Back Aa

Dress Design: An Account of Costume for Artists and Dressmakers

<h3>NINETEENTH CENTURY. WILLIAM IV. FEMALE.</h3> 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. <div class="figcenter"> <ANTIMG src="images/plate28thumb.jpg" width-obs="257" height-obs="408" alt="See caption" title="See caption" /> larger image Plate XXVIII. <ul> <li>(a) Silk Pelisse. 1820-30.</li> <li>(b) Cotton Dress. 1830-40. (Pattern, see p. 343).</li> <li>(c) Silk Spencer and Cape. 1818-27 (Pattern, see p. 324).</li> </ul></div> <div class="figcenter"> <ANTIMG src="images/fig114.png" width-obs="413" height-obs="736" alt="See caption" title="See caption" /> Fig. 114.—1828-1836. </div> 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. <div class="figcenter"> <ANTIMG src="images/fig115.png" width-obs="442" height-obs="759" alt="See caption" title="See caption" /> Fig. 115.—1830-1840. </div> 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. <div class="figcenter"> <ANTIMG src="images/plate29thumb.jpg" width-obs="389" height-obs="269" alt="See caption" title="See caption" /> larger image Plate XXIX. <ul> <li>(a) Embroidered Silk Gauze Dress. 1820-30.</li> <li>(b) Gauze Dress with Appliqued Design. 1825-35.</li> <li>(c) Printed Linen Outdoor Dress. 1827-47 (Pattern, see p. 342).</li> </ul></div> <h3>NINETEENTH CENTURY. WILLIAM IV. MALE.</h3> 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. <h3>NINETEENTH CENTURY. VICTORIA. FEMALE.</h3> 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. <div class="figcenter"> <ANTIMG src="images/fig116.png" width-obs="385" height-obs="738" alt="See caption" title="See caption" /> Fig. 116.—1840-1860. </div> 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. <div class="figcenter"> <ANTIMG src="images/plate30thumb.jpg" width-obs="250" height-obs="358" alt="See caption" title="See caption" /> larger image Plate XXX. <ul> <li>(a) Printed Silk Bodice. 1840-50. (Pattern, see p. 320.)</li> <li>(b) Gathered Linen Bodice. 1837-47.</li> <li>(c) Silk Bodice and Bertha. 1845-55.</li> </ul></div> <div class="figcenter"> <ANTIMG src="images/fig117.png" width-obs="382" height-obs="748" alt="See caption" title="See caption" /> Fig. 117.—1845-1855. </div> 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). <div class="figcenter"> <ANTIMG src="images/plate31thumb.jpg" width-obs="404" height-obs="259" alt="See caption" title="See caption" /> larger image Plate XXXI. <ul> <li>(a) Embroidered Muslin Outdoor Dress, 1855-65.</li> <li>(b) Riding Habit. 1845-75.</li> <li>(c) Gauze Ball Dress. 1840-55.</li> </ul></div> <div class="figcenter"> <ANTIMG src="images/fig118.png" width-obs="425" height-obs="229" alt="See caption" title="See caption" /> Fig. 118.—Dress improvers, 1865-1875. </div> 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. <h3>NINETEENTH CENTURY. VICTORIA. MALE.</h3> 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. <h2>PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME</h2> 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 <ins class="correction" title="range inconsistent as printed">from 8 feet 6 inches to 7 feet</ins> in length. <div class="figcenter"> <ANTIMG src="images/plate32thumb.jpg" width-obs="406" height-obs="266" alt="See caption" title="See caption" /> larger image Plate XXXII. <ul> <li>(a) Silk Dress. 1860-70. Pattern, see p. 346.</li> <li>(b) Gauze Walking Dress. 1850-60.</li> <li>(c) Silk Dress. 1848-58. Pattern, see p. 344.</li> </ul></div> 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. <ins class="correction" title="292">119</ins>), 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. <div class="figcenter"> <ANTIMG src="images/plate33thumb.jpg" width-obs="399" height-obs="235" alt="See caption" title="See caption" /> larger image Plate XXXIII. <ul> <li>(a) Silk Dress with Court Train. 1828-38.</li> <li>(b) Silk Afternoon Dress. 1872-78.</li> <li>(c) Silk Coat and Skirt. 1855-<ins class="correction" title="56 in ToC">65</ins>. Pattern, see p. 320.</li> </ul></div> <h2>PATTERNS TO SCALE</h2> For Detailed List, see page 353. <div class="figcenter"> <ANTIMG src="images/pattern01.png" width-obs="444" height-obs="685" alt="See caption" title="See caption" /> Pattern 1. </div> <div class="figcenter"> <ANTIMG src="images/pattern02.png" width-obs="460" height-obs="705" alt="See caption" title="See caption" /> Pattern 2. </div> <div class="figcenter"> <ANTIMG src="images/pattern03.png" width-obs="459" height-obs="675" alt="See caption" title="See caption" /> Pattern 3. </div> <div class="figcenter"> <ANTIMG src="images/pattern04.png" width-obs="470" height-obs="778" alt="See caption" title="See caption" /> Pattern 4. </div> <div class="figcenter"> <ANTIMG src="images/pattern05.png" width-obs="454" height-obs="768" alt="See caption" title="See caption" /> Pattern 5. </div> <div class="figcenter"> <ANTIMG src="images/pattern06.png" width-obs="443" height-obs="679" alt="See caption" title="See caption" /> Pattern 6. </div> <div class="figcenter"> <ANTIMG src="images/pattern07.png" width-obs="466" height-obs="596" alt="See caption" title="See caption" /> Pattern 7. </div> <div class="figcenter"> <ANTIMG src="images/pattern08.png" width-obs="667" height-obs="444" alt="See caption" title="See caption" /> Pattern 8. Fig. 1 Plate 10 </div> <div class="figcenter"> <ANTIMG src="images/pattern09.png" width-obs="444" height-obs="567" alt="See caption" title="See caption" /> Pattern 9. Cut of bodice, Fig. B, Plate 5 </div> <div class="figcenter"> <ANTIMG src="images/pattern10.png" width-obs="452" height-obs="769" alt="See caption" title="See caption" /> See page opposite for Breeches of same, 1620-1640. Victoria and Albert Museum, Kensington. Pattern 10. Similar type to Fig. C, Plate 7 </div> <div class="figcenter"> <ANTIMG src="images/pattern11.png" width-obs="701" height-obs="458" alt="See caption" title="See caption" /> Pattern 11. </div> <div class="figcenter"> <ANTIMG src="images/pattern12.png" width-obs="448" height-obs="759" alt="See caption" title="See caption" /> Pattern 12. </div> <div class="figcenter"> <ANTIMG src="images/pattern13.png" width-obs="437" height-obs="772" alt="See caption" title="See caption" /> Pattern 13. Back of bodice, Fig. B, Plate 7. </div> <div class="figcenter"> <ANTIMG src="images/pattern14.png" width-obs="726" height-obs="464" alt="See caption" title="See caption" /> Pattern 14. </div> <div class="figcenter"> <ANTIMG src="images/pattern15.png" width-obs="713" height-obs="453" alt="See caption" title="See caption" /> Pattern 15. Jacket. Fig. C, Plate 4 </div> <div class="figcenter"> <ANTIMG src="images/pattern16.png" width-obs="452" height-obs="731" alt="See caption" title="See caption" /> Pattern 16. Hanging sleeve of Fig. C, Plate 2 </div> <div class="figcenter"> <ANTIMG src="images/pattern17.png" width-obs="736" height-obs="449" alt="See caption" title="See caption" /> Pattern 17. Herald's coat, Fig. A, Plate 7. Victoria & Albert Museum </div> <div class="figcenter"> <ANTIMG src="images/pattern18.png" width-obs="456" height-obs="637" alt="See caption" title="See caption" /> Pattern 18. </div> <div class="figcenter"> <ANTIMG src="images/pattern19.png" width-obs="733" height-obs="450" alt="See caption" title="See caption" /> Pattern 19. </div> <div class="figcenter"> <ANTIMG src="images/pattern20.png" width-obs="670" height-obs="441" alt="See caption" title="See caption" /> Pattern 20. </div> <div class="figcenter"> <ANTIMG src="images/pattern21.png" width-obs="745" height-obs="431" alt="See caption" title="See caption" /> Pattern 21. </div> <div class="figcenter"> <ANTIMG src="images/pattern22.png" width-obs="454" height-obs="612" alt="See caption" title="See caption" /> Pattern 22. </div> <div class="figcenter"> <ANTIMG src="images/pattern23.png" width-obs="437" height-obs="698" alt="See caption" title="See caption" /> Pattern 23. Coat, Fig. B, Plate 26 </div> <div class="figcenter"> <ANTIMG src="images/pattern24.png" width-obs="745" height-obs="381" alt="See caption" title="See caption" /> Pattern 24. Coat, Fig. B, Plate 13 </div> <div class="figcenter"> <ANTIMG src="images/pattern25.png" width-obs="756" height-obs="459" alt="See caption" title="See caption" /> Pattern 25. Fig. A, Plate 15 Coat, 1775-90 </div> <div class="figcenter"> <ANTIMG src="images/pattern26.png" width-obs="348" height-obs="752" alt="See caption" title="See caption" /> Pattern 26. </div> <div class="figcenter"> <ANTIMG src="images/pattern27.png" width-obs="456" height-obs="701" alt="See caption" title="See caption" /> Pattern 27. Coat, 1830-1845 Similar type to Fig. C, Plate 26. </div> <div class="figcenter"> <ANTIMG src="images/pattern28.png" width-obs="461" height-obs="569" alt="See caption" title="See caption" /> Pattern 28. </div> <div class="figcenter"> <ANTIMG src="images/pattern29.png" width-obs="438" height-obs="584" alt="See caption" title="See caption" /> Pattern 29. Coat, Fig. A, Plate 26 </div> <div class="figcenter"> <ANTIMG src="images/pattern30.png" width-obs="630" height-obs="430" alt="See caption" title="See caption" /> Pattern 30. </div> <div class="figcenter"> <ANTIMG src="images/pattern31.png" width-obs="750" height-obs="400" alt="See caption" title="See caption" /> Pattern 31. </div> <div class="figcenter"> <ANTIMG src="images/pattern32.png" width-obs="744" height-obs="421" alt="See caption" title="See caption" /> Pattern 32. Bodice of linen dress, Fig A, Plate 22 </div> <div class="figcenter"> <ANTIMG src="images/pattern33.png" width-obs="415" height-obs="760" alt="See caption" title="See caption" /> Pattern 33. </div> <div class="figcenter"> <ANTIMG src="images/pattern34.png" width-obs="573" height-obs="442" alt="See caption" title="See caption" /> Pattern 34. Jacket bodice, Fig. A, Plate 24 </div> <div class="figcenter"> <ANTIMG src="images/pattern35.png" width-obs="741" height-obs="399" alt="See caption" title="See caption" /> Pattern 35. Bodice, 1845-55 similar type Fig. A, Plate 30 </div> <div class="figcenter"> <ANTIMG src="images/pattern36.png" width-obs="458" height-obs="728" alt="See caption" title="See caption" /> Pattern 36. </div> <div class="figcenter"> <ANTIMG src="images/pattern37.png" width-obs="563" height-obs="438" alt="See caption" title="See caption" /> Pattern 37. </div> <div class="figcenter"> <ANTIMG src="images/pattern38.png" width-obs="358" height-obs="741" alt="See caption" title="See caption" /> Pattern 38. Bodice of Fig. A, Plate 14 </div> <div class="figcenter"> <ANTIMG src="images/pattern39.png" width-obs="664" height-obs="452" alt="See caption" title="See caption" /> Pattern 39. Similar type of Bodice to Fig. B, Plate 14. Bodice with type of pleated back, 1720-50 </div> <div class="figcenter"> <ANTIMG src="images/pattern40.png" width-obs="740" height-obs="423" alt="See caption" title="See caption" /> Pattern 40. Pattern, Fig. C, Plate 28 Bodice, Fig. A, Plate 18 </div> <div class="figcenter"> <ANTIMG src="images/pattern41.png" width-obs="403" height-obs="750" alt="See caption" title="See caption" /> Pattern 41. </div> <div class="figcenter"> <ANTIMG src="images/pattern42.png" width-obs="626" height-obs="444" alt="See caption" title="See caption" /> Pattern 42. Silk jacket, Fig. B, Plate 19 </div> <div class="figcenter"> <ANTIMG src="images/pattern43.png" width-obs="725" height-obs="443" alt="See caption" title="See caption" /> Pattern 43. Bodice, Fig. C, Plate 18 </div> <div class="figcenter"> <ANTIMG src="images/pattern44.png" width-obs="744" height-obs="447" alt="See caption" title="See caption" /> Pattern 44. Bodice, Fig. A, Plate 30 </div> <div class="figcenter"> <ANTIMG src="images/pattern45.png" width-obs="452" height-obs="709" alt="See caption" title="See caption" /> Pattern 45. Coat, Fig. C, Plate 33 </div> <div class="figcenter"> <ANTIMG src="images/pattern46.png" width-obs="452" height-obs="675" alt="See caption" title="See caption" /> Pattern 46. </div> <div class="figcenter"> <ANTIMG src="images/pattern47.png" width-obs="427" height-obs="750" alt="See caption" title="See caption" /> Pattern 47. </div> <div class="figcenter"> <ANTIMG src="images/pattern48.png" width-obs="666" height-obs="457" alt="See caption" title="See caption" /> Pattern 48. </div> <div class="figcenter"> <ANTIMG src="images/pattern49.png" width-obs="722" height-obs="444" alt="See caption" title="See caption" /> Pattern 49. Petticoat, Fig. B, Plate 16 </div> <div class="figcenter"> <ANTIMG src="images/pattern50.png" width-obs="460" height-obs="696" alt="See caption" title="See caption" /> Pattern 50. Dress, Fig. B, Plate 16 </div> <div class="figcenter"> <ANTIMG src="images/pattern51.png" width-obs="455" height-obs="752" alt="See caption" title="See caption" /> Pattern 51. Dress, Fig. C, Plate 16 </div> <div class="figcenter"> <ANTIMG src="images/pattern52.png" width-obs="450" height-obs="688" alt="See caption" title="See caption" /> Pattern 52. </div> <div class="figcenter"> <ANTIMG src="images/pattern53.png" width-obs="393" height-obs="744" alt="See caption" title="See caption" /> <ins class="correction" title="Patteen">Pattern</ins> 53. </div> <div class="figcenter"> <ANTIMG src="images/pattern54.png" width-obs="446" height-obs="739" alt="See caption" title="See caption" /> Pattern 54. </div> <div class="figcenter"> <ANTIMG src="images/pattern55.png" width-obs="451" height-obs="723" alt="See caption" title="See caption" /> Pattern 55. Pattern of Fig C, Plate 25 </div> <div class="figcenter"> <ANTIMG src="images/pattern56.png" width-obs="574" height-obs="464" alt="See caption" title="See caption" /> Pattern 56. </div> <div class="figcenter"> <ANTIMG src="images/pattern57.png" width-obs="311" height-obs="744" alt="See caption" title="See caption" /> Pattern 57. </div> <div class="figcenter"> <ANTIMG src="images/pattern58.png" width-obs="451" height-obs="705" alt="See caption" title="See caption" /> Pattern 58. Dress, Fig. C, Plate 29 </div> <div class="figcenter"> <ANTIMG src="images/pattern59.png" width-obs="751" height-obs="321" alt="See caption" title="See caption" /> Pattern 59. Dress, Fig. B, Plate 28 </div> <div class="figcenter"> <ANTIMG src="images/pattern60.png" width-obs="416" height-obs="749" alt="See caption" title="See caption" /> Pattern 60. Dress, Fig. C, Plate 32. </div> <div class="figcenter"> <ANTIMG src="images/pattern61.png" width-obs="436" height-obs="761" alt="See caption" title="See caption" /> Pattern 61. </div> <div class="figcenter"> <ANTIMG src="images/pattern62.png" width-obs="724" height-obs="455" alt="See caption" title="See caption" /> Pattern 62. Blue silk dress, 1860-70 Fig. A, Plate 32 </div> <div class="figcenter"> <ANTIMG src="images/pattern63.png" width-obs="807" height-obs="442" alt="See caption" title="See caption" /> Pattern 63. </div> <div class="figcenter"> <ANTIMG src="images/pattern64.png" width-obs="444" height-obs="662" alt="See caption" title="See caption" /> Pattern 64. Lady's jacket, Fig. C, Plate 19 </div> <div class="figcenter"> <ANTIMG src="images/pattern65.png" width-obs="438" height-obs="712" alt="See caption" title="See caption" /> Pattern 65. </div> <div class="figcenter"> <ANTIMG src="images/pattern66.png" width-obs="451" height-obs="575" alt="See caption" title="See caption" /> Pattern 66. </div> <div class="figcenter"> <ANTIMG src="images/pattern67.png" width-obs="443" height-obs="741" alt="See caption" title="See caption" /> Pattern 67. </div> <div class="figcenter"> <ANTIMG src="images/pattern68.png" width-obs="350" height-obs="758" alt="See caption" title="See caption" /> Pattern 68. </div> <h2>DETAILED LIST OF SCALED PATTERNS</h2> Pattern 1, page 285:— <ul> <li>Piccadillo, 1580-1630.</li> <li>Three caps, 16-17 century.</li> <li>Cap of three pieces, 16-17 c.</li> <li>Triangular cap, 16-17 c.</li> <li>Long cap, 17 c.</li> <li>Cap, late 17 c., early 18 c.</li> </ul> Pattern 2, page 286:— <ul> <li>4 collars, 17 c.</li> <li>Gorget of linen, 17 c.</li> <li>2 stocks, 17 and 18 c.</li> <li>3 male caps and 1 female, 17 and 18 c.</li> </ul> Pattern 3, page 287:— <ul> <li>Ruff, 17 c.</li> <li>4 extra linen sleeves, 17 and one 18 c.</li> <li>2 caps, female, 17 c.</li> </ul> Pattern 4, page 288:— <ul> <li>Front of linen jacket, 16 c.</li> <li>Front of linen bodice, Charles I.</li> </ul> Pattern 5, page 289:— <ul> <li>Elizabethan jerkin.</li> <li>4 stomachers, 17 and 18 c.</li> </ul> Pattern 6, page 290:— <ul> <li>Set of tabs for male jerkin, 17 c.</li> <li>Pattern type, sleeve and bodice front, 1570-1605.</li> </ul> Pattern 7, page 291:— <ul> <li>Circular cape, 17 c.</li> <li>Cap, female, 1580-1630.</li> </ul> Pattern 8, page 292:— <ul> <li>Bodice, Fig. 1, Plate X, James I.</li> </ul> Pattern 9, page 293:— <ul> <li>3 corsets and bodice of, Fig. 2, Plate V, 17 c.</li> </ul> Pattern 10, page 294:— <ul> <li>Jerkin of white quilted satin, 17 c.</li> </ul> Pattern 11, page 295:— <ul> <li>Breeches of same suit.</li> </ul> Pattern 12, page 296:— <ul> <li>Cape-coat, 17 c.</li> </ul> Pattern 13, page 297:— <ul> <li>Back of bodice, Plate VII, 17 c.</li> <li>Shaped cap, male, 17 and 18 c.</li> </ul> Pattern 14, page 298:— <ul> <li>2 collars, Charles II.</li> </ul> Pattern 15, page 299:— <ul> <li>Jacket, Fig. C, Plate IV, 17 c.</li> </ul> Pattern 16, page 300:— <ul> <li>2 sleeve-cuffs, 18 c.</li> <li>2 embroidered pockets, 17 and 18 c.</li> <li>Hanging sleeve, Fig. C, Plate II, 16-17 c.</li> <li>Embroidered bodice fronts, 17-18 c.</li> </ul> Pattern 17, page 301:— <ul> <li>Quilted linen corsage, 1660-1715.</li> <li>Herald's coat, Fig. A, Plate VII, 16-17 c.</li> </ul> Pattern 18, page 302:— <ul> <li>Sleeved waistcoat, 1690-1720.</li> </ul> Pattern 19, page 303:— <ul> <li>Sleeved waistcoat and vest, early 18 c.</li> </ul> Pattern 20, page 304:— <ul> <li>Breeches, 1660-1720.</li> </ul> Pattern 21, page 305:— <ul> <li>Breeches, 18 c.</li> </ul> Pattern 22, page 306:— <ul> <li>Breeches, 18 c.</li> </ul> Pattern 23, page 307:— <ul> <li>Coat, Fig. B, Plate XXVI, 19 c.</li> </ul> Pattern 24, page 308:— <ul> <li>Coat, Fig. B, Plate XIII, 18 c.</li> <li>Corderoy trousers, from 1815.</li> </ul> Pattern 25, page 309:— <ul> <li>Coat, late 18 c., Fig. A, Plate XV.</li> <li>Leather breeches, late 18-19 c.</li> <li>Straw hat, 1816-30.</li> </ul> Pattern 26, page 310:— <ul> <li>Coat, 1784-94.</li> </ul> Pattern 27, page 311:— <ul> <li>Coat, 1830-45.</li> </ul> Pattern 28, page 312:— <ul> <li>Buff linen trousers, 1810-40.</li> </ul> Pattern 29, page 313:— <ul> <li>Morning coat, Fig. A, Plate XXVI, 19 c.</li> </ul> Pattern 30, page 314:— <ul> <li>Bodice, 1816-22.</li> </ul> Pattern 31, page 315:— <ul> <li>Bell-sleeved bodice, 1848-58.</li> </ul> Pattern 32, page 316:— <ul> <li>Bodice of linen dress, Fig. A, Plate XXII, about 1800.</li> </ul> Pattern 33, page 317:— <ul> <li>Bodice, 1860-70.</li> <li>Bodice, 1850-60.</li> <li>Bodice, 1816-25.</li> </ul> Pattern 34, page 318:— <ul> <li>Jacket bodice, Fig. A, Plate XXIV, about 1800.</li> </ul> Pattern 35, page 319:— <ul> <li>Bodice, similar type, Fig. A, Plate XXX, 1845-55.</li> </ul> Pattern 36, page 320:— <ul> <li>Sleeveless over jacket, early 18 c.</li> <li>Spencer, 1827-37.</li> </ul> Pattern 37, page 321:— <ul> <li>Bodice, 1812-18.</li> </ul> Pattern 38, page 322:— <ul> <li>Corset pattern, 18 c.</li> <li>Bodice of Fig. A, Plate XIV, 18 c.</li> </ul> Pattern 39, page 323:— <ul> <li>Bodice with type of pleated sack back, 1720-50.</li> </ul> Pattern 40, page 324:— <ul> <li>Bodice, Fig. C, Plate XXVIII, 19 c.</li> <li>Bodice, Fig. A, Plate XVIII, 18 c.</li> </ul> Pattern 41, page 325:— <ul> <li>Zouave jacket, late 18 c.</li> <li>Bodice, 1818-28.</li> </ul> Pattern 42, page 326:— <ul> <li>Silk jacket, Fig. B, Plate XIX, 18 c.</li> </ul> Pattern 43, page 327:— <ul> <li>Bodice, Fig. C, Plate XVIII, 18 c.</li> </ul> Pattern 44, page 328:— <ul> <li>Bodice, Fig. A, Plate XXX, 19 c.</li> </ul> Pattern 45, page 329:— <ul> <li>Lady's coat, Fig. C, Plate XXXIII.</li> </ul> Pattern 46, Page 330:— <ul> <li>Polonaise dress, 1835-45.</li> </ul> Pattern 47, page 331:— <ul> <li>Dress, 1805-18.</li> <li>Mob cap, 1780-1800.</li> <li>Cap with comb top, 1790-1800.</li> </ul> Pattern 48, page 332:— <ul> <li>Quilted petticoat, 18 c.</li> </ul> Pattern 49, page 333:— <ul> <li>Petticoat, Fig. B, Plate XVI, 18 c.</li> </ul> Pattern 50, page 334:— <ul> <li>Dress, Fig. B, Plate XVI.</li> </ul> Pattern 51, page 335:— <ul> <li>Dress, Fig. C, Plate XVI.</li> </ul> Pattern 52, page 336:— <ul> <li>White linen dress, 1795-1800.</li> </ul> Pattern 53, page 337:— <ul> <li>Striped cotton dress, 1805-15.</li> </ul> Pattern 54, page 338:— <ul> <li>Pattern of under robe, 1818-30.</li> </ul> Pattern 55, page 339:— <ul> <li>Dress, Fig. <ins class="correction" title="G">C</ins>, Plate XXV.</li> </ul> Pattern 56, page 340:— <ul> <li>Muslin dress, 1822-32.</li> </ul> Pattern 57, page 341:— <ul> <li>Satin dress, 1837-47.</li> </ul> Pattern 58, page 342:— <ul> <li>Dress, Fig. <ins class="correction" title="G">C</ins>, Plate XXIX.</li> </ul> Pattern 59, page 343:— <ul> <li>Dress, Fig. B, Plate XXVIII.</li> </ul> Pattern 60, page 344:— <ul> <li>Dress, Fig. C, Plate XXXII.</li> </ul> Pattern 61, page 345:— <ul> <li>Lady's coat, 1856-70.</li> </ul> Pattern 62, page 346:— <ul> <li>Silk dress, Fig. A, Plate XXXII, 1860-70.</li> </ul> Pattern 63, page 347:— <ul> <li>Reefed polonaise, 1860-70.</li> </ul> Pattern 64, page 348:— <ul> <li>Lady's jacket, Fig. C, Plate XIX, 18 c.</li> </ul> Pattern 65, page 349:— <ul> <li>Cape, 1840-50.</li> </ul> Pattern 66, page 350:— <ul> <li>Cape, 1860-75.</li> <li>Cape, 1830-40.</li> </ul> Pattern 67, page 351:— <ul> <li>Upper sleeve and collar, 16 c.</li> <li>Bodice with slashed sleeve, 1620-40.</li> <li>Boy's stays, coat, and vest, 1700-60.</li> </ul> Pattern 68, page 352:— <ul> <li>Male robe, 1600-25.</li> <li>Puritan hat, 1640-60.</li> <li>Black velvet hat, 1600-20.</li> </ul> <h2>INDEX</h2> <ul> <li>Aprons— <ul> <li>17 century, 186, 280</li> <li>18 c., 192, 198, 206</li> </ul></li> </ul> <ul> <li>Bags, 193, 262, 272</li> <li>Bertha, 238, 252</li> <li>Bouquet Holder, 262</li> <li>Breeches— <ul> <li>Medi�val, 54</li> <li>16 c., 122, 132</li> <li>17 c., 152, 164, 281</li> <li>19 c., 248, 256, 264</li> </ul></li> <li>Bustle, 226</li> </ul> <ul> <li>Calash, 217</li> <li>Capes— <ul> <li>16 c., 132, 279</li> <li>17 c., 184</li> <li>19 c., 244, 262, 264, 274, 281</li> </ul></li> <li>Chain Ornaments— <ul> <li>to 15 c., 62, 72</li> <li>16 c., 110, 124</li> </ul></li> <li>Cloaks— <ul> <li>to 15 c., 54, 70</li> <li>17 c., 152, 164, 176, 180, 279</li> <li>18 c., 222</li> </ul></li> <li>Collars— <ul> <li>16 c., 112, 128, 129, 139, 278</li> <li>17 c., 145, 158, 160, 172, 174</li> <li>19 c., 244, 246</li> </ul></li> <li>Corsets— <ul> <li>to 15 c., 62, 66</li> <li>16 c., 110, 116, 138</li> <li>17 c., 158, 169, 172</li> <li>18 c., 211, 278</li> <li>19 c., 250</li> </ul></li> <li>Crinolines, 270, 278</li> </ul> <ul> <li>Decorative Styles— <ul> <li>Black-stitch work, 122, 129</li> <li>Braided, 110, 111, 132, 142, 143, 144, 145, 146, 182, 188, 200, 238, 244, 272</li> <li>Button, 110, 143, 144, 146, 182, 210</li> <li>Laced, 70, 88, 92, 110, 116</li> <li>Piped, 238, 244</li> <li>Pleated, 111, 140</li> <li>Pricked, 111, 140, 142, 152</li> <li>Punched, 111, 140, 142, 152</li> <li>Puffed, 88, 92, 110, 116, 118, 122, 129, 142, 146, 150, 180, 260</li> <li>Purfled, 145, 164, 190</li> <li>Ribbon, 145, 172, 176, 178, 191, 253</li> <li>Serrated or shaped edging, 71, 96, 110, 146, 191, 214, 252</li> <li>Slashing, 92, 111, 112, 113, 116, 118, 122, 140, 142, 145, 152, 158, 164</li> <li>Straw-work, 111, 191</li> <li>Tassel, 238</li> <li>Tinsel, 237</li> <li>Tulle, 238</li> </ul></li> <li>Doublets, 132, 139</li> <li>Dress— <ul> <li>Prehistoric, <ul><li>female, 40;</li> <li>male, 41</li></ul></li> <li>to 10 c., <ul><li>female, 45, 46, 48;</li> <li>male, 52, 54</li></ul></li> <li>10 to 15 c., <ul><li>female, 62, 66, 68, 70;</li> <li>male, 76, 78, 80</li></ul></li> <li>15 c., <ul><li>female, 84, 88, 92;</li> <li>male, 92, 100, 104, 108</li></ul></li> <li>16 c., 278, 279, 281. <ul> <li>Henry VIII, <ul> <li>female, 113, 116;</li> <li>male, 118, 122.</li> </ul></li> <li>Ed. VI and Mary, <ul> <li>female, 124, 128;</li> <li>male, 129, 132.</li> </ul></li> <li>Eliz., <ul> <li>female, 133, 136, 138;</li> <li>male, 139, 281</li> </ul></li> </ul></li> <li>17 c., <ul><li>James I, <ul> <li>female, 147, 150;</li> <li>male, 152, 154.</li> </ul></li> <li>Chas. I, <ul> <li>female, 158;</li> <li>male, 160, 164, 168.</li> </ul></li> <li>Commonwealth, female and male, 168, 169.</li> <li>Chas. II, <ul> <li>female, 169, 172;</li> <li>male, 174, 176.</li> </ul></li> <li>James II, <ul> <li>female, 178, 180;</li> <li>male, 182.</li> </ul></li> <li>William and Mary, <ul> <li>female, 184, 185;</li> <li>male, 186, 188.</li> </ul></li> <li>Anne, <ul> <li>female, 196;</li> <li>male, 200.</li> </ul></li> <li>George I, <ul> <li>female, 206;</li> <li>male, 210</li> </ul></li> </ul></li> <li>18 c., <ul><li>George II, <ul> <li>female, 221;</li> <li>male, 214.</li> </ul></li> <li>George III to 1800, <ul> <li>female, 217, 222, 224, 226, 230;</li> <li>male, 232, 234</li> </ul></li> </ul></li> <li>19 c., <ul><li>George III (continued), <ul> <li>female, 244, 247;</li> <li>male, 247.</li> </ul></li> <li>George IV, <ul> <li>female, 250;</li> <li>male, 254.</li> </ul></li> <li>William IV, <ul> <li>female, 260;</li> <li>male, 263.</li> </ul></li> <li>Victorian, <ul> <li>female, 268;</li> <li>male, 274.</li> </ul> Note also page 39</li> </ul></li> </ul></li> <li>Drill petticoat, 238</li> </ul> <ul> <li>Ear-rings, 62-72</li> <li>Epaulets— <ul> <li>16 c., 128, 129, 136</li> <li>17 c., 143, 152, 280, 281</li> <li>19 c., 250</li> </ul></li> </ul> <ul> <li>Fans— <ul> <li>16 c., 129, 138</li> <li>18 c., 193, 230</li> <li>19 c., 240, 253, 262</li> </ul></li> <li>Farthingale, 111, 136</li> <li>Foot-wear— <ul> <li>to the end of 14 c., 44, 48, 56, 70, 80, 82, 92</li> <li>15 c., 108</li> <li>16 c., <ul> <li>Henry VIII, <ins class="correction" title="16">116</ins>, 122;</li> <li>Ed. VI and Mary, 128, 132;</li> <li>Elizabeth, 138, 140</li> </ul></li> <li>17 c., <ul> <li>James I, 150, 154;</li> <li>Chas. I, 158, 164;</li> <li>Commonwealth, 168;</li> <li>Chas, II, 172, 176;</li> <li>James II, 180, 184;</li> <li>William and Mary, 186, 188</li> </ul></li> <li>18 c., 193; <ul> <li>Anne, 198, 201;</li> <li>George I, 207, 210;</li> <li>George II, 214, 216;</li> <li>George III to 1800, 230, 234</li> </ul></li> <li>19 c., <ul> <li>George III, 246, 248;</li> <li>George IV, 253, 258;</li> <li>William IV, 262, 264;</li> <li>Victoria, 272, 275</li> </ul></li> </ul></li> </ul> <ul> <li>Girdles— <ul> <li>to 15 c., 68, 78, 92</li> <li>16 c., 116</li> </ul></li> <li>Gloves— <ul> <li>16 c., 116, 129, 138</li> <li>17 c., 168, 172</li> <li>18 c., 193, 201, 214, 226</li> </ul></li> </ul> <ul> <li>Head-dress— <ul> <li>Prehistoric, <ul> <li>female, 40;</li> <li>male, 42</li> </ul></li> <li>to 10 c., <ul> <li>female, 45;</li> <li>male, 49</li> </ul></li> <li>10 to 15 c., <ul> <li>female, 57;</li> <li>male, 71</li> </ul></li> <li>15 c., <ul> <li>female, 84;</li> <li>male, 92</li> </ul></li> <li>16 c., <ul> <li>Henry VIII, <ul> <li>female, 113;</li> <li>male, 118.</li> </ul></li> <li>Ed. VI and Mary, <ul> <li>female, 124;</li> <li>male, 129.</li> </ul></li> <li>Eliz., <ul> <li>female, 133;</li> <li>male, 138</li> </ul></li> </ul></li> <li>17 c., <ul><li>James I, <ul> <li>female, 147;</li> <li>male, 150.</li> </ul></li> <li>Chas. I, <ul> <li>female, 154;</li> <li>male, 160.</li> </ul></li> <li>Commonwealth, 168.</li> <li>Chas. II, <ul> <li>female, 169;</li> <li>male, 174.</li> </ul></li> <li>James II, <ul> <li>female, 178;</li> <li>male, 180.</li> </ul></li> <li>William and Mary, <ul> <li>female, 184;</li> <li>male, 186</li> </ul></li> </ul></li> <li>18 c., <ul><li>Anne, <ul> <li>female, 193;</li> <li>male, 198.</li> </ul></li> <li>George I, <ul> <li>female, 201;</li> <li>male, 207.</li> </ul></li> <li>George II, <ul> <li>female, 211;</li> <li>male, 214.</li> </ul></li> <li>George III, <ul> <li>female, 217, 241;</li> <li>male, 231, 246.</li> </ul></li> <li>George IV, <ul> <li>female, 248;</li> <li>male, 254.</li> </ul></li> <li>William IV, <ul> <li>female, 258;</li> <li>male, 263.</li> </ul></li> <li>Victoria, <ul> <li>female, 264;</li> <li>male, 273</li> </ul></li> </ul></li> </ul></li> <li>Heraldic fashion, 66, 71, 109, 132</li> <li>Hoop skirts— <ul> <li>16 c., 116, 128, 136</li> <li>17 c., 147, 185</li> <li>18 c., 222</li> </ul></li> </ul> <ul> <li>Jackets— <ul> <li>to 15 c., 66, 68, 88, 100</li> <li>16 c., 112, 182</li> <li>17 c., 143</li> <li>18 c., 224, 226</li> <li>19 c., 270</li> </ul></li> </ul> <ul> <li>Lapets, 184, 193, 206, 239</li> </ul> <ul> <li>Maccaroni fashion, 214</li> <li>Mantles, 262, 271</li> <li>Masks, 186</li> <li>Muffs, 160, 172, 180, 186, 189, 193, 201, 230, 253</li> </ul> <ul> <li>Neck-wear, 174, 182, 186, 200, 207, 232, 246, 250, 254, 263, 275</li> </ul> <ul> <li>Overcoats, 232, 254, 274</li> </ul> <ul> <li>Panniers, 211, 222</li> <li>Parasols, 230, 234, 244, 272</li> <li>Patterns scaled, 276</li> <li>Pelisses, 244, 250, 262</li> <li>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</li> <li>Pockets, 192, 224</li> <li>Polonaise, 238, 262</li> <li>Purses, 236, 240, 246</li> </ul> <ul> <li>Quilting, 111, 128, 146, 172, 192, 198, 211, 222, 278</li> </ul> <ul> <li>Ruffs, 112, 118, 128, 129, 133, 136, 139, 143, 147, 158, 160, 172, 250, 280</li> </ul> <ul> <li>Sack-back (or Watteau) dress, 136, 185, 191, 196, 206, 211, 222</li> <li>Sashes, 168, 182, 279</li> <li>Sequins, 112</li> <li>Shawls, 272</li> <li>Spats, 273</li> <li>Spencers, 244, 250</li> <li>Sticks, 181, 188, 201, 211, 214, 226, 234</li> <li>Stockings, 138, 140, 154, 168, 182, 184, 189, 201, 210, 216, 234, 270</li> <li>Stomachers, 66, 112, 136, 142, 144, 146, 147, 154, 158, 172, 178, 184, 196, 207, 278</li> </ul> Printed by Spottiswoode, Ballantyne & Co. Ltd. Colchester, London & Eton, England <hr /> <div class="ads"> DRESSMAKING SIMPLE DRESSMAKING. By ETHEL R. HAMBRIDGE, Art Teachers' Certificate, etc. In foolscap 4to, cloth, 200 pp., with 750 plates and black-and-white diagrams. 7s. 6d. net. This book deals exhaustively with the various stitches and fastenings used in Dressmaking and their applications, Pressing, Making-up Processes, Taking Measurements, Cutting-out; and also contains some notes on Fitting. Simplicity and completeness have been the dual purpose of the Author, and her systematic treatment of the subject, aided by her remarkable gift of lucid explanation, and her unique practical experience, has produced a valuable contribution to the literature of Domestic Science. DRESS CUTTING AND MAKING. For the Classroom, Workroom, and Home. By EMILY WALLBANK, Head of the Needlework and Dressmaking Department, National Training School of Cookery, and MARIAN WALLBANK. In foolscap 4to, cloth, 271 pp., with 265 diagrams and illustrations. 6s. net. The object of this work will be realized in some degree if it helps the practical reader so to mobilize her knowledge of underlying causes that she is able to produce any desired effect in the cut and fashion of a garment. SIR ISAAC PITMAN & SONS, LIMITED 1 Amen Corner, London, E.C. 4. </div> <hr /> <div class="ads"> EMBROIDERY AN EMBROIDERY PATTERN BOOK. By MARY E. WARING. With a Foreword by Professor W. R. Lethaby, Royal College of Art. In cloth gilt, 170 pp., 2 coloured plates, with 84 full-page black-and-white diagrams. 8s. 6d. net. "Designing of this sort is no mystery that requires 'genius'; it is of the same kind as planting a garden border.... Most embroideresses, who will begin by adapting the elements given in this Pattern Book, and gain interest and confidence in so doing, will go forward insensibly to varying the elements themselves, and to taking flowers and animals direct from Nature. This ... is the work of a highly competent designer of embroidery, and I heartily recommend it."—W. R. Lethaby in the Foreword. EMBROIDERY & DESIGN. By JOAN H. DREW. In foolscap 4to, cloth, about 115 pp., with 82 black-and-white illustrations and designs. 5s. net. The writer endeavours to arouse in her readers a desire for better designs, and greater individuality and thought in the home embroidery of to-day. The difference between decorative and undecorative work is clearly explained with the aid of many illustrations, and these are of the right size for tracing and working. SIR ISAAC PITMAN & SONS, LIMITED </div> <hr /> <div class="ads"> ART THE ART OF PAINTING IN PASTEL. By J. LITTLEJOHNS, R.B.A., and L. RICHMOND, R.A. With a frontispiece and foreword by FRANK BRANGWYN, R.A. With 40 beautiful full-page coloured plates and 15 other illustrations. In demy 4to, cloth gilt. 15s. net. Extract from The Connoisseur: "The beautiful volume may quicken public interest in the method. The 40 plates in colour afford a fine series of examples of the resources of the medium and the best methods of exploiting them." DRAWING AND DESIGN. A School Course in Composition. By SAMUEL CLEGG, Headmaster of the County Secondary School, Long Eaton, Derbyshire, with a foreword by WILLIAM ROTHENSTEIN, Professor of Civic Art, Sheffield University. 10 in. by 7½ in. 12s. 6d. net. A feature of the book is the inclusion of plates printed by scholars from wood-blocks of their own making and designing. It also contains good sections on lettering and pen and ink drawing, as well as on pencil work, colour work, etc. SIR ISAAC PITMAN & SONS, LIMITED </div> <hr /> <div class="ads"> FROM THE ARTISTIC CRAFTS SERIES HAND-LOOM WEAVING. By LUTHER HOOPER. 125 Drawings by the Author and NOEL ROOKE. Coloured and collotype reproduction. Small Crown 8vo, 368 pp. 8s. 6d. net. Extract from The Morning Post: "... Every phase and process in weaving is described with so clear and careful an exactitude, that, helped as the text is by the Author's sketches and diagrams, the reader should have no difficulty in conquering with its aid the rudiments of the craft." EMBROIDERY & TAPESTRY WEAVING. By Mrs. A. H. CHRISTIE. Fourth Edition. 178 diagrams and illustrations by the Author, 16 pp. of collotype reproductions. Small Crown 8vo, 320 pp. 10s. 6d. net. Extract from The Pall Mall Gazette: "Mrs. Christie has performed her task to admiration, ... and her lucid explanations of various kinds of stitches ... should be of value to all workers at embroidery or tapestry weaving and to novices anxious to learn." SIR ISAAC PITMAN & SONS, LIMITED </div> <hr /> <div class="ads"> FROM THE ARTISTIC CRAFTS SERIES MANUSCRIPT WRITING & LETTERING. By An Educational Expert. Showing the historical development and practical application to modern handwriting of several manuscript styles derived from ancient Roman letters. Fully illustrated. Foolscap 4to. 6s. net. Extract from The Times: "This book supplies and supplies generously a need which has become urgent.... For purposes purely practical, no teacher of plain handwriting need know more than this book tells him; nor should be content to know less." HERALDRY FOR CRAFTSMEN AND DESIGNERS. By W. H. ST. JOHN HOPE, Litt.D., D.C.L. Small Crown 8vo, 496 pp., 300 diagrams and designs, 24 collotype reproductions, and 8 coloured plates, 10s. 6d. net. Extract from The Athen�um: "A series which includes three such books as Mr. Douglas Cockerell's 'Bookbinding,' Mr. Edward Johnston's 'Writing,' and this ranks almost as a national possession.... No artist can see this book without wanting to buy it, if it were only for the beauty of the objects selected for illustration." SIR ISAAC PITMAN & SONS, LIMITED </div> <hr /> <div class="ads"> FROM THE ARTISTIC CRAFTS SERIES WRITING AND ILLUMINATING & LETTERING. By EDWARD JOHNSTON. Tenth Edition. 227 illustrations and diagrams by the Author and NOEL ROOKE, 8 pp. of examples in red and black, 24 pp. of collotype reproductions, 512 pp. Small Crown 8vo. 8s. 6d. net. Extract from The Athen�um: "... This book belongs to that extremely rare class in which every line bears the impress of complete mastery of the subject. We congratulate Mr. Johnston on having produced a work at once original and complete." BOOKBINDING AND THE CARE OF BOOKS. By DOUGLAS COCKERELL. Fourth Edition. 122 drawings by NOEL ROOKE, 8 pages collotype reproductions. Small Crown 8vo, 352 pp. 7s. 6d. net. Extract from The Times: "... A capital proof of the reasoned thoroughness in workmanship, which is the first article in the creed of those who ... are attempting to carry into practice the industrial teaching of Ruskin and William Morris." SIR ISAAC PITMAN & SONS, LIMITED </div> <div style="break-after:column;"></div>

1 of 2

2 of 2

Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.