 11 (see p. 65). A fall of fine
material softened the hard effect, and many ladies of quality bound the face, neck, and
head in the wimple of fine linen, sometimes gathering this to the same quaint shape of
the netted hair. I give a variety of these settings on page 65. A kerchief of linen coming
round the neck was brought up tightly round the face and festooned on the top of the
head, while another piece was pinned close to the brows and fell loosely to the
shoulders, being often held on by a circlet as well.
This character was maintained till the early 14th century, when a style of high peaked
hats came into evidence, one shape of which became the most imposing feature of
historic costume in the 15th century. It was still but a simple form in the middle of the
14th century, for another shape first gained predominance. Early in this century also
may be noted a curious shape like the cap of liberty, usually with a long tail at the back
as drawn on page 59. This carried design to the eccentric forms of the pig-tailed hood,
and then the rival of the high peaked hat took its place towards the end of the 14th
century—a cushioned head-dress, which rose and divided in a hornlike structure. It
started as in Fig. 25, and I have illustrated its progress; the veil draping was a great
feature, giving plenty of scope for individual fancy. It was, as a rule, richly decorated
with gold and jewels, and the hair was completely enclosed in a gold net and a tight-
fitting cap to hold this erection. Large drop ear-rings were much worn, and a fine chain
of gems encircled the neck or fell to the breast.

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Plate IV.—(c) Youth's Jacket of Linen Embroidered in Worsted. 1635-
65. Pattern, see p. 299. (d) Linen Male Jacket Embroidered with Gold
and Silk. 1600-40.

Fig. 6.—Tenth to thirteenth century.

Fig. 7.

Fig. 8.—Twelfth to fourteenth century.
In the 10th century a long close-fitting robe was in fashion, sometimes with a deep V-
shaped neck opening, though usually the neck was cut to a round form. Some sleeves
were tighter with a small cuff, but usually the outer garment had a falling sleeve with a
square or round end showing the tight undersleeve. The outer sleeve varied much in
length, from the elbow or hand dropping even to the ground; it was narrow and
widened through the 14th century, when its edge was cut into various patterns as in Fig.
18 (see p. 79). In the 13th century we notice a long sleeve opened at the elbow for the
under sleeve to come through, which beautiful style continued to the middle of the 17th
century.

Fig. 9.

Fig. 10.—Fourteenth century, 1st half.

Fig. 11.—Fourteenth century, 2nd half.
With the 10th century came the first corselet from the waist to the hip, clasping a loose
tunic with an under-dress taking a long pointed train. The manner of tucking the tunic
under the corselet when it was worn over it, and so creating festoons, is worthy of
notice as interesting in arrangement and design.
The 13th century parti-coloured and striped dresses foreshadowed the heraldic fashion,
which must be studied for its proportion and treatment of decorative colour-values in
counterchange to get the true value of its noble effects.
A great feature now appears in the chasuble-shaped front or setting to a closely cut
jacket. This ultimately becomes the decorative stomacher through the later periods, and
it is very interesting to note its development.
In the 13th century this jacket was a fur construction of a long simple form opened at
the sides to the hips for the sleeves to come through; it had a straight hem or was
rounded at the front points, and a chasuble form of it was treated as in Fig. 13 or in
conjunction with a short cape; it was chiefly a decoration of ermine. It grew into a
complete jacket, and in the 14th century it was heavily ornamented with gems; and the
simple front, from being a feature outside the jacket, was later often enclosed at the
sides. The jacket itself is beautiful in form and proportion, and the curved band of
design over the hips makes a nice foil to the curved front. This pattern is plainly
derived from the effect of the rich girdle that was at first seen through the side openings

and few jackets are without it, the usual shaping of the neck with most of these was
square.

Fig. 12.—Nos. 1 to 7, 14th century. Nos. 8 and 9, 15th century.
In the first quarter of the 14th century the setting of the neck was of a round shape, and
after 1350 a raised or curved form is favoured. Later still, and with the hornlike head-
dress, a very deep V shape, open almost to the belt was the mode, often being filled in

with velvet. At the same time some began to take up the fashions of a very high collar
and a round-shaped body and sleeves, as in Fig. 24 (see p. 89), with which a wide
pointed belt is seen. Some robes were opened in front up to the height of the girdle,
though many dresses were worn without girdles after the 12th century. Decorated
pockets are sometimes seen in the later period, and an interesting hand-covering or
falling cuff came with them.

Fig. 13.—Nos. 1 to 3, 14th century. Nos. 4 to 9, 15th century.
The cloak as described in the 10th century still continued till the 12th, as well as the
light wrap which may almost be placed with any period, though mostly a feature of the
more classic styles.
Skirts and underskirts were worn with trains. They were mostly banded with wide
borders of ornament up to the 13th century, the fullness being often gathered to the
back and front.
The chasuble-shaped overdress was worn to the middle of the 14th century, sleeveless,
and, laced or sewn tight to the figure from the arm to the hip, or completely down the
sides, generally reached just below the knee.
The shoes were of much the same character as those of the male examples illustrated,
though they hardly reached the same extravagance in length, owing, no doubt, to the
feet of woman being hampered by her skirt; but I suspect they even braved high
wooden clogs, as we know they did the tall chopins of the 16th century, to heighten
their stature.

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Plate V.

(a) Jerkin. Period James I.
(b) Lady's Bodice of Slashed and Vandyked Satin. 1635-50. Pattern
measurements, see p. 293.
(c) Jerkin of Embroidered Linen. 1630-60.
(d) Jerkin of Embroidered Linen. 1580-1635.

TENTH TO THE FIFTEENTH CENTURY. MALE.

From the 10th to the 15th century, we find costume developing rapidly into elaborate
and interesting designs. Close relations with the Continent brought new ideas, and rich
velvets and brocades interwoven with gold enhanced the gorgeousness of attire, while
the introduction of heraldic design brought in a very picturesque element. Hats and
head-dresses began to become important features, enlarging to eccentric shapes and
proportions, only equalled in the extravagant part of the 18th century.
It may be noted that feminine fashion, as it assumes new characters and proportions,
affects the style of the male clothes in the same way, as, when a high or pointed head-
dress comes in, the male hat also increases its size; the same with curved or angular
designs, full or tight sleeves.
The hair was worn long and rather squared in shape at the back till the end of the 15th
century. A tendency to shut in the face by close hoods tied under the chin is remarked,
and this forms a strong feature of the 13th and 14th centuries. Ear-rings were seldom
worn after the 10th century; but the neck was generally adorned with heavy chain
decorations.
Beards assumed a pointed shape in accordance with this development of fashion, and
double-pointed beards were revived between 1380 and 1386. Hats of straw with
mushroom brims and round tops came into vogue in the 11th century, covered with
coloured materials and finished with a spike or button at the top, and the crowns of
these took a pointed shape in the 14th century. The usual cap with folded brim had a
loose crown, and we find this began to lengthen and fall over to one side in the 11th
century, and continued to elongate till, in the 15th century, it often dropped to the knee
in a long thin point. In the 14th century it took a fullness of loose folds, with serrated or
foliated edges falling to the shoulder as in Fig. 15 (see p. 73). A close helmet-shaped
cap is seen in the 12th century, with a falling point from the crown, and the 13th
century brought in the higher crowned hat, with a long peaked front, turned up at the
back. Feathers were worn at the front, back, or side of hats, and sometimes on the front
of the hoods; these increased their dimensions in height and peak, till the straight-up
high hat, which was often brimless, came in the 15th century. The early hood or cowl
soon began to vary its design, for in the 13th century it was often a part of, or attached
to, a chasuble shape falling back and front, or with the long front, stopping at a short
cape length behind. A note of interest in the 14th century appears, where the forehead
part of the hood is turned up, showing a coloured lining, and at times the fashionable
serrated edge surrounding the face is seen.

Fig. 14.

Fig. 15.—Fourteenth century.

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Plate VI.

(a) Collar and Cuffs set with Lace. 1600-30.
(b) Embroidered Leather Jerkin. 1620-40.
(c) Top of Stocking. Embroidered Linen. 1625-50.

Fig. 16.—Twelfth to thirteenth century.
The chasuble-shaped garment was a feature often worn over the coat until the end of
the 15th century, and was generally worn long with the elongated fashion of the 14th
century, and short with the shorter tunics of the 15th century. They are found very wide
in the 14th century, and so fall well down over the shoulder, where they are often laced
a short distance up, creating an interesting feature. Cloaks were not so much in favour
with the heavier cowl and cape, but they were used, fastened by brooches to either
shoulder rather at the back, after the 12th century.

Fig. 17.—Fourteenth century.
A very tight-fitting suit called Justacorps came into use from the 12th century, and
developed a padded round-shaped body towards the end of the 14th century; the
closely-cut body was buttoned up to the throat, or was set with a high collar for the first
time. The tights came over it, sometimes rather high up the waist, being laced to it. A
long tunic was chiefly favoured during the 10th and 11th centuries with short or long
cuffless sleeves, and a full bell-shaped falling sleeve showed a close-fitting under one.
These tunics were chiefly open at the neck as in the earlier times, though a slight
difference to be noted is a V-shaped opening in the 14th century, which is developed in
the 15th century; they were also split up the sides, even to the hips. Some were very
full in shape, and were gathered to either side as in the illustration; others had the body
closely fitted and full only in the skirt, but as a rule one finds this latter shape only
reaches just below the knee. They were often tucked into the belt in front, showing a
rich underskirt.
A girdle (besides a belt) was worn on the hips with the longer tunics, as in Fig. 28 (see
p. 94), the dagger and pouch being carried in front on the girdle, and not the belt. A

small dagger was often slung at the back or front of the neck, as an ornament at the end
of the 14th century.

Fig. 18.—Fourteenth century.
Tights to the waist were worn with both long and short tunics, and retained the crossed
binding up the legs to the 13th century, in the various designs of page 53. Parti-

coloured tights came in with the 14th century, carrying out the heraldic character of
dress, and this may be found till about 1530. A sandal shoe was much worn up to the
12th century, with strappings to various heights up the leg, this even over the short top-
boots, but the usual shoe opened down the front of the instep to the toe, which was
rather pointed in shape, and it was curved or square at the ankle. The illustration gives a
good variety of the prevalent forms. The stocking-boot is also another characteristic of
this earlier time, as well as the commoners' woollen gaiters, worn as in Fig. 30, on the
seated figure, which were in use to the middle of the 16th century.

Fig. 19.—Twelfth and thirteenth centuries.
In the illustrations which show no shoe on the tights, it will be understood that a sole of
leather was sewn on to the under part of the foot. This practice is even seen to-day on

the Continent, where the clog is mostly in use. A soft boot, reaching to the calf, was
worn till the 15th century, with the top folded or trimmed with fur, the latter being
generally laced down the front, even to the instep: the shape of these only varied in the
length of the pointed toes as the style developed.
The long-pointed shoes began to increase all through the 13th century, and in the 14th
century they reached their greatest length, when the points were often tied up to a garter
just below the knee. Wooden clogs were much used, and were often considerably
raised. Iron circular supports were also in use at the end of this time; these were the
foretaste of the eccentric chopins of the 16th century, which were more favoured on the
Continent than here. The pointed toes also were made to curl outwards, giving a splay-
footed effect, late in the 14th century.

Fig. 20.—Fourteenth and fifteenth centuries.

CHAPTER IV

FIFTEENTH CENTURY. FEMALE.

We have now arrived at the height of eccentric fashion in mediæval head-dress. The
hornlike creations, studded with jewels, and peaks of wondrous height, both draped
with fine muslins and often completely shutting away the hair from sight, had a
supporting cap which mostly came over ears and cheeks, and a clutch is seen on the
forehead, at times concealed by a jewel. The hair was generally allowed to fall loose
under the back drape, or a long plait is sometimes seen at the back with the first-named
head-dress. The back drape setting from the brow down the back was well conceived to
balance the high spire, but it seems to have been discarded during the reign of Edward
V, and light veil falls were worn which often came half over the face. In Henry VII's
time the extreme fashion came in the shape of a closely-fitting curved cap, with a fall of
material over the back. The ermine-trimmed jacket was still in favour to the middle of
the last-named reign, when it was worn low down over the hips.

Fig. 21.—Fifteenth century, 1st half.

Fig. 22.—Middle of fifteenth century to sixteenth century.

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Plate VII.

(a) Herald's Coat. Embroidered Velvet and Silk. 1st half
17th Century. Measured pattern, page 301.
(b) Lady's Bodice of Black Velvet. 1630-60.
Measurement, see p. 297.
(c) Black Silk Jerkin. 1640-60.

Fig. 23.—Fifteenth century, 1st half.
The chief dress of this period had a V-shaped collar-front meeting at the waist, mostly
made in black material or fur. It was wide on the shoulder, and seems to have been
stiffened to set out; the V shape was generally filled in with velvet, and a very wide
band encircled the waist; a girdle is occasionally noted. The keys' pocket and other
requisites were generally carried on the underskirt during these times. The skirt was full

and gathered to the back in a train, the gathers often running into the bodice; a very
wide border is prevalent, even to the middle of the thigh. Tight sleeves are usual, and
hanging sleeves were worn, mostly set in a very short sleeve, which assume a puff-
shape in Henry VII's reign; long cuffs, almost covering the hand, are seen on many
sleeves.

Fig. 24.—Fifteenth century, 2nd half.

Fig. 25.—Fifteenth century, 2nd half.

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Plate VIII.—(a) (b) (c) Three Suits. Period Charles II.

Fig. 26.—End of fifteenth century.
Modes of opening the skirt up to the hips occasionally showed themselves, and even
the sides to the hips are seen laced. In the earlier dress, about 1485, the neck setting of
dress became very square, and was filled with fine-drawn lawn. The square shape rises
in a curved centre before the end of this period, and a close-fitting robe was worn with
a girdle, often opened up the sides. The short upper sleeve and full outer sleeve so
much in vogue gave place to a divided upper and lower sleeve, laced or tied with
ribbon, with puffs of lawn pulled through the openings at shoulder and elbow, and
down the back of the forearm. Slashes are now seen in most sleeves, and an
Italianesque character pervaded the fashion.
High, soft boots and shoes of a similar shape to the male description were worn, and
changed when the square-toe shoes came in.
Through this period there are many interesting details of costume to study, while gilt
tags, finishing laces, and ribbons are to be remarked from this period.

FIFTEENTH CENTURY. MALE.

Fig. 27.—Fifteenth century.

Fig. 28.—Fifteenth century, 1st half.

Fig. 29.—Middle of fifteenth century.
The chief shapes to mark in this century in male head-dress is the increased height of
the tall hats which rise to vie with the female fashions. We still see a round hat with a
rolled edge and long fall over one side, besides shorter folds in the crown, both
scalloped or foliated at the edge, and this shape may be noted till about 1460. Some of
these hats were made without a crown, as in Fig. 28 (see p. 94); the roll was decorated,

as a rule, with jewelled studs. A top hat, something like our present shape, appears, but
more belled at the top and also a padded, rolled brim. It was made in various rich
materials, and often decorated with jewels. The peak-fronted hat still continued to be
favoured till about 1480, its chief difference being a crown more eccentric in height.
Tall cylinder hats, with folded brims or no brim, and other shapes are illustrated. The
variety is so great through this period that it is well to study the vagaries of fashion
which I have illustrated in sequence as far as possible; they were mostly used till about
the last quarter of this century, when the low-crowned flat hat with turned-up brim
began to secure the fashion. This was generally worn tilted on one side and often over a
scarlet skull-cap. A large bunch of plumes came in with this hat, set up from the front,
curving backwards, and giving a very grand effect: with most of the tall hats the feather
was set at the back.

Fig. 30.—Fifteenth century.

Fig. 31.—Fifteenth century, 1st half.

Fig. 32.—Fifteenth century, 2nd half.
The notable change in the tunic, which was worn both very short and to the ground,
was the arrangement of folds to the back and front, gathered to a V shape at the waist.
The hanging sleeve began to go out of favour after the middle of the century, but the
sleeve or cuff covering the hand was continued till the end of this century.

A sleeve, full at the shoulder, is found, and short, round, padded sleeves came in, worn
over a close-fitting sleeve. This short sleeve became raised on the shoulder, and was cut
or looped up the outer side: a long loose outer sleeve is also seen in conjunction with
these short ones. A very short jacket is notable, of a plain square shape, with a plain
sleeve on the left arm and a hanging sleeve on the right to the knee. The tight-fitting
jerkin, laced down the front, was worn with this as with most other coats.

Fig. 33.—End of fifteenth century.

Fig. 34.—Fifteenth century, 2nd half.

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Plate VIIIa—(a) Suit of Embroidered Silk. 1610-30. (b)
Three Sword Hangers Embroidered in Gold. Charles II.
(c) Braided Suit. 1670-90.

Fig. 35.—Fifteenth-century Shoes and Clogs.
The high collar to the throat had gone out for a collar opened in front. Very short and
very long "chasubles" were worn with or without sleeves which were gathered high and
full at the shoulders. The sleeves were now sometimes slit open at the back and held
with several ties, as linen sleeves are now shown with these.

Parti-coloured tights were not so much favoured through this period, but a decorated
thigh, or part of the thigh and knee, was a favourite method of enrichment.

Fig. 36.
A long coat came in at the later part of this time, with a deep V-shaped collar meeting at
the waist; it was also cut into a square shape at the shoulders, as in Fig. 43 (see p. 119).
A loose bell-shaped sleeve usually went with this, often opened in the front of the upper
arm. A short square cape is at times seen in conjunction with this. A low square or
round neck shape came in during the last quarter of this century, filled in with a fine
gathered lawn and a tight-fitting coat with a pleated skirt and full padded sleeves, or a
tight sleeve with a full puff or spherical upper part.

Fig. 37.
Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.
Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490 to 1630.

Fig. 38.

1. 14th century.
2. 15th century.
3. 15th century.
4. Late 16th cent.
5. 1580-1610.
6. 1580-1610.
7. 1605-1640.
8. 1600-1625.
9. 1550-1600.

10. 1610-1640.
11. 1590-1620.
12. 1605-1630.
13. 1675-1695.
14. 1670-1690.
15. 1680-1700.
16. 1690-1720.
17. 1680-1700.
18. 1700-1750.
19. 1700-1780.
20. 1700-1760.
21. 1740-1780.
22. 1745-1780.
23. 1770-1800.
24. 1730-1760.
25. 1700-1780.
26. 1830-1860.
27. 1780-1800.
28. 1840-1870.
29. 1840-1870.

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Plate IX.—(a) Lady's Embroidered Silk Jacket. 1605-30.
(b) Lady's Bodice of Silk Brocade. 1680-1700.

Fig. 39.—Decorated Leather, 15th and 16th centuries.
Shoes and boots were still worn with very long pointed toes till about 1465, when a
proclamation was issued for beaks or piked shoes not to pass two inches, and after this
time a broad round-toed shoe began to appear. Soft high boots to the top of the thigh,
with folded top, belong to this century, as well as the fashionable boot to the calf. The

sword or dagger was carried towards the front or side, and a small dagger across the
belt at the back. The pouch or purse was also used as a dagger support.

CHAPTER V

SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.

Before the 16th century we find the art of decoration in costume had been confined
chiefly to applied ornamental bands at the neck, waist, and borders of skirt and cloak.
They had up till this time utilised, with great artistry of design (no doubt partly due to
the heraldic study), the patterns of the finely decorated damasks and velvets. The
counter colour effects and relative proportions, such as a small-patterned, dull-coloured
silk setting off a large full-coloured design was ably considered, as well as the
introduction of a nicely-balanced black note or setting, which proved these designers
were highly skilled in judgment of style. They also discovered the art of giving
enrichment and lightness to the effect by means of the various serrated edgings to the
materials, which also gave a flutter to the movement. A preference of lacing for
fastening added to the charm of the dress, but the long rows of close buttons were also
a feature of the clinging robes, the clasps and brooches, neck-chains, girdle, belt, and
wallet being further very important items of enrichment to the effect.
On coming to the 16th century we enter what may be termed the slashed and puffed
period. The sleeves of Henry VIII's reign are very rich in design and jewel-setting, the
design of the sleeve as in Fig. 40 giving a striking effect, the angle of the top sleeve
being held out by the stiffness of the under silk one. The neck-setting and festooning of
the jewel-chains play an important part in the design on the plain velvet corset bodices.
The head-dress is one of the most remarkable, and gave a great chance for individual
arrangement in binding the back fall to set at various angles on the shaped cap piece,
combining severity with a big loose draping which is extremely picturesque. With
Edward VI commences what may be termed the braided period of decoration. This
latter came suitably with the stiffer corsage and set up. Mary's reign was not of
attractive severity, but the over-robe with the short circular sleeve at the shoulder and
high collar was a graceful creation, and was retained by many as late as 1630. There
was little to admire in the Elizabethan age as regards design, except the beauty of the
materials and the exquisite needlework. The proportions of the dresses were
exceedingly ugly, and the pleated farthingale an absurdity. The male dress had much
interest and often beauty of setting and decorative effect. The slashed materials gave a

broken quality to what would otherwise be a hard effect, and it also cleverly introduced
another colour change through the suit. There will be found many examples in these
illustrations of the pricked and punctured designs on leather-work which are worth
examining for modern treatment.
Quilting and pleating were ably combined with the braiding, and we see the clever
adaptation of straw patterns sewn on (a feature of the late 16th century), which
harmonised with the gold braidings or gold lace, or resembled the same effect.
The trimmings of braid were often enriched with precious or ornamental stones and
pearls, the stomacher, waist, front band down the skirt, and borders of most garments.
The points of slashes were often held by jewelled settings, and the long slashes were
caught here and there with the same.
Another important item was the black stitchwork on linen, sometimes mingled with
gold, so highly prized now for its beauty of design and effect, but beginning probably
in the reign of Henry VII.
Short coats of this type of the Elizabethan age are marvels of skill, and many caps are
still in existence. Fine linen ruffs and collars were often edged with this work, as well
as with gold lace.
Jackets and caps, both male and female, bearing geometrical and scroll designs in gold,
filled in with coloured needlework of flowers, birds, or animals have happily been
preserved for our admiration.
Sequins appear on work from Henry VIII's time, and were much appreciated by the
Elizabethan workers, who no doubt found the trembling glitter added much to the gold-
lace settings and delicate veilings: long pear-shaped sequins were favoured for this.
Sleeves were often separate, and could be changed at will.

SIXTEENTH CENTURY. HENRY VIII. FEMALE.

The hair at this period was parted in the centre and gathered into a plait at the back; it
was also seen rather full and waved at the sides of the head, and a small circlet was
often carried across the brow. A cap of velvet or gold brocade, sometimes with a
padded front, curved over the ears to the neck, keeping the shape of the head. Over this
again a velvet fall was turned back from the front or shaped as in the illustration,
reaching to the shoulder. These falls were also bound into set-out shapes, which gave
many picturesque effects.

Dress had now taken a new phase, and the set bodice became a lasting feature. At this
period the waist was rather short, and the neck, arranged in a low square or round form,
generally filled in with gathered lawn. The upper part of the sleeve was often divided
from the bodice by ties with lawn puffs, and was made in a full circular form, slashed
or puffed and banded, with a tight-fitting sleeve on the forearm. Another type divided
the upper and lower part of the arm at the shoulder and elbow, the forearm being
effectively tied or laced, and the under lawn sleeve pulled through; small slashings are
also seen on these. At times a bell-shaped sleeve was worn, showing a slashed or puffed
under one. Many dresses were still cut in one, and were often high-necked; with these
usually a girdle or band of drapery was worn, and some skirts opened up the front,
showing a rich underskirt.

Fig. 40.—Sixteenth century, 2nd quarter.

Fig. 41.—Period Henry VIII.
Full skirts, heavily pleated at the waist, were worn in the earlier part of this reign,
banded in varying widths of designs to about the knee; but a new development was in
progress—a stiff, bell-shaped dress, set on hoops over a rich underskirt which usually
bore a jewelled band down the centre, the upper one being divided in front to display
this feature. The bodice with this type becomes longer in the waist, and was made on a
stiff corset. Gloves are occasionally seen, serrated at the cuff-end. Shoes of the slashed
character and square toes were also worn by the ladies, but many preferred a shoe with
a moderately rounded toe.
The first mention of a leather umbrella is 1611, but this is a rare instance, as they were
not in use till the 18th century here, though they are noted in continental prints during
the 17th century.

Fig. 42.—Sixteenth-century modes, 1st half Henry VIII.

SIXTEENTH CENTURY. HENRY VIII. MALE.

The modes at the end of the last century now developed into a heavier character of
design. The long hair soon began to be closely cut, and a short beard came into fashion.
A flat type of hat was worn, with serrated brim, or tabs which could be turned down at
times, and others were kept in place by a lacing cord through holes. There was also a
flat "Tam o' Shanter" shape, generally worn well tilted on one side, and amongst the
upper classes mostly adorned with feathers.

The V-shaped collar, or opening to the belt, was still retained on the jerkin, and plain or
pleated skirts are seen, also a square close-fitting vest, with a low square neck, filled
with gathered lawn, or one with a high neck and short collar, on which a very small ruff
appeared for the first time, and at the wrist as well. These were now decorated with
long slashes or gathered puffs: heraldic design was still seen on the breast, and even
parti-colour was worn, but this character was now treated more by decorating with
coloured bands on the tunics or tights.

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Plate X.

(a) Black Velvet Bodice. 1600-25. Pattern,
see p. 292.
(b) Five Embroidered Waistcoats. Between
1690 and 1800.

Fig. 43.—Period Henry VIII.

Fig. 44.—Cap shapes. Period Henry VIII.

Fig. 45.—Variety of shapes and slashing. Henry VIII.
Long coats were still worn of the shape described at the end of the 15th century, but a
short surcoat was the mode, reaching just below the knee, sleeveless, or with the
various hanging sleeves of this period, the fronts usually turned back to form a wide
collar, either round or square in shape on the shoulder, or at times falling to a deep
square at the back.
The sleeves were full in the upper part, tightening to the wrist, sometimes open up to
the elbow and laced, or they were pleated into a full round shape at the shoulder. Puffs
and slashings increased in these designs, and by 1520 we find the sleeves mostly
divided into puffed and slashed forms, which grew to fantastic proportions.
Very short, tight breeches or trunks, with a front flap or codpiece, were decorated to
match the body design and colour schemes; they increased in length to the knee, or just
below, during this reign, and usually finished in a serrated roll.

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Plate XI.—16 Leather Boots and Shoes.
Between 1535 and 1860.

1. 1740-1780.
2. 1535-1550.
3. 1680-1700.
4. 1645-1690.
5. 1665-1685.
6. 1690-1710.
7. 1845-1860.
8. 1790-1820.
9. 1665-1670.
10. 1800-1820.
11. 1820-1840.
12. 1820-1840.
13. 1815-1850.
14. 1760-1780.
15. 1650-1670.
16. 1630-1660.

Fig. 46.—Footwear, 1510-1540.
Shoes were of the square form, some very short in front, held on by a strap across the
instep, others with fronts to the instep. The corners were often brought out to a point on
each side of the toes, and the mode of decorating with slashing and punctures made
them very interesting. The sides of these shoes are very low, from ¾ to 1 inch, and no
heels are seen. A big, round shape was also favoured, which increased in width till a

proclamation forbade it exceeding 6 inches. Chains were still a decorative feature round
the neck, and the belt carried a sword and pouch, or, amongst the working classes, other
necessities.

SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY.
FEMALE.

In the reign of Edward VI, which was so short, as also in that of Mary, there was little
time to form a real character. These reigns form developing links to the Elizabethan era,
so I have taken them in one chapter.

Fig. 47.

Fig. 48.
Fig. 49.

Elizabethan modes.

Fig. 50.—Costumes, 1554-1568.

Fig. 51.—Costumes, 1568-1610.
With Edward VI the same shaped cap is seen as that of Henry VIII, and with Mary's
accession, the head-dress is curved to the head in a like manner, but it now became
more of a hat form and took a brim curved in on the brow; this was often worn over the
little tight curved cap, or showed the hair waved out at the sides, often netted with gold
and pearls. A fall of velvet, silk, or veiling was still retained till the very high ruff or
collar came in the Elizabethan days. A small-crowned hat, with a brooch and feather in
front, and a full gathered crown came in before Elizabeth's time, when we see many
eccentric shapes, such as the tall hat with a feather at the side, and the witch-like hats
towards the end of her reign.

The bodice, which became longer in the first reign, still retained the full belled
oversleeve or the full puffed sleeve to the end of Mary's reign, also the same square
neck shape with curved-up front, now often filled with silk quilted with pearls up to the
neck. High-necked dresses set with a small ruff became general in Mary's reign. We
also find a tight sleeve gathered in a circular puff at the shoulder or set in a rolled
epaulet.
The same shaped skirt of the hooped bell form (sometimes very pleated in Mary's
reign) or divided in front to show the underskirt as described under Henry VIII, was
worn.
The short square shape and the heavy round shoe is seen in Mary's reign, but fashion
then preferred a rather pointed oval shoe, well up the instep with higher sides,
decorated with characteristic slashing. Gloves are seen in many portraits up to this
period, but of a plain make minus embroidery, and a circular fan of feathers was
carried.

SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY.
MALE.

With Edward VI and Mary a more refined and sober type of style set in. The hair was
now worn short and combed backwards. The flat hat of the earlier shapes lasted to
Elizabeth's reign; becoming smaller in width, with a turned-down, curved brim and a
fuller crown encircled with a gold band or set with a feather worn at the right-hand
side. A small tight-fitting round hat with a rolled brim and a feather in front is also of
this later mode. Through these reigns a small square turned-over collar or a very small
ruff set on a high collar came into use, which increased to a larger ruff in Mary's reign.
A small ruff was also worn at the wrist, many of these were edged with black-stitch
designs. The heavy puffed sleeves became tight and started from a small epaulet or
puffed roll; some of these had a small cuff at the wrist or a frill. Braided designs
became very elaborate on a close-fitting, padded, and round-shaped jerkin with a short
skirt, which appeared in the first reign, and this skirt was often long enough to fasten
just under the codpiece. Short trunks at times worn half-way down the thigh were
slashed, banded, and puffed for decoration. No parti-colour was now worn or striped
effects on tights, except amongst the soldiers in the reign of Mary. Short capes to the
length of the trunks of a plain round form sloping from the shoulders, or a square type
with a high square collar and loose sleeves, are seen; a tunic also of the earlier character
with a V-shaped collar and full sleeve comes into this reign, and we note the earlier
types of shoes mingling with the newer pointed oval-shaped shoe which now continued
for the remainder of this century.

Fig. 52.—Costumes, 1554-1580.

Fig. 53.—Costumes, 1570-1605.
In Mary's reign the round-shaped doublet began to protrude from the breast
to the waist in a round form with slightly longer skirts or small tabs, while
the trunks assumed large circular proportions and were sometimes set on
tight knee-breeches. The capes remained about the same.

SIXTEENTH CENTURY. ELIZABETH. FEMALE.

The costly splendour of attire is well known in Elizabeth's reign, which
began with the same form of hair and head-dress as with Mary, the hat being

set rather higher on the hair. The ruffs, which were imported already
starched from Holland, assumed larger proportions and complications when
the methods of starching became known in England about 1564. Stow
describes ruffs growing to a quarter of a yard deep; these were no doubt
supported by piccalilloes, though they are not actually mentioned till after
1600, but they surely came with the fan-shaped structures of these later days.
White, red, blue or purple colours were used in the starching, and yellow in
the latter days of this century. The introduction of this curved fanlike collar
setting became a grand and complicated feature right into the 17th century.
"Make up" became very apparent on the faces at this time, for Bishop Hall
censured the fashion in a choice sermon, saying, "Hear this, ye plaster-faced
Jezabels! God will one day wash them with fire and brimstone."

Fig. 54.—Elizabethan modes.

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Plate XII.

(a) Lady's Outdoor Costume. 1785-95.
(b) Costume. Early 18th Century.
(c) Silk Brocade Dress. 1760-80.

Fig. 55.
The bodices grew very long and pointed in the waist, the neck setting being
mostly treated in the same V shape, even open down to the waist point was
filled with a decorated stomacher, and a deep oval-shaped neck was seen at
the end of the reign. An outer opened sleeve was now favoured, caught in
front at the elbow and hanging to the knee over a fairly tight undersleeve
with a turned-back lace cuff or ruffle. With this came the high-set fan ruff on
its wooden support at the back of the neck, and consequently a higher
coiffure.

Fig. 56.
Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of
Elizabeth.
The same character of skirt continued as in the earlier reigns on hoops at the
lower part, but they became much fuller and rounder at the hips till about
1590, when the full pleated skirt was supported on a farthingale or hoop
which was set with a gathered circle in the same goffered design as the ruffs
at the edge. These reached their extreme dimensions at the end of this reign,
when the sleeves also assumed a full padded shape and large epaulets also
came in. An overdress with a full pleated back (like the Watteau dress) was
in fashion from the middle of this reign, and we are lucky to possess some
specimens in the Victoria and Albert Museum of which I am able to give the
dimensions. Small looking-glasses were carried, and were also inset on the
round feather fans. Perfumed gloves, elaborately embroidered, were
introduced during this reign. Silk stockings were worn by Elizabeth for the
first time in 1560, and worsted stockings were made in England in 1564.
Corsets of pierced steel are seen in France from the late 16th and 17th
century, and may have been in use here, though wood, cane, and whalebone
were the chief supports. Shoes became narrow and even pointed, while the
heel began to increase to considerable heights. The buskins of Queen
Elizabeth now at Oxford are raised to 3 inches in height by the aid of a thick

sole, and shoes A and B, Fig. 61, are also reported to have belonged to her.
Chopins for heightening the stature were in use on the Continent, but I
believe did not appear here; but very thick corked soles and high heels were
introduced for this purpose.

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Plate XIII.

(a) Silk Coat. 1735-55.
(b) Brocade Silk Coat. 1745-60. Pattern, see p.
308.
(c) Embroidered Cloth Coat. 1770-90.

SIXTEENTH CENTURY. ELIZABETH. MALE.

In this reign a very neat small-pointed beard was the fashion, the hair being
brushed up as high as possible and often fulled out at the sides, and a "chic"
appearance was sought after. A stiff belled top-hat with an egret at the right
side made its first appearance with a curved brim, also one of a tapered
shape with a smallish round brim, and another very small round hat with a

curved brim, a clasp and feather being mostly worn on the front of each. The
brims of all the hats began to enlarge at the end of the century when the very
high crowned wide brimmed hat made its appearance, sometimes with a
peaked top, and beaver is first mentioned in their make.
Large circular ruffs became all the rage besides the small turned-over collar.
The round doublet with protruding front became tighter at the waist, the
protuberance taking a punchlike pointed form curving to almost between the
legs and sloping sharply up the hips to the back. This was set with a very
short tab or tabs on padded breeches tightening to the knee, which usually
had very small trunks on the upper part, and large, stuffed trunk hose also
appeared. The stockings were brought over these in a roll above the knee.
Up to this time tights were made of wool, worsted, fine cloth, frieze, and
canvas. The slashings, pleating, and gatherings of the period were of a much
neater character, and punched patterns and pricked materials came into use.
Close-fitting high boots, generally with serrated tops and thick soles curving
into a short heel, are features of this time. The shoe had a long front
decorated with slashings (often caught with jewels), and an oval toe which
became almost pointed in the last years of this century. A short top-boot
rising to the calf was also in use, mostly with a little fur edge at the top, and
these were often pricked with patterns.

Fig. 57.—Elizabethan modes.

CHAPTER VI

THE CHARACTER OF TRIMMINGS THROUGH THE
SEVENTEENTH CENTURY.

JAMES I.

The braiding and small slashing continued of a similar character to the end
of the Elizabethan age. The slashing now began to be treated with a larger
effect and less elaboration, but pricking and punching were still much used
for enriching surfaces. An improved style of design was evident.
The female bodice was arranged with a long stomacher, often shaped into
curved forms at the point, and this was set with jewels or embroidery,
otherwise the bodice was decorated with braiding and jewels as in
Elizabeth's reign. The full sleeves were embellished with small slashes
(making diamond squares), puffs, or pricked and punched designs. A turned-
up cuff or ruff of pointed lace finished the wrist, braided epaulets formed a
beautiful feature of the effect, and the front of the underskirt was decorated
with a jewelled band or conventional design, as was also the border of the
overskirt. Caps of an interesting curved form beautifully embroidered in
gold and coloured silks are seen, of which I give patterns; also loose jackets
of the same work were in use when not in full dress.

CHARLES I.

Many beautifully embroidered caps, jerkins, jackets, and shirts are seen at
this period in gold and black or coloured silks. Slashings of this reign,

though in fashion, had commenced to go out; and those retained were of a
large character, mostly from the neck or shoulder to the breast. The favoured
sleeves were cut into straps to the elbow or wrist, and were often edged with
braid, either side meeting together and lining the forearm, the body being
treated in the same way. The open-fronted sleeve was set with buttons and
loops or long braided buttonholes with frayed or knotted ends, though these
were not generally fastened. The tight undersleeve was often set with gold or
silver narrow braids down the front and back seams, and close lines of small
braids horizontally round the arm, or vertically when the outer sleeve was
treated horizontally, this gave a beautiful counterchanged effect.
Many of the ladies' caps of this time had beautiful gold scrolls, with flowers
and birds embroidered in coloured silks, also loose jackets of the same were
in use. The bodice was banded with braids or lace on the front and seams,
and the stomacher was often of fine embroidery; set rosettes or bows were
placed at the waist. Other finishing effects of collar or sleeve, and the button
and buttonhole decorations were made important features on both male and
female sleeves, and even down the front of the outer skirt when it was not
treated with lace. Red heels to shoes began to be worn and continued to the
end of the 18th century in marked favour.

THE COMMONWEALTH.

During this short period the character and placing of braiding was the same
as in the latter part of last reign; slashing had almost completely gone out,
except for the treatment of some ladies' sleeves cut into bands. A very sober
effect was assumed in colour schemes, besides a plainer treatment in
decoration, and a deep plain collar or a small turn-over one was chiefly worn
by the men, while the hat of the Puritan rose to an absurd height, with a wide
flat brim.

CHARLES II.

This may be named the period of ribbon trimmings, though braiding was
treated in broad lines on the short jackets and sleeves, and down the sides of
the breeches. A preference is shown for gold and silver lace, or amongst the
élite purfled silk edges; the new mode being a decoration of groups of ribbon

loops placed about the suit or dress. The notable feature with the female
dress was the gathering of drapery by means of jewelled clasps, and groups
of ribbon loops were also used, as with the male dress. The edges of the
materials were sometimes cut into scalloped or classic forms, and a very
simple voluminous character was fashion's aim.

JAMES II AND WILLIAM AND MARY.

With the later type of long-skirted coat which began in Charles II's reign, a
heavy style of braiding and buttoning came into vogue, all the seams of the
coat besides the pockets and cuffs and fronts being braided, which fashion
continued to the end of the century. Many coats began to be embroidered in
the later reign, and waistcoats became a special feature for the display of fine
needlecraft on the fronts and pockets, while quilting or imitations of it in
various needlework designs are often seen. In the female dress a more
elaborate interest was again taken in the stomachers and the jewelled
claspings, while lengths of soft silk gathered into long puffs often edged the
outer skirts or were used in smaller trimmings, and "classical" shapings of
the edges of materials and sleeves are often seen, also heavy bands of rich
embroidery bordered the underskirt or train.

SEVENTEENTH CENTURY. JAMES I. FEMALE.

We find much the same high forms of set-up head-dress continuing in
fashion as in the later years of Elizabeth's reign; but the hair began to take a
fuller shape, rather round, done up in tight frizzled curls, with the usual
decorations of jewels, pearls, or set bows of this period. Hats with high
crowns and small straight brims, with an upright set of small plumes,
gradually assumed a larger brimmed character—often turned up on one side.
The same absurd pleated hoop, with its hanging skirt, continued for some
time (worn rather short); but we also see the longer and very full hooped-out
skirt, with an overskirt opened in the front. The stomacher front became
much enlarged during this reign, many having shaped designs at the point.
Most bodices took a very deep curved front at the neck, and large padded

sleeves narrowed at the wrist still continued, besides the high fan collar at
the back of the neck, and large ruffs were used by many. There also
appeared, later in the reign, a stiff round collar, set high in the neck, cut off
straight across the front, and the bodice took a very low square-cut neck,
with a raised curved shape at the centre of neck. The tighter sleeve was also
worn throughout this time, with the overdress and sleeve hanging almost to
the ground, which often had a very angular cuff. A little later some sleeves
began to be gathered at intervals into puffy forms. The waist also showed
signs of shortening.

Fig. 58.

Fig. 59.—Costumes. Period, James I.

Shoes with rounded toes and latchets holding large rosettes were chiefly
worn, and heels of various heights are seen. Chopins, still worn on the
Continent, do not seem to have appeared here.

SEVENTEENTH CENTURY. JAMES I. MALE.

The hat was of the high-crowned type, perhaps higher than in the last reign.
The brim had broadened, and feathers were placed upwards fantastically at
the back and sides of crown. Brims were often fastened up on the right side
with a jewel; otherwise a band was buckled in front. The hair was now
allowed to fall longer again, and a pointed or square-shaped beard with a
brushed-up moustache was the mode. Ruffs both large and small surrounded
the neck, and a flat fan-shaped collar was seen in the earlier years.

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Plate XIV.

(a) Embroidered Silk Dress with Pannier. 1765-80.
Pattern of bodice, p. 322.
(b) Brocade Dress and Quilted Petticoat. 1750-65.

Fig. 60.—Costumes. Period James I.
The jerkin was close fitting and the length of the waist more normal, with
less tendency to being tightened in, and not so deep in the front point, so as
to set better over the very full trunks or breeches. The square tabs of the
jerkin increased in size, and soon formed large flaps divided into three or
four, to the centre of the back. Sleeves were fairly tight and started from
slightly larger epaulets, and were usually set at the wrist, either with a small
ruff or turned-up lawn cuff, edged with lace.
The trunks were padded in a very full shape and were much longer, just
above the knee. Also full padded-out breeches tapering to the knee or just
above, where a large tie and bow hung at the side, and full square breeches
not tied in, are also a feature of these days, usually banded with wide braids
at ends and sides. Upright pockets were made on either side towards the
front, about two inches from the side seams. They fastened up the front in a
pleated fold, many being decorated with punched, pricked, or slashed design
of a smallish character.

Fig. 61.—Shapes of Shoes from 1590-1650.
Cloaks were worn longer to the knee, retaining the same shapes and braid
decoration as in the Elizabethan period, and hanging sleeves were still worn
on them, as well as on some of the jerkins.
Shoes became fuller and rounder at the toes, mostly with thick welted soles
and short heels, or none. They were fastened with a large rosette of gold lace
or ribbon on the front, and the latchets were set back to show an open side.
The top-boots were close fitting and took squarer toes; the spur flap being
rather small. Beautifully embroidered clocks are seen on the tights and
stockings of this period.

SEVENTEENTH CENTURY. CHARLES I. FEMALE.

The hair was now allowed to fall in ringlets round the back and sides, with a
few flat curls on the brow, and a bow and pearls were caught in at the sides.
Short feathers may also be noted in use. A plait was often coiled at the back
after 1630.

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Plate XV.

(a) White Cloth Coat. 1775-90.
(b) Silk Dress. 1740-60.
(c) Embroidered Velvet Coat. 1755-75.

Fig. 62.

Fig. 63.
Collar and Bodice types. Period Charles I.

Fig. 64.
Collar and Bodice types. Period Charles I to 1660.
In the early part of this reign the ladies were wearing the long corset-bodice,
with a richly decorated stomacher which curved outwards to set on the very
full skirts; this often finished with a curved or foliated shape at the point.

Square starched collars, rounded at the back, sometimes set up at the back of
the neck or flat on the shoulder, and ruffs were still seen round the neck with
collars as well, but they were seldom met with after 1635. A plainer, deep
collar, flat, round, or V-shaped at the back, coming well over the shoulders,
was caught together by a bow or ornament in front. About 1630 shorter
waisted bodices came in, with full, loose sleeves set in epaulets: the neck
shape was rounded or square. The bodices were often slashed, and the full
sleeves, cut into bands, were sometimes gathered by cross bands from one to
three times. Full plain sleeves, opened in the front seam, were also clasped at
the elbow in a like manner. Outer short sleeves became a feature, opening in
the front, showing the full under one or a tight one; the waist became very
short and its tabs larger. A waistband fastened in the stomacher with a bow
either side and bows with long gold tags decorated the waist as in the male
jerkin. The skirt decorated by a band of ornament down the front was often
tied upon the corset-bodice, the front point being left outside. Shoes of the
same shape as the male illustrations, with very square toes, were frequent,
but an oval toe, rather pointed, is seen in many pictures, with the large lace
rosettes in front. Muffs are first noticed in these days, though they were seen
much earlier on the Continent.

Fig. 65.—Period 1625-1660.

SEVENTEENTH CENTURY. CHARLES I. MALE.

The hair was worn loose to the shoulders, and a small plait was sometimes
arranged on the left side, brought to the front of shoulder. The beard was
trimmed to a pointed shape, and smarter curled moustaches were
fashionable. Hats were still high in the crown, but rather lower than with
James I; the large brims were turned about in various curves, and feathers
were worn falling over the brims to the side or back.
The jerkin was high in the collar, supporting a large, square, turn-down
collar edged with pointed lace to the shoulders, or a small, plain, turn-over
collar; ruffs are very rarely seen after 1630.

Fig. 66.—Charles I.

Fig. 67.—Period 1625-1660.

Fig. 68.—Period 1625-1660.
A rather short waist grew shorter during this reign, with much larger tabs, or
large flaps laced to the body, forming a series of bows with long gilt tags
round the waist. The body is usually decorated with long slashes from the
shoulders to the breast, or the full length, and a long slashed opening is often
seen in the back (presumably to give more play to the sword-thrust). The
sleeve is also treated in the same way to the elbow or waist. All sleeves start
from a stiff epaulet. Breeches are both very full and fairly tight, the latter
edged with a purfling of silk or gold lace as well as the sides, the former
shape tied either above or below the knee with a large silk bow with falling
ends. They were held up by a number of hooks, fastening to a small flap
with eyelets, round the inside of the doublet (see pattern 11, p. 295), and
were buttoned down the front, the buttons being half hidden in a pleat. The
pockets were placed vertically in the front of the thigh, and were frequently
of a decorative character.
A short or long circular cloak was worn, and a coat-cloak with opened
sleeves is an interesting garment. These coverings were hung in various
ways from the shoulders by methods of tying the cords across the body.

Fig. 69.—Period 1625-1660.

Fig. 70.—Shoe shapes. Charles I to 1700.
Nos. 1, 2, 3, 4, 5, 6, 7, 8, 23. Charles I.

Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 25. Charles II.
Nos. 18, 19, 20, 21, 22, 24, 26, 27, 28. James II and William and Mary.

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Plate XVI.

(a) Silk Brocade Dress. 1740-60.
(b) Silk Brocade Sack-back Dress. 1755-75. Pattern, see
p. 334.
(c) Dress of Striped Material. 1775-85. Pattern, see p.
335.

Fig. 71.—Boot shapes. Charles I to 1700.
Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9. Charles I.
Nos. 10, 11, 12, 13, 14, 15. Charles II.
Nos. 16, 17, 18. James II and William and Mary.
Shoes became very square at the toes, or blocked as in Fig. 70, No. 6. The
fronts were set with large rosettes of silk and silver or gold lace, the heels
varied much in height, that mostly favoured being a large, low heel. A quaint
fashion of shoe combined with a clog sole was an interesting shape (see
illustration of clogs, p. 106). Fairly tight top-boots, coming well above the
knee, were often turned down. Other boots with large bell-tops, turned over
or pushed down, were covered or filled with a lace or bell-shaped stocking-
top. A sash was worn round the waist or across the body over the left
shoulder (the length and width of these is given in the description of
patterns, p. 279). A broad belt, or sword-hanger, came across the right
shoulder. Gloves were beautifully embroidered in gold, pearls, or coloured
silks, the gauntlets being from five to eight inches deep.

SEVENTEENTH CENTURY. THE COMMONWEALTH.
MALE AND FEMALE.

The same shapes apply to costume during the Commonwealth, though a
sterner effect was given by the choice of plain decoration and less colour. A
small or a large plain collar, and the disappearance of slashings on the coat,
and a longer skirt became noticeable. A very high tapered hat, with stiff
circular brim, was worn by the Puritans, and little, close, black hoods were
much favoured. A general reaction from gay extravagance set in.

SEVENTEENTH CENTURY. CHARLES II. FEMALE.

The hair was set out from the head on combs with falling ringlets, and
several small flat ringlets were placed on the forehead. The back of the hair

was plaited into a knot, and pearl strings were interlaced, or ribbon loops
caught in at either side. Toward 1680 the hair was worn tightly curled and
fulled out into a round shape with a curl or two falling on the front of the
shoulders; small feathers or long feathers were also worn. Hats were of a
similar shape to those of the last reign, with a stiffer and narrower curved
brim; but the chief head-dress was a large hood faced with another material,
which latter was tied under the chin; these mostly formed part of a cape also.

Fig. 72.—Period 1650-1685.

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Plate XVII.

(a) Silk Suit. 1765-80.
(b) Quilted Dress. 1700-25.
(c) Silk-embroidered Suit. 1765-80.

Fig. 73.
1, 2, 3, 4.—Back and Front of two Corset Bodices. Period Charles II.
5, 6.—Two Corsets. Period Charles II.
7, 8.—Two Bodice types. Period Charles I.
The bodice again became much longer and of a pointed shape, but many
corset bodices took a round point, and a round neck coming well off the
shoulders became general, usually decorated with a plain wide band of lace.

Ruffs and collars were no longer seen amongst the upper classes. Very full
sleeves and large opened sleeves were tied or clasped over full lawn ones,
and at times separated from the shoulders, being caught effectively with
jewels. Groups of ribbons were placed at the breast or point of the bodice,
and the ends of sleeves or shoulders, besides at the fronts of the outer skirt
when divided, also in the gathering of the lawn sleeves. Stomachers were not
much worn, but a drape of soft silk was caught here and there round the neck
of bodice, and large draperies were clasped to the shoulders. Loose robes
and robes shaped to the figure, opening down the front from the neck even to
the waist, with a clasp or several holding them together; these were worn
over a quilted linen corset laced in front as in the illustration, but the bodice
was often formed on a corset. Long gloves and mittens were in use, and
small muffs with ribbon loops on the front were carried. High-heeled shoes
with very long square toes were affected in imitation of the male shoe, but
most ladies now began to wear a very pointed shoe.

Fig. 74.—Sleeve treatments. Period Charles II.

SEVENTEENTH CENTURY. CHARLES II. MALE.

Long hair or wigs of long curls falling on the shoulders, a very narrow
moustache and point of beard on the chin came with this reign. Lace collars
of a smaller square or rounded shape were in use, but a fall of lace pleated in
the centre soon took its place. High-crowned hats with a band and bow in
front and a flat, waved, or curved brim, with feathers on either side or all
round, were the fashion, the crowns becoming shorter during the reign; the
fronts and sometimes the sides of the brim are seen turned up, and so begins
to form the three-cornered hat, which remained so long a feature in history.

Fig. 75.—Period Charles II.

We find with extravagant shapes a happy return of gay colours. The high-
waisted jerkins of the Charles I period were now seen without the skirt (as
very short jackets), leaving the lawn shirt to show between this and the
breeches, besides which the jackets were nearly always left unbuttoned
several inches up, some being cut away in a rounded shape and also having
short sleeves. The lower arm was covered with a full lawn sleeve caught at
two or even three distances with a loop of ribbons or bows, and finishing
with a wide lace frill; a bunch of ribbon loops was also often seen on the
right shoulder. A long circular cloak, with turned-back fronts forming a
collar in many, still retained the hanging sleeve, and was mostly decorated
with bands of heavy braid. A long square coat also came in about 1666,
buttoned right down the front, with pockets set very low in the skirt, and
large narrow cuffs opened at the back as in Plate VIII (see p. 90).
Very full breeches were worn to just about the knee or shorter, with a fringe
of ribbon loops, and a row or several rows of the same were arranged at the
waist. A short petticoat just showed the under breeches, many of which were
turned into a doublet shape by an additional piece looped up loosely from
the knee with a silk filling; the ribbon loops at the waist were repeated up the
sides of the petticoat. Silk garters were worn with bows on both sides of the
leg, or a deep lace fall came from the end of the breeches to the middle of
the calf; a lace setting also filled the wide top of the boots, which was worn
very low, even to the ankles. These short bell-topped boots were favoured,
with high heels and very square toes. Shoes were long and square (or duck-
billed) at the toes; and had a high narrow front to the instep, and latchets
fastened with a stiffened butterfly bow, besides, at times, a rosette lower
down on the front: red heels were in evidence. The sword-band was very
wide, and many were decorated with gold embroidery.

Fig. 76.—Costume types. Period Charles II.

SEVENTEENTH CENTURY. JAMES II. FEMALE.

The hair was still worn full at the sides over a comb, as in the former reign,
with curls dropping to the shoulders, but they now began to discard the set-
out comb and the little flat curls on the forehead, the hair being of a round
shape or parted from the centre and mounted higher and narrower on the
head, in the latter part of this reign. The same large hoods and drapes
continued in use, and a high goffered head-dress with set-out front began to
appear; the same shaped bodice with round low neck showing the shoulders,
often set with a stomacher front or jewelled in that form, and smaller
decorations of ribbon loops were still favoured. A smaller and shorter sleeve
began to appear with a turned-up cuff, and the gathered-in lawn sleeves and
ruffles caught here and there with pearls or clasps as before, besides the

same light drapery clasped about the breast front. The overskirt was now
looped back, the points being held together, giving a wide display of the
underskirt, which was heavily banded or had a jewel setting down the front.
Other train skirts, also divided in front, were bordered with drawn silk
caught at intervals into long puffs. Very small muffs were the fashion. Shoes
increased their pointed shape and rather large heels are to be noted, but some
shoes assumed a very narrow square toe; they were either tied from small
latchets with a bow, or with buckled latchets. Longer gloves were worn, and
large full cloaks with hoods or large drapery wraps when required for
outdoor wear.

Fig. 77.—Costume notes. Period 1670-1690.

SEVENTEENTH CENTURY. JAMES II. MALE.

The same long wig was worn as in the last reign, but the curls were more of
a set ringlet type, and embroidered caps were worn when these were taken
off. The face was now clean shaven until the 19th century. Hats also of the
older character were retained, but the turned-up three-cornered shape, filled
with short feathers, became more settled in fashion, and they were heavily
banded with gold braid or lace on the edge.

Fig. 78.—Period 1690-1700.

A smart bow was worn crosswise over the folded lace fall at the neck. The
coat was a very long square shape to the knees, the stiff skirt often set out
over rather full breeches, which were sometimes "shorts," and just above the
knee, the stocking being often brought up above the knee, with a garter just
below. The sleeves were short, above or below the elbow, with a turned-up
cuff, leaving the full-gathered lawn sleeve with a lace ruffle to show at the
wrist. A sash encircled the waist, and often shut in the sword-belt, which
hung from the right shoulder. The coat had buttons from the neck to the
bottom of the skirt, though the lower buttons were seldom fastened; the sides
of the skirt were opened up about 11 inches, and also the back seam to the
same height; most seams were heavily decorated with gold, silver braid, or
lace, and the pockets were placed rather low down towards the front of the
skirt, and were sometimes set vertically.

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Plate XVIII.

(a) Brocade Bodice. 1770-85.
(b) Flowered Silk Dress. 1750-70.
(c) Silk Brocade Bodice. 1780-95.

Fig. 79.—Period 1688-1702.

Long round capes were still worn, without sleeves, and a collar turned down
about 4 inches.
Shoes of a similar shape to those of the later Charles II type were in use, but
the heels became larger and the toes not so long; the top of the front was
sometimes shaped and turned down. Heavy boots to the knee, with large
curved tops, were also in favour, as in the illustration (Fig. 71).

SEVENTEENTH CENTURY. WILLIAM AND MARY.
FEMALE.

The hair was now mounted high on top and the front parted with two curls,
the rest of the hair being bound on top, or a curl was arranged on either
shoulder. A goffered frill head-dress, set on a cap, rose very high, and a long
fall of lace, or lappets, came down on either side from the cap, or was
gathered in like a small hood at the back. Bare shoulders now began to
disappear, the bodice shape coming over the shoulder to a V shape enclosing
a stomacher, which was sometimes tabbed or shaped at the point. Many
dresses were made in one length, caught together at the waist with a band;
the fronts of these skirts were looped back high up, creating a pannier-like
fullness at the hips, and narrow hoops came in to set out the skirts, many of
which were heavily embroidered with gold. The Watteau-back dress started
in this reign; a very early specimen, at the Victoria and Albert Museum, is
most probably of this time (Fig. 85, A). The sleeves worn to the elbow
increased in width from the shoulder, and were set with large narrow cuffs
gathered with a jewel or bow on the front of the arm. Hoods and cloaks of
the same character as described for the last reign continued, and light sticks
were carried by the ladies. Very pointed shoes were worn, with large high
heels, the top of the front flap in some being shaped into points. Black masks
were frequently used, some having long lace falls. Rather small muffs were
still the fashion, and beautifully decorated short aprons became a feature
with the dress.

Fig. 80.—1688-1698.

SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.

Wigs of the same long character continued, and were parted in the centre
with a raised effect, and variously shaped caps, with turned-up fold or brim,
were worn when the wig was taken off.
The beaver or felt hat, turned up three-cornerwise, was now in general use. It
is often seen with the brims loose, or sometimes down, especially amongst
the lower classes. Both small shapes and large were worn.

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Plate XIX.

(a) Silk Brocade Dress. 1775-85.
(b) Embroidered Silk Jacket. 1775-90. Pattern, see p.
326.
(c) Brocade Jacket. 1780-95. Cap pattern, see p. 331.
Coat pattern, see p. 348.

Fig. 81.—Period 1680-1690.
Black ties across formal lace cravats, and long lawn cravats, edged with lace,
one end of which was sometimes caught up loosely through the large
buttonhole of the coat were worn. Waistcoats were left open well down to
the waist; some of these were nearly of the same length as the coat, the skirt
being often edged with deep gold fringe.

The coats were of much the same character as in the time of James II, with
buttons all down the front, but now it was the mode to button coats just at
the waist, allowing the waistcoat to be shown. The sleeves were generally
longer, to the middle of the forearm, and the turned-back cuffs became very
large and deep, often towards the end of the reign taking a curved shape. The
seams, fronts, and pockets were frequently braided as before. A long square
waistcoat of rich brocade or embroidered material, about four inches shorter
than the coat, was worn; some of these had tight sleeves, which came to the
wrist beneath the outer coat-sleeve; otherwise a gathered lawn sleeve with
ruffle was worn.
Shoes and boots were practically the same as in the previous reign, with
larger high heels and a high square front, with latchets buckled or stiffly tied,
and very square toes. Top-boots of the same heavy character continued as in
Plate II (see p. 42). Stockings continued to be worn frequently above the
knee outside the breeches, with a garter beneath, and beautifully
embroidered clocks to the calf. Muffs were carried by many men, and the
gauntlets of gloves had a very angular shape. Patches and make-up were
used by the dandies, and the sword was now carried through the side pleats
on a waist-belt sometimes worn outside the waistcoat.

CHAPTER VII

THE CHARACTER OF DECORATION AND TRIMMINGS
OF THE EIGHTEENTH CENTURY.

In the early part to the middle of this century the trimmings were chiefly of
gold or silver lace, real lace, and purfled silk, mostly of the same material as
the dress: a bow was often worn on the breast, and also in the front of the
sleeve cuff. Purfled or ruched trimming generally ran down the front of the
dress from the neck to the hem of the skirt in the Second Georgian dress, and
gathered borders or decorations of curved forms were in use. The skirts
usually had only one flounce till the reign of George III, when the trimmings
became more elaborate, and gauze and imitation flowers were festooned
upon the skirts, with ribbons and tassels and padded designs standing out in
strong relief; some charming gimp trimmings are also seen.
The lace ruffles of a fan shape which finished the earlier sleeves till about
1745 were sometimes of lace, interwoven with gold, silver, and coloured silk
needlework, and this was no doubt the forerunner of the use of the more
solid material itself. The setting of the sleeve finish is interesting to note all
through this period, for it was beautifully treated in balancing the effect of
the dress. The square cuff with the deep lace fall was big in style, and the
later closely-fitted elbow piece, richly gathered, was happily conceived, but
no finer setting could have been applied to the sack-back dress than the large
fan or double fan with its lace fall. The edges of the early fan-finished
sleeves were of curved and scalloped forms, the latter shaping often being
seen in the later sleeves.

With George III we notice designs in straw work, decorations of imitation
flowers in ribbon-work and various materials, and much taste in the choice
of colour schemes, while the tassels of this period were delightful creations.
The designs of stuffs at the early part of the century were generally of fine
strong colour blends, but in the middle period there was much questionable
taste displayed in the heavy massing of patterns, but this soon improved with
the striped character crossed by running flowers which was quite ideal in
type for costume keeping, grace, and lightness, with a beautiful interchange
of colour.
The quilted silk and satin petticoats are a special feature to note in these
times; many simple and effective designs were in use, and they added much
glitter to the scheme. Aprons were also beautiful examples of needlework,
and were worn with the best of dresses to the middle of the century; the
earlier ones generally had a scalloped edging, and many had pockets; gold
lace edging or fringe was often used in the time of George II, and they were
all finely decorated with needlework in gold, silver, or coloured silks. The
white aprons were also of consummate needlecraft, and hanging pockets
worn at the sides were also a decorated feature, but these only showed when
the dress was worn tucked up. The later style of dress became much simpler,
consisting chiefly of gathered flounce settings, fichus, and large mob caps;
these were often daintily embroidered with tambour work and large bow and
sash settings, making delightful costumes.
Bags, muffs, gloves, and shoes were all chosen for the display of needlecraft,
while artists and jewellers used all their skill on the fans, patch-boxes, and
étuis, and even the dress materials were often painted by hand, while many
painted Chinese silks were also utilised.

EIGHTEENTH CENTURY. ANNE. FEMALE.

The hair was dressed in a simple manner, with two curls parted from the
centre of the forehead, and curved inwards on the brow. A loose ringlet or
two were brought on to the left shoulder, the rest being gathered into a back-
knot. Feathers or flowers were arranged on top, generally with a pair of lace

lappets falling to the back; these also adorned the cap, which still bore the
front goffered frills set out as in the last reign, but these were diminished in
size and were mostly of one row. We note probably the last stage of this style
appearing in a print of Hogarth's, dated 1740.

Fig. 82.—Bodice types. Period 1690-1720.

Fig. 83.—Costume type. 1695-1710.
Hoods and capes or cloaks, and long black fichus or wraps, were the chief
coverings, as the head-dress did not allow of hats being worn, but with the
small frilled caps a little straw hat, or a low-crowned felt with a largish brim,
are seen, and a small lace frill round the neck began to appear. Bodices with
a low curved neck often had a short skirt or shaped pieces, as well as a
shaped short sleeve over a gathered lawn one, while many wore long sleeves
to the wrist, and a waistbelt is sometimes noted. There was also the sleeve
spreading in width to the elbow, with a turned-up square cuff. The front of
the bodice may be remarked with bands fastening across, and this became a
feature in many dresses later in this century, otherwise it set closely over the
shoulders to a V shape at the waist, and was filled with a stomacher of fine
needlework, bows, or the ends of the lawn fichu laced or caught in by a big
bow. A full, loose gown, with the fullness pleated to back and front, came in,
the front being held by a bow and the back allowed to fall loose or crossed
with a large bow at the back of waist, as in the museum specimen, Fig. 85.
This became the more elaborate sack-back dress.

Fig. 84.—Period 1700-1725.

The skirts began to be set out in a bell form, and trains were in much favour;
the overskirts were parted in front, and many looped up to the back in a
similar manner to the last reign. Small aprons of fine embroidery were worn
with the best of dresses, and embroidered pockets are seen when the skirts
were thrown back. Petticoats of fine quilting became much appreciated, and
tall sticks were carried by ladies. Pointed shoes with high heels and latchets
tied or buckled, the top of the fronts being mostly cut into four points, or
they had a square finish.

EIGHTEENTH CENTURY. ANNE. MALE.

The wigs of the full ringlet style were still the fashion, but a simpler
character is noticeable, the hair being combed back off the forehead and
allowed to fall in looser waves. But many began to set a mode of smaller
"coiffure," with their own hair caught in curls by a bow at the back, and curls
over each ear. Powder came into use with the smart set, and a big bow and
bag to finish the back of wig appeared, giving a smarter appearance to the
white hair.

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Plate XX.

(a) Gold-embroidered Muslin Dress. 1795-1805.
(b) Nine Aprons. Between 1690 and 1850.
(c) Dress of Spotted Stockinette. 1795-1808.

Fig. 85.—Bodice types. 1700-1725.
The hat, sometimes of white felt, was the same three-cornered type, edged
with feathers and banded with broad gold braids or silver lace. The neckwear
was a bind of lawn, with a long fall finished with lace.
The coat remained long to the knees, but took a greater fullness in the side
pleats of the skirt. Large buttons and buttonholes, 3 inches long, are seen,
with the same on the cuff, which was worn very large, often 9 inches broad,
and mostly of a curved outline, and of another coloured brocade; a tight
undersleeve is also seen with these. The coat was sometimes heavily
decorated with needlework or braids of gold down the front, pockets, seams,
and cuffs. The pocket was wide and set higher in the skirt, and the back

opening of coat was decorated by several horizontal braids to the two side
pleats.
A long, full-skirted waistcoat, of rich materials or needlework, was at times
braided and fringed at the skirt with gold, the pockets covered with a large
flap, and five buttons fastened it or were placed as decorations just below it.
The front buttons were often reduced to four at the waist, as it was still
fashionable to show the lawn shirt.
Breeches were of the same cut as in the former reign, with five or six side
buttons at the knee, and stockings with embroidered clocks were worn rolled
over outside the breeches as before.
Shoes were square at the toes and not quite so long, while the heels were still
rather heavy, and red was the mode. They had a high square top at the front
instep, and buckles fastened the latchets. Muffs were often carried by the
dandies, and walking-sticks, with tassel and loop, were slung on the arm;
besides a sword, which, passing through the side pleats and out at the back,
helped to set out the coat, which was often stiffened in the skirts. Gloves,
with short gauntlets very angular or curved in shape, were trimmed with
gold fringe; the backs were also richly embroidered with gold or silver.

EIGHTEENTH CENTURY. GEORGE I. FEMALE.

Fig. 86.—1725-1750.

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Plate XXI.—23 Boots and Shoes. From 1800-
75.

1., 2. 1800-1820.
3. 1810-1828.
5., 8., 9., 10. 1820-1830.
13., 16., 16a. 1830-1855.
4., 6., 7., 12., 14., 15., 17. 1850-1865.
11., 18.-22. 1860-1875.

Fig. 87.—Period 1725-1750.

Fig. 88.—Modes, 1750-1770.

Fig. 89.—Various Styles in Cut Back of Bodice.
The hair was very simply gathered from the forehead and taken up to a knot
of curls at the back. Occasionally a group of curls was allowed to fall
behind, or a curl was arranged to fall on one shoulder, and waved curls of the
Queen Anne type were still seen on many people. Caps, with long dropping
points in front, sometimes tied under the chin or with long lappets at the
back, were the chief favourites, also a small frilled cap. Shallow-crowned
straw hats with various widths of brim; hoods and capes, both short and
long, are seen, besides light silks draped from the hair to the waist, feathers,
flowers, and ribbons being worn in the head-dress. Richly embroidered
aprons were worn with the finest dresses.

The sack-back dress was very full, and started right across the shoulders in
two double box-pleats, which were kept trim by being sewn flat for two to
four inches down. Sleeves to the elbow were rather full, and gathered at the
shoulders, with a square cuff often decorated with a bow in front, and a fan
of lace, sometimes in several rows, fell from beneath. Sleeves finishing in a
shaped edge are occasionally seen. The skirts were made for the very round
hoop setting, and were gathered in flat pleats on either hip. A wide pleat or
two came from the shoulders down the front sometimes as a continuation of
the sack-back. These pleats, meeting at the waist, formed a V shape, which
was filled by an embroidered stomacher, or made of the same material,
crossed by bands, bows, or rows of lace. The flat front pleat was
occasionally embroidered, and gradually widened to the bottom of the skirt.
Very pointed toes to the shoes, and high heels, with tied or buckled latchets,
are seen, the tops of the front often being shaped into four points.

EIGHTEENTH CENTURY. GEORGE I. MALE.

Long, full wigs are still seen amongst older men, but several new shapes
appear as illustrated (Fig. 90), and the black bow and bag became very large;
a black ribbon attached to it, with a bow in front, came round the neck. We
also see the ends of the wig made into a long, tight pigtail. Hats were of the
same three-cornered shape, rather fuller in size, and the feathered edging
was still favoured. A hat of the type of Fig. 105 was also worn; and the loose
cap with a tassel was put on when the wig was removed (see Fig. 104).

Fig. 90.—Wig types, 1st half 18th century.

Fig. 91.—List of Dated Shoes and Boots.

1. 1700-1750.
2. 1700-1780.

3. 1700-1780.
4. 1700-1750.
5. 1700-1760.
6. 1720-1780.
7. 1690-1720.
8. 1700-1750.
9. 1700-1740.
10. 1740-1760.
11. 1702-1720.
12. 1730-1750.
13. 1760-1800.
14. 1730-1760.
15. 1740-1770.
16. 1770-1780.
17. 1740-1780.
18. 1786-1796.
19. 1774-1784.
20. 1775-1790.
21. Sole of shoe No. 22.
22. 1776-1800.
23. 1780-1790.
The neck had the same lawn bind with a long lace ruffle, and the coat the
same full cut as in the last reign, and the large rounded cuff was still in
favour, but many varieties of size were now worn. A vertical pocket is seen
occasionally on cloth coats, also a cape and turned-down collar are noted,
while several appear with a very small upright collar. Buttons were still worn
on some coats, right down the front; but on many coats the buttons stopped
level with the pocket.
A short-skirted coat came in amongst the dandies towards the end of the
reign, and was stiffened out on the skirts; these mostly had a tighter sleeve
and cuff. The same decorations continued in use. Waistcoats were much the
same, and were cut to the length of the coats, or about four inches shorter;
they were buttoned higher, the lace often falling outside.
Breeches were the same in cut, fastened with six buttons and a buckle at the
side of the knee. The stockings, usually decorated with clocks, were still
worn rolled outside the knee amongst smart people. The stiff high boots or

gaiters generally had a full curved piece at the top, and short gaiters to the
calf are also to be noticed.
The shoes were square-toed or of a roundish form, with a short or rather high
square front, and heels of various heights. Patches and make-up were used
by the fops, and swords and sticks carried, the latter being very high, to 46
inches.

EIGHTEENTH CENTURY. GEORGE II. FEMALE.

The hair was treated in much the same manner as with George I up to the
end of this reign—gathered back from the forehead to a bunch of curls at the
back. The small hats and caps, often worn together, continued of the same
character; the dresses also remained similar in cut. The sack-back dress was
supreme in the fifties, when it was set with panniers, together with the
hoops, but the latter were not so much worn towards the end of this reign,
except for the "grand dress." Quilted petticoats were much worn, but
flounces are not a feature on the skirts till the latter part of this period. The
simpler dress was of various lengths, and was at times worn quite short up to
1740. The corset bodice was still in use, with lawn sleeves: square cuffs and
lace ruffles held the lead throughout this time, but the fan-shaped sleeve
finish to the elbow, in the same material as the dress, began to appear about
1750, generally with a waved or scalloped edge. Pointed toes and high-
heeled shoes continued, with either tied or buckled latchets, and long gloves
and mittens were in use.

Fig. 92.—Three hoops and four pannier forms.

Quilted designs on Petticoats, 18th century.
Fig. 93.

EIGHTEENTH CENTURY. GEORGE II. MALE.

Wigs with double points at the back, short curled or of long pigtailed shapes,
some with side curls, others curled all round the front, were worn. Large
bows and bags, or no bows, finished the back hair, and the bow to the front
of the neck was in use from the early part of this reign. Long coats, as in the
last reign, and short coats with stiffened skirts were used; many with braided
seams and fronts, also a braided opening at the back. Large round cuffs and
big square ones, caped coats, and coats with turn-down collars were all in
the mode, and the "maccaroni" fashions started about 1760, with absurdities
in small hats, clubbed wigs, and very short coats. High sticks and crook
sticks, canes and swords continued in use.

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Plate XXII.

(a) Linen Dress. 1795-1808. Pattern of
Bodice, see p. 316.
(b) Silk Bodice. 1825-30.
(c) Silk Bodice. 1818-25.

Fig. 94.—Wig types, second half 18th century.
The pocket flaps were of a curved form, with a rounded centre still, and
many of the shoes had a high square front, high heels, and square toes:
according to the caricature prints of Boitard, the fashionable hats were
smaller in 1730, and much larger ten years later; very full skirts at the former
date, and smaller and less stiffened at the latter. Stockings were often still
worn outside the knee. Shoes reached an extreme high square front at the
latter date, and gloves with curved or square cuffs are to be noted.

Fig. 95.—First Half Eighteenth Century.

EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.

This long reign, like that of Queen Victoria, embraces several changes of
style. Up till about 1785 white powder was still used for the hair, reaching its
fullest extravagance in the middle of the seventies, set with pearls, bandeaus,
caps, lace, flowers and feathers, and about 1776 the top was widened
considerably. The front hair, gathered from the forehead, was pressed in a
forward curve over a high pad, with one to three curls at the sides and one at
the shoulders, the back hair being arranged in a loose loop, curled on the top
and set with a large bow at the back; a small round hat with very small low
crown (usually decorated with flowers and silks gathered into puffs, or
ribbons and small feathers) was tilted right on the front. About 1780 large
mob caps with a big bow on the front came in, and were generally worn
together with the tall-crowned hat or the large-brimmed hat in favour at this

time. A cape with smallish hood worn in the earlier reigns was supplanted
about 1777 by the calash, a huge hood set out with whalebone which came
to cover the full head-dresses. The heavier caped or hooded cloak,
sometimes with side opening for the arms, and usually trimmed with fur, still
remained in use to 1800.

Fig. 96.—Costume notes, 1770-1780.

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Plate XXIII.

(a) Muslin Dress with Tinsel Design. 1798-1810.
(b) Silk Dress. Period George IV.
(c) Satin and Gauze Dress. 1820-30.

Fig. 97.—Head Dress. Period 1780-1795.

Fig. 98.—Hats and Caps during period 1780-1795.

Fig. 99.—Hats during period 1790-1800.
The bodice retained the same shape as in the former reign, rather longer in
the points back and front, with a large fan finish to the sleeve, double or
single; this became supplanted by a much-gathered elbow-piece, sometimes
eight inches deep, gathered in four rows. Small drawn gathers started round
the waist of the skirt, for the side panniers and hoops were being less worn,
except for the "smart gown," but bunching, reefing, and looping took their
place in effect, and quilted petticoats remained while this character of dress
lasted. The later sack-back dress was sewn tighter to the body, and usually
started in a narrower set at the back, while the full pleat from the shoulder
down the front went out, and the neck was more displayed by lower bodice
fronts, which continued to be set with bows, jewels, lace, or embroidery.
Sack-back jackets were often worn in the seventies; when the sack began to
disappear, it took the form of overlapped seams on the bodice. The decorated
side pockets are noted in prints showing tuck-up dresses to 1775. The jacket
bodice of the same form described in the preceding reign was perhaps more
in evidence till 1780, not so long in the skirt as in the earlier reigns, but after

this date it took a longer skirt, which was often pleated at the back, with a
very low neck and short waist.

Fig. 100.—Period 1780-1795.
About 1780 we find a change of style appearing in a shorter waist, with less
pointed setting, having often a rounded point or square tabs, and even a
shaped finish to the corset front, which was sometimes used like a waistcoat
effect under the cut-away dresses seen after 1770 (see Fig. 99, p. 221). A
general tendency to imitate male attire is apparent, and the front of the
bodice was set with lapels and straps buttoned across (though I have noted
this latter character in the early part of this century), and long coats with this
character were much worn, with two or three capes. The sleeves are
sometimes set over a tight undersleeve, in fact the longer sleeve to the wrist
became fashionable. With this change a short gathered skirt is seen on some
bodices, and the full gathered skirt was bunched out at the back on a bustle,
of which I give an illustration (p. 212), the low neck being filled with a large
lawn fichu; a wide belt was generally worn, or a wide sash and bow at the
back or side is seen with the lighter dresses, these being simple in style, just

gathered at the waist, with short full sleeves set with a frill, and another frill
was also arranged round the neck.

Fig. 101.
About 1790 the mode again began to change to a classic style, still higher in
the waist, with a short tight sleeve, at times puffed in the upper part, or an
outer and under sleeve, as per illustration A, Plate XXII (see p. 215). The
fronts of this type of bodice were mostly buttoned or pinned up to the
shoulders over a tight underfront, the skirt opening about 18 inches at the
sides, thus saving a fastening at the back. I have illustrated some very
interestingly cut jackets of this period from my collection, as A, Plate XXIV
(see p. 231); the sleeves were very long and were ruckled on the arm, as
likewise were the long gloves or mittens of this time. A long scarf or drape
was carried with this style, and a round helmet-like hat in straw or a turban
was adopted. High sticks were still carried by ladies till the nineties, and
umbrellas or parasols; the former came into vogue about 1770, the latter

about six years later. Muffs of beautifully embroidered silk and satin were
set with purfled trimmings, gold and silver lace, or bows and ribbons;
otherwise they were of furs or feathers. They remained rather small up to
1780, when a very large shape set in, which continued till the end of the
reign; the quantity of beautiful fans of this century must be so well known as
to need no description. The highest artistry was concentrated on them.

Fig. 102.—Period 1790-1800.

Fig. 103.—Costume notes, 1790-1800.

Fig. 104.—Lounge Caps worn during removal of Wig.
Shoes at the beginning of this reign were set on very high spindle heels; the
toe-front became rounded, the instep-front a pointed shape, and wide latchets
were buckled till about 1785, but fashion discarded them earlier; for about

1780 the shoes became very small at the heel, and pointed again at the toe.
When the latchets went out, the pointed instep remained for a time, but a low
round front appeared, and the heel practically vanished just before 1800.
These later shoes were decorated on the front by needlework or incised
leather openwork underlaid with another colour. The soles at this time were
extremely quaint in shape, and the shoes were tied sandal fashion up the
ankle.

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Plate XXIV.

(a) Outdoor Silk Jacket. 1798-1808.
(b) Embroidered Muslin Bodice. 1816-30.
(c) Embroidered Muslin Bodice. 1824-25.
(d) Satin and Gauze Bodice. 1820-30.

EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.

The wigs, which were rather high in the front of the crown in the earlier part,
began to cast off the most eccentric forms, and became just curled, rather

full at the sides, and tied with a bow at the back: dull pink powder became a
favoured hue from about 1780; most people began to return to their own
hair, and one might see many without long hair in the nineties. The last type
of dressing the hair in imitation of the wig form was a long, tightly braided
pigtail at the back, with one or even two side curls over the ear, and side
whiskers were allowed to fill up to them; thus when the short hair set the
fashion, side whiskers came in.
Hats were still worn of the three-cornered shape, but the favourites became a
front cockade hat and a hat with a rounded crown and rather wide brim,
sometimes turned up on one side; a short type of top-hat was also often seen,
and later became the fashion. The same lawn and lace cravat developed into
more of a plain white stock, with a frilled shirt-front.
The coat was worn much tighter in the arms and was smartly cut, with the
fronts running away into a narrow tailed skirt. The pockets often began to
take a plain square form, with or without buttons; the buttons on the front of
the coat stopped at the waist—many cuffs are seen without them; and the
side pleats, set more to the back, were pressed and narrower. Both the plain
and turn-over collars were set up high in the neck, large cut-steel buttons
were introduced in the early seventies, and many fancy china buttons,
besides the gilt silver and paste ones were in use. A new type of coat made
its appearance with a high turn-over collar and large lapels, and a sudden
cut-in of the coat-front high in the waist, giving a very long-tailed effect to
the skirt. A cuff shape with these was mostly made in one with the sleeve
and buttoned at the side towards the back, and when the cuff was additional,
it seldom had buttons, as formerly.
A greatcoat with one, two, or three capes was a picturesque garment, and a
leather-covered bottle was often carried when riding a distance, of which I
have an example in my collection.

Fig. 105.

Waistcoats, which had become much shorter, were now giving place to a
type with a straight-across front and turned-back lapels at the neck; these
large lapels were mostly worn outside over the coat lapel. The waistcoats
were often double-breasted with an embroidered design down the front
between the double row of buttons, and the straight pockets of these had no
flaps; they shortened at the waist in character with the lapelled coat, but were
worn lower than the cut-in shape of the coat, showing about 3 inches when
the coat was fastened. Breeches became very tight, and trousers begin to
appear after 1790. Striped stockings and suits were much in favour. Top-
boots with rather long brown tops were worn, or high boots with a curved
top, with a gold tassel set in front, were seen. The shoes with latchets and
buckles had a low front on the instep, and from about 1780 took a rather
pointed oval toe shape; the heels were mostly worn shorter. Swords were not
so much in use except on great occasions, but sword-sticks were carried, and
heavy club-sticks were fashionable before 1800. Patches were little used
after the seventies, but the snuff-box was still indispensable. The double long
purse with central rings and tassels at the ends was carried, of knitted silk or
of leather, the former with steel beads and coloured silks worked together
after 1780: small bag purses were also in use, usually set in gilt mounts and
made in the same methods with a tassel below.

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Plate XXV.

(a) Silk Dress. 1800-10.
(b) Cotton Dress. 1800-10.
(c) Embroidered Muslin Dress. 1820-30
(Pattern, see p. 339).
(d) Silk Gauze Dress. 1824-30.

Fig. 106.

CHAPTER VIII

CHARACTER OF TRIMMINGS OF THE NINETEENTH
CENTURY.

During the later part of the 18th century, a great deal of tinsel drawn work
was done on fine muslin, and became beautifully treated in delicate design
on the hem and down the front of many of the high-waisted dresses as in Fig.
A, Plate XXIII (see p. 218). Later on towards the twenties we see a great
deal of effective coarse work in heavy gold tinsel, and at the same time to
the forties a number of dresses were ably enriched with fine gold thread.
The white embroidery in the earlier trimmings of this period, of which I give
examples in Plate XXIV (see p. 231), was remarkable for its wealth of
fancy; the chief beauty of these dresses was the delightful treatment of
gathered effects, and with the reign of George IV we note the gradual return
of the longer pointed bodice, with the growth of very full sleeves, also the
increase in the size and fuller set-out of the skirts over the stiff flounced drill
petticoats. The V-shaped Bertha setting to neck and shoulders began to
establish itself, and became a great feature through the thirties and forties;
the first signs of it appear about 1814. Varieties of materials were used to
great advantage in designing, and drawn tulle trimmings were happily
introduced to soften hard shapes and colours. The shoulder fullness also
began to be neatly drawn in and held by straps, which gave a charming
character to many bodices.
From 1816 choice work in piped shapes, often of flower forms decorated
with pearls or beads, was set on fine net, as seen in Plates XXIII and XXIX
(see pp. 218, 263). The attraction to the thirties was the happy effects gained

by the bow and flower looping on the flounces, and these ripened in fancy
and variety through the forties. Braiding was adopted in the thirties with a
rather charming treatment of tassels down the front of the dress; the
polonaises of this time were also effective and simple, caught here and there
with posies of flowers, and we find this fashion again revived in the sixties.
With the reign of George IV we notice an increasing choice of strong
coloured effects, which culminated in the mid-Victorian era in raw colour
and violent shot silks, velvets, and heavy fringes, but one may see that many
of these dresses of bright pure tone looked exceedingly refined and were
quite stately. A remarkable dress is Fig. A, Plate XXXII (see p. 279), which
is of very strong bright blue; its only enrichment being a curved line of
folded silk. All these dresses from 1800 were delightfully embellished with
embroidered fichus, light scarves of frail gauze, crêpe, or Norwich silk, and
in the Victorian times capes and V-shaped shawls; fascinating lace ruffles
and tuck-in fronts to the bodice necks, of frills and bands of embroidery,
broke the severity or bareness of many dresses. An endless variety of
fascinating caps and lace head-lappets was pinned or caught into the hair at
the wearer's fancy; besides the bows, flowers, and jewels (especially pearls)
which have always played an important part in the coiffure from early times,
the chatelaines and bags, fobs, fans, and lace or silk handkerchiefs all give
the artist a note of extra colour when desired. The cruel period of taste really
came with the seventies, though one can trace many quaint and interesting
cuts in the bodices and skirts of this time; but the "grand dress" of
complicated drapings, heavily fringed or braided, was a "set piece" which,
let us hope, will never appear again.
The long stocking-purse which began to appear in the late 17th century was
up to 1820 sometimes carried tucked through the belt; it was set with a pair
of metal rings and tassels of steel or gilt beads. Small and large circular and
bag-shaped purses were also in use; all these were made in coloured silk
threads enriched with steel, gilt, or coloured beads, the latter shapes being
set in chased metal mounts, the circular ones generally having a fringe and
the bag shape a small tassel or heavy drop. These shapes can also be seen in
coloured leathers with a leather tassel, besides the plain money-bag with a
draw-string.

NINETEENTH CENTURY. GEORGE III. FEMALE.

The hair up to 1808 was gathered into a knot of curls at the back of the head,
rather high up, with a small curl at the sides in front of the ear. Later the knot
was set more on the top, and the side curls were made more of a feature,
several being arranged at the sides. Numerous varieties of large and small
brimmed hats, bonnets, and turbans are seen, and several masculine top-hats
and cockade hats may be noted late in this reign. The usual feather
decorations and large ribbons or flowers were in use, and a handkerchief was
sometimes bound over the top of the straw hat and tied under the chin.

Fig. 107.—Costume notes, 1811-1812.

Fig. 108.—Costume notes, 1814-1816.

The classic high-waisted dress continued till 1808, and was often beautifully
decorated with white embroidery and gold or tinsel, as in A, Plates XX and
XXIII (see pp. 199, 218), and the frontispiece is a lovely white example.
There were several interesting drapings, one being a cord hanging from the
back of the shoulder to loop up the train of the dress, as in A, Plate XXII (see
p. 215). The simple tunic shapes are better described by the illustrations:
more originality was essayed in design after the last-mentioned date. A high
Vandyked lace collar and fan setting to the shoulders appeared, and many
interesting dresses of a plain cut, mostly in velvet and silks, were worn about
1810-12. A gathered sleeve drawn tight at intervals was often seen up to
1816, when embroidered ruffles and frills decorated most of the necks and
skirts, and a braided type of character, rather military in effect with
beautifully piped edgings, came in from about 1817. Spencer bodices were
an additional interest at this period, and a short puff sleeve was generally
banded or caught with bows; these being often worn over a fairly loose long
sleeve gathered by a wristband. Dresses were worn shorter from about 1810.
Charming lace and embroidered fichus crossed the shoulders, and long scarf-
capes were thrown round the neck and were often tied round behind, as in
the 18th century; long capes with points and tassels in front fell to the knees,
and a simple pelisse with cape became a pleasing feature. Bags were always
carried, of which there is a variety of shapes in the plates; long gloves or
mittens were generally worn. Parasols of a flat shape, or others with round or
pagoda shaped tops are seen, many being edged with a deep fringe. Long
purses were often tucked through the waistband.

Fig. 109.

The pointed shoe, tied sandal fashion up the leg, and with no heel, remained
through this reign, but a round-toed low shoe, tied on in the same manner,
began to supersede it about 1810.

NINETEENTH CENTURY. GEORGE III. MALE.

Wigs had practically gone out, except for a few of the latter type of the 18th
century amongst elderly people. The hair was now worn short, and left rather
full on the front, with short side-whiskers. Plain black or white stocks tied
with a front bow, and a starched or unstarched collar with a frilled or
gathered shirt-front were in use. A tie-pin or stud was also seen in the centre
of the stock or frilling.
The same hats as in the latter part of the 18th century continued for a time,
but the top-hat had established its favour, and assumed various shapes
throughout this reign.

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Plate XXVI.

(a) Morning Coat of Chintz. 1825-45. Pattern, see p.
313.
(b) Cloth Coat. 1808-20. Pattern, see p. 307.
(c) Cloth Overcoat. 1820-35. Pattern similar to p. 311.
The coats were set with very high turn-over collars and a wide-shaped lapel,
and the lapel of the waistcoat was still brought outside. As these lapels on
the coats became smaller and changed into a roll collar, they were cut into
points at the breast, as seen in the illustrations.
The front of the coat cut away in a short square, rather high in the waist,
which thus formed a long-tailed skirt; the fronts were made double-breasted,
and were often fastened high up the lapel. The hip-pleats had gone round
more to the back into a closely pressed fold, about three inches from the
back-opening. Sleeves were gathered rather full in the shoulders, becoming
very tight on the forearm, and were finished in a cuff, or buttoned cuff-
shape. We also see that a short square coat without tails was worn over the
longer one. Overcoats (or long-skirted coats) with a cape or capes, up to
four, were worn all through this reign, both double and single breasted,
sometimes with turn-up cuffs; but this mode was not frequently used, as a
sewn-on cuff or cuff made in the sleeve was now worn, and began to take a
curved shape well over the hand, with three buttons to fasten it on the outer
sides.
Short double-breasted waistcoats continued much the same, but a round-
shaped lapel appeared on many.
Very tight-fitting breeches were worn of the same 18th-century cut, and
trousers began to gain favour; a fob of seals, &c., was always worn, coming
from under the waistcoat.
Soft high boots with turn-down tops, and boots with longish brown tops set
low on the leg. The top-boot with the pointed or oval-shaped front and tassel
still held sway, and an oval-toed low shoe with or without small latchets was
in use.

NINETEENTH CENTURY. GEORGE IV. FEMALE.

The hair at this period was worn in plaits or curls gathered on top, and
during the latter years was arranged into stiff loops set with a high comb; a
group of curls was drawn to the sides of the face, the hair being mostly
parted from the centre. Plumes were much used for head-dresses, and caps
with gathered puffs and pointed frills. A high-crowned straw poke bonnet,
tilted upwards, was still in form; but the prevailing mode was a silk bonnet,
with the brim curved in at the front, the sides being drawn together under the
chin with a bow. The prevailing decoration was a group of feathers thrown
forward or ribbon loops, and after this a large round hat, with a full gathered
crown, arrived about 1827, or straw shapes, such as Fig. A, Plate XXVIII
(see p. 259).

Fig. 110.
Dresses gradually assumed a longer waist, and a short pointed bodice made
its appearance here and there from about 1822, when short stays began to

return, and pointed belt corselets were frequent, though the waistband or
sash was chiefly used. Short puffed sleeves of charming character and
workmanship were sometimes set in a gauze sleeve, as in Fig. C, Plate XXIII
(see p. 218). Spencers and pelisses had long sleeves coming from these short
ones; they were rather full, and were caught at the wrist with a band. The
upper sleeve gradually disappeared as the full-topped sleeves began to
develop in size, about 1824; this fullness was often broken up into gathered
parts, a tight cuff-piece usually finished at the wrist. The high set-up collars
and neck-frills gave way to the flat capes about 1827, though the small ruffs
were worn round the top of the high-necked capes to 1830. The gathered
shoulder began about 1823, and soon became a marked feature; pointed or
scalloped frills and trimmings came into favour from 1825, Fig. B, Plate
XXIII (see p. 218), and about 1827 the sloped appearance in the bodice
began to be noticed as the sleeves were set lower. The shoulders in ball
dresses were shown, and a gathered Bertha of silk or lace was arranged
round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form was
made in the pattern as in Fig. C, Plate XXII (see p. 215). The V-shaped piece
from the centre of waist or breast began to spread over the shoulders, where
it was opened, as in Fig. B, Plate XXII (see p. 215). This V shape was often
open down to the waist, where it was filled in with a centre-piece of
embroidery. Skirts were gradually set out fuller, with stiff-flounced
petticoats; they had various simple or richly decorated borders and fronts, or
several small flounces, or one deep one often with the edges cut into divers
shapes.

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Plate XXVII.—Outdoor Silk Dress.
1825-35.

Fig. 111.

I have striven to give good examples of the marked styles in the various
dated illustrations, as well as the court train to dress, Fig. A, Plate XXXIII
(see p. 282), which also comes into this time.
Shoes were rather round at the toes till near the end of the reign, when they
took a square shape; a tiny rosette or bow was placed at the front of instep,
and they were held by narrow ribbons, crossed and tied round the ankle.
Boots lacing at the inside, with seam down the front, often had a toe-cap as
in Fig. 5, Plate XXI (see p. 202); no heels were worn.
Light gauze scarves were usually carried, and very small fans besides the
larger feather ones. Bags or sachets of the forms illustrated were painted or
embroidered in ribbonwork, chenille, tulle, and coloured silks.
A few specimens of parasols are also given, and gloves and mittens were of
the same character as in the latter part of the last reign.
The patterns given of some of the dresses shown in the plates will be useful
as to the measurements of the increase in skirt-width and sleeves; one may
also note the very pointed set-out of the breast, sometimes made with two
gores, which only occurs in this reign. Muffs were usually of a large size,
and a bow with long ends was often worn on the front.

NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.

The mode in beaver hats was most varied; high straight crowns with small
brims, others tapering at the top with larger curled brims, or crowns
enlarging at the top with almost straight small brims; a top-hat of straw is
shown on page 309. A short-crowned hat was also worn. The hair was
combed towards the front at either side, and the face shaven, with the
exception of short side-whiskers.
A very high stock of black satin or linen surrounded the throat, with or
without the points of collar showing, and a frilled shirt, often stiffly goffered.
Coats were very tight-fitting and mostly double-breasted, with long swallow-
tailed skirts, or long full skirts; the waist was rather short, and the effect of

coat-front round-breasted with a high turned-over collar finished in large
lapels, which were often treated with velvets. The favourite colours for
overcoats were greys, buffs, greens, and blues, and the edges were neatly
finished with fine cord. The sleeves, rather full in the shoulder, became tight
on the lower arm, coming to a curved shape well over the hand, and buttoned
up the side. The pockets were frequently set at an angle, as in illustration,
and a short round cape, or two, was seen on many overcoats. A short type of
coat is seen about 1827, with a single roll collar.

Fig. 112.—Period 1820-1840.

Waistcoats mostly had a round-shaped lapel, and were often double-breasted
and very shaped at the waist, which was set fairly high; a long opening
allowed the frilled shirt-front full display. There were also waistcoats having
no lapels, no pockets, or no cover-flap; the points of front were very small,
being buttoned to the end, or, with the double-breasted shape, they were
straight across.
Breeches were not so much worn as trousers of cloth, nankeen, drill, and fine
white corduroy; these were usually fastened under the boots with a strap,
others were looser and often worn short, well above the ankle. A very full
type in the upper part peg-tops, was in fashion about 1820-25 amongst the
dandies, and for evening dress, very close-fitting breeches to the knee, or
just above the ankle, the latter being opened and buttoned up to the calf.
Pince-nez were favoured, with a heavy black ribbon, generally worn tucked
in the lapels of the waistcoat; and a fob of gold seals, &c., hung from the
braces, below waistcoat pocket.

Fig. 113.—1830-1840.
Shoes and short Wellington boots were chiefly worn, the former being low in
the heel and very short in the tongue, which was almost covered by small
latchets, either buckled or tied, the shape of the toe being rather round. The
Hessian boots with curved front and tassel at the top were still worn.

NINETEENTH CENTURY. WILLIAM IV. FEMALE.

The hair still retained the high loops on top and the bunch of curls at the
sides, poised by a back comb and set with flowers or feathers; there was also
a great variety of fancy capes with pointed frills, some with long tie ends,
and these are seen with most dresses, and were worn in conjunction with the
hats. The favourite hat was a big, flat, circular form, generally tilted at one
side, and decorated with bows, flowers, and feathers; a flat tam-o'-shanter
shape was often worn with the riding-dress, sometimes with a large peak-
shape in front, and straps under the chin. The large poke-bonnet also kept the
front as flat and round as possible, with a high crown tilted upward in order
to set over the hair loops.

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Plate XXVIII.

(a) Silk Pelisse. 1820-30.
(b) Cotton Dress. 1830-40. (Pattern, see p. 343).
(c) Silk Spencer and Cape. 1818-27 (Pattern, see
p. 324).

Fig. 114.—1828-1836.

The bodice began with a very pointed front and very low neck off the
shoulders, tuck-ins of fine embroidery, and capes or fichus of the same,
covered the shoulders, often three deep. The pointed bodice only lasted for a
few years, when the waistband again became the favourite. The sleeves were
very large at the shoulders, diminishing at the wrist, but soon took a big
round form, sometimes tightly pleated into quarters before 1835. We then get
the huge sleeve gathered at the wrist, and often falling below it; this again
tightened on the forearm, and we note a tendency to tighter sleeves coming
in before 1837, neatly gathered well down the shoulder. The evening-dress
sleeve was a large puff, set out by stiffening to a flat wide effect. Very wide
epaulet collars were seen on most dresses, meeting in a V shape at the waist,
with a filling of lace in the front, and many bodices were elaborately
gathered, and some of the sleeves were also gathered into puffs all down the
arm.

Fig. 115.—1830-1840.

The skirts were set out very full over stiff flounced petticoats, and were worn
rather short; as a rule they were trimmed with one or two flounces, which
were handsomely decorated, and a short polonaise is occasionally seen.
There were many interesting trimmings of gauze, flowers, and bows; while
silk-flowered gauze over dresses made some charming effects.
Heavy mantles and capes or pelisses began to be braided, and rather strong
colours were in general taste.
The hand-bags were of a curved form and generally bore heavy tassels. Very
small fans and round fans were attractive, and bouquet-holders of gilt, with
pearl handles, became the thing to carry.
Shoes were of the low sandal type, fastened by crossed elastic, with very
square toes, and a tiny rosette or bow on the front; boots to the ankle were
now in fashion, mostly lacing at the inside, and having a long toe-cap,
sometimes with a small rosette at the top of this or a tassel at front of the top
of the boot.

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Plate XXIX.

(a) Embroidered Silk Gauze Dress. 1820-30.
(b) Gauze Dress with Appliqued Design. 1825-35.
(c) Printed Linen Outdoor Dress. 1827-47
(Pattern, see p. 342).

NINETEENTH CENTURY. WILLIAM IV. MALE.

The hair was worn rather full in curls at the sides or on top, parted at the left
side, besides being occasionally parted at the centre. Side whiskers, curved
forward, still continued, and a short trimmed beard was now worn round
under the chin by many, moustaches also made their first appearance at the
end of this reign. Top-hats were high and straight, but many still adhered to
the tapered crown and larger brim.
The same plain stocks of black satin continued, with or without a front bow,
and a soft pleated or frilled shirt-front.

The coats were similar to the last reign: the chief differences being an
increase in the length of the waist, wider tails, and large lapels of a similar
cut: velvet collars and cuffs were much worn, and the waist was still made
tight. A coat with a square skirt as in Fig. 116 is seen for the first time, and
the swallow-tailed coat was worn not quite so long. A lower opening to the
waistcoat was generally seen in evening attire, which sometimes had but
four small buttons, while more of the single-breasted type were in use, with
and without lapels.
Very tight trousers to the ankle buttoned up to the calf continued, or plain
trousers were held by straps under the boot; twill, corduroy, or nankeen were
both strapped or free at the ankle and rather short. Knee-breeches were still
worn by many for evening dress, and long Italian capes with overcapes and
high turn-over collars were fashionable, besides the very full-skirted
greatcoat.
Boots and shoes were square at the toes and rather long and narrow, the
shoes having a bow or buckle. Short Wellington boots continued much in
use, also spats.
Fobs of gold seals, &c., were worn, and eye-glasses attached to a black
ribbon is a noticeable feature.

NINETEENTH CENTURY. VICTORIA. FEMALE.

The hair was parted in the centre and tightened in a top setting of plaits, with
side curls over the ears. This mode was retained by many till the fifties, but
the top plaits began to be set lower at the back, and the same flat parted hair
was brought in a curved shape to the front of the ears, often in a small plait,
allowing the ear to show, or in a plaited knot at either side; about 1850 it was
waved, parted, and simply curved from the forehead over the ears in a fuller
manner, sometimes being turned under to increase the side fullness, while
the back hair was arranged lower down the neck. In the sixties the hair was
waved and caught behind in ringlets or was bunched into the hideous
chignons, which are seen till about 1880.

Fig. 116.—1840-1860.

The variety of caps and hats is too alarming to deal with, and baffles
comprehensible description, so it is best for the student to dip into the
hundreds of illustrations through this period in the Ladies' Magazine, Punch,
the Illustrated London News, or the Ladies' Treasury for the later styles.
The straw bonnet with a straighter poke front was favoured till 1850, when
the front became considerably reduced in size and fitted closely round the
face. The larger brimmed bonnets had a little frill by the ears, and the tight-
brimmed bonnet often had the frill all round with a flower also tucked in
effectively to the wearer's taste, and we see this favoured till the seventies. In
the fifties a large flat Leghorn hat with a small crown was in evidence, the
brim dipping back and front, decorated with feathers or bows, and a three-
cornered French hat with feathers set in the brim came in with revival of the
18th-century style about 1860. A small bowler hat and a very small "pork-
pie" hat appears in the late sixties, and a tiny-shaped bonnet of a curved form
during the seventies.

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Plate XXX.

(a) Printed Silk Bodice. 1840-50. (Pattern,
see p. 320.)
(b) Gathered Linen Bodice. 1837-47.
(c) Silk Bodice and Bertha. 1845-55.

Fig. 117.—1845-1855.

At the beginning of this long reign we find the pointed bodice with a normal
length of waist has really come to stay, though many dresses retain the
waistband till the fifties, and there is such a confusion of styles at that time,
it is difficult to arrange a sequence. From the 18th century fashions became
more complicated in the greater variety of design, each overlapping the
other, and several distinct forms of character come and go during this long
reign. I do not envy the person who undertakes the chronology of our present
period.
At the commencement in 1837 the huge sleeves gathered at the wrist were
still in evidence, especially as a gauze oversleeve to evening attire, and they
continued thus to the fifties, but very large sleeves were really dying out and
the usual reaction was setting in; the full-shouldered sleeve had turned a
somersault and was neatly gathered tight from the shoulder to the elbow, the
fullness falling on the forearm, and this was gathered into a tight setting or
wristband. The V-shaped front to the bodice was kept in many dresses by a
collar or two tapering from the shoulders to the waist, the fullness of the
breast often being tightly gathered at the shoulders, besides a few inches in
the front point of the bodice. A very plain tight-fitting sleeve became
fashionable, and on most of these we find a small upper sleeve or a double
one as shown in A, Plate XXX (see p. 266); this was sometimes opened at
the outer side. These sleeves continued till about 1852. In 1853 a bell-shaped
sleeve is noticed in ordinary dress, and this continued in various sizes till
1875, reaching its fuller shape about 1864. These types of sleeves were
usually worn over a tight one or a full lawn sleeve gathered at the wrist;
most bodices with this sleeve were closely fitted and high in the neck, the
waist often being cut into small tabs. We also notice for a few years in the
early fifties the deeper part of the bell curved to the front of the arm, giving a
very ugly appearance. A close-fitting jacket also came into evidence till
about 1865 with tight sleeves and cuffs, sometimes with a little turn-down
collar and a longer skirt as in Fig. C, Plate XXXIII (see p. 282). This
particularly fine embroidered specimen, in imitation of the 18th-century
style, is interestingly cut away short at the back to allow for better setting on
the crinoline. There is another type of sleeve seen about 1848, of a plain,
full, square cut; these became varied in shape, being opened up the side and
generally trimmed with wide braids. This clumsy character is seen up to
1878, the later ones being fuller in cut. Zouave jackets were occasionally
worn in the forties and later in the early sixties, when the wide corselet belt

was again favoured. Skirts at the beginning of the reign were fully set out on
drill petticoats, stiff flounces, and even whalebone, so it was hardly "a great
effect" when the crinoline appeared about 1855, though a furious attack was
made against it at first; this undersetting developed to its fullest extent
between 1857 and 1864, and many dresses in the early sixties were also
worn short, showing the high boots of this period. At first the crinoline was
slightly held back from the front by ties, and again in the sixties it was often
kept with a straight front, the fullness being held to the back, till the
appearance of the bustle brought in another shape. The skirts were now
pulled in tight to the front of the figure and bunched up at the back, with a
train or shaped flounced pieces overlapping each other caught up under the
bustle, as in Fig. B, Plate XXXIII (see p. 282).

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Plate XXXI.

(a) Embroidered Muslin Outdoor Dress, 1855-65.
(b) Riding Habit. 1845-75.
(c) Gauze Ball Dress. 1840-55.

Fig. 118.—Dress improvers, 1865-1875.
Mantles of a cumbersome type and shot-silk capes with long pointed fronts
were worn, often heavily fringed, the former also being mostly decorated
with braided designs. Large Paisley shawls were much used all through this
reign, besides the cape and hood with its fine tassels which became very
fashionable in the sixties.
Gloves and mittens are seen both long and short, the latter often beautifully
embroidered on the back in the French style. Hand-bags were often carried,
of which examples are given in the plates of a variety of shapes; the
favourite materials for their make were velvets and silks decorated with
bullion, sequins, braids, needlework, and beads, and these bags were richly
set in gilt, silver, or steel mounts.
Parasols were still heavily fringed, and were of the usual shapes. A very
small one was carried in the carriages, and are even seen on the ladies'
driving whips.
Shoes continued in the same heelless sandal character to the sixties for
evening wear, but from the forties most outdoor shoes had a heel and large
rosettes. With the seventies came round toes with a low round front and bow,
and high shaped heels came to stay till the present day. Boots of white satin,
kid, or coloured silks were chiefly worn till the seventies, reaching just
above the ankle, laced up the inner side, but many wore elastic sides from

the fifties; the toes of these were rather square, and a toe-cap and front seam
was made in many of this type. In the forties a tight rosette was sometimes
placed low down towards the toes, and later, a huge bow was sewn on the
front. High boots buttoned towards the side and very much shaped, with
pointed round toes and high heels were sometimes laced and finished with a
pair of tassels. Spats were always fashionable through this period.

NINETEENTH CENTURY. VICTORIA. MALE.

The same modes of doing the hair remained till the sixties, parted at one side
and worn rather long and waved, with the side whiskers or beard all round
the chin. The side whiskers were allowed to grow long between fifty-five
and seventy, and full beards also became fashionable, while the hair was
parted in the centre from front to back and flattened on the forehead.
The favourite top-hat still reigned supreme, many of which retained the
tapered top and large curled brim till about 1855, and a bell shape was
frequently seen in the fifties, but the real straight chimney shape was seen
throughout till the eighties, with a rather narrow brim, and often of white or
fawn-coloured cloth. The bowler hat increased in appreciation, being of a
short type, with smallish brim. A short flat felt hat, with rather straight brim,
also came into favour from the fifties; little round caps and caps with ear-
flaps, for travelling, &c., were also in general use.
The frock-coat kept the rather tight sleeves and tight waist, and full square
skirt, with back pockets, also a deep lapel, sometimes with a velvet collar,
and small cuffs; a breast-pocket was often placed on the left side, and in the
fifties the type of morning coat with rounded-off fronts at the skirt appeared,
also a small collar and lapel. Square-cut jackets and tweed suits similar to
our present shapes, but heavier in cut and with braided edges, were much in
use. Velvet or fur-trimmed overcoats, and heavy travelling-coats, also capes
and Inverness capes, were all in vogue.
Waistcoats became buttoned higher in the neck, and the stock-collar was
supplanted in the sixties by a turn-down collar, and small tie or loose bow;

many still affected the black stock and pointed collar to the seventies, when
a high round collar began to appear.
Coloured and fancy waistcoats were much worn till the eighties, and evening
dress was similar to the present cut, with slight differences in the length of
lapels and waistcoat front.
The trousers were made with the front flap till they were buttoned down the
front about 1845, and side pockets became general. Braids may be noted
down the sides in the fifties, and are seen now and then all through the reign,
while large plaids and stripes were highly esteemed.
Short Wellington boots were chiefly preferred up to the sixties, and trouser-
straps and spats were fashionable all through the reign. The heavier lace-up
boot came in during the fifties, and a very shaped type of fashion appeared
in the sixties.
Having now completed the general survey of Costume, the following pages
are given up to the cut and measurements of various antique garments.

PATTERNS OF VARIOUS REIGNS FROM
ANTIQUE COSTUME

With Notes and Measurements
I have striven to gather as many representative patterns of dress types and
accessories as possible, and also give many measurements from the various
examples, when I have been unable to obtain a complete pattern. The
character of cut and proportion is the essential point in the study of dress
design, and the intimate knowledge of periods. When seeing a collection of
patterns, one is astonished at the great variety in cut used to arrive at the
different bodice types. Several patterns of single pieces are given, as it aids
one to find the fellow-part; for example, the photo of a back given in Fig. C,
Plate III (see p. 55), will go with the front cut on page 290; even though
these two pieces did not belong to the same body, the cut is seen from which
to design the missing part. Often a small piece is wanting for the top of the
shoulder, which can easily be supplied to fill the sleeve measurement. The
types of trimmings in the different centuries will soon be acquired by a
careful student, and the proportions of patterns will be valued for gaining the
character. I believe with this collection one could get the true effects of any
style of dress seen in the period prints. The drawings are mostly scaled for
the half, and the measurement, in inches, will be found by dots on the top of
the collotypes, and by a marked line on the pattern pages.
One must note, with the 18th-century dress, the sleeve cuffs can be changed,
so I give, on page 300, a full-size measurement of the elbow-cuff seen in
Fig. A, Plate XVI (see p. 167), and a deeper one of this style is seen on Fig.
C, Plate XII (see p. 135), gathered seven times at the elbow. The plain square
type was pleated in the front as given on page 300, and a variety of this
character is shown on Fig. B, Plate XV (see p. 154). Though many patterns
may be found remarkable in proportions, an allowance is often to be made

for the undersetting, as well as for the thick, straight corsets worn to the end
of the 18th century.
I give several specimens of quilting on petticoats of the 18th century, which
will probably be found useful to artists; the measurement is also given of
their circumference, which attained similar proportions to those set on the
Victorian crinolines, going 3 to 4 yards round: four 18th century ones
measured 100, 114, 116, 120 inches, and they are often 1 inch longer at the
sides, to allow for setting over the panniers; a pattern is given on pages 213
and 332. The embroidered pockets on page 300 were worn in pairs at the
sides on the petticoats, and only showed when the dress was looped up. The
extra lawn sleeves, given on page 287, show how precious the superfine
linen was held, with its superb gathered work, lace ruffles, and often fine
embroidery; these pieces could be looked after with special care in the
laundry, and could be tacked, pinned, or buttoned on when required.
The 16th and 17th century collars were mostly attached to the chemise or
shirt, as is seen in many of the old prints. On page 289 I give examples of
shape of the various stomachers, which will be found useful for getting the
characteristic proportions. The scarves worn round the body of the 17th
century cavaliers were from 2 feet 3 inches wide to 3 feet 6 inches, and from
8 feet 6 inches to 7 feet in length.

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Plate XXXII.

(a) Silk Dress. 1860-70. Pattern, see p. 346.
(b) Gauze Walking Dress. 1850-60.
(c) Silk Dress. 1848-58. Pattern, see p. 344.
The stocking top, Fig. C, Plate VI (see p. 74), is probably of similar
proportions to the woollen one in the Victoria and Albert Museum, on which
the bell-top circumference is 36 inches, and the full length of stocking 38
inches. On page 285 a cap of three pieces is given; their real design is at
present unknown, but I trust the Museum authorities may soon discover their
placing, for many of these pieces are in existence, and this set in my
collection is impressed with a beautiful pattern. The bodice, Fig A, Plate X
(see p. 119), should have been set on a stiff-fronted corset to give it the
straight style, as it is charmingly proportioned and clean in outline. I have
also measured a short circular cloak of the early 17th century, which is 34
inches in diameter, with a square collar 10 inches deep; and another cape of
the late 16th century, 40 inches in diameter. On page 290 will be found the
smaller tabs which are placed round the jerkin, with a deep front point, as in
Fig. A, Plate VIIIa (see p. 103); the collar of this type often rises 2¾ inches
in the front to 3 inches at the back, in order to carry the stiff ruff or deep
turned-down collar. Tabs of the smallest dimensions, in the earlier Elizabeth
and James character, generally have six pieces from front to the middle of
the back, which are from 2 to 3 inches deep. The epaulets are made in small
stiff tabs, caught together in two places only, and so have plenty of give in
the shoulder movements; they run to 2¼ inches at the widest part, and do not
continue right under the arm. Fig. D, Plate V (see p. 71), has the middle
seam of the back open from the waist to within 2 inches of the collar, which
is noticeable on many of the later Charles I coats. Long aprons are
conspicuous through the 17th century, and one measured was 42 inches
wide, gathered to 15 inches at the waist; they were decorated with three
bands of embroidered insertion down the front, with a 3-inch plain border,
edged with small lace; this is typical in character of design, as is also the
same style of linen cape seen on a figure, page 159. A similar one, lent by Sir
Robert Filmer, is at the Victoria and Albert Museum; also a cap, of which I
give a pattern, A, page 285. The smaller type of embroidered aprons of the
late 17th and 18th centuries measure 40 inches wide, 19½ inches deep, with
the centre dipping to 17¾ inches; another shape is 26 inches wide, 18 inches

in centre, and 13½ inches on sides. The bodice, with deep skirt, Fig. B, Plate
XVIII (see p. 183), is a type seen all through the 18th century, both longer
and shorter in the skirt. The pattern of the 17th-century breeches is
interesting as regards the cut, the upper part being kept plain, otherwise the
gathered fullness would have disturbed the set of the jerkin tabs; the band of
these breeches has six hooks either side to back, which fasten to eyes on an
under flap sewn on body of jerkin. The epaulet on this pattern is only a ¾-
inch piece, braided with two narrow braids, and the bows on tabs are of
ribbon, 1½ inches wide.
The three patterns of capes given on pages 349, 350 will be found useful, as
they are simple and very typical of the Victorian times, long shawls being
otherwise much used. The fullness of the Elizabethan overdress seen on B,
Plate II (see p. 42), is 66 inches to the back seam, and the Fig. C, on the
same plate, is 47 inches. The "jump," or jacket, Fig. A, Plate III (see p. 55),
is 100 inches round, the fullness of the sleeve 13 inches, and the length of
back 32 inches. An over-tunic of the early 17th century is interesting to
examine, though it is a specimen of German costume.

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Plate XXXIII.

(a) Silk Dress with Court Train. 1828-38.
(b) Silk Afternoon Dress. 1872-78.

(c) Silk Coat and Skirt. 1855-65. Pattern, see p.
320.

PATTERNS TO SCALE

For Detailed List, see page 353.

Pattern 1.

Pattern 2.

Pattern 3.

Pattern 4.

Pattern 5.

Pattern 6.

Pattern 7.

Pattern 8.
Fig. 1 Plate 10

Pattern 9.
Cut of bodice, Fig. B, Plate 5

See page opposite for Breeches of same, 1620-1640. Victoria and Albert
Museum, Kensington.
Pattern 10.
Similar type to Fig. C, Plate 7

Pattern 11.

Pattern 12.

Pattern 13.
Back of bodice, Fig. B, Plate 7.

Pattern 14.

Pattern 15.
Jacket. Fig. C, Plate 4

Pattern 16.
Hanging sleeve of Fig. C, Plate 2

Pattern 17.
Herald's coat, Fig. A, Plate 7. Victoria & Albert Museum

Pattern 18.

Pattern 19.

Pattern 20.

Pattern 21.

Pattern 22.

Pattern 23.
Coat, Fig. B, Plate 26

Pattern 24.
Coat, Fig. B, Plate 13

Pattern 25.
Fig. A, Plate 15
Coat, 1775-90

Pattern 26.

Pattern 27.
Coat, 1830-1845
Similar type to Fig. C, Plate 26.

Pattern 28.

Pattern 29.
Coat, Fig. A, Plate 26

Pattern 30.

Pattern 31.

Pattern 32.
Bodice of linen dress, Fig A, Plate 22

Pattern 33.

Pattern 34.
Jacket bodice, Fig. A, Plate 24

Pattern 35.
Bodice, 1845-55
similar type Fig. A, Plate 30

Pattern 36.

Pattern 37.

Pattern 38.

Bodice of Fig. A, Plate 14

Pattern 39.
Similar type of Bodice to Fig. B, Plate 14.
Bodice with type of pleated back, 1720-50

Pattern 40.
Pattern, Fig. C, Plate 28
Bodice, Fig. A, Plate 18

Pattern 41.

Pattern 42.
Silk jacket, Fig. B, Plate 19

Pattern 43.
Bodice, Fig. C, Plate 18

Pattern 44.
Bodice, Fig. A, Plate 30

Pattern 45.
Coat, Fig. C, Plate 33

Pattern 46.

Pattern 47.

Pattern 48.

Pattern 49.
Petticoat, Fig. B, Plate 16

Pattern 50.
Dress, Fig. B, Plate 16

Pattern 51.

Dress, Fig. C, Plate 16

Pattern 52.

Pattern 53.

Pattern 54.

Pattern 55.
Pattern of Fig C, Plate 25

Pattern 56.

Pattern 57.

Pattern 58.
Dress, Fig. C, Plate 29

Pattern 59.
Dress, Fig. B, Plate 28

Pattern 60.

Dress, Fig. C, Plate 32.

Pattern 61.

Pattern 62.
Blue silk dress, 1860-70
Fig. A, Plate 32

Pattern 63.

Pattern 64.
Lady's jacket, Fig. C, Plate 19

Pattern 65.

Pattern 66.

Pattern 67.

Pattern 68.

DETAILED LIST OF SCALED PATTERNS

Pattern 1, page 285:—

Piccadillo, 1580-1630.
Three caps, 16-17 century.
Cap of three pieces, 16-17 c.
Triangular cap, 16-17 c.
Long cap, 17 c.
Cap, late 17 c., early 18 c.

Pattern 2, page 286:—

4 collars, 17 c.
Gorget of linen, 17 c.
2 stocks, 17 and 18 c.
3 male caps and 1 female, 17 and 18 c.

Pattern 3, page 287:—

Ruff, 17 c.
4 extra linen sleeves, 17 and one 18 c.
2 caps, female, 17 c.

Pattern 4, page 288:—

Front of linen jacket, 16 c.
Front of linen bodice, Charles I.

Pattern 5, page 289:—

Elizabethan jerkin.
4 stomachers, 17 and 18 c.

Pattern 6, page 290:—

Set of tabs for male jerkin, 17 c.
Pattern type, sleeve and bodice front, 1570-1605.

Pattern 7, page 291:—

Circular cape, 17 c.
Cap, female, 1580-1630.

Pattern 8, page 292:—

Bodice, Fig. 1, Plate X, James I.

Pattern 9, page 293:—

3 corsets and bodice of, Fig. 2, Plate V, 17 c.

Pattern 10, page 294:—

Jerkin of white quilted satin, 17 c.

Pattern 11, page 295:—

Breeches of same suit.

Pattern 12, page 296:—

Cape-coat, 17 c.

Pattern 13, page 297:—

Back of bodice, Plate VII, 17 c.
Shaped cap, male, 17 and 18 c.

Pattern 14, page 298:—

2 collars, Charles II.

Pattern 15, page 299:—

Jacket, Fig. C, Plate IV, 17 c.

Pattern 16, page 300:—

2 sleeve-cuffs, 18 c.
2 embroidered pockets, 17 and 18 c.
Hanging sleeve, Fig. C, Plate II, 16-17 c.
Embroidered bodice fronts, 17-18 c.

Pattern 17, page 301:—

Quilted linen corsage, 1660-1715.
Herald's coat, Fig. A, Plate VII, 16-17 c.

Pattern 18, page 302:—

Sleeved waistcoat, 1690-1720.

Pattern 19, page 303:—

Sleeved waistcoat and vest, early 18 c.

Pattern 20, page 304:—

Breeches, 1660-1720.

Pattern 21, page 305:—

Breeches, 18 c.

Pattern 22, page 306:—

Breeches, 18 c.

Pattern 23, page 307:—

Coat, Fig. B, Plate XXVI, 19 c.

Pattern 24, page 308:—

Coat, Fig. B, Plate XIII, 18 c.
Corderoy trousers, from 1815.

Pattern 25, page 309:—

Coat, late 18 c., Fig. A, Plate XV.
Leather breeches, late 18-19 c.
Straw hat, 1816-30.

Pattern 26, page 310:—

Coat, 1784-94.

Pattern 27, page 311:—

Coat, 1830-45.

Pattern 28, page 312:—

Buff linen trousers, 1810-40.

Pattern 29, page 313:—

Morning coat, Fig. A, Plate XXVI, 19 c.

Pattern 30, page 314:—

Bodice, 1816-22.

Pattern 31, page 315:—

Bell-sleeved bodice, 1848-58.

Pattern 32, page 316:—

Bodice of linen dress, Fig. A, Plate XXII, about 1800.

Pattern 33, page 317:—

Bodice, 1860-70.

Bodice, 1850-60.
Bodice, 1816-25.

Pattern 34, page 318:—

Jacket bodice, Fig. A, Plate XXIV, about 1800.

Pattern 35, page 319:—

Bodice, similar type, Fig. A, Plate XXX, 1845-55.

Pattern 36, page 320:—

Sleeveless over jacket, early 18 c.
Spencer, 1827-37.

Pattern 37, page 321:—

Bodice, 1812-18.

Pattern 38, page 322:—

Corset pattern, 18 c.
Bodice of Fig. A, Plate XIV, 18 c.

Pattern 39, page 323:—

Bodice with type of pleated sack back, 1720-50.

Pattern 40, page 324:—

Bodice, Fig. C, Plate XXVIII, 19 c.
Bodice, Fig. A, Plate XVIII, 18 c.

Pattern 41, page 325:—

Zouave jacket, late 18 c.
Bodice, 1818-28.

Pattern 42, page 326:—

Silk jacket, Fig. B, Plate XIX, 18 c.

Pattern 43, page 327:—

Bodice, Fig. C, Plate XVIII, 18 c.

Pattern 44, page 328:—

Bodice, Fig. A, Plate XXX, 19 c.

Pattern 45, page 329:—

Lady's coat, Fig. C, Plate XXXIII.

Pattern 46, Page 330:—

Polonaise dress, 1835-45.

Pattern 47, page 331:—

Dress, 1805-18.
Mob cap, 1780-1800.
Cap with comb top, 1790-1800.

Pattern 48, page 332:—

Quilted petticoat, 18 c.

Pattern 49, page 333:—

Petticoat, Fig. B, Plate XVI, 18 c.

Pattern 50, page 334:—

Dress, Fig. B, Plate XVI.

Pattern 51, page 335:—

Dress, Fig. C, Plate XVI.

Pattern 52, page 336:—

White linen dress, 1795-1800.

Pattern 53, page 337:—

Striped cotton dress, 1805-15.

Pattern 54, page 338:—

Pattern of under robe, 1818-30.

Pattern 55, page 339:—

Dress, Fig. C, Plate XXV.

Pattern 56, page 340:—

Muslin dress, 1822-32.

Pattern 57, page 341:—

Satin dress, 1837-47.

Pattern 58, page 342:—

Dress, Fig. C, Plate XXIX.

Pattern 59, page 343:—

Dress, Fig. B, Plate XXVIII.

Pattern 60, page 344:—

Dress, Fig. C, Plate XXXII.

Pattern 61, page 345:—

Lady's coat, 1856-70.

Pattern 62, page 346:—

Silk dress, Fig. A, Plate XXXII, 1860-70.

Pattern 63, page 347:—

Reefed polonaise, 1860-70.

Pattern 64, page 348:—

Lady's jacket, Fig. C, Plate XIX, 18 c.

Pattern 65, page 349:—

Cape, 1840-50.

Pattern 66, page 350:—

Cape, 1860-75.
Cape, 1830-40.

Pattern 67, page 351:—

Upper sleeve and collar, 16 c.
Bodice with slashed sleeve, 1620-40.
Boy's stays, coat, and vest, 1700-60.

Pattern 68, page 352:—

Male robe, 1600-25.
Puritan hat, 1640-60.
Black velvet hat, 1600-20.

INDEX

Aprons—
17 century, 186, 280
18 c., 192, 198, 206

Bags, 193, 262, 272
Bertha, 238, 252
Bouquet Holder, 262
Breeches—
Mediæval, 54
16 c., 122, 132
17 c., 152, 164, 281
19 c., 248, 256, 264
Bustle, 226

Calash, 217
Capes—
16 c., 132, 279
17 c., 184
19 c., 244, 262, 264, 274, 281
Chain Ornaments—
to 15 c., 62, 72
16 c., 110, 124
Cloaks—
to 15 c., 54, 70
17 c., 152, 164, 176, 180, 279
18 c., 222
Collars—
16 c., 112, 128, 129, 139, 278
17 c., 145, 158, 160, 172, 174
19 c., 244, 246

Corsets—
to 15 c., 62, 66
16 c., 110, 116, 138
17 c., 158, 169, 172
18 c., 211, 278
19 c., 250
Crinolines, 270, 278

Decorative Styles—
Black-stitch work, 122, 129
Braided, 110, 111, 132, 142, 143, 144, 145, 146, 182, 188, 200,
238, 244, 272
Button, 110, 143, 144, 146, 182, 210
Laced, 70, 88, 92, 110, 116
Piped, 238, 244
Pleated, 111, 140
Pricked, 111, 140, 142, 152
Punched, 111, 140, 142, 152
Puffed, 88, 92, 110, 116, 118, 122, 129, 142, 146, 150, 180, 260
Purfled, 145, 164, 190
Ribbon, 145, 172, 176, 178, 191, 253
Serrated or shaped edging, 71, 96, 110, 146, 191, 214, 252
Slashing, 92, 111, 112, 113, 116, 118, 122, 140, 142, 145, 152,
158, 164
Straw-work, 111, 191
Tassel, 238
Tinsel, 237
Tulle, 238
Doublets, 132, 139
Dress—
Prehistoric,
female, 40;
male, 41
to 10 c.,
female, 45, 46, 48;
male, 52, 54
10 to 15 c.,
female, 62, 66, 68, 70;

male, 76, 78, 80
15 c.,
female, 84, 88, 92;
male, 92, 100, 104, 108
16 c., 278, 279, 281.
Henry VIII,
female, 113, 116;
male, 118, 122.
Ed. VI and Mary,
female, 124, 128;
male, 129, 132.
Eliz.,
female, 133, 136, 138;
male, 139, 281
17 c.,
James I,
female, 147, 150;
male, 152, 154.
Chas. I,
female, 158;
male, 160, 164, 168.
Commonwealth, female and male, 168, 169.
Chas. II,
female, 169, 172;
male, 174, 176.
James II,
female, 178, 180;
male, 182.
William and Mary,
female, 184, 185;
male, 186, 188.
Anne,
female, 196;
male, 200.
George I,
female, 206;
male, 210
18 c.,

George II,
female, 221;
male, 214.
George III to 1800,
female, 217, 222, 224, 226, 230;
male, 232, 234
19 c.,
George III (continued),
female, 244, 247;
male, 247.
George IV,
female, 250;
male, 254.
William IV,
female, 260;
male, 263.
Victorian,
female, 268;
male, 274.
Note also page 39
Drill petticoat, 238

Ear-rings, 62-72
Epaulets—
16 c., 128, 129, 136
17 c., 143, 152, 280, 281
19 c., 250

Fans—
16 c., 129, 138
18 c., 193, 230
19 c., 240, 253, 262
Farthingale, 111, 136
Foot-wear—
to the end of 14 c., 44, 48, 56, 70, 80, 82, 92
15 c., 108
16 c.,
Henry VIII, 116, 122;

Ed. VI and Mary, 128, 132;
Elizabeth, 138, 140
17 c.,
James I, 150, 154;
Chas. I, 158, 164;
Commonwealth, 168;
Chas, II, 172, 176;
James II, 180, 184;
William and Mary, 186, 188
18 c., 193;
Anne, 198, 201;
George I, 207, 210;
George II, 214, 216;
George III to 1800, 230, 234
19 c.,
George III, 246, 248;
George IV, 253, 258;
William IV, 262, 264;
Victoria, 272, 275

Girdles—
to 15 c., 68, 78, 92
16 c., 116
Gloves—
16 c., 116, 129, 138
17 c., 168, 172
18 c., 193, 201, 214, 226

Head-dress—
Prehistoric,
female, 40;
male, 42
to 10 c.,
female, 45;
male, 49
10 to 15 c.,
female, 57;
male, 71

15 c.,
female, 84;
male, 92
16 c.,
Henry VIII,
female, 113;
male, 118.
Ed. VI and Mary,
female, 124;
male, 129.
Eliz.,
female, 133;
male, 138
17 c.,
James I,
female, 147;
male, 150.
Chas. I,
female, 154;
male, 160.
Commonwealth, 168.
Chas. II,
female, 169;
male, 174.
James II,
female, 178;
male, 180.
William and Mary,
female, 184;
male, 186
18 c.,
Anne,
female, 193;
male, 198.
George I,
female, 201;
male, 207.
George II,

female, 211;
male, 214.
George III,
female, 217, 241;
male, 231, 246.
George IV,
female, 248;
male, 254.
William IV,
female, 258;
male, 263.
Victoria,
female, 264;
male, 273
Heraldic fashion, 66, 71, 109, 132
Hoop skirts—
16 c., 116, 128, 136
17 c., 147, 185
18 c., 222

Jackets—
to 15 c., 66, 68, 88, 100
16 c., 112, 182
17 c., 143
18 c., 224, 226
19 c., 270

Lapets, 184, 193, 206, 239

Maccaroni fashion, 214
Mantles, 262, 271
Masks, 186
Muffs, 160, 172, 180, 186, 189, 193, 201, 230, 253

Neck-wear, 174, 182, 186, 200, 207, 232, 246, 250, 254, 263, 275

Overcoats, 232, 254, 274

Panniers, 211, 222
Parasols, 230, 234, 244, 272
Patterns scaled, 276
Pelisses, 244, 250, 262
Plates (collotypes), frontispiece, 39, 42, 55, 58, 71, 74, 87, 90, 103,
106, 119, 122, 135, 138, 151, 154, 167, 170, 183, 186, 199, 202, 215,
218, 231, 234, 247, 250, 259, 263, 266, 270, 279, 282
Pockets, 192, 224
Polonaise, 238, 262
Purses, 236, 240, 246

Quilting, 111, 128, 146, 172, 192, 198, 211, 222, 278

Ruffs, 112, 118, 128, 129, 133, 136, 139, 143, 147, 158, 160, 172, 250,
280

Sack-back (or Watteau) dress, 136, 185, 191, 196, 206, 211, 222
Sashes, 168, 182, 279
Sequins, 112
Shawls, 272
Spats, 273
Spencers, 244, 250
Sticks, 181, 188, 201, 211, 214, 226, 234
Stockings, 138, 140, 154, 168, 182, 184, 189, 201, 210, 216, 234, 270
Stomachers, 66, 112, 136, 142, 144, 146, 147, 154, 158, 172, 178, 184,
196, 207, 278

Printed by Spottiswoode, Ballantyne & Co. Ltd.
Colchester, London & Eton, England

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