Copyright,
1918,
ETHEL
"JUN
18
1918
BBACNWOHTH
PIUNTERS
BBOOKLTN,
L'
0CI.A4y!KJ?l
y
by
TRAPHAGEN
"
AND
CO.
BflOEBlNDEBa
N.
T.
THIS
BOOK
IS
TO
ENTHUSIASM
ITS
iMY
AND
INCENTRE
SINCERELY
CATED DEDI-
STUDENTS,
SUCCESS
AND
WHOSE
HAVE
INSPIRATION
BEEN
THE
PREFACE
Costume
Design
distinctly
as
upon
but
truth
in
the
In
by
frivolous, the
of
The
the
representing render
to
there
actual
are
whether
designer
The
and
designer
lines
the
and
student,
and
is
designer's the
for
use
from
is
both
have
the
human
what
and
to
There
some
are
to
believed
observe
Hatton,
Drawing without
books and
which
Anatomy
on
in
Art
by
Figure
the
Human
an
instructor,
the
will
teachers
way
course,
of
and
different intended.
is
fashion both
artist, branches
common.
and
to
in
keen
a
know
what
figure
a
which
advantage
great
should
be
without
J.
by
Practical
S.
student
fundamental
facts
Diagrams,
to
this
by
Figure
If the
Lutz,
will Ethel
York,
1918.
in
the
which
or
be H.
Duval, is
found
is
useful.
Drawing
student
life it
extremely
Marshall
Richter,
Vanderpoel.
Drawing,
thinking
in
agree
Hartley,
J. H.
ambitious
the
mind
Anatomical
Dunlop's
are
help
may
impress
life-class
most
these
Among
New
a
the
as
conceal of
able
teclmi(iue
form,
illustrator
such
knowledge
a
be
Of
any
in
of
privilege
design
to
is
nude
the
costume
the
the
much
have
of
lines
as
conception
charm.
well
which
scale
fanciful,
must
in
imderstanding
an
should
"
to
it
they
the he
brush its
spaces;
wearer.
has
or
artist,
dignified,
this
training.
valuable
class
for
emphasize
serious
no
any
the
have
to
Drawing
perfect.
be
not
may
to
l)alance
to
of
advantageous
either,
line,
tin's, according
sjjccial
beautiful
the
important
are
the
illustrator
the
of
appreciation
of
out
of
of
illustrator,
or
best
the
get
doing
how
seen
pen,
of
designed
pencil
robl)ed
not
of
for
be
easily
his
temperament
or
customary
can
is
ways
numy
methods
with
design
sensitiveness
to
garment
that
relation
hand,
been
all
and
the
the
other has
work,
color,
that
suitability
its
it
of
express
the
on
after
material
the
the
that
and
costume
of
ilesign
to
fasliion
them.
effect
a
termed
etc.;
areas,
of
subtle,
is
judging
and
beauty
or
illustrator,
costume
the
production
the
what
looked
always
not
are
between
contrasts,
the
formal,
dainty,
purpose
consider
and the
of
difference
harmonics,
for
arrangements
It
of
way
marked
a
must
one
proportions;
I)roper
of
is
Illttstration branches
different
there
former,
includes
Costume
and
by and
studying helpful.
Traphagen.
THE
CONTENTS
CHAPTER
PAGE
I.
Sketching
II.
Drawing
1
Models
without
13 ....
III.
Methods
IV.
Color
27
.'
63 .
.
V.
Design
VI.
The
VII.
Period
VIII.
Outline
75
Fashion
Silhouette
83
Design
91
Fabric
of
Costume
Historic
99 ...
IX.
Bibliography
X.
Artists
ON
127
Work
whose
Period
Fabrics
Bearing
Has
or
Costume
131 .
XI.
Index
.
.
137
SKETCHING
CHAPTER
ONE
COSTUME
DESIGN
CHAPTER
it
design
or
SKETCHING
In
"
is
both
form
a
dress,
a
of
lines
which
on
like
and,
fashion
able
be
to
necessary
quickly
struct
ILLUSTRATION
ONE
Forms.
1.
work
AND
to
point
forms
have
you
in
and
a
be
other
the Connect
See
form.
should
hip
of
out
skirt.
the
represent
con-
sketch
to
the
farthest
Fig.
on
to
and
The
bust
1.
for
and
line,
a
oval, these
the
ffffheit
Fig.
Care
with
this
is
simplest
The
make
a
swing
more
points farthest
of
part
line,
Next,
waist.
oval, the out
the
somewhat
shoulder
the
elongated
for
line
swing
from
first
near
oval,
always
should
dress
be
to
Next, sleeves,
different.
First,
the
but
outside
straight course,
ened, foreshort-
to
fashion;
to
go
but
another the
ing end-
the
having
the
and
opposite
the
back,
curve
of
the
the
into
the
connect
of
the the
short
It
reverse
forms
differ
is
ovals
In in
goes
(Of
!2.
according
waist
would
skirt
of
the
interesting
this
back.
the
follows
and
Fig.
normal
the
in
put
See
the
1916.)
lines
for
front, waist
skirt.
i.e., the
of how
in
and
proportions
twice
summer
note
the
lines
two
collar
which,
connecting
curved.
the the
line
in
the
slightly
extend add
shoulders,
sent repre-
form.
silhouette
line,
centre
this
ovals.
a
the
never
obtaining
constructing
present-day
garment.
figure,
two
oval,
an
from the
of
way
straight
the
entirely
in
steps
constructed
liuman
drawing
by
is
form
of
First
"
however,
the
which
of
structure
then
taken,
be
must
confuse
be
lines
good
the
enhance
to
should
this
windows,
store
1.
the
to
straight
line
making
the
same
man-
Two
Page
SKETCHING
but
ner,
straight skirt.
See
The The
the
waist
and
a
at
the
bend The
it
in
curves
collar
lines
into
goes
and
times,
waist
line
or
points
points
them
doing
both
ways
Fig.
4.
and
back
little be
soon
may
of
a
at
the
be
views
advantage
thiit
shoulder, for
affect
most
and
mastered,
rapidly
and
for that are
these the
the
forms
practice
turning
proficiency. three-quarter
used
in
them See front
preference
of
well
as
of
showing
fashion
general
to
because
the
front.
the
as
view,
2.
Summary.
"
for
the
are
or
a
the
little
waist
goes
about
two
In
the
the
waist
that
in
straight
a
front
line
centre
in
main the
points
at
and
that
the
the
be
on
waist the
be
hips, a
line
normal skirt
times.
view
the
the
waist
line
outside
straight
in
centre
and
the
that
remember
goes
the
to
and
instep length
half
back
prove
4.
bust
bend
follows
and the
The that
above,
and
the
preference.
arms
into
of
will
silhouette, should
present
line, that
of
tion examina-
publications
is this
remembered
side
An
Fig.
sleeves
marked,
application,
makes
Observe
the
front
3.
drapery. With
straight
how
little above.
a
should
hips
the
full
the
up.
skirt about
Fig.
half
these
the
curve
the
2.
and
is
goes
dress
and
supporting
elbow,
hne
centre
and
3.
waist
Fig.
the
waist
Fig.
normal
two
that
note
in
curves
in
skirt,
the line
in
goes
the
SKETCHING
(The
skirt.
actual
the
and
of
bottom
the
describes
of
The
circle;
a
in
You
will
the
centre
giving
find
should
line
the
of
^ Mi/i
Iric4%
H.B.
observe
facts
as
.J. quires. re-
I
eraser,
and
board
pad.
point
of the
should
be
of coat,
long,
important
pencil,
the leave
the
the
start
beautiful
and
to
a
the
tinually con-
on
See
form
is
next
as
a
model
form;
find
on
the
and oval
of
If
drawn.
or
garment
this
to
dress
preferably
sketch
of
see
form
strive
must
skill
in
your
pencil
for
keeping
clean
and
This
gives
suit.
a
the
centre
that, first
in
27.
pressed
the
keep
jjoint, the garment
a
line
sharp. the well
suit
on
dressmaker's line
of
the
sketching
constructed,
you
accents
places a
it
where
this
gives
From
the
shadows
ones.
is
be
put
material After
in,
in
sketches.
to
and
work
delicate, better
ability
finished,
naturally be;
interest
how
rounded
too
sketch
first, observe
thin
express
of
would
added
Notice
texture.
hard
the should
To
garment.
effect, beware After
curves.
the
to
newness
this
some
possible,have or
a
page
After
"
sketching
coat-hanger, then
Garment.
simple
a
Law,"
Greek
up
is the
the foundation a
Pencil
"
etc.,
much-desired, "
under
mastered
step
5.
the
Sketching
3.
on
the
coat,
determined,
you
proper
lengths
sleeves,
the
are
line
Figs.
7.
the
waist,
be
until
See
/
^
Fig.
sketch paper.
of
it
tention at-
of
placement
such
etc.,
last.
After
clean-cut
to
and
but
5, 0, and
From
paid
in
embroidery,
the
kept
great
ticular par-
put
details
gathers,
pencil
should
be
lace, tucks, plaits, ^/^"" brji^
The
pad.
the
seams;
as
emery
pointing on
and to
'.^"? -.V-ift
as
sleeves,
length
Faber,
sharp by
such
"
of
length
Emerald
or
very
ment. gar-
large, important
work
Eberhard
Ruby
the
the
Next
-
-
to
much
this
an
of
to
lines"
use
guide
relation
proper
ment. gar-
tion observa-
infallible
lines
silhouette
For
respond cor-
the
})roper
an
the
made
be as
sketch
your
line
the
you
of
centre
"sketch
but
shoulder
the
front.
the
in
up
the
downward.
always
slant
curve
line
centre
with
Three
collar,
and
The
the
have
the
line curves,
the
of
centre
sketch.)
lines in
skirt
like
therefore, waist
waist
down
and
the
is
of the
figure,not
back
the
line
centre
collar
The
Page
GARMENT
A
of
light
than this
for lines
heavy, kind
is
the
acquired, excellent
the
is
trying
Sketching
from
memory
in
work.
give
sketching
Memory.
wish
from
memory
what
has
(MuJ
a
"
good
in
window
to
well
the
you
and
shops Fifth
sketch
the
be
5.
Ihem
It
French
which
make
exact or
copies
their
thing some-
special
needs,
and
to
_^
Fig.
6.
"
of
Preliminary pencil sketch
them a
of their
memory costume
is
in
away
places
and
a
truly
work.
So
one's
mind
able valumuch from
sketching
where
for
possible.
their
Sketching line
of
for
them
they from
Garments.
proper gowns,
way
"
A
to
sketch
hats,
and
edge knowlments garacces-
reference
and of ones
be
must to
play
an
gown
be
stock
own
is The
own.
little
a
sketches
daintily finished,
shown
the
to
important
part
represented.
(see Fig. (3) are
give
convenience.
dressmakers
all its
fashion
are
the
for
and
to
trade
inventory
an
gown.
able
as
ings" "Open-
adapted
in
such
poses: pur-
give latest
the
to
'
w
from
the
is
two
from
I
Sketching
for
models
much
be
along
the
from
to
carried
of
and
for
all
takes. mis-
"Openings" is not
the
To
you
asset can
ploring ex-
trips in
'oi"st
forgotten
To to
in their
Avenue.
by
made
able to
Sketching ^"nk
verify
how
great
done
where
have
y^^
it with
have
be
aid
garment,
find out
a
to
try to
to
comparing
it
boon
manufacturers
sketch
this
zines. maga-
manufacturers
;
a
paper
news-
or
again
to
and
doing
for
find
then,
remember.
is
in
re
X
J
on
your
to
designs,
sketch "
on
without
you
wK.
""*#"
to
shop
a
memory,
adapt
for
dress
or
looking
to
sketching
day
and
person,
ideas
Designers
is a
either
gathering
again,
the
way
observe
to
else, next,
in
own
Another
before.
you
wish
one
been
the
own
your
you
some
^'
"
put
when
to
fashion
things
see
or
seen
for
papers
from
garment
first
you
remember,
to
explain things
Training
"
when
in
necessary
helpful,
is
convenience
when
acquire speed.
to
It
sketch
to
drawn
sories, is absolutely
for
do
to
way
is
this
for
work
to
windows
shop
A
important.
good
is
also
is
sketching most
step in
opportunity
student
4.
next
Garments
speed. the
SKETCHING
Four"
Page
done
in
as
customer
in The
the
sale
simple
pencil, with-
Fig.
out
heads,
but
with
a
7."
stylish
Illustrating a variety of details
but
foundation
neath, with
sometimes little
a
rule
the
more
finished
throw
finished without
w
r c
When
though Fig.
8.
are
r
the the
on
e a
Figs. 13
more
heads,
of
gown
they
still
presumed
effect
out.
Sometimes
illu.strating
the
to
the
sketch
action
some
and
the
background
on
figures expressing
a
in
dresssketches
done
are
color
added
are
as
makers'
under-
form
five
Page
GARMENTS
FROM
SKETCHING
See .
and
14.
es sketch-
being
Page
Six
done
for
detail
SKETCHING
embroideries,
drawing
embroidery the
on
as
number in
etc
the tures Tex-
paper.
noted
be
always
well
small of
made
of the
should
colors sketch
the
as
be
side
the
at
and
additional
an
should
details, such
as
on
the
color.
in
the
shadows and
next, used
as
detail
rule
but
in
small
that
method
Clear
clear
may
confusion
no
when
are
the
making at
home
A
convenient
or
one-half
is six and
finished
for
sizes
sketches
heads
half
or
sketches
the
well
of the
also hats.
designers
to
Callot
Soeurs,
Martial
and
Francis
and
in
on
your
well
as
the
and
detail.
the
design
sketch.
When
making
kind, and
pretty
a
this
practically in
the
of
15, page
place
By
Fig. 9.
the
on
the
to
Greek
Law,
the
bottom
of the
a
finished
sketch
should
pose
be
finished
in
thought pencil;
carefully
paper.
of
be
this
the
in
out*
putting
and
the is
and draw
of
7.
of
Accessories.
attention
See In
student to
the
When best for
hat sible, pos-
have
to
right
to
you
angles.
into
going
this
Section
consult 17.
a
in
out
sketches
greater and
Fig.
of
liberty
tion exaggera-
9.
connection would
accessories
and
designs carried
are
eccentricity
permitted. the
but
relation
of
other
the
dresses,
way
sketching, pay
sketches
manner
hats
chosta,
then
before
i.e.,
design.
careful
the
Theatrical
Gebhardt
William
Theatrical
the
catch
12.
further,
a
Be
pose
Fig.
most
of
words,
the
Before
hances en-
of
side
is
one
See
color,
name
should
garment
it
as
always
at
head.
insure
value
according
the
some
The
margin
most
to
^S0
designer's
Always
paper
crown
sketch
sketches
these
the
ways Al-
texture,
the
of
be
the
express
lose
to
plies ap-
sketching should
in other
not
Armand,
the
note name
Beer,
Paquin,
Drecoll.
of what
its "feature."
Paul
Cheruet,
Poiret,
hat;
known
are
kind
stated
Care
taken
tinction. dis-
"
French
kid board
best
Much been
just
characteristic Some
used
and
illustration
or
one-
lend
margins
Wide
often
are
6. Hats."
inches.
seven
these
has
out with-
and
six
heads,
for
when
included;
are
outlines
of paper.
from
are
inches
twelve
to
ten
under
Pen-and-
G8.)
ink
is considered
makers' dress-
paints (See Page
description
bristol
Practical
inches.
and
Color, page
for
is
sketch;
opaque
substituted.
9
studio. size
sketches
rough
sketch
finished in your
is
with
color
,
be
color
combined
areas
sometimes
washes
tempera
or
opaque
there
is to put
light big
last.
the
of buttons,
order
usual
first, the
the a
used
often
The
do such
with well as
to
col-
SKETCHING
lars,
FROM
sleeves
shoes.
to
these the
Law
advised; from
11
from
with
and
in
lightlines
Courtesy
Fig.
all
10.
"
Crayon
of
Gerhard
Mcnnen
drawing.
ing draw-
or
and
Excellent
using
These
trial
often
lines for"
or
and
"feeling
the
form.
Figs. 15,
be
16, 18, and
complete
to
another
thought
out;
fix your
the
rather
on
drawing
but
an
individual More
or
stress
be
happy. un-
on
Fig.
is to
helpful dent stu-
a
fessional pro-
touch
the
where
sketching
most
to obtain
general
will
and
assisting the
never
outline,
See Decide
in
tage. advan-
Figs.40
This
attention
proportion, residt
is
part
can
and
out
great
will be
good
that
poses
41.
before
part
one
or
sketches
afford
See Never
poses
nude
carried
used
and
model.
action
See
17.
and
stj-lc.
and is
the
more
being
fashion Fig.
11.
"
Shoes
drawn
by Elf rida Johnson.
too
much
laid
well-drawn
figure underlying
your
begin
is
doing
ten,
quick
19.
on
in
draped
tentative
rest.
practice
the
proportions,
feet
the
minute
from
the
and
fill in
fifteen
general
of
position
five, seven,
to
witli
the
Co
figure
a
indicate
obtained
in other
sketch
words,
of
motion,
the
catch
to
the action
derstanding. un-
it is advisable
in,
doing rapid
head, hands,
In
block
been
have
you
sketching
is of
nude
sketching
the
of
memory
When
ing slrongI\'
done
wards After-
spaces.
pose
advantage
when
top),
in between
makesketches
drawing
the
great
the
at
^ludyhig.
life is
from
these
Ironi
Fig.
Sketch
"
of
page.
Sketching
8.
Life.
and
gins mar-
than
block
to
tions sugges-
see
this
end,
to
(more
page
For
27.
it is
bottom
arrange
Greek
and
paper,
leaving good
the
according
proportion,
on
where
to
of
part
student
the
on
greater facility the
on
Seven
Page
and
tends
It
much
LIFE
drawing
the and
emphasis
SKETCHING
Page Eight be
cannot
this
put
figure
ciation.
with
the
the
yourself
put
that
model;
life, it is
in
the
as
can,
you
the
advised
the
the
head.
is
then
light
po.se
is
will
It
is
studies
in
and
etc.,
to
when
wards after-
the
but
on
costume
Lutz,
Drawing,
in
how, the
hips way,
shoulders,
CaurUsy
An
n.
example
of hat
of
N
Y.
(ilobc
.
the
;
and
again
to
way
Fig.
to
the
which
an
to
sketch. book says:
fashion
attractive
i)ut the See
dress
Figs. 40
entitled
and
from 41.
Practical
falling
part
deviate
valuable
from
advice
the to
from
applies
Sometimes,
of poses.
models
work.
This
shoulder
greater
is
preserve
balance,
away
make
other
the head
tilts
illustralion.
ing refin-
his
ing pictur-
one
incline
the
wisely
the
counterbalance,
pose
slightly,to
drawing one's
"Note
slant
keeping
action,
of
chalk,
the
itself
further
loose,
figure,
copying
you
it.
sketch
another
pose
mentally
work
draw
this
from
the
life
manner,
a
you
impress
and
a
in charcoal,
it
on
practical
artistic
and
Figs.
the
the model
ing understand-
of and
29.)
make
to
only
give
better
ing. com-
(See and
28
of the
side
is
you
perhaps
approximate
observe
which
the
of selves, them-
to
"
from
ferent dif-
and
It
to
will
have
carrying
in this
work
times, some-
ways
the
studies
important
it will
different
persons
way
life.
of This
of
can
from
limbs,
you
Vander-
and
tion, ac-
"
find that
poeVsIIuDian Figure make
the
pose
as
from in
as
be that
only
make
to
copies, by
study,
and
28.
student
as
well
tion disposi-
mimicry
Figs.
10, 27, and
pose
of the
ispiece Front-
and
good
a
same
is, nnitate
fashion
See
hands
given
plan
from
drawing
telling
in
The
be
appre-
to
these
and
work.
should
care
"When
drawing
tant impor-
an
part
of and
hands
of
feet, as
play
value
understanding
Great
study and
the
on
to
the
though,
general." observe
the
in
This your
Figs. the in
show
14 of
kind
same a
and
13
\\'ay, in
reahstic
Fig.
Fig.
Fig.
is put
dry;
tional conven-
color.
water in
on
The
The
colors
opaque
then
are
has
paint
allowed
put
the
and
13.
water
been
have
these
Fig.
dressmaker's sketch color. water
Complete
shade
Fig. 14
an
"
been
color, Fig. 14 or
opaque
flesh *
body
tones,
With
and
in
while
in
done
H.
A
"
dressmaker's
in
hair, which
able to be
of
being
to
avoid
In
this .sketch the
keep are
tempera,
strong pencil lines; this
same
the
fon, chif-
be
are
done
the
waslies, pencil lines often
are
used
done
with
tempera most
to
u.sed for the
flat tones.
indicated
values
garment.* a
with
line effect
darker
lighter or
effectivelyin makinj^
It is l)est
over.
to
Block.
sketch
colors.
worked
shading, and
to over
of Henry
manufacturer's
or
folds
transparent
color, except
flat transparent
Fig.
eliminated.
done is
in transparent
in tempera
considered
been
have
has
13
done
on
advantage
Courtesy Fig.
paint
tempera and
flat tone
one
other
the
this
hght
13
clear
in
is done
13
the
14
In
is used.
method
of
Ireatineuts
two
sketch.
Nine
Page
LIFE
FROM
SKETCHING
colored
sketch.
can
of
Ten
Page
SKETCHING
V
;;
"v
Cotirtcsv
Fig.
Tlu"
illustrations show
this page the
in
to
of the Prang
Co.
Courtesy
Fig.
of dog.
16.
Second
"
stage of sketch
of
one
whether
of
on
finish the
ing, draw-
on
of
First
the
Incorrect
"
way
to
start
a
sketch.
block 15
17
danger
of
attention
outline.
It is
advisable in.
and
are
Fig.
to
(See Figs.
18.)
\
of ihc
Cuurtisi/
18."
17.
Co.
con-
A^
Fig.
of ifie Prang
Courusn
Fig
the whole, before
the
always
portion pro-
action
to
parts
out.
fixing your
is getting
general and
one
shows
ing, copy-
even
that
and
membering re-
jiart before
other
thought
memory,
chicing,or
any
in detail ;
part
never
it be from
life, from
Co,
Prang
o/ the
of dog.
centrating
on
one
be considered
all kinds
the
.stage of sketch
important
most
things
First
15.
stage of sketch
of
Prang
boy.
Courtesy
Co.
Fig.
19.
"
Sketch
of
of the
boy completed.
I'Tdng
Co.
DRAWING WITHOUT
MODELS
C H A
P T
E 11 T W O
TWO
CHAPTER
To
9.
a
up
of
Set
It
"
is
Up
to
head"
one's
head
See
whicli
is the
hi/ Reta
\'ertical
a
useful
human
the
uring
sake,
convenience' dimensions from
those we
use
the
we
in
chief
line
seven
case
seven
are
given are
fashion
and and
will
one-half one-half
the
keep will
we
with
meas-
this
in
it, for (The
long.
slightly cause be-
anatomies,
figure
a
where jNIark
oil'
heads, inches,
to
slimness
as
is
To
for
the
equal
in
this
the
the
and to
a
one-inch the
oval
measure.
vertical
line
into
first third
little
off less
vertical line
be inch
point
a
horizontal
will first
At
just
a
just established, line
on
than line
of
it
indefinite distance
a
two-thirds and
exactiv
so
of
spaced
i)isects
U /
the
off
inch
one
mark
vertical
which
mark
parts.
light
a
length
that
the
this
little below draw
detail,
of
Housckuplng,
head,
equal
this
are
Good
possible
as
some
unit
legs.
wear.
divide
three
on
we
of
in
our
tions; sec-
and
simple
start,
being
construct
used and
it
The
dot.
a
arms,
as
Mark
important
torso,
to
head,
infants'
four
drawing
have
the
featuring
"
vary
constructing
requirement.)
To
line.
Editorial
20.
and
most
work,
the
measure.
figure.
with
into
head,
CouTtcsy
inch
one
using in
iu
it, making
use
the
SengeT.
figure,
will
we
figure
the
divisions
is divided
of
unit
of
height
these
struct con-
of
centre
Fifi.
instance,
as
of
IMODELS
the
as
the
gives
each
it is
inch
one
This
set
"out
To
'"21.
the
most
Draim
figure
a
run
unit
to
figure
Fig.
find
figure
through
paper,
chicing
or
called. this
The
nude
well-proportioned
sometimes
how
understantl
using
ure. Fig-
Well-proportioned
a
best
AVITIIOUT
DRAWING
the
^ ,
c
DRA^\^NG
Fourteen
Page
horizontal
Construct
line.
oval
an
this
on
plan. Horizontal
thirds the a
the
give
the
line of
one-third the
the
five parts;
the
width
each
the
For
the
the
oval
on
first third
the
other
the
the
to
from
words,
eyebrow
side
the
to
of
the
a
little
beyond
line
head,
indicating
in
or,
the
indicating end
the
of
nose.
of
one-third
down
of
pit
line
through
curving
arcs
The
10.
Torso.
length shoulder
and
made
the
hip
is
line
The
expression
proper
of
by
in
a
marking The
Cut
hip.
chin dot
this
Connect
shoulders.
gives each
the
in half
of
and
the
placed point the
point
on
witli
width where
the
insitle ankle
12.
leg
and
of
13.
the
the
outside
the the
ankle line.
hip
is about
ankle
one-half
outside inside
length
calf calf.
of the
equals
wrist
the
arms,
the
The
about
elbow
pit
shoulder.
length
at
comes
The
torso.
lines.
comes
of the
With
block
Positions
The
student, After
will
in
is
arm
these
urements meas-
the
the
of be
of
Head
a
woman's
Dunlop's
figure
found
proportions
helpful
figure and positions;
head for
are
may
this
and
ure fig-
Anatomical
first, in blocking in the
at
the
other
of
diagram 11
page
Diagrams
in
of
hip,
of the
at
the
hands,
The
each
"
of the
line
the
Other
on
the
soles
features.
Figure.
point
the come
than The
"
way half-
come
of
leg
established,
centre
this
the
the
waist
third
pit
of
high,
the
horizontally including
body.
the
and
higher
out
end
hips
and of
shoulders.
width
is
Arms.
stretched
the the
of is
The
the
knees
calf of the
is
third width
the
width
comes
this
the
The
The
Indicate
line of the
ankles
the
and
The
the
from
The
bust
figure
torso.
the
head.
width
tance dis-
of
the
head,
between Establish
feet.
thf^
the
dicating in-
second
line.
the
fourth
Legs.
to
of each
width
the
line
placing
the
waist
verticals
The
The
one
measure
between
of
of the
by
low.
at
each
the
the
one-third
lines
guide
towards
the
between
halfway
seventh is
the
of these
is
between
line.
of the
gives
centre
above
the
this
shoulders.
Curve
distance
head.
11.
of
is
section.
or
end
fourth
lines
Three-quarters
"
head
between
line.
also
and
of the
neck
slightly
shoulders
neck.
the
The
guide to
ear
slightly
giving
thus
other,
the
horizontal
a
Drop
point.
extremities
the
Connect
Draw
of
base
the
with
this
establish
its-length,to
neck.
the
the
from
head,
this.
line
vertical
bisecting
the
the
third
of the
Continue
neck
the
unit
or
"head"
abdomen,
of
from
third,
line
third
tically, ver-
eyes,
mouth.
the
and
lines
the
the
on
line.
bust
of
abdomen.
hip
nearest
Guide
second
the
line
of line
a
oval
represents the
of
corners
each
tip
structure
eyes.
centre
extend
ears
the
space
nose,
the
give
a
mouth.
sitle the
from
dropped
of
and
The
line
sets
bust
One-half
point the
the
ISIODELS
"head"
the
the
curved
second
of
nose
a
between
middle
the
gives
between the
the
into
tip
through
ej'e
neck
through
of
base
the
where The
socket, and
eye
of the
the
of
on
tip
horizontal
into
parts
the
the
centre
the
Divide
distance
distance
and
nose
marks
the
drawn
the
the
line drawn
of the
centre
horizontal
of
of and
eyebrows
marks
and
eyebrows
one-third
point
line
intersects
the
through
vertical
the
horizontal
A
nose.
the
divide
that
points
drawn
line;
WITHOUT
well be the
to
the
figure. stood, underturned "tooth-
THE
FIGURE
Page Fifteen
PIT
OF
ARM
(IK
THE
WIDTH
OF
THREE
1st
one-third
width
SHULLDER
EACH
SHOULDER
-FOURTHS
head
IS
LENGTH
OF
HEAD
SHOl
LDKR
I INK
"ONE-THIRD
2nd
BREAST
head-
",,,
HEAD
LINE
LINE
LINE
ONE-HALF
3rd END
OF
head
KNEE
head
6th
head
7th
head
T^th
ANKLE
head.
SOLES Drawn
Fig.
i21.
"
Coustruoliuu
of
fashion
figure without
model.
a
little
wrist
LINE
is
between OF
WAY
4tii
and
TORSO
4th
5th
HEADS
ABDOMEN
HIP
head
CHIN
TWEEN BE-
;5rD
and
ELBOW
4th
neck
ONE-HALFWAY
2nd
head
of
LINE
WAIST
3rd
pit BELOW
HIP
one-half LINE
LINE
OF
FEET F.
above
linf
FEET
by Gertrude
TWEEN BE-
heads
Derby.
way AND
SOLES
WITHOUT
DRAWING
Sixteen
Page
A
MODEL
(
Fig.
a.
(see
figures"
pick
good foundation, the
helping
foreshortening for
suggestions
then
found
four
into
times head
fourth
the
at
in
adult
the
eight
times;
wider
lips
noted,
the
and
Figs. 20, C.
Professor who
See
Caroline
"
Happy
Hunt
is
H. one
All Day
Rimmer.
94
larger
in
adult, the
and
to
eyes
and
of
The
Through,"
ilhistrated
taken
long to
to
to
tenth
to
youth
feet look
and
their
make
them
gets
period big.
too
manhood
to
or
the
look
at
good
way,
Willcox
Hague,
15.
shape Laura
of
Scott, and
the also
head "
not
detracts
and
-
by
makes
"
that
Figure Drawing
GreenaElizabeth
Helen
Faces. is
Kate
Smith,
Birch, and and
Heads
period,
studying children,
illustrations
Jessie
be
taken
which
charm In
slim
be
must
childlike
vulgar.
should
care
the
legs,at Care
developed,
Shippen Green,
by
eighth
this is the
angular;
slender.
their
Janet
to
the the
continues
keep
and
look
of the greatest author-
from
drawing children, great
In
them
95.
the
fourth
womanhood.
from
also
year.
when
year,
then
are
tion propor-
Fig. 22,
See
and
therefore,
heads,
Stratz
at
half
a
shorter,
fuller.
somewhat
Holland,
and
nose
seven,
times;
seven
are
of the
those
Growth
three-quarter
seven
Children's
apart,
Fig. 24
*
from
be
than
hands
one-half
times.
it should
and
the
height;
fifteen, about
times;
thin
when
and
the
from
height
lanky,
one-
six
and
in
fifteenth
years,
and
birth
year.
Fourth, the
at
six
tenth
from
height year.
eighth
breadth
world,
the
:
from
of the
about
the
about
years,
of
age
four
at
five
the
and fourth
height
in
Third,
opment. devel-
into
approximately ten
of
measures
about
in
beginning
the
tions propor-
the
at
height;
measures
times
the
chart
follows
as
of the
end
in
body
grows
I'/ I'tygHf,
'null'-:!/
(Jreenaway.
human
First, in breadth
Second, The
"
stages or
head
the
six months,
about
the
various
infancy,
the child
ferent to the dif-
in
of Kate
influence
on a
says
23.
illustrates
24
in
In
head
Proportions.
Fig.
in
shown
ities
For
necessary.
Fig.
positions, see
a
simple
make
to
the
turning
Children's
14.
make
22)
page
Dryilen wliioli show
by Helen
fashions
Modern
"
Dryden.*
The of
general an
for Cliildren
oval "
by
Page Seventeen
FACES
AND
HEADS
Fig.
with
the
great
e.st
serve
this, too,
in
back
views
in
the
centre
of
width
side,
the of
-is.
the
Showing
"
at
constnietion
the
top;
three-quarter
head.
The
head,
eyes
and
the
ob-
lines
that
of
lielp in drawing
the
nose
is
and
brows
and
chin.
are
brows
are
end
ear,
and
on
the
heads.
halfway
a
See level
lower
between
Fig. with
end
23.
the of
Year
4
Years
Years
7
Fig.
24.
"
10
Years
Proportion of figure at different ages.
T.5
Years
eyeeye-
top
the
Courtntu
H
the Tlie
of
0/
Home
the
on
ear
Pattern
Maturity
a
Co.
DRAWING
Page Eighteen with
level
the
up
how
the
are
in
these how
and
which
on
forms the
a
head
rubbed will
out
nostrils, but
the
except
when
tures fea-
thought.
changes,
25.
method.
this
heads
drawing and
of
In
the
ways al-
is
use
the centre
other
tion construc-
turned
see
more
down,
The
chin. one
eye
fhe
lower
apart,
and
lip
ends
half
about
at
between chin. in
the
the
the
dividing and
planes,
face
great
be
taken
the
care
in
not
line the
and
to
of
head,
putting
that
Hair
should
the
cheek
bones
waves
of
slightly
below
little
extend
the
drawing
you
knob; the
extend in a
hands, before
detail. be
expressed
lightand
making
are
hue
planes.
the
it
nose
think
to
round
sketch
Block
dark,
rative, deco-
a
ing). draw-
unrealistic
helpful
which
the
eyes,
of
N
from
nostrils,
sides,
and
suggestive Afterwards
cmiHcsy Fic.
of
everything
can
be
of
vogne.
'-'(!,
and
and
the
hair
the observe
other
V
draw
er
a
the
forehead, because
face
blcuds
e
line between
clean-cut
a
by
by single lines (unless
mouth.
In is
not
slightlybelow
the jawbone the
the
in
lid.
ears,
in the
and
Observe
ways al-
eye,
pupil
everything
cheek, jaw
in
25.
the
bones.
come
destroys
the
the
chin
ignore the
it
Fig.
hold
into
the
flesh-like quality.
making
triangle is helpful
A
should
See In
hard
a
around
the
and
you
mouth.
make
lips,as
distance
the
and
Never
nose
the
as
the
line
are
eyes
always
catches
have
Jess
and
forehead
lip,
upper
is
light,
more
gest sug-
lower the
lower
; when
less forehead
the
then
darkest
and
which in
lip,which
we
up,
chin
turned
string of broken
the
head
the
is
think
shade
When
the first
Cupid's bow,
a
centre;
lines.
Fig.
See
mouth,
of
means
wilh-
drawing
In
shortening fore-
is simplified
by
in
put
this foundation
out
located
the
they tlian
correctly placed
more
appear
down.
and
turns
Note
This
nostrils. axis
never-changing
MODELS
WITHOUT
in
face.
drawings
places
many
in wlth
thc
See that
toHc
Fig. show
of 26
hair
HANDS
and
Hands
16.
should
be
The
and
10,
for
next
of
study of the
them
blocking
in.
step
the
It
these
is simplified
slippers
large
masses
drawn
See
the
high, using
hands
is
Creek
well
models,
for
examples rendered.
Figs. 27,
to
to
Law
but
of
length the
fingersto and thumb
of
study
or
in
icing them.
ch
or
Van-
Human
derpoel's Figure,
mentioned
before,
has
of both feet
and
it
studying to
of
them
is
from
drawings to
try
first
are
Fig.
to
different about
own
your
of hands
by
Albert
and
28
should
group
likewise of
the
five
positions 11
inches
or
on
wide
dress.
in fashion
receive
seven
a
must
29.
student.
shoes
wards afterings drawfrom
then
and
Figs.
shoes, including sport
board
Study
"
and
extremely important
attention
in
27.
plates,
life
See
careful
that
the
ankle
higher
than
outside
ankle.
is the
Diirer.
and sheet
by
A
the
good
pairs
select
with
the
and
the
costume;
character. shoes
is
usually
match use
a
best
the
patent
and
gown
leather
evening, and
for
sport.
You
for
be
the in
shoes suit.
sport
evening
hosiery
right
keeping
afternoon a
ha^'e
to
for
noon, after-
travel,
not
evening slii)perswith
of
for
nuist
or
to
shoes
are
shoe
right
footwear
The
serve ob-
is aj)-
for
making
to
and
is
Note
and
shoi)ping,for
these
work,
way
11.
heel. 25
inside
There
from
imaginalion. Shoes
Figs.
different
find
careful
make
the
See
select
way
good
]ine,
extends
propriate
helpful to study.
One
is than
what
the
that
shoe
It is "well to
hands
would
student
inside
outside
some
tions illustra-
splendid
the
nearer
life will
the
the
which
by
drawing
of
the
tion observa-
from
help
of
liow
shorter
line
edge knowl-
gained
serve Ob-
akso
the
to
has
curve.
much
in
comes
outside
which
some
of
straight-
the
line,
palm,
fingers. All
than
ally usu-
are
inside
the foot is er
the
relation
well-
the
the
where
and
also
they
how
mine the ]iand, deter-
the
ment. arrange-
shoes
study how
see
Notice
ing draw-
the relation
of
real
use
For
28.
in
example,
The
"
drawing
looking
by first and
Nineteen
Page
Feet.
careful
a
feet.
and
FEET
AND
It
slippers
unless
you
pump.
of
slippers, of bristol 14
inches
In skirt
these cover
days up
bad
we
cannot
drawing
make of
the
the
feet
Page
Twenty
D1^A^\
1\G
WITHOUT
Cuii.\;."ij ,,/
Fig.
28.
"
Construction
of Hand
from
Vanderpoel's
"
Human
The
MODELS
Inlinul
Figure."
I'niihr.
ARMS
Page
Fig.
29."
Construction
of Arm
from
Vanderpoel's
"
The
Inland
Lijur!,'"y
of
Human
Figure."
Twenty-one
PrlnUr.
longer
No
shoes.
and
"
feet
little mice
The
17.
by
following
facts
best
is feet
the
gathered
thigh,
balanced
Running.
on
and
leg
about
third
the
of
body
when
the
is the
twice of
the
neck.
the hand
beyond of
and
half
about
the
is
feet
the time
the
in
part
body See
one
ground, though feet
are
is
make
that
support
reality
vertical
of
Fig.
Fig.
foot
back,
behind
the
32.
Fig.
notice
30.
"
ground.
to
of the See
time
Fig.
be
as
given the
by
dotted
line
in
student that
should
straight line
a
from
the
neck
Illustrating balance.
the
in reality much
off the
33.
it necessary
shown
extending
shown on
ures, fig-
33.
The
on
Fig.
both
in
leaning
the
rests
is best
Rimning when
as
Illustrating balance.
"
when on
are
greater
foot.
one
32.
scribed de-
best
ground, though
to
come
Kneeling
papef
on
both
when
ground
shown
the
of
line
the
support,
it must
til un-
is bent
body
elbow
way
Walking
right up-
weight
thigh.
the
and
an
the
length
Fig.
down
Standing.
the
and
over
position
about
to
the
foot
31.
Jumping.
Leaping.
The
head
waist
Fig.
may
bring
to
as
head
maintain
trifle
The
reaches
so
31.
at
either
the
a
body
the
as
Fig.
bent
hips
and
longest.
trunk
The
out with-
also
side
in
be
length
is
when and
each
are
though
trunk
to
3L
supported
shown
one-
head
the
neck,
Fig.
end
one
trunk,
the
See
on
each
to
ready
and
30.
Walking.
toothpick
he
ground
stands
figures: T
shown
together
poise
stick
in
3L
off the
with
A
the as
best
alight safely.
be
in connection
Fig.
but
preserve
the
observing
Fig.
with
See
the
with
ground
Jumping
/
but
the
jumping.
same
for
ready
(limbs
off
the
in
effort),
feet
express
perhaps
can
MODELS
shown
next
out,
tions propor-
to
best
running
as
Simplest
helps
acquired
is
Leaping
Form
Relative
"
and
of
light."
the
its
to
Elements.
action
in and
Human
Reduced
said
petticoat
steal
fear
they
if
be
manner
her
beneath
Her Like As
it
can
that
Fashion
Dame
WITHOUT
DRAWING
Twenty-two
Page
30.
between
evenly
the
feet
distributed
the
floor
when
the
on
both
just
comes
weight
legs.
When
is
THE
HUMAN
Figs.
and
34
Figs.
35.
Toothpick
the
begins the
is
weight the
at
from
neck
the a
is be the
On
falls
proper
ground.
against See
these,
the
Figs. is
32
well
or
and to
build
figure
the
In the
See
Fig. is
viding pro-
weight
of
is
shown
a
the
principal
foot
is extended
the
acquire
to
34.
body.
seated
to
Fig.
figure;
of
part
is
37
support,
receive this
the struction con-
applied.
to
Figs.
to
illustrations
the
Fig. 36
stool the
After
37.
foundations
these
on
though
has
and
36
drawing.
line
it falls 33.
fashion
ance bal-
this either
figure
to
action.
when
legs,
when
something
it
of
plumb the
between
from
hand,
the
balance;
Hne
ankle
other
action,
applied
phimb
(viewed
the
to
the
in
destroyed,
leaning
studying
is
neck
the
extends
leg.
figure
of
construction
the
leg,
one
pit
and
front)
supporting the
on
Twenty-three
Page
FORM
construction form.
3-1,
35.
of in
36
the
giving
and
37
are
use
of
the
action
to
given
as
toothpick the
human
Courtesy
From
a
drawing and
ink
by Helen were
used,
Dryden, on
a
rough
in
wliich texture
(/
Voo^tc.
pencil, wash paper.
METHODS
CHAPTER THREE
THREE
C HAPTEH
in
century,
Italy,
ideal
with
Instead
using
exact
other of
which
the Greek
as
Law.
These
Renaissance
study
proportion
known
tlie sixteenth
the
Vinci
da
through
out,
In
"
of
days
the
Leonardo
worked an
Law.
Greek
The
18.
METHODS
is
applied
artists
chissic
art,
in
as
line
is a
in
drawn
six
muslin
skirt.
Fig.
Divide
where
easily
measured
inches
the
be
found
the
be
been
halves,
relation line nor
to
of
and
line.
into
are
Hem
seen
and
and
at
where some-
or
7,
alike
one-half,
that below
the appear at
interesting.
the
at
the
Tucks '
V
r
^
1 ;$:
s:
Fig.
39.
it
5,
top.
will
times some-
of near
or
to
clearly
be
should
widest,
next
narrowest,
vertical
horizontal
margin the
is
positions com-
positions com-
should
still
middle
size
left, and This
to
ratio
11.
the
all
in
bottom, the
is
ratio
this
the
In
widest
and
Co.,
enough
near
and
side
the
tices, Prac-
somewhere
nuu-gin,
space.
right at
is
page
top,
the
Ihe
as
bottom,
the
of
this
a
widest
either
on
shown
proportion
ajijilying
of
the
at
of
perhaps In
the
appear
Press
This
and
that
and
Ronald
stated
IL
to
margins
seen
and
the
tucks).
is made:
Law
with.
the
mechanical
neither
Muslin '
thirds
and
subtle
but
work
the
38,
7
to
to the
Principles
The
statement
Greek
correct,
in
as
horizontal,
above
areas
5
Its
"
by
crudely
hand,
found
point
a
"This
incomparable
too
It will be
other
monotonous,
great,
(c). Fig.
a
draw
to
the
each
other
is
one-third
which
heavy
the
are
following
will
ing, uninterest-
In
divided
the
to
areas
and
Advertising published
is divided
equal
On
In
so
ing stimulat-
interest
oblong
an
the
areas
sizes
between
the
lending
.'58.
in
variety,
things,
mechanical
the
has
into
through by
if
satisfactory.
oblong then
and
half,
difference
(b), Fig. 38, to
consistent
a
Thus,
(a). Fig.
see
if
of
both
portions pro-
.'JS.
hem
imagination
horizontally
good (of
in all artistic
in
ming trim-
obtain
by
idea
object.
given
this to
this law
fundamental
and
space
further
I'u:.
the
ming trim-
should
to
up
and
the
any
Re-divide
the
so
easily grasped
supplies
find
start.
as
etc.,
mind,
Greek
(hem
third,
fourth,
the
sent repre-
the
tucks)
such
a
to
to
(c)
chanical me-
half,
in
by
Law
(/")
hems,
Suppose
39.
long
of
tically prac-
tucks,
to
inches
ments, measure-
the
he
may
clothing
illustrated
etc.,
commonly
(a)
proportions
same
in
so
the that
rowest nar-
the
Page
Twenty-eight form
general
of
is found
as
"Not
in the
be
preserve
the space
applied
possible
when
within
display
enclosing
should
only
areas
the
shall
composition
METHODS
the
ratio
same
different their
itself.
Greek
margins,
to
the
Law
unlikeness,
("1) Spaces of
but
enough
also,
when thirds
the
pleasing together,
most
between
length
one-half
or
of
meaning it
copy,
apply
This
the
to
various
possible the
the
words,
the
lines
often
these
portions
to
blank
the
to
so,
pro-
has
value.
paid
the
to
Fig.
40.
"
Qukk
by Esther
Blank
spaces.
space
.sketch
from
Fin.
noted
of these
widths is often
blank
large
Sizes
satisfy,
as
eloquent
more
above
briefly,
it
is
that:
page
unrelated, a
the
such
small
very
does
mind
that
as
a
one,
not
see
emphasize
each
or
sizes
easily compared
by
enough the
eye
alike and
to
yet
widest
the
best of
next
the
at
preserve
a
vertical
a
width
at
top, and
the
horizontal
a
still appear
size at
sides,
the
the
top.
relation
with
at
like
for
should
the second
narrowest
for
greatest
margin
the
This the
is closed en-
space.
and
from
which
the of
is the
nuike in
kept near
coat
The
arrangement
the sides; while
at
Design
to
any
have
bottom,
very
fail
well
and
quick sketch.
edge, the
the
artistic. inand
are
difference.
(3) Areas be
lower
the
at the
divisions
too
and
sketch
is to
smallest the
relationship in things other's
from
lay-out
to
size
Costume
"
to
of drawing as
folds
margins
(1) Mechanical
(2)
41.
niatle
copy."
Summarizing
law
applied
lengths.
Wegman.
the
Greek
margins
to
as
Dratm
is
relative
of
line.
papers
an
one-
two-thirds
be
may
lile.
be
length
the
Not
attention
to
the
The
of
enough
than
and
the
each
shorter
half
longer
possible
this
the
is between
display.
it is
added
is
parts
copy
do
line
between
space
different
When
-?^
chance
a
apply
to
r
good
to
other,
doubly
tv/o
in
are
gether. to-
other
when
relation
-/
this,
There
pleasing. also
it is
is
placed In
of
do
harmonious in-
lengths
or
effect
ment, treat-
avoids
sizes
or
parts
to
a
in size for
but
of the
When
space.
gives quite
individual
the
within
copy
other.
width
paragraphs
two-
the
difference
should
strength
and
and
of
space
out with-
interfering with the
of
satisfy us.
are
is
one
because
interest
to
name
the
mind. and
plan.
selection start
for If the
and
of any
good
arrangement,
work
it is school lesson
Observe
the
design
work,
should how
details
should
the
form
be even
part
enclosing
LAY-OUTS
form
lines
to
of
lines
that
tiiat
centre,
and
tend
The
tangents.
should
setting
or
less
forming The
larger
less
intense
should
the
the
the
area
the
between
space
of these
smallest
of
paths
smaller
be
than
of
visions
be
.same
unity,
for
than
less
the
triangle.
using
process,
be
"^
i
r;
"^^^^ ""^fe^ /Q\il l\/0\ '^'^ "^^^^X^ 7 \ ^^
shoidd
*
v
V^
di-
I'WV
V-
(-^''"^
U^
U
group
is
step
to
ing work-
doing this,
by
larging en-
means
T-
board,
drawing
a
The
kept.
ruler
and of
statement
the
just given
dimensions is
|
the
dimensions
In
square,
the
pose
in
original proportions
detailed
A
m
convenient
a
of
line
"
the
the
the
Rectangles reducing. in diagonal are common as a proportion. and
Enlarging
"
the
together
must
garden
a
having
shapes.
illustration,
For
42.
two
hold
shapes
more
or
the
is done
may
to have
In order
first
must
Fig.
be.
The
enlarge
more
color
the
intense
o
groups.
the
smaller
c
attractive
size.
color
the
be;
figures
the
area
the
artist's
these
to
them.
against
five
(say
to
in
put
The
is
or
object
the
number
work
those
than
intense
shown
be
seven
inches
be
to
space
most
background
of the
lines
the
figures
figures).
come be-
to
artist
by
high
and
wide)
to
that
lines
the
to
one-cjuarter
lead
the
to
and
conform
corners,
lead
eight
(for example
edge,
given
inches
lines that
should
it. Avoid
structural
is
page
the
nearly
more
Uie
to
comes
one
nearer
the
printed
the
The
sliape witliin.
the
determines
Twenty-nine
Page
REDUCTIONS
AND
follows:
as
Draw
a
''"*"' ^^^' ^'^*^'" *'^^
horizontal inches
*^"
*^^
^'^^
^^^
Li U straight U S^liV^ paper, ) using the T-square, the ^^]\^^^^\-^^''''^'^^f'2i^ '^'''"^ "^ vs\\\q\\ is held ''MlTrt'//^ V ^ \ ^jt ^^^ left the edge "''^"''""'^t \\:f\\j\ \ft\f \ board, "^ ^^^^ drawing 11 ^ l\\\\^-""^-"pir7 /I/
garden
across,
shapes.
"
ductions.
given t io
n
of
the
plied in
to
is also
It
the
a
certain
whether papers. space
for The which
ap-
be
to
given
lJ[V^ '\Z^Jj) y'^^Y]Jl\ \ ^ li Lu /-'^ k IflA
''"^^ *^'''"^^'^^^^
"
'^Cl"
V
_^ '"Jp"W^^\
put
f,,;.
43.-The
rough
height
^^^^
booklets
lay-out
is
to
of
occupy
the on
inches
blade. measure
corner,
to
the
from
of
^^^^ paper, vertical
At
^^'l^'^"^^ ^^^^s upper
the
seven
right
and
edge
triangle, the
a
edge
left-hand and
eight
us
the
^'"*^" '"g'i'"-'^tthe
lay-out.^
T-square
news-
or
width
inches
^^*^^ ^^
the
and
in, let
measure
^'^J'' ^^o
"^
space,
magazines, the
Next
|[1|
of
grouping
objects
any
which
figures
\\\p"ir '^pj If ^ \ ''^j^~'^*^f%m^ / \j(il| _^^ "jW
drawing
the
it.
on
i \U A^f"^"^'^*^ ij\
composi-
catalogue
a
and
page,
is
name
the
to
of
Re-
Lay-out
"
technical
the
go
and
Lay-outs
19.
ba.se
against of
the
upper
one-quarter inches
down
^ c
1
METHODS
Page Thirty
this little
complete draw
for
extend
working
a
interesting effect 45,
inches
be
is
obtained.
original size wide
Each
and this
the
of
diagonal,
line
touched
bounding by
the
The
12|
figure.
some
better
the
out lay-
artist
the
less
will be
space
ed. wast-
It will be found
of
advisable
small
large and
of
part
some
erect
dimensions
Fig.
was
lay-out should
the
perpendicularand
the
See
which
by 17f high.
touches
horizontal the
height
wherever
line
horizontal
a
the
lay-out
the
out
fectly per-
then
rectangle;
determine
and
diagonal
a
desired
triangle to
ruler, using the
the
with
give
to
rectangleswill have
the
the
tion. propor-
figure
with
Fig. 42.
darkest
clothes, as
same
See
Catalogue often
pages
hands
before
eye,
out
off
a
the
technicallyfinished product,
The
law
often
a
artist
who
is
the
who
figures;
draws
another
lace
heads;
finishes
the
hands
and
seventeen
however,
by
one
Catalogue drawing. of several
The
top
details
See
such
The
is
like
Fig. 44;
twenty-five inches
artist, a
out through-
much
more
one
below, those
the
top
seem
than
the the
nearer
it
by
all
design, the read
helpful to
Poor;
A.
Henry
student
Pictorial
position, Com-
Principles
of Z)e.s'7(7/i, by Batchelder; Arthur
Dow,
Arrangement
inches.
three-quarter is done
will find
who
a
principlesof general composition
underlay
who
of
foot of the stairs.
the
which
large
s,
be
page.
people
combined
artists.
For
laid-out the
another
feet.
was
this work
expert
the on
still another
and and
originalof this
When,
does
embroidery;
and the
by
Conventional
on
puts
who
finishes
the
44.-
them who
another
washes;
r e
WavximakcT.
of John
garments;
another
as
Fig.
"ork
of the
the
smaller Courtesy
sketches
makes
nearer
at
as
Fig. -13; another
who
are
u
should
stands
ning plan-
page
fig
staircase; when
the
f3"JOS50
in
spective per-
there r
these
effect
outs, lay-
and
11e
a
the
does
but
grouping figures
s m
special
nothing
ures fig-
of
if
that,
teresting. unin-
There
sets
require?
artistic stiff,inand
the
also
advantage.
to
graphically photo-
often
most to
other
perfect but
the
is found
and
the
to
agreeable
come
many
they
this
through
go
centre
20. "
and
by
Composition, by Principles of Advertising
Frank
Mechanical
Before
taking
certain
Alvah
Helps up
ink
mechanical
and
and
Parsons. Short wash
helps
and
Cuts. ing, rendershort
MECHANICAL
results
to
cuts
HELPS
and
such
time-saver,
in
Fig.
of
49
is
Day from
seen
black
great
tools
the
paper.
a even
the
texture.
A
texture,
brush
smooth
and
used
knife
Fig.
48.
When
Ben
is
where
be
used
colored
with
pencil
the
number
t
t
e .X
u
These
the
lead
it is
effect
engraver
Ben
See
rest.
and
the in
liat
two
knife, the
with
Day Courtesy
Fig-
Catalogue drawing, the work
45-
to
of of
artist from
irregularityof
line.
made
plates
more
of
colors
comes
The
three
most
the
plain
white
two
Ben
this
Day
or
in used with
a
See
raised
Fig.
48.
97
are
or
and
irork
designs. perhaps
to
white
from
shows
46
entire
possible to
dead
an
black.
finished
a
and
(tracing
with
what paper
with
flat tone
a
Ross
toothbrush,
effects
for
except
paper,
is
the
cutting
practically
fastened
down
tures, tex-
Cover
backgrounds.
drawing,
spattered, make
is done
good
posters
be
embossed
Fig.
makes
in the
of
put This
drawing.
Spatter
the
to
Fig.
variety kinds
gradation
board
can
used.
were
even
necessitates
according
used.
plates
Ros.s Board
When
the
in color, but
on
two
particularly
the
be ink.
finish.
makes
observe
are
with
on
check.
can
Wanamaker
John
one
pencil,
fine
Black
the
hand;
the
the
Fig. 50,
or
which
the
third;
77,
between
number
obtained the
with
face. sur-
effects
Fig.
by
put
pencil
a
be
can
by
rough Two
with
and
tone
stipple surface;
printings
be
surface
the
on
start
more
tained ob-
and
and
greater
be
rubbing ;
Fig. 49,
difference
done
result.
second,
floor
stipple. Notice these
stipple
a
darker
a
the
Ben
showing
the
can
with
does
catch
by scraping
Day
machine
dots.
the
off the
wanted
the
case
of
is the
white
of the
the
this
and
In
with
r e
the and
surface,
in
Day
wash
marked
and
raised
blue
or
is obtained
vrhitc
which
blue
a
this
pencil over
the
are
-color
water
first, the
the
consists
desired,
to
In
plain
line cut
drawing.
places
with
by rubbing
tone half-
ink
or
the
are
effects
the
able effects obtainin the
with
pencil
souic
and
textiles
black
blind
stipple effect
complicated
of the
with
and
obtain
to
See
white
cross-ruled
shown
samples
few
air
the
texture,
sidered, con-
rapid sliading
spatter,
Ben be
can
as
he
must
Day
Board,
prints.
silver
and
as
Ross
mediums,
effects
Ben
Thirty-one
Page
parts out a
with
to
these stencil rubber
in
toothbrush
away,
paper
and
draw
making
shoes.
method
print line
cuts
this
For
or
is made
in
work
on
Clemmon's
over
cardboard
a
smooth
The
paper
effects in the of for
wash
on
Fig.
as
tone,
its
use
When
the
nuiy
clean and
the
be
paper
sharp
rubber
This
8|"
an
oh",
The See
in
the
useful.
tone
Fig.
can
Tracing.
21.
is
thin
purpose cement.
thoroughly dry
leaving is 54.
a
perfectly
photographic
mercury.
leaves
the
lines clean
and
white
sheet
of
should
be
See
necessary.
a
found
in
doing
gives
paper
transferring
in
often
time-saver
Graphite
etc.
line
is
Tracing
"
is
and
nccessarj-
better
this
ride bichlo-
52.
white
kept
pouring saturated
a
original photograph
where
up
p h
r a
g
of
result
the
the
touched
and
and be
dry,
with
compared
to be
rubber
Fig.
a
doing
pressure,
which
effect
or
repeats,
is
cement
even
perfectly
a
When
work,
for
with
rubbetl
mechanical.
from
upon
in spatter
paper,
down
surface.
As
is used
transparent,
of
variety 55.
an
ver^^
by
run
Frisket
pasted
and
it is found
Fig.
of
is covered.
it
See
paper.
either
desired,
great
surface
and
rough
atomizer
a
Maoaziiu.
Quill
of
redured Ross Board, Drawing on liighIjy 7" wide original.
pen
shoes
See
obtained.
and
"
o
silver
bleached
of
a
gives
as
It is really an
the
48.
paper.
air brush
half-tone
by
Courtesy
other
or
it
solution
Fig.
t
by
away
45.
varied
the
to
up
is
over
a
such
The
sliadows
gradually
o
color
a
with
J) h
or
even
done
tooth,
India-ink,
doing deep
son rea-
called
charcoal
and
finished, the
are
paper
pens
with
drawing
ing; draw-
and
is
usual
working
drawings
what
the
first and
pencil,
sometimes
fully care-
duction repro-
a
crayon,
then
high lights. When
this
charcoal,
of
of often
interesting
gives
lines Out-
drawing. traced
Fig.
texture
to get
surface
are
47.
rough
salted
mounted
on
very
skillfully.See
convenient
and
this
done
of
print
plain
for
a
practice
be
silver
size
a
used
drawings
a
photograph to
often
pen
paper
With
drawing.
is
purpose
the
flyonto
spatter
can
over
silver
the
letting
little
the
for
toward
bristles you,
it feet
penknife
a
brush
or
pen
a
of
edge
the
three
The
the
hold
ink,
about
and
of
tlie handle
of
saucer
a
the
facing
dip
First,
convenient).
is
cement
or
METHODS
Thirty-two
Page
than
a
carbon
paper.
The when for
pencil tracing
doing
carbon. luider
should
Ruled thin
designs.
paper
kept
sharp
very
is
good
transferring through
the
and
the
be a
squares
in
hard
are
doing
pencil useful some
to
kinds
put of
Page Thirty-three
TRACING
Fig.
No.
s.'5
i8.
"
Ross
Board:
Ko.
Half-lonc,
"
ssi^rrr^
white, black
Embossed
307."
5
and
white
texture
and
cross
rules.
No.
4'.
X
310."
9X
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No.
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Fig.
49.
"
Some
335-" 954
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samples of
No.
Ben
Day.
336"
9)4
x
14J4.
No.
X 11. 33^." c".^4
METHODS
Thirty-four
Page
Fig.
Stipple, which with
made
the
When
pen.
takes
by
is done
long time,
point flat
a
50.
"
Stipple work
done
of
a
in which
tone
effect is desired, it is often p
r o
il II
circles
c
e
See
large dots
to
be
use
Fig.
required,
found
convenient
a
ball-pointed and
effects
his
it
with back One
pen.
Sec
Silhouette.
artist in
ing do-
by
has
been
"There
by 51.
"
Detail
of
in
ago
is
pictured
making be
in this
for
to
in
tion, posimany
profilemeans
persons
little; it is the no
or
one
clearly the
Lord of
the
than
pose
something
Fig.
52.
Courtisy
of E.
Adams.
in
the
of
face that
is indicative
Many
the
eyes
drawing
of the true
portance im-
member re-
cannot
j)ersons
demonstrated
]\Iiss
so
to
Certain
silhouettes.
permission
"Perhaps
more
ever
things
many
cjuote it:
has
are
stipple.
portrait
secured
terest in-
outside.
helpful commercially, her
fostered
engrossing
some
ing follow-
Tribune,
and
his
In
Lord,
time
some
the
the
of
quality
Fig.
the silhouette
chap,
attitude
made
Harriet
Miss
restrained
little
attentive
in
the
in front.
feel the
can
life in the
rigid in
raised lowered
and
has
holds
perfectly
head
unusual
"
statement
she
50.
the
silhouettes
shoulders.
whom
boy
way
perched
is
Fig.
obtained
be
can
head
neck
If
interesting
manner.
22.
51.
in the
found a
little
i*".,.
tion, ac-
portrayed. Fig. 57,
each
are
Artistic
this
into
A
."i.
much
how
person's
a
on
of
sets
running
other.
will
b y
d
be
may
a-
varying humor,
what
a
Abraham
head,
a
dots of
of
i^uurttny
ly hand.
full
personality.
faces
are
im-
mobile
and
They Little
this
in
shine
to
give
and,
is
And
it
300570
Catalogue
WanamahcT
John
is
it must with to
seated melt
not
5i
"
Shoes
into
in
stiadeil with
with
of J
the
results.
puzzling
break
be
must
with
J .
in
as
being outline
an
usually filled
black
Fig.
Figs.
ink.
57
5().
figures when
the
said
are
white
to
paper
be
^iQtrr.
5.5.
Etfect
prodiiced
by
u.se
of
an
air
houetted sil-
appears
"
Fig.
and
successfully added
is sometimes
Half-tone
lights.
air bru5;h.
in
page.
White
58.
gaining
effect,
See
Coitrtesy
Fig
5,3.-
ot
cjuick
of
profile,
300S69 Courtesy
person
well
inking."
very
sketch,
a
figure is
the
silhouette
merely
Fig.
for
a
an
parent ap-
a
gives
of characterization
method
chair
person's
that
The
ity. abnormal-
examined,
the
to
most al-
or
The on
be
cutting or
at
a
unmistakable
note
that
hinted
face
and
may
touch
tory, satisfac-
which
the
this
it
and
Nothing
an
tant, impor-
falseness
of
lip
Not
line
much
slightly upturned
line
for
how
ignored
is
made
more
Lord, startled
line
means.
line out-
have
not
find
curve
light
awkward
a was
is
done
would
is
each
ed allow-
the
the
to
Miss
explained
through
have
an
too,"
to
neck.
of her to
then,
suggestion
in
life
little
of
spot
a
"And
membered re-
back,
I have
to
and
You
her
but
character
add
houetted. sildrawing.
"one
hair
her
down
be
must
they
for
eyes
well
such
girl.Fig. 58. see
be
cannot
points
their
to
"
as
look
must
one
character.
for
Thirty-five
Page
SILHOUETTE
brush.
METHODS
Page Thirty-six background. A silhouette is a design Ellipse. With a sharplydefined; the clear outlines of the A to B, Fig. 59, at C and strike a drawing coming directly againstthe paper
as
the
which
on
it is
the base
D
figure,
the
or
part of
some
the
designof wash
that
is
wash
and
Fig. the
at
Also
60.
C
point
stretch
a
thread
from E to D
around at
C.
This eflFect.
Remove
the
pin
at
reproduced
C, and, holding the
vague
a
Theatre
white silhouette used by the Fulton
and
Fig. 56.^Black
and has
advertise
to
"The
Misleading Lady.
pencil perpendicularly,
"
describe
line
its edges,which
the shadow
end
in
nite indefi-
an
See
understood that with
is made and
a
are
for what this is
kinds
many
which
lettering pens, be
such
work
is
books
Good
of
the
most
imi)ortant
the listof materials.
examplesclippedfrom booklets,magacatalogues, zines and
newspapers
It
sists con-
all sources
"
"
"
different technique illustrating and
the
of expression plaids,
textures,
numerous
stripes,vel-
quired. V reon
tions Swipe collecexpressive
and
of
of will
"
artists call docnments,
most one
items under
serviceable,
found
when
commercial
and
a
there
is the term
In ruling pen. of we speaking pens, might say here that with
see
Collections.*
It is
compass,
Fig. 60.
Swipe
circle
"
a
ink circle usually
an
shown, ellipse
25.
Fig.63.
Circle.
of the
the
veil ends)
(such as the background.
Construction
23.
the
E, place pins.
See
in the
vagueness
and
Where
horizontal line at D
figure, pears disap-
definite
marking
to E.
tie
onlyin tone no
by
C, and
in
shadowy
compass
circle intersects the
at
behind
or
the
indicated
as
the dotted line from
produced. re-
having
put
circle
Fig. 69. is a silhouette vignette
A
a
then
from
measure
compass
"
t
e
and
s
detail of all
kinds. These are: Writingand lettering and Lettering,are to not lUnminating Edward
Lby
Johnston, and
the booklet called Book of
hy Alphabets, lor. There
Courtesy
of N
.
Y.
Tribune.
books
on
Lewis
F.
Chauteau
Fig. 57." Silhouette
by *
Harriet Lord.
In
24.
documents cla.ssifying
are
this
Day
other
good subjectby
and
Frank
for reference in boxes or Scenes, Furniture
used
copies, as
a
teacher, have
that been
used success. ,
an
as
but
showingwaj^s
with
Brown.
Constructing
Animals, Flowers and Fruit, Outdoor Plates and
Yi..\^.^hay-
be
Copying
Courtesy of N. Y.Trihune.
.
IS
Fig. 58,"
Silhouetteby Harriet Lord.
these headingswill be useful: Men, Women. Children, envelo|)es, and Interiors,Decorative Subjectsand Page Decorations, Color
Booklets.
/
TEXTURES
one
Page studying,
of
way
when
only
done
illustration
of
and
62, 63
the
drawing suggests 26. Textures.
In
advisable
is
intelligence.
"swipe,"
a
showing
64,
but
with
a
Figs,
(il
in which
case
See
Figs.
one
square
67,
not
be
flowered in
expressed
a
pen
it is
with
dull
The
the whites
kept
show See
Figs.
whi used
helpful
and
in
and
out
to
both
the
give
expression to the
way,
drawing
ments. require-
best
to
presented. Complicated to
greatly
be
and
care
eral
efi'ect in
Fig.
67.
done, cross
must
is
stripes
designs
simplified be
the
taken most
Shepherd often
60.
"
Constructing
for
give
by
pencil,
when
the
vertising any
See
small
filling
in
kind When
gen-
carefully
drawing and
have
reduction,
telling way.
plaid,
made in
to
often
the
be when
of lace the
in wash
drawing
background
be
can
lace
in half-tone
way,
of
pattern
duction
out
must
than
given
ellipse.
an
re-
"
is to
used. be
an
made
Fig.
for
words,
72.
repro-
when
elaborately worked
i.e., catalogue is
done
ad-
in which
See
in other
"
in
dress
a
a
lace, detail
greater
special be
is needed
particular
sible pos-
the
advertise
to
Fig.
design
cording ac-
When
manner
a
in
or
sketchy
and
are
in
are
either
to
done
em-
detail
66.
plaids
this
cries
carried
detail.
Stripes
often
for
Laces broid
to
65
te, creetly, dis-
purpose.
light, to
the
line.
delicate
is
The
has
trinnning be
a
when
left
are
must parent trans-
Chinese
that
in.
put
or
by
light,
the
it is here
83.
usually expressed
usually
catch and
Figs.
and
quality,
or
little
supporting
points
dation. foun-
their
keep
a
shimmer.
no
a
Chiffons
silk
black
monds dia-
See
7, 8, 68, 69
many
velvet, with or
for
ture tex-
high lights, or
way,
or
squares
be
shiny
a
in
out
orilerly
whether
to
be
using imaginary
sideration con-
must
given
should
thought an
in
ink,
shoidd manner,
satisfactory results,
"
material and
See
materials
helter-skelter
illustrating
black
black.
!).'5.
and
for
but,
with
spaces
and
68
Dotted
and
for another.
pose
alternate
Thirty-seven
wash,
(for white
a
dark
lace) and
is worked
lace
the
white,
while
sheerness,
the
the
of
solidity indicated
side. in
even
to
tucks,
gathers,
drawn
the in
See
lines
shops,
tunately, For-
plays,
the
to
much
a
etc.,
all
are
CinirUi-y
simpler,
made and
61.
"
The
nf
original.
also
are
Figs.
see
line
though
dots,
different
with
a
masses
and
soft
ular irreg-
edge, avoiding Hney
"
an
the
and
See 75.
drawings
Figs.
and
74,
26,
The
Gimbcl
rendering
are
sometimes
dots,
used, and
sometimes sometimes
of
ways
And
a a
line, com-
For
instance,
newspaper
by
"
very
much
be
vided di-
several work
as,
for for
for
zines, maga-
catalogues.
liros.
these
subdivided
different
many
a
may
again
adaptation.
decorative
In
Ink. is
and
newspapers,
human
70,
in fashion
It
headings
Cojirtcsijnf
hair.
and
into
for
as
same
and
feathers
a
Figs.
ink
medium
work.
too
fact, is
in
treatment, much
Pen
and
used
to
istic real-
72.
The
effect.
opposed See
71, and
way
tive decora-
treat
interesting
dark
the a
as
would
Pen
Of ferent dif-
many
treat
27.
lustrous
light "
would
one.
?
the
of treatment
example,
of See
in
is done
are
drawing
eral sev-
are
ways
the
Diirer.
Observe
methods
one
the
points.
there
7.
Fur
of
100.
how
for are
See
line of
a
them.
making Fig.
or
there
drapery of Albrecht
one
lines
helpful.
are
for
folds
the
drawings
as,
straight
and
interesting
Fig.
the
the
Still-life studies
of
70
Stitching is expressed by a
make
them
in
noticing
take.
course
71.
at
and
supporting
decorative
in
street,
museums
they
study
Voeiic
drawings.
They
treatment.
in
Very
they really
for
7
the
serve ob-
home,
at
in
they
plaits,
and
study them, them
of
realistic
Fig.
good
for
to handle
weight they have,
box
way
cultivate
appreciation
It is
is
Fig.
look
should
and
them,
effect.
plaits,
love
a
them.
well,
textures
express
pictures,
imagination, giving less stilted Side
To
character, left
being
is
See
71.
catalogues
better
more
used.
being
two
bination Fig.
the
heavier
by
the
of
68.
the
the student
pattern
shadow
the
Fig.
according
in tone
differs
See
of
white
background
the
but
Chinese
Chinese
with
done
is also
in
embroidery
work
Wash
out
ground.
dark
this
over
on
METHODS
Thirty-eight
Page
the
proper newspaper
there
is
the
style. and
into
This
is often
be
may groups.
pen-and-ink is
paid
done
for in
a
PEN
INK
AND
bold
broad,
with
way
given This
Fig.
seams
of
for
paid
and
here
by
the
cause be-
editors.
pattern
seams,
texture.
Fig.
See there
This
is is
is
attention
more
tucks, darts, and
to to
Again
fashion
pattern drawing.
is neivspaper
is
tention at-
texture.
or
editorial,
as
Thirty-nine
73.
There This
particular
no
known
charge
under See
to
also
is
Page
the
like than
76.
department paid
pany, com-
given
for
store
by
tising. adver-
the
de-
Courtesy
Fig. 64.
The
"
ignored
are
on
of the
attention
texture,
and
style.
See
done
illustrative for
the
See
A
good
drawing,
while
is
there
is
stress
laid
either
of these
on
store
and
77.
sometimes, pen CiiurUsv
Fig.
63.
"
The
original "
An
example
of N.
Y.
of vignette.
used
in
of
Ben are
and
same
stores
then
the
abstract
an
is
space
often
newspaper's
the the
usually given
and
headings,
78.
deal to
in
in
is
general
country;
Fig.
devoted
This
77.
the
expressed
way.
trated concen-
expression
when
are
throughout is
Bros.
seams
more
a
as
way,
illustrations
idea
Fig.
in
service,
a
here
and
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or
and
store,
partment
of Gimf)cl
adaptation.
own
pattern drawing column
a
cjuite
the
fillingof
cases
as
work.
Day
much
so
in See
space
the
in partment de-
Figs. 73
often, and
combined
two,
or
not
with
wash paper news-
ink.
Globe.
Magazines
have
the
same
three
Page
METHODS
Forty of
classes
principles hold
same
79, and
and
drawings
pen-and-ink
See
true.
Figs. 70,
the
is because,
71,
every
in
the
spontaneity lost; nevertheless
ever, how-
magazines,
great
superior paper
this
matter
and with better ink,
been
made
on
effects c
charming
by
with
the
that
so
t
a
deli-
would
which
is
as
the
in
little of
drawing
production, re-
newspaper
pattern
careful
in
of
number
a
shown
be
lost
entirely
has of late
houses,
washes,
e
in
improvement
printed
are
of
show
to
is often
The
83.
used
care
detail, much
and
seam
great
derwear, un-
Fig.
can
be obtained.
Fig.
is used
Day great
with
stereotype
in
comparison
to
in
and
for
to
of
is
magazine
used
Cojirusy
05."
of Cloi)C.
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black
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material.
done
for
done
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of
This
tive decora-
Illustrating sliiny material. black
C().
"
e-
actness ex-
so
for pattern
work in
magazines
stiffer
a
and
way
newspapers.
catalogues than
permitting
that
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This
drawing
of
even
to
a
greater
a
do
certain
it
this
work.
work,
advertising.
usually
b the
usually
magazine
Pen-and-ink
pattern
recjuiredfor
Fig.
is
of
cause
forcatalogueand also
in
drawing,
its
used
was
but
often
it is not
acteristics char-
isgiveninFig.72, which
tising adver-
work,
example
good
rials edito-
and
charm.
tipecial
both and
newspaper
and
garment
more
in
only
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A
late
express
general
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been
much
detail,
and but
used
ure text-
not
nique, tech-
has
vertising, ad-
suggest
to
less
or
unrealistic
care
taken,
97.
logues cata-
and
very
more
or
pen-and-ink work
seems
Decorative,
97.
best
the
In
Fig.
See
magazines. 79
which
still
success
Figs.
8'-2,but
See Ben
81.
while
simple
and
uniqueness, knowledge
successfully
than
of
the
PEN
AND
Page
INK
Courtesy Fig.
IJ7. "
LajDiit
ilhislnitint; metliorls
of
of
stern
rendering, stripes, plaids, checks, etc.
Forty-one
Bros.
Forty-two
Page
^METHODS
work,
naturalistic
"
"
"
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tained ob-
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Fig.
the student find to
it
be
La
Masques
Personnages
and
weighed,
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worked
and
Powder
The
of
n
of or,
feature in
other
white
sales,
silk
toys,
etc.,
sales,
e,
these
of
to
oline. Crin-
that
(some
which
can
be
East
of the Sun
Pig.
and
West
68.
"
of the
Catalogue detail done Moon,"
and
by Samuel
Fairy Tales by
Hans
Cohen. Andersen
going illustrated by
want
omitted the
collection of
and
do not
be
from
ings draw-
George
"
true cuts
words,
la
de
Barbier
Also
The holds
thing
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illustrations
*
catchy up.
and
Neilson's
Kay
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and
ible plaus-
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Nuit
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and
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studied
tions illustra-
of
m
ideas
should
Morte
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Co
other
people's
same
Les
a
For
this reason,
of Sir Thomas
leschi's
good
premium.
and
Brunei
the
at
are
profitable
d' Arthur,
is
where
ideas
would
Mallory's
ist, art-
Fig. 84,
here
place
tions his illustra-
see
fashion
and
"""""""""""
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85,
required
department
see
Aubrey Beardsley, see
often the
store
"""""""""""
can
popular by
made
decorations
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This
of work
and
Headings
in pen-
and-ink, wash
Figs.
71.
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work
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color.
w
very
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sible, pos-
and
be
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See
and
70
studied
fashion
artist.
the
by
of
cuhe:n.
and
be
the
by
great
effect
fewest
should
fluence in-
Aubrey
Beardsley
consideration. The
the of
spotting is
Erte,
show
beauty and
line
Le-
and
pa])e
tive decora-
this
Tamar
a
Karsaria),
hidden. In
Album
I
Dedie
sometimes
are
in
seen '
mistakes
where
you to
swipe "
not are
copy
Harry Clarke.
INDIVIDUALITY
they
that
but
them,
Page give
may
an
you
spiration. instraight, results
In
doing
Gillott's
find
Gillott's
or
pen
first
to
and
the
elbow,
resting
170
board
303
away
and
get
too
close
of
very
of
ink, but
and
people,
for
of the
many
Use
two-
(or
ink
if washes
finish
added.
be
to
and
Figs. A
line
brush,
73
and
22,
be
placed
the
see
and
the
by Reta
Fig.
Courtesy
St-ngcT.
69.
A
"
silhouelted
of Good
Housekeeping
Iialf-tone
is
Magazine
table
board it and
is
will
flat best from
the
on
to
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Usually speaking,
table.
work
left to
than
from
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long,
in
afterwards.
ink
are
28.
to
difference
is
understood
pencil
a
sketch
first
made
that results
better
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able
and
drawing.
right angle against a
97,
why.
that Drawn
and
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and
tell
It
at
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one,
86.
a
71
70,
Fig. hard
Figs. 20,
showing
large drawing
board
with
ink
can
a
showing
82
are
with
obtained
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Compare
Very
effects
good
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kid
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finish
smooth)
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down
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three-
or
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black
ness light-
heaviness
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the
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velvet.
general
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Fig. 65),
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where
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Practice
and
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ligiitand
elasticity. is useful
ence differa
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wash
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your
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dark
Do lines
the
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you.
between
full
the
on
drawing
from
not
Observe
work
to
satisfactory keeping
pens
291
found
their
from
Gillott's
agreeable with
arm,
by
gauge
the
be
right
wards After-
line.
will
will
it is easier
firmness,
290
beginner
is desired,
obtained
their
of
Because
your
the
ink
be
useful.
most
pen
at
and
pen
line
even
will
Forty-three
called
ink
is put
in pen
and
line cuis.
Individuality. "
in
the
Reproductions
the
There
make-up
are
of
great
ferences dif-
different
METHODS
Forty-four
Page
of
Some
people.
us
mechanical
strong a
delicate
we
will
born
seem
bias
and In
sensitiveness. tend
draw
to
with
the
one
and
strong
We
a
with
others
good for
case
declare
cannot
bad
or
each
of
of these
exclusion and
them,
have
between,
precise
either
the
to
their
all the
lines, in
light be
the
and
other
subtle
one
modern
of that
"
Erte
to
draw
the
inexperience. will art, but
magazine
though
with
confused
lines
70.
be
lines
by weak The
noted
also in old
editorial
no
that
drawing
are
to
means
and
broken
distinction
not
only
in
"
showing
thing
is to
most
natural
to
is our
Japanese prints,
influence
the
if your and cise
of
Aubrey
find
The
you
Do
utmost.
forte
if you
do
mechanical
is
the not one.
great
of Harper's
Bazar,
Beardsley. the
out
to
other,
gradations
purpose.
Courtcfiy Fig.
manners
of the
method
and not
be
delicate, succeed Find
that
improve
is
that
discouraged sketchy
with the
the
place
line pre-
that
Page
INDIVIDUALITY
is
for
waiting
where
you
manner
Too
often
of bristol
those
do work
except
use.
Do
hut
remember
"The
block
in
which
let
of
kind
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Divide
happen
to
four
discourage of
words which
granite
you,
Carlyle, is
ob-
ui
On
"
the
to
draw
corner
left-hand
upper a
stacle
in
editorial
Magazine
of
pathway
in
the the
ik'coralive
weak
comes beof
pathway
drawing
This
is
beautiful
such
no
a
the
the
and
doubt
lesson
well-related
simplest
as
a
teacher
find this:
is
kind
of
it useful
begin
to
of
forms.
in the such
a
lo
give
case
class
go
uf llaipt^r's
these as
of
can
filling
buckles
or
liazar
in
other
repeated
these to
ornaments.
in
spaces
be
the
figures
jjossible.
as
hand
in
sharp pencil,
very
be
designs
out
a
well-related
blocked
lines
then
left
oval; a
a
lightly
beautifid
problem
lower
corner
with
Then,
over
the
well-related
right-hand
with
idea
in
oval;
another
corner
hand,
designed by Krte.
drawings
ellipse. preciation ap-
proper
lines
certainly advantageous
children,
wouhl
cultivate
to
way
of
by
fasluou
lower
strong."
One
of
"
stepping-stone
a
the
the
71.
right-
upper
Cuurtisu
Fig.
a
compass,
the
lighllv, free
draw
corner
into
margins
with
in
circle;
gins mar-
proportions.
the
the
lightly,
well-related hand
(Ireek
In
equal parts.
sheet
vertically,plan
the within
space
size
one-quarter
a
held
board,
according
partments de-
art
any
they
them
the
of
charge
appreciate
not
that
not
Problem.
particular
your
is needed.
Forty-five
used
with with for
Ihis the ventionalized con-
belt
METHODS
Forty-six
Page
Courtesy Fig. was
72.
"
also
Pen used
and for
a
of Ellsworth
catalogue drawing advertisement. magazine
ink
'Courlt'sy oj Bruutli
Co.
which
Fig.
73.
"
Ilhi.stratingnewspaper fashion
work
is combined
editorial with
in which
brush
work.
pens
WASH
Page
The be
result have
can
the
before
is For
with be
of
Japanese Too
about a
good
or
mechanical it
and
prints,
beautiful
well
of
this of
Ertc, be
line to
is often
the
have
to
hard,
a
kind.
diiferent such of
as
good
Drj-den, Drian, for
taken
is, otherwise
get
to
line
good
reproductions
not
same
is well
a
beginners knowing
or
line
what
examples
some
must
trying
It
interesting lines,
by IMcQuin,
much
is
ink.
the
granted
just the
what takes mis-
inexpressive,
result.
For
drawings
made
that in
a
Courtesy
Fit:. 75.
Realistic
"
those
Each a
with .should
student
collection
this
drawings in view.
desired,
often
Wash
"
for
For
"
A
fur
calalogiie page.
there
ways are
of
three
in
are
logues. cata-
and
so
logues, cata-
paper
printed
are
successful
to
magazines,
different
7-1.
poorer
the newspapers tend
cially espe-
it is not
magazines the
ful use-
very
effects
instance,
in
as
with
work,
newspapers
because which
a
photographic
as,
used
is
fashion
for
In
of Stern
making
idea
where
Courtesy
feeling.
start
line
medium
so
compare
of
Wash.
Bros.
more
comparison
29.
not
to
way
done
of Gtmbcl
of feathers.
treatment
tight, mechanical with
Fig.
-seven
first
must
before
problem
a
have
purpose
good
students
of
reason
with
really know
student
lines
pencil,
attained
line drawings etc.
boautiful
the
beginning
this
kinds
make
to
power
obtained
Forty
on
does
reproduction.
just
as
there
using
pen
kinds
of wash;
and
are
ink, the
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the eilitoricil,
pattern,
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adver-
again
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with
wash
In
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In
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See
Fig. 53.
These
drawings
made
with
tention
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are
the
in-
for
and
trated,
is laid
^'-^^^
the
on
that stress
great
reason
'
ex-
is
magazines,
81.
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Fig.
in
type
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sometimes
fact,
again, there
Fig. 89,
See
picture.
way,
tlie 7T"//.v/;V,
the Still
work
catalogue
approaches
in
crayon.
or
the
tractiveness
in
and
attention
most
done
into
divided
editorial
the
type
there
and
and
pen
as
the decuraf ire.
sketchy,and is pure
be
can
styles of work,
different
is
METHODS
Forty-eight
Page
mate-
'"^"^^ details,
Sometimes
wash,
'
pressionof
any
material;
in
other
textural
the
words,
sides
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to
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is done
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Fig.
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way.
91.
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., pattern
Newspaper
features
and
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in
catalogues.
with sometimes
pen
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its textures. artistic
more
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decorative wash
The
ink,
it is very
as
in
much
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Fig.
light will
manner,
9'-2.
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reproduction See
usually
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magazine
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it
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and
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also have for washing
6 and a
only
used.
are
have
to
Lampblack 3 and
(when Winsor
and
four
brushes,
7
suitable,
are
blotter,
off" all the
some
color
a
You
rags.
if
a
WASH
Page how
small
the
folds
often
Forty-nine
end
in
little
a
hook. Practice
putting
and
blending
then
know
just
brush Get
you
so
want
you
on
which and
j'ou
dip
the
The a
and
water
giving
Eberhard
buttons
0/ Frtdtrlck
Cuuncsy
Pig.
mistake
77.
is made,
mi.xing
for
Most
satisfactory your
darks
darks
black
when
you
and
up
a
very
sometimes of the
intensifying
like, with
of the
Chinese
edges, white.
silk
while
dry,
large
your
study
the
to
material
dark
side the
get
to
very
of
the
express.
is affected
light
example,
on
to
examples
endeavoring the
for the
in
these
looks how
blends
light
side
by the
on
in
shiny
into
the
there
is Courtesy
a
a
very
after
beginning,
each how
See,
shadow,
Often
has
and
is
eraser
^
saucer
putting
and
showing are
how
folds.
red
folds.
drawings
Observe
the
look.
streaked
lights.
touching
this
Co.
garment
careful
very
the
is well,
materials
light
shadows
or
and
good
some
of into
paint,
or
appearance,
color
obtained
are
and
first, then
Give
texture
white
large
results
absolutely
are
washes.
a
and
instead
a
out
is the
the
large wash,
your
green
certain
of
advertising.
store
figure
drawn
carefully
It
and
LorscT
wash
water
black.
bj' having
your
Department
"
your
one
another.
get
the
as
into
really needs and
to
into that
pick
with
much
nearly finished,
when
blacks
use
back
to
discouraging all it
how
enough
Faber
help
great
wash,
to
brush
your
avoid
to
mix
intend
in off with
brush
your
Always
effects.
darks
crispness
and
unblended
look;
also
note
Fig.
78.
"
K
department
store
cut
of
Pry
Coods
Economist
service illustration.
Co.
METHODS
Fifty
Page
practice large
To
by drawing tipping
and,
draw
you,
of
across
left
from
paper
the
the
repeat
should in
your
Very beautiful
square.
their
is
There
See
work.
fects ef-
are
to
of
the
plates
89.
looks
dry lighter and the
"
of
Fig.
93
stand
off
work
and
see
white
dots
the a
tional conven-
drawing
or
dark
suit
are
giving
to
way
artistic
pencil
medium.
It
in
is
it has
used
after the dark
material finished.
of
lead
which
that
from
therefore Fig.
so.
"
A
department
store
t"t
cut
lirif dooiis
service
Economist
a
erence pref-
pencil
for
because
the
shiny
the
usual
prevents
graphing photowell,
t'ourt'S!/
is otherwise
not
quality
in
is
fascinating
to
ground
more
Pencil.
Crayon
it
stripes
is a
one.
Crayon
"
white
graphic photo-
method
as
put
tunately For-
catalogue. this
30.
Chinese
with
a
of
steps,
or
the
wash
your
things
See
method
reproduction,
Such
of
the
doing
for
looks.
on
shows
j)rocedine,
and
how
two
printings.
99.
must
from
of
using
two
in
Occasionally,
bold.
ordinary
Vo'juc
Mafjazine drawing.
to
clean
it
keep
7!).
ly part-
You
dried.
the
and
added
reproduction
resist
it when
on
quite
desired
is
an
will
temptation
work
Fig.
member Re-
it
that
effectively.
like
wash
that
the
color
for
and
be
dark.
too
the with
is still
give
on
over
go
Never if the
afraid
which
of
it up
drawing
but
Figs. !)8 pattern
is lost if you it often.
first wash
in
a
necessitates
always transp;irency the
desired,
brush
wash
will
is put
wash,
Courtesy
life to
and
the
wash
a
This
none
Fig.
is side
clean
Sometimes
very
of
white.
one
water
and in the
effect.
with
look
worked-over
catalogue
this
have
and
simplicity
the
while
wet;
because
lovely
and
artistic
of
They
flat washes.
just
side
color
streak
a
mixing
dark
pure
up
little
very
that
wash
as
riui
by
o\'er
light
a
mixetl
obtained
often
are
put
over
on
lampblack;
body
a on
instance
skirt,
you
finish
to
saucer
If
put
with
manner
for
You
paint
enough
have
rivulet
square.
makes
same
first line and
the
white
be
can
refill
until
are
this
the
be
to
obtained
Chinese
full
of
the
up
operation
covered
have
square
very
top
of the
edge
black
towards
right;
to
taking
brush, the
on
brush the
efTects
Gray
mence com-
large
a
board
your
your
color
washes
from
and
being
('"
illustration.
good
for
reproduction.
PENCIL
CRAYON
Chalk,
crayon
handled
in
and much
much
have
chalk
readily
feeling
the
to
the
be
may
Nevertheless
gives
paper
and
tooth
Fifty-one
Fig.
half-tone
drawings, especially
particularlyin
decorative
oneself
limit
to
to
a
tain cer-
number
is
tones
of values
or
and
sketchy
or
work,
it is well
trative illus-
more
texture
45.
detail, it
roughness
or
interesting
an
See
drawing.
doing
In
wash,
the
and
paper,
so
as
for its
much
them
by
rough of
not
to
famous
same
frontispiece.
itself
lend
and
effect, and
and
docs
are
fashion
same
See
expressed.
pencil, however, the
the
beauty
great
Page
not
have
to
munber
a
of
quality. 1f
Wo
c
pencils Wolf
is
3B
r
a
board
hard
and Faber
red
or
mix
are
them
in
separate
pans
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the
keep
to
limiting This
an
pad pencil
It
is
in the
B
first
sharply used
are
drawing with
to
line.
in
with
B.
the
Sometimes
then out
Figs.
and
94
crayon
and
the
with
the
done the
in
for
lacking
See
and
Fig.
again almost
10.
effectively the
in
in
pencil
is
used
on
realistic
in
Figs.
81,
44, are
of
because
103
absolutely where
and
work
effect
and
9,3.
charm
where is A
the
realistic.
a
chief
pleasing
the strictly decorative
])li()t()graphic can line effect
are
illustrations,
magazine
catalogue
Figs.
4o,
is lost
5.'],which
wa\'
simplicily
some
photographic
Fig.
See This
89.
photognipliic r('])n)(luclionre-
promi.se between the
9.5.
a
the
drawing
simplicity
Bros.
magazine
Both
much
See
crayon
entirely
or
such
almost
quired.
stumps
combined
is carried
Sometimes
catalofriiedrawing, also used
in, giving the
texture.
is
crayon,
.'5B
touches
shadows
line
wash
See
Half-tone
the
finishing
rub
less
the
drawing
"
Slern
and
pointed
Sometimes
81.
of
advertisement.
delicate
more
Fig.
and
darks
darkest
to
is decidedly
Fig. Courtesy
the
put
these.
to
desirable.
to
with
pencil
then
the
finished
ing draw-
cf
gives a simple
which
best the
as
then
distinction
points sharp. sketch
much
and
washes
are
ing
needed
green
board
emery
is to be
each)
also
are
desired,
Eber-
rubber
useful,
by how
values
many
Kneaded rubber
This
done
kid
terials. ma-
proper
shades. best
determining n
o
y
and
bristol
and
n
o
very
and
c
pencils the
y
r a
are
B
good.
termediary in-
tints
is used
be
seen
aim. com-
and in
for shad-
Page
METHODS
Fifty-two
(./ Butterick,
Courtesy
Fi"i.
ing, the
flat washes
charcoal
(h-awing.
be
must
In
done
Many to be
I'en
and
ink
the
over
however,
one
to
in
good found
a
give
some
two
or
class
drawing for
the
simple problems values
more
examples in
it is well
of
Compomtion
this
by
of
method Arthur
pattern
catalognr
In
consiileringmethods in
keep
avoided.
instructing
teacher be
styles in
"
on
mistake,
The
tliese two
of mixing
being put
8-2.
to
finished
work
which
is best
while
this
methotl
are
he
is
what
the
is and
then
adapted he
true
is using
of his
wash.
Dow.
mind
the
own
to
student
must
of
purpose
the
use
that
must
interfere
style and
his
method
end.
But
not
let
the
with
the
pression ex-
individuality
of work. In
doing
brush
work
with
ink,
see
Fig.
BRUSH
WORK
Page Fifty-three
I'ouncsv
Fig.
86,
it is well
with
this
practice good
fir.st to
medium paper.
spotting
finislied
is very
composition,
again
referred
Dow,
a
careful
become
and The
to
83.
"
Magazine
acquainted
method,
on
imj^ortant, ihe
student
Compusilidii by perusal
of
for
which
and
ink
imicli
of the is
for
scriljetl many
work.
.\rlliur
fashion
will
been
do
0/ Rattan
Nils.
advertising.
standing
some
effect
decorative
and
pen
a
of
the
and
73
sketches obtained
possibilities
ilhistrated.
instances
Fig.
comprehensive
more
be
can
to
examples
good
spotting
brush
work.
dein
fashion
are
83
where with
These
apphed
and
under-
there
of has
METHODS
page Fifty -four MAIL
EVEINIISO
THE
Cfjristmag ^alc
tlfjcManamaker
IB
nETRMBER
WANAMAKERS
WANAMAKERS
WANAMAKERS
la
Bnwdwwy-
WANAMAKER'S
of Wi^th
pianos
ilkistration. both
have
metlimn
but
is not
The
hkely
methods
and
to
come
familiar
used
McQnin,
and
into
by
such
Steinmetz,
originalidea
An
artists
Barbier, Helen
musical
a
Senger,
Steinmetz
and
the
effects in
text,
expensive
often
in the
use.
costume
fact
with
artists
these seemed
Dryden,
of
the
matters
85.
"
Drawing by Aubrey Beardsley.
that
the
much
being
as
is
sidered con-
change
a
imminent,
appears
expedient
work have.
does
field but
to include
it
the method
procedure.
Courtesy
Fig.
best
seldom
the
apart,
the
in
could
one
illustrator
designing,
somewhat
has
of
comparatively or
Avery,
mentioned
instructor
designer
in
Drian,
best
textile
work
Si-
Wanamater.
Of John
Forrester, Claire
good examples
the
Lepape,
as
Fern
other
It is still
that
for
as
Tenth
heading.
Rata
general
with
for
in fashion
recommended,
Brunelleschi,
Soulie, Erte,
is
become
to
difficult and
a
reproduced,
student
urged,
Miss
charming
some
it is
have
to
reason
and
Drian
obtained
this way,
"
hitelyused
is a method
Etching
84.
to
^laj)er=^iano"f
anb
CuuTUsu
Fig.
Eighth
Fig.
86.
"
Showing
combined
how
with
0/ Abraham
brush pen
and
work ink.
"
Straus. can
be
that "r '"""J
:^^^"^
of
roller
h-
"
dimension
value
4
clearly understand
may
you
that
i
^k
Fifty-five
Page
DESIGNING
TEXTILE
of
the
part
commercial
describe
will
we
fabrics
silk
which
over
process
design,
a
the
in
plays
in
pass
the the
printing:
I
The
"
I I
roller is 16
inches
in circumference
I
three-quartersof
and
I
of
^
4'
4.
to
pattern
^CK
color
be
The
copper.
c
fabrics
different
engraved
roller revolves, takes the
from
is
the
color
box
widths
greatly.
so
vary
printed
in thickness.
because
is immaterial
Its width
inch
an
at
in up
The the the
the
bottom;
the
smooth
I
the
I
is
color
removed
from
I
c
I
-
This
87."
the
illust rates
of
repeat
Wear.
of Women^s
Courtesy Fig.
a
design for
silk
linos are not part of print ing. The dotted that the unit of design is the design, but are to show inches. three repeated in the length every CDlton
or
"
The
TEXTILE
DESIGNING*
kiiifl and
color of paper
would
if the
repeats a
guide
be
to
the
indicate
finished
fabric
"
The
the and
artist
to
repeat
in the
not "
The on
of
are
should
of
must
the
desires
as
the
is very for
only
necessary
that
simple figiu'es
best,
that
the
size
is
across
the
it is in
printing.
paper,
then, would
the size of your
design. This
is
of
twelve
exceed
never
repeat
length
size
is
design
designs
woven
it is
remember
the
and
inches
three
or
and
artist
are
repeat
appear.
but
colors
few
each
to
two
The wea\'er
or
the
how
technique
complicated,
small,
printer
clearly
full
one
shown.
we
the
and
paints
Tempora be
design
should
But
used
be
least
At
used.
generally and,
in.
painted
ground
white
that
suggest
in submitting
used
immaterial.
tlesigns is
In
web,
pend deorder
reprinted through
Fig. the
courtesy
88. of
"
three kinds of Illustrating
Women's
Wear.
Ben
Day.
METHOD
Fifty-six
Page
will
You
"
that
order
(in
pattern
a
therefore,
see,
correct)
mathematically
be must
either
entire
15
roller,
take
or
of
number
even
15
other
in
In must
length,
repeated
be
must
or
inches
16
or
inches.
the pattern
words,
l)e 15
an
in with-
times
16
or
of the
repeat
must
or
the
up
inches
16
to
tervals in-
at
into
evenly divisible 15
a
the
on
four-inch
on
a
times
limit
variations.
89.
half-tone
Decorative
"
surfaces
the
by
only
cloth, passing just above
the
remains
in
the
up
color
that
to
other
hand,
impossible; it would be
diminished
to
The takes
doctor, the
indented
registers
and
portions,
engraved
or
have
the
on
the
at
the pattern.
constitute
portions,which
be
sible pos-
12-inch
A
indented
the
in
editorial. r.:agazinc
in
'doctor'
or
scraper,
remains
side, and
used
treatment
would
is practically the
to
a
on
on
roller; there
repeat,
times
four
roller; a 53-inch
16-inch
no
Fig.
roller;
15-inch
repeat
repeat, three 16-inch
five
register
would
repeat times
three-inch
A
16.
or
the
design. A
"
is
cylinder, as
new
inches
16
in
manufacturer from
polished
copper
of the a
wants
ccitain
a
is
removed,
cylinder of
been
with
the
Ki to
1.5
a
is
tern. pat-
new
thickness
of
circumference
for
a
has
\
When
less.
grows
used
circumference from
cylinder
the
and
course
a
goods printed
polishing a
each
reduced
When
more
engraved
With
patterns, the been
no
pattern,
off and
cylinder has
said above,
have
we
circumference.
number
of
graduallA'
inches, and
when in
it becomes
less than
15
it is incj^es
junked.
jn
ill E. 90.
"
M.
G.
SliinmcU.
Characteristic
Courlesv
Editorial
wash
of Vogve.
drawing.
TEXTILE
DESIGNING
one-third
one-fourth
or
commercial
tlesignerswork
on
Fifty-seven
to
size
Most
7?,-inch
a
for silk.
square
The
silks.
refers
above For
A
used.
roller, however,
is
when
for
designing
to
inch
15-
printing.
the
On
18.
could
repeat it is
AVlien
the
on
to
10-inch
example,
sponding corre-
scaka
used
for
divisible
into
either
other
the
basis
cylinder,
be
be
evenly
ceeding suc-
iherefore.
figured
18-inch
For
being
cumference cir-
for
1(1 inches.
rei)eat could
cotton
in
and
cottons,
the
to
of
same
jirinting
inches
new,
be
must 16-
for silk
the
cotton 18
becomes
a
printing
is polislKnluntil the circumference
patterns
repeat
the
to
jirintingcottons,
is
process
of
its
practicable for printing.
become
"
Page
threesilk
or
15
or
a
six-inch
for
cotton;
hand,
^
used
divisible
only into
18
but
is
Fig.
91-
"
Cuvrtcsv
Magazine
divisible
not
evenly
All
8"-inch
square
.standard
for
for dress
goods.
A
"
the
to
engraving
be
number
the
and with
/'"iitrti^y (if Cheney "
Charaitcrislii-
lialf-tone
be
to
limit
no
we
to
that
suggest be
often
feel
condition
of
America.
of
that
down. number less
or
be
can
used.
cotton.
restrict
the
the
ist, art-
and
museiuns
for ideas artist
thought
some
of mind
actual
five
consulted
profit give
the
the
silk and
to
wish
the
kept
colors
more
refers both
we
92.
and
colors, if possible,to
With
the
colors
arrangement
them
better
libraries
Fk;.
the
of
"
of of
connni'rciallyimportant,
is
This
ing design-
In proportion
number
It
although
16.
or
cial commer-
in cotton
effective of
15
is the
expensive
therefore, that colors
Magaztne.
elaborateness
and
It is
-non
drawing. into
use
is
pattern
used.
of cm
lialf-loiie pattern
of
the
this
is
may to
women
Bros.
ailvcrtising. iiiagaziiic
For
always
METHOD
Page Fifty-eight
Courtesy
Fig.
of
great
make
at
the
appropriate Remember
beautiful be
afraid
and
a
design
simple
do
and
in
be
Do
not
*
Keep
The
In
indoors
designing, scale appropriate are
that
a
of color for
textile
and
sport
design
texture wear
out
must
not
be
the
scale
of
fall
in
colors
such that
arc
is greater.
too
and
Design be
fully care-
with
gards re-
general
For
Design
as
brilliant
the in
above
books
the
good design."
comiection
given
in
woman's
a
should
Designing.
Design
everything
a
Color,
on
will
design part of
Design
Textile
Certain
overlooked.
where
the
your
method
of
Theory
Son
which
is the test of
Fabric
mechanical
is not
of doors,
up
consulted
not
merely
y
flat surface, but
some
as
chapters
Period
a
garment
a
That
to
in mind
on
Visualize
folds.
copy.* "
seen
of
costume.
cate intri-
even
may
appropriate.
not
be
be
picture,
fabric, made
are
fabrics.
may
beautiful,
not
to
definite
a
of Hini
catalogue drawing.
decoration
and
they
wash
conventional
to
beautiful time
certain
to
that
and
Endeavor
are
same
a
the
determining
fabrics. that
designs
original
in
Illustratingsteps
"
in
importance decorated
of
sale
93.
or
crude
for
DESIGNING
TEXTILE
Page
01 uudua'
Cuutttay
Fig.
in
and
Theory
Design
of Ornament
Theory
Units
200
Warren
by will
A.
F.
all be
V.
Meyer,
and
Design Plant
Lilley
found
by
and
helpful
pencil sketches.
Principle.sof
Ross,
(plates), Henry W. to
and M. the
Design Midgley
design
peasant
such
Peasant Peasant
Art
Iceland,
and
edited an
by
must
in
in four
will
designers
Courttsu
drawn
by
Claire
Avery.
of
and
Russia,
in be and
student.
Accessories
umes. vol-
Hungary,
Lapland Art
Holme, to
looked over-
Magyar
Austria
Peasant
Charles
be
"A
as
Sweden,
in
Journal.
not
Molonyay,
Art
inspiration
tlomc
95.
books
Miiveszete,"
Nep
Chase,
man
Fig.
and
Decorative
Den
Form
The
Handbook
Cumniings
Design
of
Poor, E.
S.
Joseph
of Pure
and
Batchelder,
by by
Design
Practice
Ernest
by
Crayon
94.
Fifty-nine
Voiiue.
found dents. stu-
Courtesy
From
an
etcliiiig by
K.
M.
A.
Steinmetz.
of
Harper's
Bazar.
COLOR
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COLOR
FOUR
CHAPTER
General
31.
Theory.
based
is that
the
on
the
warmest
which
orange,
from
away
and
blue
in
is
the
the
color
wheel.
not can-
mixture
the
l"y
is blue
complement,
its
farthest
red,
colors
tluse
is
color
coldest
The
venient con-
color
about
primaries,
three As
reproduced
be
most *
theory
blue.
and
yellow,
The
"
general
and
Colors
Tertiary
or
formed
those
are
by
.
combination said
of be
to
colors,
other
any
the
are
i.e.,
colors,
simple
or
pure
they
primaries. The
secondary
by mixing
made
Red
of
yellow Blue
the
neutral
plement com-
Binary
the
purple,
the
green,
directly opposite
blue
red
make and
on
the
in
opposite
unrelated
wholly
show
They
in their
other.
See
A
color
mixed
makes *
or
9G.
its
with
complement
elements
This
blue.
pigments
is
and
is
wheel
color
Munsell.
on
of
of
some
be
red,
the
theory
green,
analysis
authorities.
complement
reJ-purple,
and
and
of
violetof
a
another
.-1 Color
or
is
tint
color.
of
of
the the
certain the
by
from
color,
around between
steps
to
addition
proportion
think
hue
normal
shade.
small
even
colcr
same
departure
degree,
For
of
tion grada-
the
through
a
of
tone
color).
the
the
white
adding
meant
darkest
meant
sphere;
their
binary
and
blue-green,
sphere
is
and
violet-blue
Notation
by
the
less
of
dark
the
tones
scale
of
tone
adiling
the
comparatively
the
between between
see
of
to
is
greater
color
of
color).
standard
a
lightest
light
the
by
meant
to
color hue
a
of
addition
of the the
changes
yellow. explanation
of
modification the
the
of color
original
the
whicli
instead It
colors
regarding
somewhat,
complement
further
to
spectrum
preferred by
red
complement For
color
of
making
complements, the
based
color
is another
There
pure
the
by
(formed
series
the
By
a
Theory:
the
declares
green
Fig.
is
scale
enrich
foundation.
standard
a
black
or
from
getting
tones
this
meant
shade
of
intensity. and
to
By
are
gray.
Another
the
normal
contrast
strong
each
circuit,
spectrum
is
color
any
directly
being
meant
(formed
water
dark
colors,
Complementary
more
foundation
the the
tone,
from
color
tint
By
plement com-
opposite
circle.
color
the
the
orange,
directly
is
color
any
the
grayed
is
white.
or
red
mi.xed
orange
is meant
of
lighter
tone
By
plement com-
a
normal
any
makes
russet.
color
scale
or
black
make
blue,
and
of
By
circle.
of
normal
color
plement com-
directly opposite
and
color
a
makes
green
it becomes.
By
or
Yellow
more
purple
with
citrine;
purple gives
The
p.-imaries
the
and
and
red,
color
the
colors
circle.
color
yellow
and of
on
with
primary.
make
yellow,
the
on
are
colors.
secondary wilii
mixed
tertiary
darker
blue
and
orange
These
chart.
color
the
on
olive; the
primary
between
green
are
the
mixed
Ihus,
colors
forms
mixture
halfway
are
the
remaining
of the colors
of
two
This
together.
purple.
and
green,
orange,
binary
or
of
mixture
by
A.
11.
botli
hues
adjacent called
the
hue.
Thus is
blue
and
green
green
and
yellow,
green.
In
of
in
primary
the the
color
step
blue-green,
yellow-green,
the
same
way
there and
are
two
two
of
hue
a
add
color
Drawing
hues
the
its
of violet, two
red.
between
change By
COLOR
Sixty-four
To
on
intensity
or
neighbor
to
is
chroma
is,
yellow
is
the
meant
down
and
of
likeness
Monochromatic,
ferent
tones,
To
value
color
the
lightest,violet
Harmonies
32.
monies 1.
97.
Editorial
"
of
change
or
in
the
across
intensity,
color;
For
color.
a
inward
inagazine fasliiun work
add
other
in vvliicli color
color. mode
the
words,
it.
By
up
of
Likeness.
may
be
i.e.,
values
2.
intensities
or
light expressed by
the a
of
amount
color.
For
dark
value,
is
Day
dif-
of
one
Housekeejnng.
is used.
sometimes
called
Analogous, i.e., made
are
to
each
harmonious
other
by
in
the
because
in tlitt'erent
quantities, a
Dominant
Harmony,
3.
ofGooC.
as:
of
group
a
Ilar-
classified
one
a
harmony.
next
are
and is meant
This
Ben
sphere; in value,
darkest,
Courtesy
think
complementary gray
tliink
(any
that
spectrum.
brilliancy
or
intensity
or
a
primaries), the
Fig.
sphere.
color
Senger.
by Reta
strength
change
next-door two
place
of orange,
"
Page
common
colors color
they
that
circle,
have,
element.
i.e.,several
colors
OF
HARMONIES
influenced
all
DIFFERENCE
subdued
or
Page
by
the
same
part violet makes
one
color. of Difference.
Harmonies of
difference
i.e.,
by other
or
complementary
two
with
together
used
The
"
mixing
by
mixing
the
with
one
is true
the with
the
combination
two
colors
of
as
blue-violet,
yellow-orange
with
with
combined
red
that
made
side
by
by
color
the
on
blue-violet
and
the
and
half
neutralized
mary pri-
gray,
of two
wheel
for
as,
colors
may
their
to
four
instance,
violet
to
use
and
yellow-
Triad
5.
that
colors
three
i.e.,any
Harmony, the
in
make
circle.
yellow-orange, blue-green triad
and
neutralize
to
of
the
Only
one
of
angle equilateral tri-
an
spectrum
producing
harmony
Example:
and
make
them
three
should
be
Newton's
Laws
34.
governing intensity. less
the
color Law be
more
may
the
of
The
larger
the
intense
smaller
the
Use
color the
area
Color.
the
must
more
"
be
intense
Law
green,
for
area
and
neutral
Backgrounds
"
than
objects
shown
must
"
upon
*
"
It is not
Three well
to
parts yellow and combine
colors
in their
full
Newton's Milton Winsor
blue, Winsor
Blue for
Standard
the
standard
and
ard Stand-
and
Milton
green,
and
Violet
They
size
colors
the
desired
"
are
intensity unless
can
obtain
Winsor
the
the
for
The for
the
best
result.) relieved by black
or
stain
satisfactorily tube
color
colors
the
colors
ten-cent
expensive. seem
standard
other
They
be used
Newton
more
that
with
chart.
areas.
to
red,
violet
on
small
price and
them.
Neutralization.
except
in
is the
of background.
two
Newton's
red,
Orange Green
standard
settle.
only
be.
nu'x
or
use,
and
the
These
with
for
New
Bradley's
(Don't the
"
for
Blue
Standard
good),
violet.
intense. for
"
Winsor
Cadmium
for orange.
is
from
Winsor
are
yellow,
New
Student's
areas
Red
Newton's
holds
Satisfactory colors
square.
Standard
Milton
wholly
on
small
Bradley's "
which
washes.
mixed
Bradley's
harmonious.
in
colors neutral
center
twelve
Crimson
Red
hues
use
by the
for this chart
"
hues,
red-orange,
"Keystone"
make
for
ondary sec-
violet,
these
used
Alizarine
red-violet.
harmony,
be
nine
inches
Gamboge
orange.
(a
put
and
the
should
to
be
tense inand
or
and
showing
and
Block
which
on
with
yellow
with
i.e.,
harmony,
binary intermediate
circle
color
water
never
full
yellow-green, blue-green,
inner
paper
a
color
a
the
green,
red-violet
with
Drawing
the combination
opposites,
direct
complement;
complementary
side
the
make of
intense orange,
full, intense
blue-violet,
red-orange,
on
the
To
"
colors, yellow, red,
yellow-orange,
bined com-
color.
splita primary (c) Double
and
begin
the
spliton
and
blue
or
and
with
This
gray.
colors.*
composed
full
colors,
secondary
yellow-green
Always
blue-green.
its
j'ellow
gray-violet
or
and
Chart.
is
and
the
combined
yellow
and
red-violet,
of
side
i.e., blue,
with
primary
a
each
on
complement;
In
other
primary harmony,
(6) Split complementary
yellow
part
one
violet
violet
Color
which
both.
or
between
of the
circle
and
neutralized
The
35.
violet
parts a
halfway
ment, ele-
little gray
a
Three makes
colors
unifying
some
of
the
monies har-
(a) Complementary,
4.
are:
neutralized
a
gray-yellow.
or
33.
Sixty-five
white.
chart
difier These to
in are
obtain
Page To it
obtain
is
added
the
to
yellow
green
obtained
yellow
neutralized other
the
the
about
parts violet
plus
part
yellow
etjualsgray-violet, and
true
of
the
all
the
give
one
The
is
three neutral and
gamboge
blue.)
new
Taking of
degrees
value
equivalent for
the
neutral from
color
color
scale white
values
chart;
as
W.
the
black,
to
should for
nine
showing be
example,
value
scale;
helps
this
satisfactory
use
wish
smoothest
H.
Yellow-Orange
High
discs.
A a
small
very
carefully. be
used
"Color
Low
and
Light
Red-Orange
five
but
color.
J
D.
High
Dark
Dark
has
Violet
Blue
value
selecting keyed value.
colors
scale in
should order
correctly together
be
be to
used
keep
in
them
according
\n Trades
to
a
concise
or
was
way
nature,
of
one
of
nothing it, is
seen
placed against contrast
every
tone
of
color
yellow speaks
"
who
understand
what
yellow
a
it.
says"
violet."
gotten of
ing interestin
and
those
say
red
ciples Prin-
position
And
to
folder Club
is
meaning
cannot
information and
its
done
the author
sees
call
color
by
thing
can
organ
we
of
paste
In
"
most
man, as
one
Black neither
This
Form,
separate
a
Dark
Low B.
of
shape.
a
the
the
to
discs.
elements
eye,
and
definite Violet
used
library
Color.
of
one
senses
another
Red-Violet Blue-
the
makes D.
is
because
only H.
of
as
placement
the
mount
Middle
Blue-Green
1
colored
should
good
important
the
Blue
to
coin
the
of AdrcrfisiiKjArraiujemcnt
because
Red
A
the with
the
be
the
you
draw
out
for
dime,
a
over
washes,
discs, which
Significance
36.
Green
M.
line
guiding
made,
chart
these
cut
your
When
or
the
should
these
says:
L.
the
compass
the
Light
of
put
then
them
been
circle, with
a
make
Light
L.
and
guide,
a
Yellow-Green
Orange
part
found
White L.
of
your
finished
closing
nickel,
a
sure
compare
has
size
and
sharp pencil
should Yellow
make
to
be for
have
half
selection
the
to
making
comparison.
quarter,
a
according
a
a
your
and
value
and
often
clean
may
you
out
squares
either
you
not
thin.
always
that
After
do too
or
perfectly
time,
a
color.
your
eyes
is
satisfactory
a
of
choice cut
at
five squares
or
obtain
to
a
this
center,
crimson,
(Alizarine
gray.
colors.
other
mixed
primaries
On
color
thick
until
size
obtained;
are
too
on
small
these in
inches
brush
your
one
four
with
makes
gray-yellow.
or
three
its
three
violet
part
one
yellow
with
color
example,
plus
hand,
gray-yellow,
or
your sure
get
intensity,
paint
in
paper
three
results
satisfactory get
the
on
about
squares
Be
green,
circle, which half
their
gray-orange
For
the
a
blue-
for
to
inner
at
is
yellow
while
green,
of the
Practice
orange,
yellow-green
for
by mixing
complement. parts
little
is added
colors
as
for instance,
are
a
the
yellow
as a
orange, to
colors
The known
as,
that
little blue
a
etc.
such
tlie hues
untlerstootl
little
are
COLOR
Sixty-six
by
up
New
York
given
in
under
a
the
City,
Art
in
\'aluable
strikinglysimple
the
heading,
The
SOURCES
OF
Principles of
Color
SCHEISIES
COLOR
Page
which
Ilannony,
reads
follows:
as "
Psychological
it varies
in
and
value
certain
feelings in the
Hues.
Blue
"
Green Yellow
human
thoughts
go
and
distant.
and
ing. unify-
Orange Violet
and
rich
warm,
"
hot, striking,but
"
mournful,
"
decorative. and
mystic,
See
illustration
of
the
from
Whistler's
deciding
it must
be
the
color
Light
"
femininity, gayety color
Dark
tones
and
repose, "
best
in their
full
intensity
elemental
vital, and
that
have
subtlety, Balance in
intensity
and
objects
should
to
be
shown
to
cold
background.)
figure
a
Sources
the
With
them."
on
whole
similar
in
say
the
Color
Schemes.
variety
reptile
go
may
and
atmospheric
to
museums
and
textiles, such
than
of
schemes.
of
what
harmony
to
nature
of
in the flower
effects.
stiuly as
animal,
china
he
Modern
season,
and
tapestries, rugs
and
much
too
may
result hues
On
account
that
contrast
are
hue
result.
when
mean
kills another
glass
about
or
of
the do
we
red
one
this
kills
matter
color
same
always
not
to
and
It the
use
or
one
usually
more
brilliant
more
have
taken
on
from
which,
catering
of
colors
quantity.
while
the
jjublic are is
many to
season
to
quite
the
whelming. over-
wittily expressed
following quotation
Crane.
is
both
they change
This the
using together
smaller colors
which
imagination
go
and
In
alwaj's
are
disastrous
a
neutralized.
in the
mineral,
may
will
different
intensity,unless
same
satisfactory color
titles
kingdoms, Or
which
of
two
we
difTerent
a
careful
the
find
and
son per-
harsh
beauty.
Simultaneous
what
things
of
Be a
for color
the
harmonize.
Many
"
often
red.
hue,
not
on
but
colors
with
place blue
one
tensityanother in-
(It is
object
warm
knowledge
in, he
endless
is
is much
of
in
and
This
proportions
the
too
nor
combination
color.
same
take
to
less intense
be
designer's sources
consists
bird,
inverse
must
for
give
particular
putting together
of the
Colors
If dissimilar, the in
(this
wearer
neither
of
Therefore,
color
a
harshness
ugly
very
but
well
37.
A
can
area.
Backgrounds
an
"
be
must
area.
vary
charm.
Harmony.
harmony
must
and
press ex-
the
not
face
intensity.
in
neutralized
refinement
in Color
balance
are
been
of the
neutralized
avoid
"
the
complement
such
her
color
a
on
appearance, or
becoming;
are
ghastly tinge
an
his area"
from
Colors
the
florid
skin
will
as
faded,
strength, dignity, large
feeling.
to
and
its
art.
102.
contrast).
and
chosen
Fig.
tint
also
hair, and
eyes,
gown
that
own
prints in
adaptation
colors
simultaneous
enhance
seriousness.
loud,
strong,
are
informality.
but
considered
dress
youth,
express
express
Colors
Intensity.
tones
and
its
may
tions inspira-
get
masters
reanembered
wearer,
a
Value.
what
he
Japanese
Nocturne,
In
reflects
Again,
and
new new
be
ing. darken-
and and
the
aggressive.
laces.
old
is called Red
old
from
and
only
brilliant
and
picture galleries from
mind.
restful.
and
cheerful,
"
association
definite
cold, formal
"
cool
"
the
embroidery to
as
intensity, hy
and
tjualitiesand
excites
ideas,
Color,
"
hue,
its intrinsic of
Significance.
old
Sixty-seven
from
Dr.
Frank
in
COLOR
Page Sixty-eight this
"Well,
COLOR
MODERN BY
see
me
"
this
watermelon,
interest
"You
"Yes,"
said
saleslady,
the
Exposition
Panama
have
"we
all the
new
official
Alice
colors!"
blue, and
instance?"
"For
"Well,
flagpole red,
there's
blue,
wall
exposition gold,
haven't
"But green,
or
green,
anything
you
yellow
and
and
just plain colors
in
"
red,
blue, and
egg
blue, and
-"
you'U
afraid
I'm
sky
blue, and
ultramarine
blue.
Monday
say
yellows."
lemon,
orange,
dust,
Straw, champagne,
them!
of
lots
"Oh,
is
blue, and
Copenhagen
blue, and
old
enough. some
me
on?"
so
robin's
"That's Tell
"
travertine, lattice
and
Blue,
let
"
this
roses,
blues?"
about
How
me.
of
pink."
is sunset
is navy
there
"Why,
and
carnation,
is ashes
Crane
Frank
Dr.
this
rose,
brick
raspberry,
are
strawberry,
crushed is old
this
those
and
cerise
is
cardinal,
dust,
tango,
sand,
and
so
tan,
nary, ca-
on."
"
"Oh, "Aren't "We
"What
"Goodness!
no!" those don't
say
reds
red,
over
you
there?
know,
"Then
"
any
lettuce
more."
Reseda
then?"
have
we
green,
and
Alice
in
Nile
greens,
green,
emerald
parrot
green,
green,
Irish
others."
s
vf
Courtesy
Fig.
98.
"
The
reproduction
from
the color plate.
of Crtterion
Maoazine.
green, green,
SOURCES
OF
there
"Isn't
sucli
any
just iilaiii. (inlinary
It's the sliatle, yon
elephant 's hreath "IndeciH
"Yes;
gvuy.
know.
and
Here,
for
example,
shades
anil
flower
eolors
nasturtium,
wistaria,
Hcauty,
represented
are
fodil, daf-
pansy,
and
elierry blossom,
"I
"
l)opi)y
coxcomb,
as
parrot
nut; chest-
dove,
oak,
jewel tints,
green;
lopaz,
and
chanticleer,
coral,
jailc,and
most
fantastic.
as
ruby,
tur(|Uoi.se
overwhelmed."
am
there
"Oh. have
claret
a
Isabella,
re"l."
"Precisely.
such
and
yellow
canary,
mahogany,
lirown.
walnut
Sixty-nine
blue." all the
then
violet, lavender,
"Charming!
"
colors,
sapphire, pearl, amt)er.
taupe."
"
American
is the
wood
bird
"(^Ii no!
ro.se,
lliin^;:is
"
ereen?
are
Page
SCHEMES
COLOR
They Half
pleased fancy.
appeal of
the We
the
to
imagination."
color-pleasure strive
for
the
of
dress
poods
uni"|ue, such
as
necktie,
sash
a
gown
(if
your
apparel,
Maybe
mouse
the
others
are
color
of
cream,
gray
or
of
flame
ribbon,
coffee, steel
assist
to
the
"
a
you
gray, to
poniegrMate,
or
and
on.
"
Reprodu(
tion
.showing the combination
printing from
the
two
You of
chocolate other
can
ivory color;
articles
or
a
of
perfect .self-expression. apple green,
Courtcs]/ 0/ Crttcrton
Fig.
laces
plates.
Magazine.
fawn,
delft
Page
COLOR
Seventy
blue, lapis lazuli, taffy, salt mud, color, besides
and
Indian
red
string color, red,
Pompeian
or
mon, cinna-
mustard,
pepper,
cabbage, putty,
stone,
wine
or
the
'"
green!
pea
"Thanks!
give
"distinctly
as
me
I'll take
I think
advertised
Palm
some
peach,
Newport
ribbons, in
Beach,
tan,
Tuxedo
Oregon
gray,
and
Delaware
blue, if you
please." 38.
Colors.
the
at
your
left
color
may
this
AVhere
shiny and
do colors
and
colors
over
serve
as
should
be
colors
warm
laid over
the
After
while
still wet.
with
np
erally, gen-
should
be
.sketch
etc.,
steady,
thin,
lines when
detail
Prussian
Blue,
make
black
and
of
and coats,
brought
Chinese
way
is
plenty
try
first
that the
you
brush
When a TO
on
of
leave color
piece
a
have
the
is not
too
you
flat tone, from
a
one
side it
this
the
top
in
of
spare
or
paper tone
use
to
covering enough
to
the
a
color
bottom
water.
and to
and
space
mixed and
with
down
dry
well
to
to
try
uniform
a
Card
a
see
that
to
from *See
or
sketch
Avoid and
Orange tones
"
before
stand ing touch-
lace
or
with
is often
used
sketches
in
the
details
first and
last.
keep
the
going, being particular too
concentrate
Page Nine.
it
always carefully made
big washes
sketch
clean
desired.
are
reproduction. your
in your
to
Ink
makers' dress-
buttons,
let
for dressmakers'
pencil, putting
whole
and
quality
doing
raised
beads,
silver.
designs
stiff
a
gone
seems
buttons,
these
Have
part. with
dry
tempera
way.*
lace, etc.,
rather
for
Devoe's
as
for
in
where
embroidery,
color, both
Put
has value
(or White
costume
in this
out
it of
color, gold
in
to
care
useful
good
are
White
makes
for
ing mak-
not
opaque
known
Theatrical
carried
on
in
is often are
Colors
Thompson's
up
to on
up
little Chinese
What
work.
often
which
other,
taking
work
to
This
reproduction.
are
helpful
background, the
on
add
color.
fashion
dressmaker's
a
edge.
color),
Show
in the
wishing
your
with
dry.
too
little
and
squares
intense, and
the
body
rinsed
brush
your
right
and
in the
them
wet
intend have
and too
soften
Gray
commercial
clean
your
of
is
it is sometimes
little color
put
all moisture
or
little
a
it
making
are
you
in white,
until
for
in the
danger
work
surfaces
graying,
and
kept
be
must
Never
use.
Take
\Yhen sketch
and
All brushes
their
it
value
of
tilted
board
color
the
eight-inch
Put
Payne's
sketches
without
beads,
by adding
but
in
again
keeping
practice
some
covering
out
white
drawings.
after
spots.
For
drawing
its
Sepia mixed
of
more
any
brush
enough
ensure
sketches,
and
Lake,
often
are
dressmakers'
in
going
is desired.
complement;
its
be
can
darks
be
can
color
neutralizing, a
is
edges
crisp
One
gray.
of
the
on
finished
darks
darker
some
lights
pockets, tucks, by
rivulet
When
first;
rule.
the
and
you to
warmer
on
dry, unfinished-looking high
to
cold
and
picked
the
give crisp-
shadows
doing
your
tone.
to
the
the
toward brush
a
velvets.
doing
line
work
not
of
desired, let
is
harder
a
from
edge
clean, damp
a
in
taffeta
in
The
by
is necessary
paints dry Cold
softened
be
downward,
color
right.
your
brush;
ness
anil
lop to
gin be-
painting,
In
"
Have
water.
make
Applying
without
dipping
or
brown,
green,
Mountain
Rocky
of those
some
nomenclature"'
Rock,
Piping
silver, Gettysburg
Arizona
some
American
side
to
mixing
or
green
sea
side
"
much
on
one
any
niggling "; keep
your
'^
not
wash
bold. Vermilion
vermilion,
makes
good
lips
good and
flesh
color
in
'^
COLORS
Page
cheeks. this
There
color
vermilion
in
flesh
the
color it
having quickly
when the
to
high
on
the
softening
color
with
while
the
(preferably
all-over
flesh
and
bone) the
other
on
the
of
the
putting
tiny point
the
all
the
dry, adding
edge;
added
remember
lighter.
that
and
for
shadows
lighter having will be The
Payne's
work
the
than
the
the
dark
blue
color
Green
or
real
material, that
this
doing
kind
of
be
found
Yellow,
Vermilion,
in
Sepia,
Van-Dyck
In tubes. Lampblack
desired. in
doing
Orange
Thompson's
and is
Sienna,
mine IVIadder, Car-
Silver.
and
convenient
The Show
best
White
This the
saving
list
is of
time
dressmakers'
colors
Card
list
to
colored
the
Devoe
Light Yellow, INIagenta, Mauve,
Red,
Light Blue,
use
in
get
White,
are
Light
Blue,
artists
and
letterine
when
Rubens,
and
Green. a
Some
shiny
finish
is wanted.
:
Colors.
Less
colors best
fill it with
to
or
the
colors unless in
buy
box
colors
pans,
good
Favor
are
Ruhl.
it is with
Tubes to more
the
Brushes.
are
be
red
dent's stu-
separately
desired.
quantity, half
colors but
and
Devoe
buy
the
Newton
expensive
are
to
therefore,
constantly
"
Winsor
"
preferred. is
Lake,
work
raised
Dark
water-color
Rose
Mauve,
White,
Orange, will
2, Lemon
sketches.
though
shown.
in
if
either
Crimson
Gold,
mixing
detail
Hooker's
Sienna,
black,
the
Green
and
Ultramarine,
or
Green,
Burnt
^'e^milion,
should
Blue
Ochre, Naples Yellow, Raw
found
and
these
Prussian
Cobalt,
Emerald
Gray,
and
good
have
Blue,
1, Hooker's
maker's dress-
a
transparent
effect, so
same
white;
-one
tubes.
Yellow
much
dry
doing
following supplies
useful
up,
should
New
or
still
make
gray
In
in
keep
colors
bluish
white.
sketch
always
It
One
either
Brown,
Blue
and the
in
bought
brush is
tone
wet.
Always
black
tion be
orange over
cheek
of
putting
tone
cheeks
the
by stippling or
way
of the
light
then,
and
desired
by
very
a
Mays
putting
two
are one
on;
Seventy
Good
sable
sizes
and
and
dry
expensive
used nomical eco-
Chinese are are
excep-
-1, and
for
brushes
white,
for
Ijy Robert
Henry
for
Felix
.Jnngninnn
"
(ie., Paris.
ton New-
and
broad
Nos.
are or
be
brushes.
steady,
(^y^ Drawn
work
should
"
recommended.
Devoe
gold,
to a
7.
Winsor
are
fashion
and
6
injurious
good
brushes
used
some
for
3
less
ink,
silver, which Bristle
brushes
line.
^"5
C.Bflf"8jtR
CnnTVu'j
nf
Vogue.
York
Nett
Rcprcsmlntlves
tafj of
LES
COLCHIQUES
[anieau
From
a
ae
color
voyage
illustration
ae
by
George
Paquin Barbier.
the
Gazette
du
Bon
Ton.
DESIGN
T C
II
A
P
E
R
FIVE
far
allow
we
lose
never
Furthermore,
go,
we
matter
are
should
accentuate
shoulder
the
simplicity
Like
examples
later
ones.
First,
find
to
and
most
can
be
heed
used
materials
comfort then
be
treated
or
ornament
so
chosen
defects and
every 40.
Kept
point.*
Facts
Always
in
sense
show
Mind.
and
should
large
avoid
be
make
than
enlarge
the also *
"
Woman
head
Courtesy 100.-
which
Hat uf
to
wish
not
this
personal
people
of
a
how
proportion.
height,
sleeves
that "
as
they They
are
by Emily
very Burbank,
lines the
are
height. of
true
will lie fouml
This
ous inconspicuThey line
coat
a
or
lines
into
should which
awkward
I
lengths
in
shorter
two-thirds
lines
definite
stripes,for these
them
cuts
Jacqurllne.
\fllc
inspireil by tulips.
should
vertical
very
Greek
head
Decoration
keep shoulder
stripes.
real
as
the
over
do
thin
as
avoid
their
avoid
ated exagger-
shoulder
should
accentuate
appear
person
a
shorter
should
hats
the
long
is not
Fk:.
and
decorations,
very
shouklers
and
emphasize
such
people
stout
with
horizontal
observation
that
avoid
Tall,
Conunon
"
bright
too
drooping
large to
should
in color.
peojjle
avoid
enhance
good
line
characteristic.
so
ficiencies de-
or
to
light
and
to
or
the
people
lines, if they
neutralize
to
as
individual
and
tone
sloping
arm,
can
Bands
large figured goods
too
the
the
seem.
materials
seams
for
are
shorter
Stout
should
to
shorter
lines
accentuate
narrow,
be
.shorter
the
kimona
nuist
make
look
contrasting
Thin
characteristics.
personal The
will
or
our
fundamentally,
given,
person
needs.
present-day Great
the
and
and it to
adapt
to
made,
that
conceived,
second, own
vertical
avoid
best
beautiful
the
effect.
his,
the
out
stouter;
well
two-fold:
is
and
color
Like
jjroljlem
our
we
as
figure
and
ancient
study
mediieval as
architect,
the
should
these trunk.
lines
the
of
that
.as
hips and
Horizontal
the
appropriateness.
and
skirts
bottom,
size of the
should
at
and the
at
narrow
very
harmony.
we
aim
to
the
at
ance, bal-
design; and
rhythm,
always
of
sight of
principles
fancy
our
full
Design." No
of all design,
law
is tlie
Ortit-r
Good
of
Fundamentals
39.
how
DESKiN
FIVE
CHAPTER
good comes
of
the
Remember law:
relation
When to
between
longer
each one-half
line.
profitable reading in this connection.
the two
other, and
Page
DESIGN
Seventy-six
of \'itc
York
give
one
Courtesy
thin
Tall,
people
fit
that
clothes
and
of
ett'ects
narrow-chested
avoid
shoulders
.should
Everybody
rule
a
do
Vn:,
combine
not
large figured materials
101.
with
ago
in vogue study of
a
as
small Small
will
when
people, always get
for
in
even
plain
better
person
Figured,
approach
which
trimming
more
designs
the
or
light
approach When
a
plaid
or
plain material, thap
those
an
figures
in
"all-over"
things
one.
York,
will stand
unless
*
square Never
mix
41.
in
line).
bad. bad.
always
are
and
waists
a
(if
skirts
with
connection.) waist
of
a
the
near
line
face
into
the
(as
in
a
good.
are
of color
note
belt), it should
Sources facts
inspiration from scale
of
waist
waist
always
striking
one
foregoing equal,
girdle
wide
a
have
touch
a
is used
repetition the
on
sleeve
waist).
and
they
no
colors
elsewhere of dark
amounts
(as in
the and
good.
When
the
makes
shorter
effects
continuation
Light
which
the
height.
appearance
the is
example,
(As, for
seemingly
materials,
tone. are
the
broader,
line
Broken
skirt is
line
smaller
appear
gives
the
at
New
A
the
years
sliow.
a
decorative.
unsatisfactory
other
suits
wide-ribbed
nearly equal are
instance,
waist
longer,whereas
Over-decoration
this
Note for
pearance ap-
and
apparent belt
WorUt.
taller than
being
narrow
above
corduroy
emphatically
are
Equal and
as,
than
striped,
the
themselves,
daintiness.
stuff's,
narrow-ribbed
a
five tliousaiul
figured materials,
small
their
emphasizing
day .styleto-
lecting se-
figured goods should
in
are
Mu.seum,
materials.*
figured
that
Gowns
"
IMetropuHtan
small
the
greater A
were
how
higher
waist
materials.
figured
stripes or As
beware
conspicuous plaids and
of too
an
sloping shoulders,
too
tightly. should
Eveiiini
design.
of
Designs.
in mind, museums,
we
Bearing may
draw
the our
libraries, things
in nature, to
from
or
in
howl
a
of
dress
and
writer
the
10'2, the
Fig.
to
of its
music
Wliistler
when
shown
by
thinks and
scription de-
when
clislnK-tion and
to
either in
which
owes
of
justice
do
has
shown
color
sketch
a
has
she
by
in
selection
her
designer has
from
which
when
his
opened
signer de-
materials, her
obtained
store-house
of
has
secured
etl'ect
world
color
eyes
that
gray-brown
by
pastel-blue chiffon, faintly tinged,
and
Oriental
its
vivid
there
is
AVhistler
in
the
the
and
of blue
necklace
smaller
of
beads
shoulder
wing
The
Ladies'
of
shown
in
suggested
*
gowns
Paul
made
is needful to
necessary
and
of the
standing under-
beautiful
the
really comprises
which what
heads, the
for the
Fic.
call taste.
we
should
know
of
the
art
of
as
well
as
the
We
something the
past
by
lO.^,
the
full
York
Times.
Egyptians,
of the
8082,
truthfully gowns
etc
"
was
Lily
No.
of A
"There says of mystery;
in
\'alley. Fig. the
costumes
spired of lliese periods, Design for an evening dress inill Tate by'".\ .Nocturne" Gallery in material is that by Whistler.
HH.
Journal,
Fig.
Poiret
romantic;
is
whiih
catching up
Pattern
99,
it
gain this love
is sounded
wooden
Home
in
of Aladdin.
draperies.
waist
or
treasures
cavern
and
is
Couruay
The
chambers
Appreciation
gold and
single glint in
note
as
Forty Thieves,
picture.
.Another
his
green-blue
color
flame one
the
green
embroidery
in blues
ivorkeil out the
deeper
.a
ing wait-
are
fidl of wonders
untold
the
laying
color.
putty
over
girdle is in
once
endless
echo
blue-green,
harmonies
are
the
vaulted
of the
Nocturne's
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that,
insjjire him,
is
the
as
faithful
.a
draw
to
to
to
contrasting color. Hhe
such
he-
semitransparent
using
over
less into
come
mind.*
treasures cause
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to
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of
handling
and
blues;
joyous,
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which
color
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grays
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colors
The
its
extraordinary
the
to
feeling for
subdued
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tliis
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It
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of line.
graee
will
Notice
pinks, yellows
inspinition for
exi'iiitijj gown,
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see
violets and
has
source.
well-known
s
tlie
from
poetry
or
help.
to
somber fnniislied
stimulating
away
commonplace,
by
Times
dress.
designer'simagination
get
made
following
the
given
As
and
Ilopi
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woman's
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ican OriginalAmer-
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for the
Fig.
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hat
tulips.
of
101
adapted
fovind
inspiration for
her
Fig.
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was
how
us
Jacqueline
Mile.
See
design.
our
shows
100
appeals Is
that
source
any
anil start
us,
Fig.
Page
DESIGNS
OF
SOURCES
Criterion,
arc
gowns
whir-li
and
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ftr
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express
TlilrJ
and
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as
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wliich
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the
announce
rich
so
of the mans, Ro-
Greeks,
Byzantines,
cruder catastrophe;
times gowns
of that
as
the ween:
Seventy-eight
Page Gauls
Franks.
and
French and
of
Norman
of both
century,
with
centuries
the
fifth
the
eleventh
the
in down
the
after
Enghsh
a
of
the
with
Beginning
costumes
the
DESIGN
is
century
the
viewed
be
to
quest Conwe
important
folding un-
back.
from
of
part
Beside
a
this,
are
that
consulted
designer
fairly
the
When the
from
seen
of the extend
beyond of
line
the
bej'ond
nor
back.
the
in hair
extends
the
the hair
the
People
prevailing
of
Courtt:^ij
Fig.
103.
and
Green
"
white
large
smaller to
hats
larger
should
be
accentuate
undesirable
Try
The
to
neutralize
milliner's
problem
or
with
hats
taken
lines
repetition
strong
rather
those
than
whom
Care
too
vallev.
Home
should
or
not
are
to
features
opposition.
such.
lily
a
is allied
the
greatest exceed wearer's at
width to
that
the
the
face.
the
length
not
three-
depth (That
of
is,
'
from
hair
than
more
quarters
Jvunuil.
inspired by
faces
becoming. by
the
oj LadUs'
blouse
height
hat, generally
speaking, be
the
motles.
The
of any
colunm.
faces,
a
it
agreement dis-
Designing
43.
of
require
if
even
with
with
narrow
or
be and
about
Hats."
small
every
out
brings
erly prop-
with
proper
for
should
obeyed,
in
end
in order
spinal
sought
hat
balance
to
of
the
between and
decrees,
the
the
come
head
law
individual
far
back,
the should
matter
no
not
hair
If
awkward
proportions
forehead
the
large
figure gives
fashion
the
crown
should
hat
figure.
too
the
what
side,
lines of the
to
hat
illustration,
Thus,
l^S.
Hats."
42.
of
and
ajipearance.)
on
and
127
pages
head,
clumsy,
a
the l)ut
relation
entire
for
found
of
headgear
hensive compre-
be
the
(For
profit.
list of these will
to
the
both
and
the
we
alone
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till' head
^
the
by with
enjoyment A
be
may
tion propor-
relation
also
the
that
consider
many
cording ac-
most
is
of
demand
costume
books
and,
hat
laws
hat
effect
the
woman's the
the
wonderful
side
every
ty beau-
design. There
the
as
Brummel,
eccentricity of
and
much
so
Beau
to
come
wonderful
in
sculptor
The
chin
the
to
width
of
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a
eyebrows.)
wide
hat
the
times
the
sides
crown
of the
at
the
of
a
should
width
face, including the
is often
of the
ears
head.
The
face The not
of
the
and
the
greater
left side. hat
is very
important
HATS
DESIGNING
and
must
also
to
appear
hair.
putVs of
any
the
cover
head with
People
of clothes
and
aim
large
studies
as
make
to
Page
Seventy-nine
In the
flat and
them
jjjease
not
hats
wear
with
small
crowns.
On h
other
must
not
sight
of
and
d,
n
At
people
let
long, thin
faces,
details
a
d
n
1
p
i
a
should
not
hats
the
than
their
of
of
wear
which
and
If
we
d
to
clothes.
and so
in that
we
resist
w
even
made we
u
ic.
104.
Drawing
"
in
wash
which
and
ink
are
pencil, crayon
York
pencil
ami
|)en
subservient his
to
and
distort
they
cari-
acterization,
shown
in
Fig. In
for the Globe.
get away
from
the
10-i
and
fectly
were
designing
consideration
how
face
reveal
all these
and the
lead
charup
to
the
arranged
to
per-
individuality
of
the
seem
sitter, his occupation, his inmost
ments gar-
made
are
combined.
head
by Kelly
of
Globe.
11y
and
tones u/ Xtir
Courtesy
when
designs
must
his f
r
textures
us.
The
all tl e
n
type
the
cature
o
will
i
modes,
brandt. Rem-
thought-out
to
follow
ings paint-
of
how
terested in-
sheep-like tendency
the
Note
erto hith-
our
this
point,
of
character become
tion illustra-
last
and
most
a
study
an
personality
the
of
have
appreciation
to
in ate
m
dress,
cultivate
we
pernunaUty
telling
dency ten-
In
aim
For
our
shall
we
o
usually
words,
make
broniidic
to
other
faces
ever
in
is
should
overcome
centre
head.
width
hair.
are
interfere
interest
the
wider
crowns
never
the
hair
with
unity
distracting
with
1y
n
we
lose
must
with
arranged
the
time
same
the
a
every
side.
should
heads
must
from
his walk
in life,and
character.
pearl trimming crystal bugles and while wholly inappropriate with an serge, with the chiffon. suitable with the would be of would be that out Fluffy chiffon and Indian bead ornament place serge should These be of with tailored mannish given out points place things. or lacy things or baby oinks or blues are dress accessories such with trimmings. consideration in connection serious parasols, hat.s, shoes, gloves, jewelry and as Color nies HarmoDress I'lorence Hull Winlerburn. Comet books that bear directly on designing are Principlr.iof by Some in Dress Designing by Elliswortli. of I's by Dorothy Quigley, Texlile and Costume by G. \ .\udsley, W'hiii Dress Makes that
Scale
must
could
be
be
considered
.successfullycombined
in
the
with
combination delicate
of
chiffons
textures, or
for
silk would
instance be
FLORE" Rob"
d inteneur Courtesy
From
a
color
of
illustration
Vogue.
New
Yort
by George
revresentatUe
Lepape.
of the
Gazette
du
Bon
Tou
SILHOUETTE FASHION THK
SIX E T P H C
A
U
CHAPTER
SIX
Value
44.
the
of
is the and
it
varied in
is
literal
Silhouette."
foundation
through
the
it
.sense,
The
of
all
interesting
most
aspect
a
THE
Taken
of that
the
now
seen
the
the
period
many
the
world to
novice.
even
Much
necessary
the
are
105.
The
"
Moyen
as
well
Age
nineteenth
in
well
as
become
saved.
is
name
hoop
and
of
and
as
it is Etienne
fifteenth
in
"shoes,
but
nuich
belong
to
Empire,
1759,
to
avert
reign
name
be
given 45.
To
to
l)egin
starting
with,
with
The
107."
public
the
to
lei the
his
"This
See
Fig.
wimple
around
the
head,
earlier
to
gorget
Fig. 110,
is
the
allowing about
a
the
came
chin
band
See
and
Fig.
reprinted througli courtesy
had of
was
of the
New
later followed
107.
band
long
the
wimple called
and
i'orlc Globe.
a
loose
the
by and
this
by
wrapped
framing the
silk
still
years
been linen
Around a
still hidden
was
hundred
halfway
tied gown
hair
piece
a
"
105.
thirteenth
wound
not
later
years
headdress
neck
Fig.
eleventh
was
show;
to
time
churches.
the
In
108.
and
the
in
the
of
described
of
effigies
hair
these
see
Tapestries
century
A
the
and
chapter
wimple.
Centuries." at
all that
head-dress.
the
name
to
books
forehead-strap.
economical.
ghince
twelfth
trying
during
Fifteenth
Gothic
the
The
economy
caused
us
Century
France in
and
things
to
beautifully
so
fashion XV
hats
touches
interesting
and
hundred
lOG."
these
Age,
illuminated
nifies, sig-
bankruptcy XV
is
the
in
to
Fig.
of
length
Moyen
clothes
Silhouette, to
the
the
of
spite
the
things ostensibly
Twelfth
Pig.
the
increased in
this
from
de
Finance
Louis
teenth four-
shows
It
are
enough,
national
of
worn
Gothic.
are
details
taken
whose
was
scallops,
the
and
horned
of
at
certain
The
of
with
trouble
its
of
hair
For
condenses
what
Minister
innovation
regard
plifies, classifies, sim-
time
in
the
of all ages.
Curiously
saving
in
period
familiar
silhouettes
both
ped wrap-
though
century
costumes,
interesting,
as
so
or
braids.
long
ous, advantage-
seems
silhouette and
in
usually
was
times
now
eighteenth
bustle.
thoroughly
costume
that
the
and it
reason
The
the
of
about
crinoline
this
print
Renaissance
centuries, that
uncertainty the
and
those
as
we
head
localities
ing glar-
rather
wimple.
gorget. see
to
certain
less
mistakes Fig.
the
shoulder
garments
around,
necessary un-
were
thirteenth
omitted).
less bound
or
and
everything
the
The
more
eleventh
twelfth
are
from
and
the
of
is
all
loose.
tume cos-
are
drawings effect
and
errors
in
that
lumg
tumes cos-
like
The
SILHOUETTE*
tenth
(the
nearly
so
its
study
to
simplifies
so
houette centuries Sil-
fashions,
centuries.
FASHION
the
about
face. was
times some-
snood. at
See
the
The waist
THE
Eighty-four
Page
Fig.
the houppelande
Showing
108."
with
sometimes
of this
touch
Dominican
The the
dress
in the
today
early
including
as
rosary,
INIany founded
in
and
the
and
nuns
their
eleventh,
sisters.
order
was
in
121S,
Dominic which
noted
practically
wear
religious
fourteenth
be
may
when
Saint
by the
of the nuns
garb
same
in.stituted
costume
pictiuesc|ue
was
his
orders
twelfth,
centuries
as,
a
Gothic
decorative
they bring
to
romance
castles,
crusades,
the
In
novation. inarches were
more
teenth, thir-
nens
for
the
of
106
followed
Valois,
Today
They
ages.
century,
the
(see Figs.
de
France.
and
legend, beauty
Gothic
the
ation Annunci-
monasteries,
fifteenth
pointed, shoes
the dark
of those
of
XI
us
the
St. Jeanne
by
of Louis
daughter
of
Sisterhood
Bourges
at A
of the Rose,
the
example,
cenlury. Orders.
Religious
46.
so
Giving
The
SILHOUETTE
Museum.
at
girdle, remtiining
a
fifteenth
the
until
Century robe. MetropoHtan
XV
or
tapestry
FASHION
and
the
as
breathe
pointed
architecture
head and
suit,
covering 110) so
as
that
vents. con-
grew or
hen-
well in
as
this
CENTURY
SIXTEENTH
century
the
came
extremes.
of
traces
this
To
Page
day
find
we
headdresses
these
mark
high-water in
k'ft
some
of
cf
by Hans of
o\er
the
the
smaller
Holbein.
figure
There
and
waistline
Eighty-five
was
in the
toward
sixteenth
costumes
of the
It
peasants
in
mote re-
well
on
here
districts the
continent. I
Sixteenth
47.
Century.
tury cen-
twelfth
centiuy
lacing
is
discovered
and
the
English
that
"Not
lacing
the
was
tight,
very
it
but
menced com-
first
the
made.
watches
us
history
Costume,
had
been
Cal-
tells
his
of
invented,
America
posed sup-
have
in.
in
had
Printing
say
in the
that
throp
land.
and
been
to
come
changes,
sea
be
might
to
found
on
the
century.
The
"
sixteenth
great
stiffening
a
tendency
a
habit
and
the
The
silhouette
habit begat the
was
greatly
harm,
The
changed.
thing
Renaissance
it the
changed
as
else.
AJ-
left d
won
square-built,
Diirer
has
early this
century,
the
originals of
Nuremberg,
era."
of
part
are
sleeves
Up
of
(1509-1547)
tury cen-
sense
of
looseness,
of
a
in Courtesy
of Art
Student
Magazine.
see
109.
"
Late
XV
Century
costume
drawing by Albreclit
everything
Diirer.
being
are
to the
is noticeable
109.
We
the
fifteenth
Fig.
Fig.
totters
Elizabethan
of the
which
figure titters
through
contemporary sketches
tissue which and
us
f ul
er
the
at
cardboard-and-
thing every-
brecht
til un-
arrived
buckram,
well
as
of
the
grew
finally
of
architecture dress
and
all
familiar
Henry
VIII
immortalized
with and in
the his the
slashed queens
portraits
less supported the
straight
The
fifteenth
from lines
the of
century
more
or
shoulders, giving the was
middle
ages.
transitional;
SILHOUETTE
FASHION
THE
Eighty-six
Page
itmm after
that
wide
skirts
teenth
the
110.
How
"
the
waists
tight, long to
came
until
stay
in
brought
century
different
and
the
the
centuries
women
nine-
Empire
Seventeenth
48.
turies,
Charles
I
collar
and
was
a
The
is
is
hat
the
similar with
in the
and
French
hood
and
hood,
"
Early XVI
Century fashion drawing by
Hans
the were
Raeburn,
The
Quaker, both
then worn
for the
and
Renaissance
hat
France.
called
the
roya' magnificence
by
the
beaver
us
documents. we
pass
sixteenth
the
part
of the
teenth
leaving eliminated
nolds Reyleft
seven-
centuries,
Holbein.
way
extravagance
of
Nattier,
Joshua
Sir
through 111.
eigh-
Gainsborough,
Thus
simplicity emphasized. and
,
valuable
really
every
the
have
Fig.
in cen-
Watteau,
Lawrence,
the
roses,
or
in
and
Romney
of
Van
Rubens
Fragonard,
the
without
but
Such
teenth
linen
are
distin-
sitters.
and
the
place shoes
The
costumes
seventeenth
tiny,
although
times
Velasquez,
as
the
period
us
their
by
gui.shed
the
the
the
through
of
minus
of
fashions
in
nobly for
preserving
survival
plain
"
done
Dyck,
II
England).
portrait painters
drawings
(1660-1685),
ribbon
The
(1649-
costume
the were
I, 1603-1625, of
I, 1625-16-t9,
Quaker
Charles
James
men
the
the
same,
Charles
and
they
time
worn
of
dress
and
Cen-
of
tion. simplifica-
The
lace.
(period
the
at
cuffs
illustrations
takes
prevalent
have
lent excel-
feather
costumes
Puritans
distinguished by
are
the
give
these.
Eighteenth
The
day.
both
Crom-
the
Hollar
the
that
Pilgrims
was
of
period
1660)
of
of
silhouette.
(1625-1649)
which
wellian
of
fa.shion
bethan Eliza-
collar
high
of
and
The
"
forerunner
flat
the
organized
style.
the
affected
Casseau.
by Inez
Draim
Fig.
The
by
the
the
stately dignity less
time
period of the
of
Louis
formal
XIV but
of the of
Louis
and was
truly lowed fol-
luxurious
Page
CENTURY
NINETEENTH
Eighty-seven
Courtesy
Fig.
of
period
rococo
in
styles
the
the
and
hoop reign
the
reapjiearance
of Louis
this
fashion. of
fined re-
Marie
Antoinette.
George
and
III
the
the
classic
the
revival
Roman,
modified
epoch.
This
the
during
time
(17G0-18''20)
reigning
of
the
dress
and
XVT at
set
though
extreme
toward
England
Barry
world
more
attitude
(17'23-1774),
du
Parisian
followed
Then
XV
and
Pompadour
when
Li
Louis
of at
that
the
Shakers
buried
sees
in the
in
something
what
wearing
the
natural
people
to-day
t ume
style was
and
apron
of the
English
ing work-
Century.
silhouette
not
Directorate so
that
nineteenth found
the
1 1'^.
of
Napoleon,
this
quaint
is interesting
to
note
back
was
Green-
(1846-1901) to
See Louis was
who
these the Fig.
113.
"
Qiiaiut styles of
Kate
Greenawa
for
go
short
first silhouette
David, a
the court
strong
waists of
Fig.
painter
influence
in
and
it is
still more did two
truthfully said beautiful
dress, and continents.
by
still
was
revived
beginning
in this her
spiration. in-
of
costumes
nineteenth anfl
to
period
Kate
she
skirts
narrow
by
It
It
the
century
Jacques
it
away
early
conspicuous.
that
loved
in 179.5, the
was
upon
did
until
come
the
Napoleon.
The
in the
anything
royalty
frowned
change
great
for
essentially
former
that
"
third
type
suggesting
Nineteenth
49.
classic
for
new,
class.
of one
endeavor
difTerent, something
the
bonnet
the
an
pleated skirt,
wide,
taking v/ork
cities, and
cos-
"
and come out-
were
restoration
Ponipeian It
and
was
the
Empire
Greek
climate
stitutes con-
their
the the
to this country
came
Graphic.
suit
interest
time
the
of
to
revival
emphasized.
was
of London
11^.
naive
of the
century,
style, made touch,
she
dresses, the children
See
Figs.
113
and
'i'i.
of
^Ye
left
have
eighteenth nineteenth
and
charming
makes
grow
and
skirt
the
narrower
the
bustle
In
this
until
in
and
the
skirts, there
its
changes
we
While has
been
bell and
in have
speaking made
the
ten
of
its
how
skirts, definite of
skirts,
small
sleeves,
but
the
houettesit sil-
leads
It
mention
they
sil-
is
with
should
for
and
then
have
little
mained re-
silhouette
then
it
is
in
the
observe
push
or
the
study varied
in
us
turies. cen-
importance.
and
the
silhouette every
passing
small
and
beauty
for
kept
deny
not
valuable,
through of
the
of
as
illustrate
has
of
dolls
period
Museum
shadow
full
are
also ever, how-
been,
small
us
us
have
emancipation,
silhouette
Historically
affected
was
to
no
when
century,
.sleeve
beautiful
Let aside
the
women
since.
fleeting
the
terest in-
bigger
no
of
the
truly
and
alike,
Metropolitan
wide
its
centuries
the
parts
added
through
men
became
ever
thirty
The in
with
more
so
grow
appeared.
draped
sleeves
a
down of
seems
time
the
other
the
nineteenth
the
That
men's
1869-1870
that
leg-of-mutton men.
George
to
until
the
as
even
sleeves much
very
examining.
been
of
1865
skirts,
many
by
took
skirts
its
the
the
dith's Mere-
therefore,
really than
at
of
draped
bustles,
were
in
winter
its
skirts,
narrow
112)
then
began the
century,
one
were
the
fact
the
smaller,
get
well with
the
centuries
and
Owen
of
Fashion
"Lucile.") turn
look
time,
this
illustrations
of
SILHOUETTE
as
costume,
old-
(To
1864.
quite
the
and
made
which
1840, until
of
Maurier's
Fig.
of
J^nipire
always
nosegays
FASHION
houette
to
which
(see
of wider
atmosphere
with
of
the
come
its
costume,
valentines
crinoline
skirt
have
century 1830
of
hoop
and
think
one
fashioned the
the
now
century,
the
Du
THE
Eighty-eight
Page
mind
paths of
tume cos-
interest. that
fashion.
\imm 1100
1330 Draini
How
different
cenluries
have
affected
the
silhouette
of
men.
by
Margaret
Calderticad.
we
PERIOD FABRIC
CHAPTER
DESIGN
SEVEN
SEVEN
CHAPTER
Primitive
50.
often
The in
jjubhshed its
tliat
tlie in
had
also
sane
Euro
p
much
that
M
in
or
religious is
of view,
of
and
usage
are
not
intricate
to
original In
these
the
are
The
designs
tute consti-
for nature
thought."
for See
treatment.
designed
Indian
basket.
51.
Influence
that
the
earljand
in
their
in
the
of
years
B.C.
and
Desifin
114
find
G.
i.hs}tjneii hy motive
from
we
see
unit
a
of the
Design.
We
terial ma-
on
arts
an
its
Persians
were
Fabrics
Early
had
course, inter-
first
this
known
for
influence hundreds
Assyrians, allied
tians, Egypthrough
love
tains, moun-
dragons, and
etc., used
is
(in
the
usually of
spite
instead
interesting conventionality)
outlining period
of
their
of
formal.
know
Greek
and of
in
great
a
flowers,
"
method
We
influence
find
China,
"
races
the
show
picturesque This
114.
from
to
Indian
basket.
Fig.
fluence in-
traced
Japanese
tortoises,
Rufhscliild.
ern mod-
civilized
designs. art
nm!
Drawn
52.
in
the
be
waves,
of Fig.
splendid
that, where
India.
ently suffici-
can
forms
is interesting
case,
can
pressions ex-
student
motives
the
world
design, however,
was
is
Chinese,
It
know
to
this
an
pictorial
are
many
ventionalize con-
broad
as
their
identical.
for
not
the of
to
love
do
as
way
ferences dif-
Japanese
greater and
and
ethnological
point
The
a
but
from
"simple
a
meaning, deep
a
the
difficult
in
some
China
similar;
times
at
The
and
So
interesting subject
but
Japan
detail
significance
attached,
design
have
r,
dhism, Bud-
somewhat
are
o
India
peoples.
determine.
Northern
symbolic
strict
of also
of of
influence
strong
a
indeed,
Southern
ia
s
Art
both
is in
Byzantium.
is often
the
exercises
Art
Rome,
Africaand
which
America
found
designs
account
on
Turkestan,
A
e,
results
between
close
is
Japan
swasticka
Europe,
Greece,
affinity
The and
their
and
conquests,
over
been
Northern
much
DESIGN
similar.
often
were
FABRIC
showed
prehistoric
Intlia, Eastern
ment treat-
the
and
wars
Government
that
report
sign, de-
in
differ
not
States
a
researches
used
simple
does
United 189-i
Primitive
"
and
character,
units.
of
Design. fresh
so
and in
PERIOD
be
can
be
we
know
we
mentioned, 3000
fabrics
find
and
fabric
b.c.
dating in
seen
that that
as
the
Designs.
design, Egypt where
weaving of
Examples far
back
as
Louvre,
checkered
garments
were
during
was
ancient
1000
Paris.
rugs
In
"
nmst
b.c.
While woven,
the
Old
Page
PERIOD
Ninety-two Dark
Kingdom,
Ages,
Kingdom,
Middle of
Poriod
2980
B.C.
B.C.,
were
mitil
of
made
wool,
945
linen
and hand.
by
woven
the dyes used principally red,
While were
and
blue, white
saffron,
most
The
worn.
material
plain,
was
if any,
the decoration,
being embroidery the
While
hem.
at
people during Fig.
115.
Greek
"
from
costume
time
Doric
and
wigs
headdresses, armlets,
straps, and
not
their
Copts
like
wonderfully bands and
their
on
designs
of
of
Museum
were
Greek
Cotton
different the
folds
the
of
of
waist
this
decorative
interesting
effects
position
at
worn
in
also
by changing
girdle. the
simple
note
to
obtainable the
single
and
This
Archaic
was
period.
this
wore
embroidered the
are
examples
color esting. inter-
most
be
to
are
seen
Metropolitan
Room, in
and
the
Cooper
Dress.
used
had
for of
the
cotton
belonged
The
"
silk. the
Linen
later
and
used silk
extravagant
more
in
Greeks
period, though
small
to
India;
to
Europe
quantities. it did
not 1 16.
become
it is
effect, and the
a
woven
in itself.
Christians,
garments,
linen, and
costumes
they
produced
were
complete
was
were
animals
Museum.
53.
wool
garments
long, graceful
garment
designs birds,
116.
or
Art,
piece
one
The
The which
all-over
their
on
Romans,
which
Coptic
the
Union
and
woven
Good in
Fig.
Greeks
the
flowers.
in
and
combined an
The
115.
purple
popular.
were
figures in
Egyptian
or
Fig.
emblems,
frequently
Tyrian
in
leg decorations,
introduced See
weaves.
The
design.
were
with
costume
See
dress,
or
used
often
were
was
collars, hanging
and
have
to
the
Greek
the
and
yellow
was
and
have
to
seem
Hope.
depended
in
Blue and
borders
Different
fond
of ornamentation,
red
as
cloak,
or
colors.
well
as
It
chitons,
Ionic
himation,
different
or
have
to
seems
been
and
Doric
Great.
large garments
The the
DESIGN
the
in color.
and
usually
for
deep yellow
New
i.e., from
Empire,
a
Alexander
of
expensive
too
Shepherd and
Kings,
invasion
FABRIC
known
until
the
"
Costumeof from
man
Histoire
and de
woman
L'Art
of Egypt Egyptian.
about
2500
B.C.
DRESS
ROMAN
the
over
under
in
hips
the
Greek
costumes
Greek
Dress
Golden
the the
at
arms
and
Interesting
Dress;
Page
last
may
Evans's
in
Abraham's
illustrations
good
of the
of
accounts
found
Edith
and
Greek
Hope's
in
tume Cos-
of the Ancients. Roman
54.
Greeks
as
and
as
The
Roman
which
or
dress
decorated.
linen.
nuich
from
the
and
seem
always
to
have
often
was
Caesar,
55
B.C.,
ruffle
to
elaborately with
wool
exception
of
fabrics
did
not
after
the conquest of
weaving
in
the
palla,
but
a
We
d
n
man's
premium,
at
was
the
Gauls
stola
hinuition. a
from East.
color.
Roman
a
their
inspiration
in a
."
Fabrics
fi
a
woman's
the
the
elaboration,
t
s
a
(velvet),
tunic,
a
to
mixed
With
purple
added
which
frequently
was
from
sides
wore
women
Silk
material
chiton),
Grecian
a
and
silk is described
and
women
Roman
their
or
scarlet
Grecian
Romans
both
corresponded
toga,
the
on
nap
gold,
(like the
The
much of
Some a
The
"
importeil
having
E
drawn
Dress.
Babylonia.
ence Influ-
55.
period.
detailed be
and
Age,
adopting
a
somewhat m
d i fi e d
o
form
of the
Roman
tume. cos-
Fig.
differ
Grecian.
118.
The
more
Franks
third
the
to
did
not
whole,
the
for
and
from
and
carried
was
56.
Weaving. done
was
complex
117.
"
Italian
XIV
Century
costumes
from
Jaoquemin.
then
not
done
Egypt
of
the
produced known
by
find
the
both
and
men
tenth
stuffs
and
brought
the
of
art
and
applique
work
Europe. While
"
in
use
figures were was
in
on
of the
generally understood,
weaving
tapestry
tine Byzan-
after
after
even
became
embroiderj'
We ninth
veils
influence
wearing
East,
the
adopted
as
their
continued
the
centuries the
costume
Eastern
Franks. in
women
twelfth
the
Empire
of the
a.d.), while
their
retaining
centuries,
Roman
gradually (from
with
part
styles, for arrival
of Gaul
fifth century
women
ten
some
the
Century parti-colored .Jacqueniin.
from
"
in
they a
XIV
"
dresses
taking possession the
FlC.
Ninety-three
mechanical 2000
B.C.,
shuttles
l)y
without
until
200
Syrian
ing weav-
the
more
v'n'ch
ing embroidera.d.
weavers
It
in
was
the
PERIOD
Page Ninety-four Eastern For
of
slow, and
opment devel-
weaving the
Europe Roman
These
sometimes
were
linked
century.
together,largecircles
century
also
was
thirteenth
formal
a
ment arrange-
often
was
followed,
consisting of balanced groupings of birds, beasts,
silks in
and face
they Byzantine
a.d.;
and
DESIGN
ricallj' arranged used. Up to the
terns pat-
produced
500
twelfth
the
to
simplest
Ornamental first
were
was
repeat
of the
were
kind.
the
years
many
were
Empire.
Roman
FABRIC
Fig.
119."
XIII
Century
placed
men
back
or
face
to
to back.
formal
iTrrangement.
being joined by small at points of contact, the
patterns often
ones
and
ing becom-
The cjuiteelaborate. hexagon geomet-
Saracenic
Fiii. liO."
Fig.
Century trunk
XVI
The
animal
a
design consistingof
circle
or
for
the
first
hundred
years
squares,
sometimes
with
five
circles
Persian
or
filled
stained
broken upper
400
circles and
spreading
000
for
pointed, it
In
700
lower out
opened
form
continued
continued
Paris. 1-21."XVII
Century
silk
ing. weav-
this time
merchants
segments to
a.d.,
period. Spain was
A.D.
About
a.d.
in, the
came
800
things that
most
progressingwith to
Circles
"
like
were
Fig.
bands.
about
through the Gothic
glass.
About
in
and
or
afterwards
Century
of
came
Syrian floral detail, persisted. This same design was used for centuries
.\V
is a ogival form in which design the joining circles are brought into acute juncture, forming ovals. This design form
tury; cen-
next
ami
arrangement.
The
frame
square
in the
developed
XIV
1'22."
motive.
from
also,
Syria
establishments In
800
a.d.,
in the
an"l XVIII
scroll motive.
Daughters
of
Charlemagne
silk
did
THREAD
GOLD
OF
USE
but
weaving, the
century
making
and
Corinth, No
fal)rie.s
fine
was
Thebos,
by Athens,
reached
thread.
gilt
influence
of the
of
weavers
had
extravagance
the
gilded parchment
of
strips rolled
Constantinople.
great
centuries
in
this.
thirteenth
produced
tenth
many
fabrics
enriched
with
winged
lions,
the
crosses,
rayed
crowns,
of its
stars, harts,
together
Simple,
with
possessing but
floriations
three
armorial
shirts teenth four-
the
In
Dress.
marry
Charles
which
to
in
Courtesy
M,:..
of An.
Museum
,.^:j,ui
of
return
the
Orient.
thread
gold
silk the
fomiS, SUcll
show
gold
conventional
ground,
a
the
fabrics
and
by
of
crimson
patterns
the
left
fine
See
Fig.
Sicilian
of
Spain
when
dark
or
silk
fretjuent
are
use
of
in
right
husband,
family,
own
XI
and
character
this
into
Northern
that
much
the
at
seventeenth
fabrics
I
century,
the
art
(151o), were
of
later
and
Tours,
Francis
Italian
Persian
fifteenth
encouraged
France
of
Italy,
was
the
to
in
under
Lyons
Persian
lady's
a.d.
twelfth and
Louis
weaving at
upon
1200
the
centuries,
the
introduced
adopted
Saracenic
which the
118.
was
Genoa from
wearing
of the
arms
aS
crests
division
a
figure in half,
the
of
that
in
Late
design
foliage
and
weft.
thread
but
purple ground
birds
with
a
of rank
women
parti-colored dresses;
representing
fourteenth
and
distinguished by splendid yellow
found
badges,
and
side
gold
around
employed.
was
silk
by
Drawn
"
thirteenth
Hispano-^NIoresqne
blue
of
luxury
the
rolled
frequently
twilled
formed
initiated
early fabrics,
in
paper
on
of
centuries of
Thread.
used
not
of
thread
into
France
of Gold
was
fabrics
Crusaders
the
practically cut
leaf
heraldic
of
of Betrotli.al of .Saint Catherine Memling P.iinfing by Hans fabrics" Century'. and fabrics X\' sliowing"surcot used in XV siircot Century. sliuwiiig
"
trousseau.
nobilitj-of
a
oftJu
shields,
the
or
123.
in
Use
r
the
introduction
having Fig.
57.
1a
u
Gothic
dozen
The
d ic
n
e
p
of luxury
cnemises
her
brought
an
extraordinary degree
same
influence
VI,
showing
three
The
"
thought
was
be
colored Parti-
58.
ing com-
to
Fig.
117.
de
Baviere.
or
ings. bear-
See
century Isabeau
or
birds, linked
Cliarles
king,
Sicilian
fourteenth
and
century
read
through
the
Crusades,
the
In
plaee of
Undoubtedly
the
before
France
we
llic eleventh
iij) to of
practicallymonopolized
Ninety-five
Page
the
closely
PERIOD
Ninety-six
Page
and
followed,
the
pattern
vase
"V.
was
of
adopted. Oriental
The
did
textiles
of
century the
Versailles
and
XIV
inspired
Louis
the
when
until
gardens under
Trianons
the
of
use
in
design
entirely disappear
not
seventeenth
the
of
character
European
flora. 59.
The
in
brief
following helpful
found their
in
See
arrangement. Fourteenth
trunk
See and
reversed made
See
that
this
magnificently
in
of the
bottom
pineai)j)le or "Still
121. we
refer
can
in his
book
on
with
conjunction
Hogarth
"I.
200-400
with
The
A.n.
simple floral,
"II.
-400-000
broken
600-1000
linked
by
smaller
inside
and
out,
ogival form; "IV. bands
out
A.D.
and
scale
or
patterns
falcons,
features etc.
of
bands. of
use
circles
the
length
at
parallel
detached
details,
inanimated,
as
closed en-
combination well
design,
as
metric geo-
1200-1300 as
eagles,
frame
the
leaves
pattern.
frames
together
of
became
a
free treatment. centuries ment Orna-
which
ogival.
it
Elaborate
by
of
Ogival
enclosing
and
a
ogival The
crowns.
crowns
urns,
variety
animals
common.
"VII. find
vases,
a
to
flowers
and
the
Interlacing is
one
stem
ogival frames,
attached.
caught
cone
a
123.
elaborated. with
of which
of
of
Fig.
previous
large concentric
use
Repeated
and
frames
of
be
frames
midst
and
out
to
seems
two
ornaments
straight-line framing. introduced
springing of
framework.
hexagon
ogival framing
in
form
developing
animated
patterns
to
circles, with
often
forms.
by
the
through
ran
of
arranged
was
bold
serpentine
a
See
])lans
combined
were
filled
utilization
The
ornamentation,
or
animal
or
A.D.
1000-1350
circles
sometimes
The
A.D.
spread
circles
"III.
bird
of
development
geometric frames,
circle and
section inter-
two
through
Designs adopted
1500.
line of
the
capped
which
forms.
The
robe,
Hogarth
up
in the
pattern
"VI.
pearing, disap-
device.
trunk
of botanical
the
themselves
panel by
showed
another
Both
was
and
panel
fruit
winding
or
the
coming
stems
certain
seen
lent
form
Hogarth
a
give used
fabrics.)
utilized
Another
curving
illustrations.
his well-chosen
form
beauty. of
l'-20.
these
to
Clark,
Jioiippelande,or
appearing,
was
and
gradually
now
was
Jeanne
textures
request.
the
ami
1'2'2.
outline
Furnishings,
which
surcot,
of
they
Monvel
be
may
of
use
that
A.
of the
written
upon
de
William
period; they
"This
centuries,
panels
fine illustrations
very
119.
mal centuries, ani-
Clifford,
given by
Period
Fig.
Fig.
detailed
more
a
mal for-
eighteenth centuries,
See
scroll motives. For
be
(The
Boutet
design
the
was
arranged
Senator
by
characteristic
so
painted by
owned
designs
centuries,
Fig.
and
frames.
d'Arc,
DESIGN
century
curves
which
seventeenth
motives.
Seventeenth
to
Fig.
fifteenth
days
"
will
fabric
fifteenth
and
figures.
Designs.
classification
placing
thirteenth
and
Sixteenth
Fabric
periods.
proper
Twelfth
of
A
1350-1500.
the
at
Classification
FABRIC
an
flowers
verdure,
prints.
use
of
instead
of
this time
European
we
garden
purely tropical Persian
following,
ogival form "VIII.
During
KiOO-lTOO.
elaborate
however,
the
general
arrangement. 1700.
Pure
Pictorial
Renaissance
tapestries styles,or
and
devel-
SIXTEENTH
AND
of that
opnients Oriental
English
or
and
the
Adam
and
Empire
as
the
evidence
pressed ex-
in
into
and
1800
Fashion.
Sixteenth
The
60.
"
In
three
were
Oriental
Renaissance
floral. from
The the
and
and
rose
pomegranate
gave
and
Roman,
such
pink,
Acanthus,
second
or
motifs
the
was
reign
flora
of
spirit
the
East
third
developed
about
the
Gardens
In
studying
overlooked Indian the
the
that
the
really
do
the
during
1650
the ferns
and
into
into
types
that
strong Louis
in
France
XV,
and
Georges.
The
reserved
1609
be
found
under
of
during in
East
India
there,
"for
reigns, of
reign
fowls the
and
in
beasts
Council."
de
great
a
this
time
and
a
the
ceased. around
way
had
silks
dustry in-
minister
at
of
of do
given
able
Ho])e
much
to
from
turning
arts
of the
and
de
de
Mile,
The
by
festoons, It
in
under
lace
into
introduced wife
making is
Lace
the
motifs
king
the
highest
France
by
and
to
have
Catherine
II. in 154:7.
his
ment achieve-
reached
was
gested sug-
l)rought designs,
this
supposed
of Henrv
the
magnificent gardens
Colbert, that
minister,
well
Fontanges
architectural
vases,
was
de
floriculture,
European
as
influenced
besides
built,
World
la Valliere, Madame
Maintenon
time.
high position;
period. statecraft,
of Louise
were
France.
artists held
ambitious
Montespan,
]Madame
Medici,
First, was
patterns
in
XIV
an
taste
the
Company
was
and
in
to
Italian
trade
Louis
the
that
nmch
abandoned
forces, conquests
etc.
was
under
England
all strange
East
China the
be
had
Asia.
to
it
as
home
the
Good
the
Under
Elizabeth,
Anne
Queen
influence
the
Italy
use
not
brought
England and
Jacobean,
and
it must
Dutch
Cape
century
and
discovery
of
customs.
centre
Secondly,
large
the
adopted
and
about.
were
the
with
European
came
periods
the
for
Thirdly,
The
of
XIV.
of
was
courts
impetus
Colbert,
dresses
vogue
through
or
when
XIV,
Royal
was
the
The
of Louis
long
Anthe-
the
this
Centre
seventeenth
things
bringing
Louis
tons, cot-
in both
Italy
clothes the
appreciative
lily and Egyptian,
in
became
by
motifs.
as
to
or
with and
the
foreign
until
Several
taste.
of
Iris.
which
not
Paris
the Persian
the
as
that
India
used
centuries
fashions
was
Persian
as
and
influencing
commercialism. flora
of
Renaissance
Portuguese-Persian,
change
a
such
to
the
European
Rhodian
Lotus
Oriental
Renaissance
the
motifs
the
way
Greek
mion,
of
types
brought following
design, and
It
teenth seven-
Renaissance,
Renaissance
accustomed
Oriental
and
distinct
the
seen,
both
Seventeenth
sixteenth
centuries,
design
and
the
Becomes For
"
early
as
and
were
gauze
floral British
France.
from
centre
Centuries.
and
printed
demand
a
into
and The
goods,
and
Paris
61.
and
animal
character.
Indian
in
motifs, much
of
created
dimity, England
was
influence."
Emi)ire
for
1700
colonies.
American
India
cockatoo
embroideries then
of Eastern
in
in England.
the full
so
Ninety-seven and
parrot similar
and
in
design
as
the
cages,
fabrics,
rule
period
Page
brought
wicker
life.
examples
school
in
in
Indian
This
the
XVI.
period overlapped
generally adopted "IX.
shown
Transition
or
XV.
or
either
as
revival
CENTURIES
XIV
f^ast
or
late Louis
the
by "Directoire France
styles
classic
XVI
Tiiis
Louis of
of Chinese
bits
Louis
style.
characteristics
Frencli scenic
SEVENTEENTH
in been de
Page On
the
XV
other
had
the
We
find the
much
less
Japanese affected
were
and
for
this
favorite
of
Period
62.
of
the
the
had
of
fallen
the
during
late
the
end
materials
less
metallic but
used
was
Renaissance,
This
worn.
XVI
the
innumerable of
Chinese
and the
In
combined
with
in
zebra."
a
stripe, the
columns,
etc.
the
flowers, all the
rose,
Unlike
]\Iarie
reign shows
the
ribl)ons
is
and
of
the
influence in
she
lyres,
of
of
beginning of her the
left
and
taste,
entwined
Designs.
and
lacking
in
tion, ornamenta-
Napoleon's
bringing
paigns cam-
into of
of
source
a
usually
was
in
treasures
who
reveals
design
of
atmosphere of
worthy
Erance
centuries,
inspiration,
imprint
wish
Die
only
by
develop
to
of
Gewebe
Museum
Seidenwehcrei,
much
of
each
upon
and
students, their
tory hisand sideration, con-
but
by
knowledge
beauty. Sammhing Julius
von
Otto
the
century
intelligent study
appreciation See
"
Empire
color. in
not
and
the
characteristic
a
and
all
still
period. Eabric
is
now
influence
Oriental
became
gewerhe Empire
less
the
gave
of
accunuilated
and
were
design.
or
the
branch,
were
wholly
now
resulted
the
marked
had
costume
more
etc.,
stripes
in
tian Egyp-
was
bee, laurel
and
laces
upon
freedom
which
garlands.
Directoire
effect
texture,
best
so
largely
was
that
The
This
popular.
liked
but
been
has
warriors,
motifs
as
were
ments orna-
and
in Scotland,
which
much
helmeted
that,
stripes and
medallions,
imjjetus
seen
bons rib-
Pompadour
tulip,
in
everywhere
and
used
looks
Antoinette
the
the
cabinet
Antoinette
feathers,
lace
which
63
and
said
was
flowers
with
pink,
and
Stripes
it
the
Marie
of
production her
as
stripes
imitation
period
with
character.
The
king's
the
Queen
such
pulse im-
gories alle-
scenes,
flowers. in 1788
interwoven
were
find
we
that
used
"Everybody like
country
of
much
was
"
nuide
of
of
style introduced
"
French
a
transition
The
wreath,
have
shawl
copy
design
combination
ornament.
fabrics
much
We
to
sition tran-
classicism
poi)ular.
lowed fol-
foliage, flowers,
composition,
figures, landscapes,
the
fashion.
capricious
Arabesque
designers under
paths
was
campaign
Paisley
Persian
in
Louis
Under
led
the
to
the
fore be-
again
Egyptian
the
stronger
India
a
followed
1804,
this
the
The
j)ut because
industry.
the
and
in
prints,
had
years
to
and
king
the
then
silk
1795
between
Empire.
in.
came
so
named
weaving,
which
foliation,
and
and in
sought
were
oriental
the
the
By
heavy
favor
from
gowns
former
pet
Revolution,
after
XVI."
century
his
period
King.
Louis
eighteenth
effects
the
this
Colbert
in
use
Directoire,
^latlame
silks
flowered
The
stripes
of
charming
many
of
made
were
creations
as
Pompadour,
Pronounced
their
to
brought India
cotton,
used.
were
it threatened
Chinese
and
lawn
DESIGN
1789-99,
materials;
simpler
stop
ers, feath-
shells,
were
garlands,
fancies.
balance
or
FABRIC
Revolution,
The
and
extravagance.
symmetry
knots,
Louis
life, and
social
and
which
motifs,
of
arts
of
ostentation
ribbons, and
the
hancU
stinuihis
full of
were
in
PERIOD
Ninety-eight
von
Eunke.
des
Kunst-
Lessing,
and
COSTUME HISTORIC OUTLINE
OF
EIGHT
CHAPTER
History
Old
Memphis,
(2980-'2-i75B.C.)
.
classes
Lower
ends
down
front
capital. belt
a
lapping
side
Dynasties
closed
were
the
over
tied
thicker
material
of
short
the
cloth
Fig.
VIQ),
13th
into
in,
by
in
this
124
of
the
Fig.
Egyptian
Fig.
hii.
Showing
costumes.
erection
nasty. dy-
See
and
tlie
a
of Afetropotttan
Fig.
12.5.
woman's
leopard
skin
costume,
by
worn
and
Museum.
In
an
heads
appear
engaged
Dark 6th
Courtesy
Fig. The
12th No
costumes
Fig.
127.
1)V
worn
men
in
Kgvpt
of AfetropoUtan
Fig.
128.
Dynasties
skirt
left
the
during
s
came be-
popular.
Kingdom
Old
See
Fig.
\3\.
Cloaks .shown.
in costum
Kingdom,
(2160-1788
12th
and
B.C.). Thebes,
i;3th
capital.
worn
from
but
became
Middle
now
place, plaited
129.
Dynasty. change
and
effects
Museum.
(2'J80-247.i' B.C.).
to
(.S) Middle
a
took
exercise.
(2)
short
ISIany changes
in strenuous
Ages,
side
had
in
when
nude
gone
right
have
to
was
the
sleeve.
Men
wigs.
wore
This on
open
and
tunic
a
sometimes
was
shaved
18th
the
added.
and
men
Thebes,
Dynasty
in full dress.
their
nasties Dy-
(1580-94^;
capital.
man noble-
women
19th
B.C.).
Fig.
representing
Both
18th,
triangular
the
priests.
pire, Em-
20th
126.
Perneb,
Egyptian
shown.
(5) New
Courtesy
in
change
being
king
down
costume
temporarily adopted
18th ites Israel-
Egypt.
No
gular trian-
of
Kings,
to
came
erection came
worn
Dynasty.
5th
Dynasty,
Old
was
Shepherd
a
rushes
the
shape
the
of
of
(4) Period
(see Fig. 128). In
the
in
underneath.
(see
of
of
skirt
a
Empire
apparently
made
one
When
other.
kilt
Fig.
or
narrower,
with
front,
kilt-like
a
loin
skirt
and
material,
transparent
hanging
with
in
the
(see
1^27),
wore
waist
the
("th
and
and
(1)
longer
became
Skirts
(") Men.
"
-Itli. 5th,
Kingdom,
around
Dress
Costume.
Egyptian
64.
and
COSTUME'.
HISTORIC
OE
OUTLINE
EIGHT
CHAPTER
the
time
of
generally
Kingdom.
See
the used
Fig
4th
were
Dynasty, during
^^0.
the
Hundred
One
Page
Apron-like the
20th
Dynasty.
clean
shaven,
wigs
and
by
skins See
priests.
Fig. 4th
the
When !)oth,
from
wore
without
tight
of
signified
sometimes
by
times some-
Vulture of Courtesy
sometimes
a
See
Embroidery In
the
18th
the
dress
over
the
left
In a
Dynasty
White
seems
been
Both
to
Bulletin
the
for
Vol. Ancient
beads in
or
Dress
have
Egyptians,
of
TJw
d
n
a
the
Ancient
both
lished pub-
by the INIetropolitan Prisse
men wo-
in
INIuseum d'A
Book
of
Art; His-
venues,
toirede L Art
oration dec-
Egypt;
of the Dead,
The fac-
s'mWcofPapyrusofAni,
made
in the British
Wilkinson,
dered embroi-
Museum;
The
Ancient
Egyptian; Erman, in A ncicnt
and
11,
Egyptian
used.
wool.
Bracelets
of
No.
XI,
Kerchiefs,
decorated
papyrus
ropolitan Met-
Museum
Art,
collar
was
Books
of the
thick
and
The
and
authority.
Reference
blue.
important
an
with
indicated
was
sandals
street.
of
was
men wore
was
straps
in favor, also red,
saffron, and
the
authority.
Hanging
borders.
on
kingly
cloak.
popular, sleeve
introduced.
dress
Egyptian
shoulder,
20th under
An
carried
was
left
a
"
signified the
Asp
alty roy-
queen.
a
Dynasty
plaits became and
Fig.
130.
Museum.
125.
frequently used
was
of Mctropoiilan
by Fig.
necklace.
signifiedthe
one,
shoulder
two
eternal
signified
Globes very
by
on
and
straps,
dance. abun-
life.
folds,
held
a
above.
costume
ankles,
to
ruled
tion combina-
dancing
simple
a
bust
crown,
king
one
he
Lotus
girls,wore
crown,
18th
exception and
servants
"
12(5.
to
of the
with
AH,
"
white.
Dynasty.
some
Symbols.
or
Egyptian
Lower
worn
'
(6) Women."
broidery. em-
red.
used.
were
and
Egyptian
Upper
chiefs Ker-
often
were
(f) Emblems
wore
false beards.
metal
to
Men and
COSTUME
of
were
4th
the
wei'e
Leopards'
HISTORIC
OF
decoration
from
worn
was
OUTLINE
Two
leg
Life
Egypt, Chapter
X; Breasted,
4 ??"Vn" .
decorations
Times:
were Courtesy
largely
used.
These
Fig.
131.
"
Plaited
efferts
of Metropolitan
of the
New
Mxiscitm.
Empire
of
Racinet, History
Costume.
Page
COSTUME
GREEK
Ilisiory and Greek
65.
Pre
Ilellenic
-
Minoan
Dress
Mycenaean See
('2800-1^200B.C.).
waist
wore
ends.
hanging
See
cloth
and
Fig.
(2) Homeric
in
with
line
wore
sixth
flounced
or
Age
Both
and
men
the
women
Girdle
wore
not
unlike
classic.
Invasion, 8th
Dorian Rise
B.C.
Rise
century
called
Greek
(6)
Himation
clnak.
132."
Cost
Mycentean
Wool,
found
in the
of
last
who
primarilv
The
see
ors. col-
and
shoes
when the
of
out women
different
of
and
jewelry
ornaments.
Reference A
Cretan
the
Fig.
Snake
dess, God-
azine, Mag-
August.
1916;
C.H.andH.B.Hawes, Crete
heavy fell
Books
Century
in
of
the
chiton,
the
lonians,
Ra-
Ancients;
Evans, Dress; yk.
133.
"
Costume
of
of
Costumes
cinet, Ilisfoire du
no
134.
Ionic
the Forerunner
Greece; Hope,
CouTtesy
by
were
other
and
kinds
of
had
folds,
sleeves,
and
many
hair
ical, phys-
of and
material
silk
the garments
worn
like war-
the
in
arms
dyed purple, red,
had
Doric
were
made
and
doors,
interested
and
the
period.
linen
were
or
by
worn
Dorians,
B.C.
time.
Sandals
was
The
kinds.
chiton,
called
Parihenon
under
worn
or
Golden
The
dress
or
hip
the
the
this
of
were
worn
terial ma-
statues.
of Pericles, 459-431
yellow,
chlamys
rate elabo-
sometimes
was
the
of
the
over
used, and
or
was
the
was
in
of
adorn
of
man.
135.
horseback.
worn
Museum. lime
men
Fig.
coat
few
of Mctrovolitnn
dress.
or
See
(f) The
two
Courtesy
jjeriod,
cascades
maidens
same
of the
Chiton
chiton
Costume
and
the
(a)
on
This
abbreviated.
more
short
This
Girdle
Fig. men
that
except was
Period.
was
women
Age.
waist
Statues
B.C.
when
diu'ing the
Classic
the
at
waist
frieze are
lonians.
(3) of
of Athens, inhabitants
B.C.,
the
The
135.
Archaic
worn
below
the Age
century
inhabitants
Sparta,
Dorians.
called 5th
of
the
fell
folds, had
of this century
are
simplified costume
Fig. worn
century
period
(1200 B.C.).
a
See
Acropolis.
Heroic
finer
was
during
people
133.
of all things beautiful,
and
many
Girdle
13^2.
Three
of finer material,
sleeves.
Age Fig.
Women
waists tight-fitting skirts.
(1)
"
fond
people made
called
ollifrwise
or
]\Ien
a
Costume.
Ilundied
One
tume; CosGree^
Edith
hams, Abra-
Greek
Dress;
of illciropolican Museum.
Mycensean
woman.
One
Page
Hundred
OUTLINE
Four
Coiirtfsj/ of Mctrn-politan
Fig.
G. Baldwin
Greek
134
Mu3eu7n.
Fig.
135.
"
of AfetropolUan
Greek
Rome
was
753-509
a
like
b.c.
was
was a
republic
both
empire
an
which the
Dress
(Romaii)
toga,
wore or
a
to
himation;
tunic;
cloak
but
the
Greek
or Frim
cut
semi-
pic
iSO
-The
costume
of
a
Roman
man
and
the
chiton
in that
it had
ruffle
of
men;
dress
or
tunic
a
like that
Roman
Ionic
a
sponding corre-
women,
wore
to
Men
This
all classes,
and
was
stola
times some-
in.
Women
3lB.c.-476A.D.inWest.
was
hood.
by
men
ing work-
and
a
worn
pcrnula
the
This
cape,
to travel
was
a
by
had
B.C.
Rome
a
kingdom
toga,
national
the
so
class.
B.C.
Rome 509-31
753
citizens
was
worn
Costume.
founded
was
the
wear
garment, was
Rome
himation
Roman
Only could
History Roman
himation.
rectangular.
which
66.
Museum.
chiton and
Ionic
the Greek
Dressed.
Women
Greek
circular in form, whereas
ary, Janu-
and
COSTUME
Courtesy
chiton.
cember, of De-
How
1906,
HISTORIC
lington Bur-
Brown,
Magazine 1905,
Doric
OF
at
a sponding corre-
Greek
(differing a
the
border bot-
Hope. woman,
tom)
;
a
paUa
or
cloak
ROMAN
COSTUMES
corresponding
Page
(he
to
Grecian
H()i)e,Cosfunir
hiniation.
Preston of tlie lower
Women could
not
they
wore
this
i)allawas
Roman
See
now
and
like
Fig.
than
not
lower
wear
They
have.
They dyed, ciu'led,
and
sandals
wore
boots.
They
Greeks,
and
took
Books
the
cellent ex'
of Reference
Fig.
138."
fore
coming
From
HoUenrotli.
Gallic costume under
influence,
5
lio-
]U)mau
"
Gallic
co.stume
before
influence,
and
5.5
of
front,
called
B.C.
Fr(mi
Hottenroih.
under
Roman
trousers
called wool
with
139.
"
civilized Un-
etc.).
sai;
tunic
a
long
to ankles.
costume
a
in to
sleeves;
137.
Gallo-Roman
to
hraie;
fastened
yrom
Fig.
un-
trousered
Wore
"
mantle
mid-leg
were
Egyptians,
were
ankles,
Fig.
coming
Men.
of
times
Romans.)
girdles; shoes
j.b.c.
Racinet, Histoire du Costume;
Fig. 137.
races
(See
(Gauls, Franks,
(a)
Caesar
conquest
In ancient
B.C.
races
of their bodies.
care
in
Dress
Gauls."
civilized
we
rately elabo-
hair
Costume
and
complete
trousered.
precious their
a
Gaul, 5o
more
all the
fancy
niatle
the
stones
The
67.
classes,
liad far
Family Planche,
History of
History
the Greek.
arranged
Romans;
Europe.
136. women
Dodge,
the
tight-fittingcaps.
Roman
had
General
palla,hut
did the
wore
jewelry
stola;
of
Five
of the Ancients;
and
Life
chiton.
men
hats, except who
and nuule
Doric
Grecian
classes
the
wear
tunic
Hundred
One
HoUenroth. 100
a.d.
See
Page
Hundred
One
the
Later and
tunic
with
bands.
short
shortened
men
:iii(l wore
TFomeH."
(b)
The
Roman
See
ankles;
to
sleeves;
their
mantle
a
Fig.
like Both
130.
hair
their
made
women
COSTUIVIE
sandals
shortened
wore
HISTORIC
138.
afterwards and
ptenula.
and
Fig.
OF
trousers
and
short
with
See
women
tunic
outer
tunic
tunic
shoes.
the
leggins
Inner
outer
girdles;
OUTLINE
Six
a
men
lime
red with
water.
About
a
had
and
as
can
short
the
had
a
somewhat
dress
trousers
seen
that
that
by
of the
introduction
the
by
bling resem-
Roman
the
but
influencetl be
Roman
civilized,
become
costume,
also
was
Gauls, of
Roman
after the
years
Gauls
adopted
the dress
hundred the
conquest,
worn
were
under
tunic.
Reference
Books Fig.
Hottenroth,
Le Co.sfumes
chcz
les
141.
PeupJes:
"
^Women's
Stii century,
of the
costume
showing
fichu
From
HottenTom.
Franks
about
and
veil.
Racinet,
Costume
Le
llistorique;
Zur
schichte
Costume,
Nach
der
Ge-
Zeichnungen
W.
Diez,
M.
Heil, C.
C.
von
Frohlish, Haberlin,
A. Muller, F. Rothbart, J. Waller
Muchen.
History Third
68.
enth Elev-
to
Centuries. .^
530
m.
King
A.D.
Arthur
871-901
in
England
Guinevere.
King
A.D.
the
England witha, From
Fig.
140."
Men's
co.'itume
of the
early Franks
about
5th
to
8th
"
Great m.
ran
in
Ethels-
d. of Ethel-
Hottenroth.
century.
fred Al-
of Mercia.
ELEVENTH
THIRD"
742-814
Charlemagne
A.D.
mengardg,
m.
276
took
Rhine
but The
Middle
Dress
(a) to
Men.
the
See
had
Fig.
See
Fig.
wore
a
with
history
of tunic
usually
of
shape
girdle;
hood;
"
to
141.
similar
like
Wore, also
take
a
The head
the
influence
U"?."
Byzantine
Geschiclite
Zur
du
a
covering,
of
the
French
custunic
ZtiT
lamel.
of
precious
der
tury centimes some-
both
the
decorated This
was
and
stones
See
Fig.
142.
Books
Costume;
Costume
shoes.
of
History
Quicherat,
France;
en
to
Costume
in
Chal-
the Present
France
from
Time.
of
History Eleventh
69.
England
1066-1087
called
a
Roman
Gt'schlchff
of 9tli anci
were
influence.
the
cajie
a
mantle).
Eastern
ninth
fichu.
a
with
(sometimes
of in
women
called
set
Histoire
women
veil
place
the
From
Fig.
sometimes
the
often
now
of
established
tunic
outer was
Seven
arrival
well
By
Reference
wimple. The
The
women
band
a
the
handkerchiefs
and
used. and
Hundred
century.
gloves
men
sixteenth
the
sixth
Gallo-Roman
tunics,
two
large enough
the
ually, grad-
140.
(t) Women. Gaul,
become
Century)
the
a
after
had
showed
kind
a
mantle
often
Gaul
the costume
to XI
Wore
"
of
Ages.
(III
knee;
which
to
comprises
century of the
a
continued who
the
down
complete conquest.
century
Empire Franks
by
came
possession made
fifth
;5(1,
m.
Liutgarda.
Frank.s
The
A.D.
Her-
Ist,
m.
Hildegarde,
2d,
4th,
Fastrade,
One
CENTURY
(h
r
William
the
m.
V, E.
Flanders.
1087-1100
of
William
Conqueror, King
II, King
/"Tom
Fig. 143."
of
^Mathilda, d. of Baldwin
England,
Costume.
Kttli criitiirirs.
Century."
Kin^ and Queen
ZuT
of England.
Ge3chicht"
of the
der
Costume.
llth century.
of
Philip I, King
1060-1108
d.
Bertha,
1st
Holland,
France
France,
of
the
In of the
eleventh
Crusades
influenced
to
This
bleo). bliaud
sleeves
(the
extra
bliaud
a
held
was
had
kimona
in
by
rousers
tunic
1180
to
in the
In
143. worn
right
Men
of
kinds
Billoc, Book Costume
Jacquemin,
padia:
Croix,
La
tume;
During
Dress
and
women's
tricot
and
lacing had
The
sleeves
of
sometimes
cap.
place to
the
at
Tapestry:
Iconograpkie Manners,
Le
and
of
long the
the
long
points.
Calthrop. of
by
du
and
Cos and
en
Dress
Renaissance:
sance, Renais-
Costume
naire
La
sleeves.
veil
circlet
or
Fig.
called crown,
took
now
The
shoes
143
and
long
were
a
veils.
the
began
and
144.
Books
Racinet.
Costume:
English
Costume:
introduced.
smaller
Ilistorique:Planche,
Costume
fitted,
bell-shaped A
See
worn.
became
chemise
wrist.
were
both
were
for the
bliaud
hoods
embroidered,
of
show
Cyclo-
Customs,
Ages
Renan,
m.
INIarie, d.
tunic
veil, held
antique
that
alike.
Dictionary and
France,
2d. Ingeborg
m.
the
and
outer
tunic
fitted
Gescliichte
Zur
Champagne.
of
Century)
Reference
of Bayenx
the Middle
Ary
a
much
of
3d,
century
fitted
Boohs
Uistorique:
Planche,
der Costume:
one
and
dressed
now
Reference Hilaire
hats,
bonnet,
Phrygian
women
Racinet,
ened fast-
freedom
giving
3d, Alice,
m.
Meran.
{XII
twelfth
This
an
two a
and
Men
up
conveniently
more
this
to
arm.
wore
resembled
fastened
was
shoulder;
right shoulder,
the
on
worn
now
left been
it had
the
to
mantle
the
on
time
the
became
men
Tlie
long
The
of
King
m.
of
V
Dress
was
underneath.
often
of
d.
our
skirt
were
Denmark,
Berthold
of
those
similar fullness
of
The
m.
Constance,
of Artois,
1st. Isabelle
m.
X
II, C. II.
Philip
France,
of France,
of Castile,
Theobald
1223
(pronounced girdle.
a
by gores). See Fig. and stockings
obtained 1
a
d. of
down
outside
2d,
Aquitaine. m. Alphonso VII
a
dress.
tunic
under
chemise:
full called
of
type
long
a
.
feet called
and
long
Wore
"
adopted
men
inconvenient
and
(o) Men the
and
m.
Guillaume
of
d.
Eleanor,
1st,
England,
II, of Savoy.
VII, King
Louis
1137-1180
Orient
the
of
m.
of
King
VI,
Atlehiide, d. of Humbert
in costume;
show
to
costumes
costume
long
very
began
the
apparently
influence
the
century
Louis
1108-1137
of
England,
of Navarra.
d. of K.
Berengaria,
{XI Century)
Dress
Richard
1189-1199
I, C. of Montfort.
Aquitaine I, King
of
Eleonora
of
II, King
Henry
1154-1189
d. of Simon
'id Bertrade,
ni.
m.
logne. Bou-
of
E.
Eustace,
m.
I, C.
Florence
of
of
d.
Mathilda,
England,
of
Stephen, King
1135-1154
m.
COSTUME
HISTORIC
OF
I of Russia.
d. of Jaro.slaw
Anna,
of
I, King
Henry
1031-1060
OUTLINE
Eight
Hundred
One
Page
Croix.
During
General
the Middle
Ages and
Histoire
Quicherat,
tory His-
toms, Cus-
Manners,
du
tume Cos-
Diction-
en
France:
VioUet-le-Duc,
du
Mohilier
Franqais, Vols.
3
and
4.
France.
History History 70
Century." I, King Henry
71. Thirteenth
Twelfth
1100-1135 1st,
Jlathilda
Adelicia
of
of Brabant.
John,
1199-1216
of
England,
Scotland,
m.
m.
2d,
Alix, 2d, m.
and
d.
of
Havoise, 3d
Fourteenth
King Hugo. d.
of
of
C. D.
Centuries.
England, of of
m.
1st
Mortain,
m.
Gloucester,
Isabel, d. of C. of Angouleme.
THIRTEENTH"
FOURTEENTH
CENTURIES
Hundi-ed
One
Page
Nine
"
\
From
Pig. U4-
-Fitted
'inlhf-le-Duc.
fmm
l'2th
of
costume
Pig. 14(1.
"
nrinoria!
century.
Ill
Henry
nW-m'i
Eleanore
111.
FTffrn
VioUci-l^Xnic.
Pnrti-colored
"
dress.
of
2d.
of
1285-1314
VioUet-lc-Duc
Fig. 14.5. 2nd form of surcot l.Stli and 14tb centuries.
or
d. of Heinrich
]Maria.
HI
of Brabant.
Provence. Edward
1272-1307
Edward
1307-1327
Philip
Edward
Wilhelni
III
Bohemia,
of
1223-1220
of
in.
1st,
l.st,
Anna
of
Mary
Bohun,
ni.
2d,
Lonis
VIII, of
d.
King
of France, VIII
ni.
of
1226
1270
France,
IX
Louis m.
(St. Louis),
King
d. of
C.
of
Charles
1st, Maria
of
France,
INIarguerite, d.
1350-1364
C.
of
1st
of
IV, d.
Bonne
Philip
1st, lsabelle.
HI,
King
d. of King
of
France,
of Arragon.
ni. m.
111.
Ollio
IV.
m.
2d.
m.
3d, Jeanne,
d.
of
of Luxemburg,
XII,
d.
in.
(Valois). King Jeanne,
11, King
Charles
Jeani.e,
m.
2d, Blanche
m.
d. of William 1364-1380
VI
1st.
Jean
Hungaria. France,
of France,
King
of
gundy, Bur-
of Evreux.
C.
m.
of of
1st.
in.
II, of
Meran.
Luxemburg,
Philip
1328-1350
of
Provence.
1270-128,5
V,
Blanch,
King
of France,
Robert
2d, Clcnicnce
Burgundy,
Ca.stile.
of
Philip
Jeanne,
ni.
Navarra.
X, King
d. of Louis,
Alphon.so
of
d.
in.
1322-1328
(Red
Navarra.
Blanche,
Queen Louis
1314-1310
1310-1.322
Lanca.stcr
IV,
Jeanne,
Margaret,
2d, I.sabella of France.
ni.
in.
d.
of France,
Philip IV, King
Philippa, d. of
in.
II
Henry
Ro.se),
Lsabelle.
of Holland.
Richard
1399-U13
ni.
Pln'lipTIT.
of France.
III. C.
1377-1399
l.st, Eleanora
m.
II
King
IV,
1327-1377
Jane
I
:Margaret. d. of
Ca.stile. 2d.
V,
C
of
D.
of
of Navarra. France,
m.
2tl, Jeanne,
of Auvergne.
King
of Duke
of
of
France,
of Bourbon.
Cliarlcs VI,
1380-142'2
of France,
thirteenth
In the
interest
more
Both
dress. wore
and
men
called
a
under
the
women
the ting fit-
tunic
with
"
chemise,
or
cotte,
and
The
surcot.
surcot
were
arms-eye
larger
and
trimmed
with
The
very up
as
the
skirts and
repeat
see
Figs.
%
and
108
See
148.
Books
mentioned
under
fifteenth century.
History Fifteenth
72.
tury." Cen-
or
was
and
King
of
V,
England,
Catherine
m.
of
Valois, d. of Charles VI
the 1422
the
of France.
14G1
Henry
King of England,
ar-
Margaret
worn,
US,
Henry
1413-1422
Frmn
46
garment
largesleeves. Reference Boohs
trasting con-
In
century
nioi
were
pointed. They times houpplande or somelong, sometimes
the
the
parti-colored ial dress
shoes
added
ing pleas-
a
color. iourteenth
The
Figs.
the
as
of
grew
cotte
was
sleeves, making
more
held
the
material
same
^
with
ed, walk-
woman
which
men
had
were
were
showing
again,
localities.
short, outer
and
Figs. 123
and
the
an
the
by degrees became
long
houppelantl.
an
this robe;
145.
and
of feat^u'c
important
See
showing henuin
costup.j
trasting con-
a
covering,
throat
VioUei-lc-Dvc.
14th and 15th century
,
color,
was
noFiG.i47
of the
usually of
cotte,
From
those
sleeves, and
head
of the
surcot
women
wearing
the
the trousers.
the
had
a
at
largesleeves. Their closestockings were combined with fittingand
worn
this
had
The
or
about
shorter
this
over
mal nor-
time
gorget in certain
inner
fitted chemise
or
girdle,over
a
fur.
wimple
The Women.
said
are
the
This
this
at
the
hoods.
(6)
women
shoulders.
were
(braie);mantle; surcot ; tunic (chemise); cotte (tunic); stockings; hats or Wore
Iioiip-
V-shaped neck, widely off
out
close
the
the
discovered
waistline.
trousers
a
have
garment
Wore
"
Toward
century
this garment to
arms.
(rt)Men.
head
pelande or one-piece dress See surcot. replaced the In Figs. 147, 148 and 108.
in
hollowed
surcot,
high
or
in.
oame
last of the
century,
semi-fitted
a
dress
of
shown
was
the liennins
and
Centuries)
and XIV
(XIII
COSTUME
HISTORIC
King
Isabella
ni.
OF
Ingolstadt.
Bavaria Dress
OUTLINE
Ten
Hundred
Page One
Fig.
148."
jNIen of
th
VI, m.
of Anjou.
VioUct-l
l.ith century.
1461-1483
Edward
IV
CENTURY
SIXTEENTH
(White Rose),
Page
Elizjihetli of Wood-
m.
villo. Edward
1483
of
V, King III
Richard
1483-1485
necks
girdle.
Tlie
Enghiiid.
(White
m.
introtluced
(XV
Dress
Century)
du fifteenth
century
of the modes
extravagant
points of
a
an
tion exaggera-
extreme, and
^Nlore
used, and
were
more
the hats
Towards
was
of the fourteenth.
fabrics
became
into
Ilistoire du and
thing everyto
even
had
with
Anne
Franqais, Vols.
fifteenth
costume,
see
Dictionary
3,
4;
Rajjhael Helen
illustrations
century
Joan
150.
Dictionnaire
Jacquemin, lamographiedu Costume; Anne Sanborn. of Brittany. For
Bre-
Fig.
Cyclopedia;Viollet-le-Duc, Mohilicr
been
de
See
Planche,
a
the headdress
was
probably
by
of France.
Costume;
Eleven
worn
France
the
shoes.
were
close-fitting cap
tagne. Queen
Mary,d.of Henry VII, Kingof England.
The
and
used, and
now
Rose),
Nevill.
Anne
sfiuare
Hundred
One
of Arc, by
Boutet
of de
INIonvel. the
transitional
of this century
end
period.
shoes
became
more
semi-fitting,and
front, showing
round,
the
The
the
toes
dresses
were
underskirt.
came
of
split up They
History
the
became the had
73.
Sixteenth
1509-1547 m.
Henry
Century. VHI,
1st, Catherine
Renaissance.
King o-
"
o^" England,
Aragon;
m.
*"
2d,
Page
One
Hundred
Twelve
OUTLINE
Frnji
Fig.
150.
"
(^ostume
.\nne
of
152.
Enrlv
of
transition
Drittany,
Pmiquct
period.
OF
HISTORIC
FrSres.
COSTUME
Frotn
Fio.
151."
Costume
Pau/iuit
of ICth
"
1527.
1500.
Frtjm
Fig.
Frercs.
century,
Renai.e.sanre, 1530.
Fig.
153."
French
Pauqu^t
Kcnilenian, 1572.
Freres.
SIXTEENTH
Anne
Boleyn;
3d, Jane
of
m.
Catharine
Howard;
5thj
Edward
1553-1558
Mary of
Queen m.
PhiHp
of
Spain.
lois; de
H,
King
Queen
Great
changes
Francis
I,
of France,
1st,
Claude,
Louis
XII;
d. m.
Eleanor,
d
on
of
Ffo/tt
of Pig.
154.-
-Late
Renaissance
Pauqtict
be
silhouette, 1586.
The
ni.
Catherine
de m.
of the
mal nor-
first
wore
corset, called
they
a
oline b(i.s(]uiiu\i\nd a crinwhich
gave
the appearance
of
a
hooped skirt, which
morga.,
Diana, Duchess
they called
of Valcntinois.
gale.
Francis
1559-1560
in
figure.
boneless
which
1st,
Medicis;
the
women a
of
II, King
ed seem-
alter
ways
shape
time
alike.
now
to
Frirt^.
Henry
France,
desire
various
'2d,
this
longer
no
to
Philip. 1547-1559
are
The
ni.
tumes cos-
and
men
from
women
now
The
for
Enghuid.
Va-
Century)
developed.
of
1515-1547
2d,
of
2d, Marie
m.
{XVI
Elizabeth,
1558-1603
1st,
m.
Medicis.
Dress
Enghuid,
of
King
France,
Tudor,
IV
Henry
(Bourbon),
Vl.
m.
Lorraine.
Marguerite
1547-1553
King
France, of
1589-1610
Parr.
III,
Henry of
Louise
Catharine
Gth,
Thirteen
King
Seymour;
Cleves;
m.
Hundred
One
1574-1589
m,
Anne
4th,
m.
Page
CENTURY
The
II, King
of
was
France,
m.
thererf^/-
See
Fig.
152.
waistline normal
and
slightly pointed
in
INIary Stuart,
front.
of
Queen
material
of Scotland.
the
en
Charles
1560-1574
King
IX,
France,
ni.
1st,
Elizabeth,
d.
of
Emp.
take the
of
sewed
was
vertugale the
t
imes
show
Marie
the
Fig.
155.-
-Late
Renaissance
rnstiim^,
Pavgvet
1572.
slashed the
of
The
cotte.
of
to
place
material, and
]Max-
From
Touchet.
piece
under-sleeves made
imilian; ni.2d, morga.,
A
were same some-
to
chemise;
Frfre^
sometimes
this
Hundred
One
Page
material
same
line
upward
curved
were
used
doors.
The
hoods,
with
of
out
shoes
Red
was
color
for
pointed. popular
in
used
were
The
men
with
round and
a
Figs.
of
part when
buttoned The
smaller
ruff
popular.
width
was
made
a
ished dimin-
They corset
See
ruffs.
Fig.
15G.
Books
Reference See
books
mentionetl
fifteenth
seventeenth
and
centuries.
Hist 1)111
Century.
hoop definite
"
of
King m.
I,
James
1G03-1625
England, d.
Anne,
of
II, King
Frederick
a
of Denmark. Ciiarles
1625-164!)
now
of
King
^lore
given a
Seventeenth
74.
the
at
The
shaped
and
under
with
hips by
154!
women's
as
both
wore
fj."
became
t'lC
also
over-sleeves
roll
arm-eye.
158G.
throat.
the
ones
padded
Figs.
Frtrt.-".
which
discarded
were
Pauqucl
Renaissance,
women
to
large
ate
century,
waist
a
of the
at
rilibon
latter
the many
wore
Costume
change
the
in
came
"
153.
first
The
156.
See
and
151
Fig.
a
mantle.
grown was
figures
in size
shoes,
pointed
-
See
d
e
p
a
figinvsincreased.
slashed,
neck,
square
h
155.
very
long stockings,
s
-
that
in.
and
slashed,
doublet
a
time
came
with
Fr^ml
trousers,
n
o
mense im-
added.
were
1 1o
Men's
wore
often
short,
which
to
It
this
tumes; cos-
set
l)ecame
enormous.
favored.
were
gems
a
one
widely
bodice
sleeves, too, had
Jewels
the
collars
The
long.
b
were
seventy
was
ruffs
profusion
elaborate
to
which
Th.e
skirts
Trains
popular,
the
round
long
horseback,
open
shoes
stockings.
and
on
longer
no
were
worn.
worn
feet
ly mantles, usual-
Large
Both and
were
of
length.
round
for
was
The
smaller
became
size.
length
the
at
skirt
The
centre.
in
but
square
was
silhouette.
waist
neck
:ME
COSTI
in the
tlie front The
waist.
of the
HISTORIC
used
was
in
panel
a
as
OF
OUTLINE
Fourteen
m.
to
Ilenriette
Marie,
barrelwhich
"
ry
1\,
France.
change
Frn/n
Fig.
I,i7."
Early
17th
Century
Pauquel
costume,
Freres.
163.S.
I,
England,
d. of Hen-
King
of
SEVENTEENTH
CENTURY
From
Fig.
IjS.
"
Costume
of
llie
One
Page
Pauquci
early pari of I"iiis XIV
Hundred
Fr^res.
reign.
Vi;.
15!).
"
Costume
XIV,
From
Fig. 160.
"
Costume
reign sliowing
Pauquct
of the
From
Fic.
Pauguct
of tlie lot"r
161.--Co.s!(ime
Lcuis
reign of Louis
1 070.
Freres.
XIV later part of Louis liead-clress. Fontanges
of the
Fifteen
XIV
reign.
Fr^Tes,
part of
Iluiulied
Page
One
l(i49
1()53
OUTLINE
Sixteen
Interregnum.
England,
wore
of
d.
Elizabeth,
m.
of
Protector
Cromwell,
Oliver
1G53-1()58
Sir
Tlioni;!s Boiirchier. of
Protector
Dorothy Mayor. Charles II, King of England,
Eng.,
m.
1C60-1()85
of Braganza. II, King of James
Hyde;
1st, Anna
m.
of
Queen
ami
Louis
I(i4;j-1715
Mile,
Mile.
Montespan,
of
King of
France, de
Fontanges,
Maintenon.
The gave
Men.
they
lace
with
trousers
shortened
the
boots.
outer
an
]Men's this
The
Sleeves had
adfied.
collar and collars. and
waistcoat outer
or
The
under
chemise
the
showed
at
The
brim
and
flat
and
with
was
stock round
Worun.
the
which
neck,
])anelfront A
wore
turned-
])lu.nes.See Figs.
Abandoned
the
9 "i}
now
extension
si'iortsleeves;
line, which
the round
ular: pop-
tee, close
an
with
shorter,
off the
was
fluffier sleeve
neck
of the
forerunners
are
The
line.
Both
late part of this
de Maintenon. that much
were
See
looked
draped The
that
Fig.
in
the and
a
clothes
the sway 160.
Large
came be-
cades bro-
covering
latter part of the the material
bustle effect
was
obtained.
was
carried small, round
women
the
of Mme.
like furniture
XIV,
used
reign of Louis so
under
in
came
and
century
formal
very
was
these
eighteenthcentury.
headdress
Fontanges
muffs.
Reference Books
157,
Calthrop, English Costume; Freres, Modes Roliida,
Ten
Lamesangere, "
were
seemed used
the rounil neck
with
lines
were
161.
(h)
of neck
straight line decode
the wrist,
They
.
vest
coat
trousers
See
kinds
shoulders.
ing flow-
or
deep cuff's. The the place of
jabot.
Figs. 157 and 158. period, under the skirt was XIV, looped up, the became higher, longer, heels grew and fans were sity. necesa tighter grew See Fig. 160.
of the
let doub-
jabot took
and less decorated close-fitting nuifl'sand wigs and a hat l-'-rge up
The
jiephun
string of pearls the simple way their a
wore
long.
worn
wore
was
added.
latter part of the
The
and
round
waistline
the
Notice
worn.
Two
used
high
with
was
a
garment
new
used
were
greatly.
into
and
the cape used. was the last quarter of
in
changed
turned
a
hair
garment
century
hats
antl decorated
costumes
now
and
Their
flat brim
a
plumes. For
lengthened
used
period generallyreplaced
slashed
often
the
Louis
to
waistline
peplum, and, like the women, and ribbon profusely. They
nuisketeer
was
waist
century
century.
Men's
"
hair
pictiu-esque
more
of the seventeenth
(a) ami
sixteenth
a
The
same
157.
short
the neck.
Ccnttinj)
of the
by degrees to the
way
added
(XJII
heaviness
costume
and
waists
Dress
Fig.
When
this
at
most
instances
woman
In ]Mme.
See
back.
front.
in
bodice.
the
used
.some
The
Spain.
la Valliere, Mme.
de
In
at
XIV,
Therese
Marie
Favorites
France.
of Austria.
Anna
m.
of
of
was
the ruff.
raised
King
as
trailing. and
panel of the petticoatwas
the
the large,flat collar
and
King
Mary,
England. XIII,
1(110-1 ()4;5 Louis m.
and
HI
William
1089-170^2
England, m. Mary, d. of
front
sides
opened narrow
of material
line
often
was
the
at
clone, a
was
the
up
of ^lodena.
IV, D.
Alfonso
m.
this
neck
^d,
which was
skirt
the
COSTUME
length under-petticoatand
fullness
The
kind
Catharine 1G85-1G88
round
a
overskirt
an
Often
Cromwell,
Richard
1658-l(i(i0
HISTORIC
OF
hoop,
antl
aiises; Zur
et
Costumes
Centuries Costumes
Geschirhte
Pauquet Historiques;
of Toilette;Pierre des Femmes
der
Costume.
Fran-
CENTURY
EIGHTEENTH
One
Page
Hundred
Seventeen
History 75.
Eighteenth
Century.
Anne,
170'2-1714.
"
England,
of
Queen
iMwn
D.
George
m.
171-1-1727
Cumberland.
George
of
I, King
Sophia Dorothea,
m.
land, Eng-
-A"^i.
his
cousin. of
George H, King
1727-1760
Carolina
m.
of
Ijin-g-Ansbach. George III, King
of
1760-1820
Charlotte
m.
land, Eng-
Branden-
of
land, Eng-
Mecklen-
burg-Strelitz. Louis
1715-1774
Maria
m.
Favorites
XV.
m.
I.
of France,
Leczinska. Marchioness Countess
1774-1792
King
padour, Pom-
%Ms^^-t^\
Barry. XVI, King of France,
Louis Marie
de
du
Antoinette, d. of Franz
Stephen,
Germ.
Emp.
From
Fig. 162."
Draped
Pavguct
Frircs,
of the late 18th century, 1763.
costume
Dress
(XVIII
Century)
Early in the eighteenthcentury revived hoop was (1711).
the
This
time
it was
material,and It
wide
was
in the
or
plain,full
light weight and
the
skirts of
material
decoration
more
The
type
than
that used
was
When
fabrics
appeared. frivolous
more
during
made From
Fig.
16.3." Louis
XV
Watteau
costume
Pauquet
the bodice the
sleeves
in
were
the
part of the reign of Louis neck,
quired re-
During
afterward, heavic
vcgue;
flat
front, but the
and
regency,
panier.
a
sides and
fullness of the skirt gave size at the back. the
of
similar
some
called
was
at the
back
framework
a
whalebone,
cane,
had were
latter XIV.
a
round
usually
of ruffles of lace; with
the
Frfrcs.
showins 18th century hoop. 1729.
square
c
neck, the
sleeves
Were
HISTORIC
OF
OUTLINE
Eighteen
Hundred
One
Page
OSTUME
(
,...i-
Pattgucl
Ftovi
Fig.
164.
The
"
of
costume
a
man
From
Frires.
Fig.
in 1740.
165."
Louis
XVT
pleats
usually clo.sc-fitting decoration
with
166.
lace,
and
artificial
flowers
"shaped
were
cape-
with
hoods.
of
quarter the
dress with
the
Wat
then
"
often
short,
as
made
and
tea
and
shoes
ways. 16;3.
The
waistline defined
was
and
of this period
men
strongly
influenced
paniers
"
the
skirts were
not
the
'v'' Paintim
Fig.
lOG.
"
18th ceniury
round .sleeves.
^^
neck
line and
of
the
by
used
women
Fig.
of
costume
was
ent in differ-
Sometimes
to
stockings.
u
others,
See
tention at-
given
was
the
the
worn
much
tury cen-
temporaneously with
dresses
were
con-
worn
sides, skirt. under-
"""
in; this
came
draped
the
one-piece a
times
and
The
A
the
to
was
at the back
second
the
was
the skirt
showing
]Mantles
plait
the shoulders
UK'd.
were
straight from
floor; at other
Much
ribbon
In
at
allowed
were
fall
to
Fig.
See
the elbow.
Freres.
Pauqucl
1777.
costume,
by
the
and
the
the
coats
stiffened
and
f"t/Xallit:^
ruffle lace
boned.
The
shoes
Fiom
Fig.
Ifi".
"
Louis
X\"I
From
Fig.
168."
Rritish
or
One
Page
CENTURY
EIGHTEENTH
ZvT
G(schiclit"
tostiimr,
Fr"iri"
(frr Cosmih:
Fig.
1780.
Z-irOcschMitedrr
masculine
costume.
Hundred
IfiS.
"
Dirertoire
Nineteen
Fr^res.
I'lUiqurt
cost
lime,
1798.
P'ligtiet Frires.
F'om
Costume.
Fig.
170."
(men) and
Th5 "'
costumes
of
1795
TMerveillciKses" and
c' the
"
Incroy.ibles
"
"Imposoibias" (women).
had
Hundred
One
Page
hat
tricornered See
worn.
The
of
before.
The
extremely
and
stifBy boned, and
trimmed,
Farming
the
and British
Fig.
tight
The
the
or
adapted
Fig.
became
in
overdress
172.
"
the
Costume
of the 1811.
called
English. of the
in
discarded,
the
a
tume cos-
was
days
brought
Petit
style,and
Watteau
was
See
olution Rev-
(1789-1799)
165.
from
proaching ap-
olution. Rev-
168.
fashions.
brought
dainty
the
by
masculine
more
reign
Fig.
at
Trianon the
in
This
were
See
next
that
were
the
See
was
French
immense
headdresses worn.
167.
elaborately
were
crook. The
X\T
bodices
were
skirts
Fig.
brought
the
costumes
shepherdess
a
of the
of
exaggerations
COSTUME
change
1792
to
HISTORIC
was
Louis
1774
OF
164.
Fig.
costumes
of
reign from
and
heels,
red
OUTLINE
Twenty
Fig.
First
171."
Fashions
Empire,
of the
were
the
waist
short
and
skirt
clinging,
cheap
materials
used.
During
rectoire, the Consulate,
simple
Corsets
were
the women
1799-1803.
Fig. 173.-
-Costiinie of the 1813.
First
the and
Empire,
Di-
from
and
man Ro-
Greek
and
frequently
split
up
often
were
and ises. chem-
without See
The
Fig.
1792-1795
tion. Conven-
1795-1799
Directory.
17i]9-1804
Consulate.
1804-1814
Emperor
period
were
scher, 2d, Marie
Franz
and "
The
See
Fig.
had
what
ously
PauQiict
Freres*
France,
of
copy
Fig.
been
previ-
called
the
174.
"
Costumes
of Sardinia.
Theresa
IMaria
of Sardinia. mentioned
lippe Louis-Phi-
1830-1848
and
seventeenth
Orleans,
of
centuries.
nineteenth
France,
of
King m.
under
X,
Charles
1824-1830
Books
Reference books
Maria
m.
of the Restoration, 1820.
English fashion.
See
of
King
XVIII,
an From
exaggerated
Emperor. Louis
1814-1824
170.
wore
men
I.German-
Roman
sibles. "Impos-
of
d.
Louise,
";
ladies, "IMerv'eil-
leuses"
Ta-
Josephine
styled Incroyables," the
1st,
m.
"
"Unimaginables
parte, Bona-
Napoleon
169.
of this
gentlemen
fantastic
and
Gotha.
were
transparent
worn
of
Saxe-Koburg
sides.
the
dresses
The
m.
Prince
Albert,
scanty,
were
Victoria
1837-1901
These
fashions. costumes
Twenty-one
Alexandra,
style,borrowing both
Hundred
classic
the
adapted
One
Page
CENTURY
NINETEENTH
King
of France,
Marie
Amalie
m.
of
History the Nine
76.
enth
te
"
III,
King Mrs. m.
of
Eugenie
of
England,
1st,
m.
IV,
George
1820-1830
m.
poleon Na-
Louis
1848-1870
Century.
Sicilies.
Two
man, Guz-
de
Countess
morga.,
of Teba.
Fitzherbert; 2d,
It
Brunswick-
is said of
fashions
Wolfenbuttel.
rV, King m.
of
that
the sulate, Con-
the
1799-1804,
William
1830-1837
Cenlimj)
(XIX
Dress
Caroline
which
land, Eng-
much
Pig. 175.
"
Costumes
of the
Romantic
1":J0 reign of Ixii.is I'liilip|ie,
Period 1848.
during
that
was
more
kept
restrained,
Adelaideof
Saxe-Meiningen.
were
';" st
in
all the
Hundred
One
Pa-e
of
fashions
Directory. Fig.
See
sleeves
became See
heavier
and
materials
to
was
with
low
neck,
shoulders.
The
popular
waistline
The
Fig.
caused 1i
n
slightly.The had
and
quite
(Charles
1830.) twenties
The
1852,
Costi'mcs
of the Scoontl
Empire,
1852.
by
the
Empire Napoleon
under
the waist
the
increasing
Second
the
its normal
1848-
in size, and
were
public Re-
found
skirts
short.
had
Louis
Napoleon,
I)
.skirts
X, 1824In
heels.
under
elaborately
trimmed
found
no
fullness,
more
were
worn
r o
Shoes
and
waistd
times some-
low
were
and
the to
e
ces floun-
used.
again
in
come
mings, trim-
and were
174.
had
Corsets
less
ette silhou-
changing. See
front,
full but
skirt
with
XVIII), the
found
the
(reign
was
in
pointed
Restoration,
of Louis
tha ber-
effect increased
173.
The
at
this still more.
Figs, l?-? and
1814-1830
a
and
oif
wide
the
covered.
well
close-
were
were
the
and
The
175.
fi1 1 i n g very
were
tendency
Fig.
waists
itary. mil-
were
mantic Ro-
Period.
Oriental
See
was
the
called
elaborate.
be
of
Louis-Philippe, 1830-1848,
the Empire
materials
used,
in
reign
The
(1804-1814)
Things
now
bonnets.
by
During
silks
was
taken
being
popular.
more
the INIuch
interest
became
Napoleon
gave
to
shoulders.
and
introduced
and
width
shawl
the
and
the became
large
used,
was
COSTUME
waistline,
of
lawns
muslins
HISTORIC
the
quality Indian
OF
tiful beau-
A
171.
OUTLINE
Twenty-two
III,
1852-1870,
the
skirts
held
out
petticoats
were
by
stiff
which
NINETEENTH
led
to
up
hoops long
the
See
shoulder
shawls,
Jackets, in
worn
1870
and
the
the
hustle
from
that
changes
have
17(1 and
persislcil full
and
and
and
time
the
to
by
Raphatl
sleeves
Costume,
by
Calthrop;
to
1797-1897,
those
Usages
By
used.
were
the
hoops,
present
rapid
supplanted
had
Costume,
wrist.
place.
taken
der
by
Journal
Livre;
de
Comte
de
Fashion,
Price;
Galerie
Die
Books
Mode;
Century, Modes
quet Pied,
Uistoriques,
et Coslumes
Freres, Dessines
two
Portraits
volumes; par
par
Pau-
Saute
Graves.
cii
Zur
Max
von
1878
and
and
by
Dr.
in
Oskar
Cornu; of
teenth Nine-
Fischel into
volumes,
Book,
M.
Fran-
Paul
Manners
three
Godey's Lady's
Julius
by
Le
Modes;
et Costumes
translated
Boehn, Edwank's
M.
by
Eloffe, de
M.
par
Modes
et
Antoinette,
Madame
Modes
Paris,
Modes
Marie
1786-191'-2, des
in
Marchande
Reisct;
Dame
Fashions
Uzanne; de
temps
an
du
English
Jaequemin;
Octave
gais, 1778-1787, Reference
Iconographie
Geschichte
the
at
Twenty-three
Costume;
and The
177.
similar
capes
Empire
First
crinolines
the
Figs.
line
bell-shaped
were
of
retiu'n
of 1854.
Hundred
One
Page
CENTURY
and
English 1790-
1830-1890.
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by
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fur
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Paris.
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Courtesy
From
.1
crayuii
drawing
by
Soulie.
of
Harper
s
Bazar.
BIBLIOGRAPHY
Racinet.
Dress
Costume.
du
Histoire
French
Ancient
of Art.
Museum
Eijinitian Kerchief. Vol.
bulletin,
No.
XI,
Renan,
L'art
of
Challamel.
trated. Illus-
of
Papyrus
Enijlisii
Illustrated.
Dress.
Hope.
Costume
of
English Sotnr.
La
La
text.
The
Illustrated.
Croix.
English
English
Ancients.
the
trated. Illus-
text.
L'Antiquit^
Manners,
Goddess.
Mrs.
Magazine,
English
(1. Baldiein.
in 4 vols.
from
lish Eng-
English
Dress
the
during
Illustrated.
lish Eng-
vols.
Early English, Middle and
Stuart,
Freres.
Georgian.
Illustrated.
Modes
Published
English
Costumes
et
Illustrated. Dress
French
Design,
text.
Historiques.
and
English
text.
August,
artists
and
dressmakers.
English
text.
Greek
How
Women
December,
Costume.
Fanciful,
and
Dictional-y
uary, JanComte
de
Marie
Reiset.
vols.
i
du
2
Marchande
Illustrated.
Costume.
vols.
French
Ilottenroth.
du
Costume
France.
en
trated. Illus-
Louis
de
Les
Costume
chez
Illustrated.
Moderns.
les
Aiieiens
Peuples.
German
Wahlen.
and
French
du
Monde.
Lamesangere. Monvel.
Joan
of Arc.
Illustrated.
Costume.
Diez.
Froehlich. Illustrated.
Kostume.
French
For
XV
and
English
Zur
etc.
German
Sante
text.
French
Geschichte
der
Vzanne.
English
text.
French
3
and
Dictionnaire 4.
Illustrated.
du
Mobilier French
Fran(;ais.
Price.
4".
la
Toilette.
Ilhistrated.
Costumes
et
des
French
Graves.
dj French
Femmes
les
lous text.
Fran^.iise.
text.
Portraits
ustrated.
Pied.
en
^
text.
Octave. and Dame
Illustrated.
text.
de
Illustrated.
Costume
Illustrated.
Century
index.
Viollet-le-Duc.
de
INIailame
Illustrated.
1780-1825.
Usages
Moeurs,
Peuples
text.
de
de
text.
text.
Le
temijs
au
Modes.
Elegances
XVI-Restauration,
French
French
Usages Journal
"
text.
Grand-Carteret.
Quicherat.
et
Livre
text.
Histoire
theatrical.
text.
Jdctjiicmin. Iconographie Freneli
and
text.
Modes
Antoinette.
Eloffe.
English
English
text.
Cyclopaedia,
and
historical
Dressed.
190.5,
English
Illustrated.
Illustrated.
for
Illustrated.
1916.
Le Planche.
vol.
1
text.
IJurlington Magazine, 190(i.
of Costumes
account
an
Snake
Illustrated.
Vols.
and
Costume.
in 1 vol. and
.Iria.
Braun.
Illustrated.
Renaissance.
and
Grecque.
Cretan
A
Schuyler.
Century
Illustrated.
Boutet
in France
Illustrated.
text.
Rensselaer,
et
time.
Customs
and
Ages, Tudor
Hughes.
Brown,
of Costume
present
Tapestry.
Ages
Pauqnet
dans
Femme
Illustrated.
text.
text.
vols.
2
of Toilette.
text.
History to
Bayeux
Middle
2
Freneli Van
Centuries
English
Calthrop. English Greek
Illustrated.
text.
text.
Evans.
France.
en
text.
Ani
text.
English
Illustrated.
Dress.
Ten and
Gallo-Roman
Egypt.
Illustrated.
Times.
Greek
A.
Billoc.
JMuseum.
Ancient
Abrahams.
de
Facsimile
Dead.
in British
Museum
Costume
text.
French
Illustrated.
Le
Ary.
Robida,
Text.
French
Breasted.
the
by
Illustrated.
Metropolitan
11.
Histoire
D' Avennes.
of the
Published
Egyptians.
of the Ancient
Book
Illustrated.
French
Metropolitan
Prisse
vols.
C
text.
Fxshions
English
m
text,
FaSliion,
1786
1767-IB97.
Paris,
lllus'rated. 1912.
Eng.i"h
text.
Page
One
Vornu,
M.
Paul.
Frangaises, Fishd
and
Modes
and
English
Earlc.
Centuries
Two
in
and
vol.
1
'2
vols.
Historic
Vol.
and
Notes
heritage of Dress.
The
English
Vol. '2.1800-1870.
1. 1607-1800;
Webb.
evolution
text.
Chapter I
Dressmaking.
Falcs.
Textiles
and
Peterson's Magazine.
French
Woman
Lessing. Julius
as von.
Otto
von.
Specimens
of
Lace,
English Palliser.
Mrs.
or
its
in
Redfern.
famous
History of Lace.
Mrs.
Antiche J.
English
Trine
Ilungerford.
Seven
Centuries
text.
of
by Bobert
Hei'ry
on
'i vols.
tor FelL\
W.
of the
German
de
French
History
la
Coiffure
text.
trated. Illus-
Mourning.
of
text.
B.
of
the
and
Royal
Illustrated.
Illustrated.
Fan.
Historic
English
Library.
Costume,
Reading
A
arranged
References
Gloves
and
text.
and
Reference
alphabetically. see
Poole's
Art
Division.
Index
and
In
])rep-
Guide.
Public
only lists books
Library. list and and
" Cle., Paris
Costume
articles, but
individual plates.
Jungmann
Histoire
History
W.
Periodical
York
de.
A
aration. Textile
and
text.
Drawn
Illustrated.
text.
tlie Readers"
English
Italian
Italiane.
by
1914.
text.
Costume,
Illustrated.
Brooklyn
List
Neir
Rieei, Elisa.
Lace.
The
For .\
text.
Pollen,
Shoes.
traits. por-
text.
Bury.
G.
English
text.
Showing
Book.
3?arbicr,
Information
Navy
English
Richard.
Rhead, des
text.
wear
and
Army
English
text.
^2 vols. German
Lace
The
Hudson.
N.
German
Seidenweherei.
broideries. Em-
Illustrateil
and
1913,
Military Prints.
Comtesse
F(?ininine.
text.
Sammlung
Gewehe
Die
British
Powers.
Villermont,
text.
English
Decoration.
Museum.
Kunstgewerhe
French
Modes.
Tapestry
text.
Ecclesiastical
Darey, et des
and
text.
Frivolities.
and
Lace.
D'Aujourd'Hui. Martin,
ir. ('.
fl'ietz. text.
English
Modes
Arts,
English
and
text.
Ralph.
Warring
text.
text.
Burbank.
Moore.
English
English
18;?0-1898.
Ton.
Bon
des Dames
Journal
Funke.
French
velopment DeFalls. D.
Historic
The
France.
History of Hand-made
A
Samplers
Maniers
et
English
Design.
Costume 184'2-1898.
Godei/'sLady's Book. (iazette du
on
B.
Lei)ape, 1912,
text.
Illustrated.
of Costume.
Ellsworth
French
d^coratif.
L'art
de
Poinet
text.
Embroidery
Marcus
Modes
Nevill.
Bahst. Leon.
Le
English Text.
English
text.
Needlework.
text.
history
Illustrated.
clothes.
of
the
on
de.
Nevill.
English
Illustrated.
in America.
Dress
F.
Mrs.
Iluisli.
Engli.sh text. McCMlan.
Laurenee
Lefeburc. Ernest.
America.
in
Costume
of
Pul"lishc"l
Illustrated.
text.
and
Lace
text.
Lace.
text.
Old
on
text.
French
Jackson, Illustrated. English
Costume.
on
English
Lace.
Chats
Laprade, Mine.
and
text.
Chats
Old
Mrs.
Lowes,
English
Century,
German
Illustrated.
vols.
text.
Edtvardcs.
of tiio Nineteenth
Manners 3
French
by M.
translated
Jourdain, M.
Costumes
et
Illustrated.
Bnehn
1790-1878.
Rhead.
df.s Moilos
Galeric
1778-1787.
Von
BIBLIOGRAPHY
Twenty-eight
Hundred
list.
Each
not
parts of books
ARTISTS
WHOSE
WORK FABRICS
HAS
BEARING COSTUME
OR
^
ILL
ON
PERIOD
ARTISTS
WHOSE
WOIU^
HAS
FABRICS
Greek
and
Mosaic.
Roman
OR
Sculpture. Justinian
Emperor
(See
and
(circa)
I'niversity
Prijits,
Students'
IVdis
da
=al)()ut.
/.
flourislic"l.
=
A.
anil
(ScIkh.I
JI.
.Milan).
of
US'i-
Scliool).
(Venetian
,//.Io05-
Bassano,
L.
Bissoio,
F.
da
Botticelli,
S.
Bronzino,
A.
School).
(Florentine
J.
of
(School
da
Piazza
Ixxli
Milan).
Piero
1436-
ca.
P.
of
(School
Brescia),
fl.
of
(School
I'mbria
and
Perugia).
Rotari,
century. V.
Carpaecio,
School),
(Venetian
1455-
ca.
ca.
Cimabue
Scliool).
(Florentine
de"
Bernardino
Conti,
1240-l,'?n2.
ca.
(School
of
Milan),
fl.
(School
F. C.
of
Ferrara).
(Venetian
School),
Veiieziano
D(/nienico
ca.
14.'55-148().
ca.
1430-fa.
(Florentine
School),
ca.
di
Buonin.segna
(School
of
Siena),
pujiils (Florentine
and
D.
ca.
School).
1452-1525.
and
Giovanni
School).
pupils (Florentine di
Paolo
(School
of
ca.
1403-
1482.
Giovanni
Giovenone,
di
//. 15th
j'iamonte. G.
(School
it
\Crcclli).
"""".
of
Vcrcelli).
(Florentine
School).
(Venetian G.
Kiorc
(Venetian
Scho
.'
1441-K93.
ca.
School).
1441-
14;)0-
'0-
of
(School
I477-151'J.
ca.
1.387-1452.
Verona),
ca.
1393-
A'eronese,
School).
1477-1576.
1511-1574.
P.
(Venetian A.
Vivarini.
A.
Ziiccaro,
F. dei
School).
(Florentine (Venetian
ca.
School).
School).
School.
Painting,
Florent'-''
School.
ting.
1444-14
North
.-.chool. Italian Sclu
Scliool. ol.
Venetian
School.
'^'ain'Ing,Venetian
School.
Painting,
1435-148'-
/.
Cas.-oni.
Byzantine
Pan,
1528-1588.
1543-1609.
Painting,
I'aintii:;;,I'mbrian del
School),
(Umbro-Florentine
Pai-t'i.^, ItJi;,.i
century.
1555.
Jacohello
Titian
Masters
1266-1337.
Siena),
1485-1566.
ca.
1762.
-co.
(Florentine
Zevio
Verrocchio,
Ghirlandajo.
1588.
of Brescia),
1451.
Vasari,
1260-1320.
(iiotto
da
Stefano 14i).'S.
1410-1461.
I)u'"cio
1562-co.
II (School
Sodonia,
S|)inello, G.
Cossa,
1462-1521. 1454-1513.
1523.
1490-.^
Crivelli,
School).
School).
(School
(lei. 1707
Sellajo, J. del
1416-1523.
1307-1446.
1397-1455. ca.
Signorelli, Luca
1525.
School).
(Florentine
G. P.
1480-1528. 1504-1540.
School).
(Umbrian
ca.
S.
Ronianino,
School.
(Umbrian
B.
Pisanello.
1435.
1384-ca.
of Parma).
(Florentine
di Cosinio
Pulzone, Fra
Siena)
1431-1506.
School.)
Venetian
(School
G.
Pesello,
1521-1.56'3.
Carnevale,
of
1520-1578.
A'ecchio.
Perugino,
150'2-157'-2.
ca.
Padua).
(Florentine B.
Parmigianino
U41-1510.
School),
of
(School
Pinturicchio.
Calisto
(School
1625-1713.
G.
Palma
1557-1C'22.
1507.
1439.
A.
Ma,solino.
1464-1528.
School).
(Florentine
B.
Butinone,
School).
(Venetian
P.
(Venetian
of
1305-1348.
C.
Moroni,
1555.
loth
Mantegna, Maratti,
Veneto
Follower
P.
Paiiifiii(i
150().
Bartoloinineo
A.)
Ravenna.
at
Vitale.
fl. 1323-1348-/. Amhros^in
PERIOD
Scries
(ith century,
Byzantine,
Lorenzetti, Ilaliiiii
ON
COSTUME
liis suite. San
ca.
BP^ARING
nl'li centurv. Kith
century.
"
"^.
Hundred
Page One
Dutch
Codde, P.
Cuyp. J. G. G.
1.575-Ui-l.!).
1()13-1G75.
Hals, F., the elder. Heist, B.
Jacobsz, L.
1601.-1000.
'2d half of 17th
Calcar. J.
von
Ketel, C.
Metsu, G.
J.
Vermeer
Rubens, P. P.
1474-1550.
Wilt. T.
1590-1058.
1510-1584. 1497-1567.
1577-1640. 1570-1621. 1585-1051.
der.
van
Painting,Flemish.
1400-1464.
16th century.
Painting,Flemish, of Brussels. German
15th century.
Painting
1617-1681.
Bruyn, B., the elder.
1097-17,50.
der.
Cranach,
l(i3J-]675.
1576-16'24.
der.
1659-1733.
Painting,Dutch.
14th century.
Painting,Dutch.
15th century.
Painting Dutch.
16th century.
ca.
yoiniger,
H. and
V.
1520-?
Virgin. /.
of the Life of the
Master
of St. Bartholomew,
Master
of St. Severin.
ca.
.''-1515.
Multscher, H.
ca.
1440-1407.
Ncufchatel, N.
ca.
1527-1590.
1430-1498.
Pleydenwurff. 1450-1494. Flemish Painting
Ble"
H. de.
1480-1.550.
Blpiberch,A. Bouts, A. Bouts. D.
1566-1625.
ca.
Roos, T.
I(i38-1698.
Schcits,M.
1410-1475.
J. Seisenegger,
1505-1567.
Wolgeniut, M.
1434-1519.
P. van. Clianipaigne,
=1
1602-1674.
Claeissens,P., the elder.
1500-1576.
the elder, ca.
van,
Coffermans, M.
15th century.
Painting,German.
10th century.
1485-1540.
Spanish Painting
fl.1549 -1575. *
Dvck, A.
Carreno, J. de M.
14001 ^j-l473.
Cristus, P.
Coello, A..S.
1450-1523. van.
1640-1700.
Painting,German.
.
David, G.
1521-1583.
Ring, L.
.^-1548.
Canipin, R.. 1375-1444.
Cleve, J.
10th century.
Ratgeb, J.
Gonzilez, B.
1599-1641.
"
"
*
1614-1685.
1513(?)-1590. 1564-1627.
1010.
1530-ca.
1472-15.53.
Master
Pacher, M.
17th century.
Painting,Dutch.
1493-1655.
L., the elder.
Dnnwegge,
1597-166''.
der.
van
Bruyn, B., the
1589-166'2.
Delft, J.
van
1570-1022.
van.
van.
Weyden, R.,
1010-1080.
15th century.
14.30(?)-1494.
1541-1581.
Vos, C. de, the elder.
17tli century.
van.
van
van
ca.
1512-1570.
Roymerswale, M.
1001-1073.
15th century.
Legend.
(Memling).
1567-1641.
Verspronck, J. C. Voort, C.
H.
1620-1679.
ca.
A.
of the St. Ursula
Somer, Paul
Ter Borch, G.
Troost, C.
Master
?-1688.
Santvoort, D. D. Steen, J.
1509-1575.
of the
Pdurbus, F., the younger.
Mytens, D., the elder. Ravesteyn. A.
1533.
of St. Lucy. IjCgenfi
Mask?r
1571-1638.
Palaniadesz, A.
1470-ca. 1425-1489.
ca.
Pourlius, P., the younger.
J.
Moreelse, P.
1510-1951.
Pourbus, F., the elder.
century.
1581-1642. 1561-1635.
1470?
ca.
.1.van.
More, A.
(1679?).
1030-1007.
Molenaer, J. M.
Before
Memlinc,
1st half 17th
Mierevelt, M.
Mostaert,
1100-151!)
1596-1667
S.
Mesdach.
century.
010.
1540-!
Keyser, T. de.
Isenbrant, A.
Massys, Jan.
11.91-1533.
Janssen, P.
1534-1584.
Marniiou, S.
ARTISTS
?-1482.
Heere, L. de.
Mabuse,
1013-1670.
van.
der.
van
OF
1381-1440.
ca.
Justus of Ghent
1580-4-1600.
der.
van
Honthorst, W.
Venne,
Goes, H.
IGtli century.
\aii.
van.
Francken, F., the youi ger. Geerarts, IM., the yoiuiger.
147.j-l."0().
Cronenburcli. A.
Joest
Eyck, J.
Painting
1610-l(!fiO.
Cornelisz, J.
Don,
LIST
Thirty-two
ca.
1460-1480.
1490-1510.
LIST
ARTISTS
OF
Goya
Liicientes, F. J. de.
y
F. fie.
Liano,
Velasciuez. Vcrmejo,
F. de.
Zurbaran,
Louis.
Tocque,
1598-1062. 15tli century.
Vesticr, Antoine.
Painting, Spanish.
16th
century.
Watteau,
Painting, Spanish.
17th
century.
Painting, French.
Painting
Russian
Ritt, A.
J.
Bourdichon,
Painting
Coyi^el, C. A. L.
?-ca.
Fromenl,
N.
Gandara.
A.
de
Gerard,
F. P.
Greuze,
J. 13.
S.
Le
Brun,
Ward,
century.
1780-1867.
J., the
F.
1815-1874.
E. M.
1816-1879.
Elisabeth
Louise
Vig^e.
15th
century.
16th
century.
1755-
A.
fitiemie.
15th
Pierre.
Master
of Moulins.
Oudry,
P.
Pater, Jean
Prud'hon,
Pierre
1801-1846.
Osgood, C.
century.
Pratt,
1685-1766.
fl. 1483(:-)-1528. 1683-1757.
Paul.
1758-1823.
1791-1872.
18th-19th
M.
Smybert, 1695-1736.
1780-1834.
S. F. B.
15th
16tli century.
Antoine.
H.
1786-1864. 1729-1792.
Jarvis, J. W. Morse,
Baptiste Joseph.
J.
J.
century.
Marc.
Perrcal, Jean. Pesne,
1724-1769.
Greenwood, Inman,
1833-1883.
Marcs,
Nattier, Jean
1702-1789.
1705-1765.
Edouard.
R.
1700-1760.
1737-1815.
Frothingham,
1756-1830.
van.
Painting
1708-1765.
J. B.
Blackburn,
Feke,
1834-?
Josepli.
Jules Robert.
Liotard, Jean C.
1750-1811.
Painting, English.
Badger, Joseph.
1704-1788.
1842.
Manet.
ca.
Painting, English.
Copley, J. S.
Lefebvre,
1665-1745.
1734-1802.
1656-1746.
(Mme.)
Lefcvre,
1723-1792. elder.
American
de.
Q. de.
M.
Tour,
1756-1823.
1713-1784.
1690-1743.
Largilliere,N. La
Henry.
G.
Talfourd,
1745-1811.
N.
Lancret,
Sir
Allan.
17(i9~1830.
Sharpies, J., the elder,
1770-1837.
Ingres, J. A. D.
(Irish Put.)
Sir Tliomas.
Ronmey,
1862-.
18th-19th
J. B.
1758-1810. 1075-1739.
Richardson,
1725-1805.
J. B.
Hilaire.
J.
1727-1788.
Reynolds, Sir Joshua.
century.
la.
1697-1764.
Ramsay,
1480.
1732-1806.
15th
T.
Hogarth, W.
Raeburn,
1706-1789.
J. H.
Fragonard,
century.
century.
Gainsborough,
Lawrence,
1415-ca.
ca.
century.
1726-1770.
Jervas, C.
1836-1904.
J.
16th
1656-1713.
16th
J.
Hoppner,
1727-1775.
Favray, A. C. de. Fouquet,
15lh
1753-1839.
J.
Cotes, F.
1574.
1701-1781.
Fautin-Latour.
Loo.
of Amiens.
Corvus,
1500-1572.
1694-1752.
J.
Duniont,
Huet,
of Amiens.
Painting, French,
Closterman,
1748-1825.
F. H.
Drouais,
century.
Painting, French,
Beechey, Sir W.
1457-1521.
Lyon.
de
1684-1721.
15th
English Painting.
Francois.
Corneille
David,
1740-1824.
Antoine.
Jean
1766-1799. French
Clouet,
1151.
century.
1096-1772.
Painting, Spanish.
Painting, Hispano-Flemish.
1780-1855.
Fran^-(jis. 19th
Arthur
Thevenot,
U90.
1841-
1659-1743.
Edouard.
Riouit, Louis
fl.ca.
Thirty-three
1544-1619.
ra.
Aiignste.
Rigauil. Ilyacinthc.
1551-1609.
1599-1060.
B.
Firmin
Renoir,
J.
di- la Cruz.
Pantoja
Frangois.
Quesnel,
174G-18'28.
loSC-lGSS.
Hundred
One
Page
J.
168,4-1751. 1755-1^28.
Stuart, G.
Sully, t.
1783-1872.
Trumbull,
J.
Waldo,
century.
1734-1805.
S. L.
1756-1843. 1783-1861.
CuurOsy
From
Ti-
a
colored
cover
design by Brunelleschi.
of liaiptr's
Bazar.
INDEX
^
^
INDEX
Accessories,
6
Acropolis, Action,
Beardsley,
Beer,
10
Adam
school,
97
illustrated.
Advertising,
department
Advertising,
magazine,
lialf-tone, 57
Advertising,
magazine,
illustrated,
Advertising,
magazine,
i)en
Golden,
Alfred
Great.
the
Preface, 13,
Queen.
97
Anne,
Queen,
of
Day,
illustrated,
Ben
Day,
magazine,
dre.ss, 110
Armorial
dress,
117
illustration,
King,
106
work
whose
has
bearing
in
period
fabrics
or
131-133
costume,
Egyptian,
of
of. Queen
Anne
Claire,
54,
France,
Back
view,
Balance,
05
Balance,
of
Barbier,
Barry,
plaits, 110
Bristol
board,
kid
Bristol
board,
plate,
British
or
Baviere,
Anne
43 costume
of. 111,
illustrated,
112
78
42, 54, 134
air. 32
Brush
work,
52-53
Brush
work,
illustrated,
Brushes,
71
Brushes,
for wash
work,
40,
45,
46,
53,
48
91 123
Buttons,
illustrated,
Callot.
1, 2, 3, 4
figure,
illustration,
influence,
Stcurs,
5
107
42,
du,
54,
87,
Ernest
Isabeau,
A..
6
45
ink
Catalogue,
22
work,
72
117
Catalogue,
pattern
Catalogue,
wash.
Catalogue
30
page,
work
Charlemagne,
95
*"
illustrated,
illustrated,
Catalogue
113
de
finish, 43
masculine
Beau,
Carlyle,
Countess
Bascpiine,
110
38
65
form
George,
Batchelder,
50
95
in, 10
musketeer,
Byzantine Background.
55
108
Bustle,
116
59
Catherine,
61
Buddhism.
102
62
49,
16
Brunelleschi,
21
33,
illustrated,
127-128
Brummel, 109
54
40
illustrated,
Saint
colors,
Brush,
14
Arms,
of
Brittany,
93,
39,
Binary
Braie,
94
illustrated, 112
illustrated,
Arms,
31,
color,
Bibliography,
Box
England,
Armorial
Avery,
Ben
Boots,
costume
Applying
Austria,
Day
Bliaud,
"23
color, 9, 70-71
Asp.
40
35
illustrated,
Brittany,
Anne.
Artists
illustrated,
Day,
Ben
Betrothal
53
62
arrangement,
Arthur,
illustrated,
illustration,
Ben
Blocking
Anatomy,
of
ink
IOC
harmony,
Anne
42
6
Birch,
Analogous
Animal
51
103
illustration,
brush,
Air
anri
49
103
of Pericles,
Age
store
magazine
Advertisement,
Age,
Aubrey,
Beardsley, Aubrey,
103
work
30,
40
31,
illustrated.
50
illustrated, 107
47, 51
.35 52
54
119
Thirty-eight
Hundred
One
Page
daughters
Charlemagne, Charles
I, King
Charles
II, King
Charles
VI,
Charles
X,
Charles
the
Chart,
color,
of,
9-t
England,
of
86,
England,
of
86,
lU 116
95
Simple,
Chemise,
tone,
Color,
value,
66
Color,
warm,
63
13
37
Chiffon,
illustrated,
Children,
59
9
illustrated, 13,
lay-out illustrated,
Children,
proportions,
Children,
proportions
Chinese
influence,
Chinese
ornament,
30, 52,
Composition,
reference
Construction,
head
16 41
white,
37
Corset,
Doric,
103
Corsets,
Chiton,
Greek,
103
Costume,
Chiton,
Ionic,
Greek,
103 36
Greek,
Period,
Clifford, Period
illustrated,
Egyptian.
Collection,
swipe ,36
Color, '"
binary,
Dr.
intensity
Color,
materials,
Color,
normal.
Color,
Frank
65.
Gallic, illustrated.
Costume,
Gallo-Roman.
Costume,
Greek,
primaries,
Color
scale, 63
Color
schemes,
67-70
70, 71
03 63
67
62
Costume.
Homeric,
illustration. Preface
Costume,
Louis
XIV,
Costume,
Louis
XV,
Costume,
Ij(3uis XVI,
Costume.
Louis
XVIII.
Costume,
Ijouis
Philippe, illustrated,
Costume,
ma.sculine, British
Costume,
Minoan
Costume,
Pre-Hellenic.
103
illustrated,
illustrated,
Restoration,
Costume,
reference Roman,
Costume,
Romantic
Costume,
Wattea
121
English, 120 103
illustrated, 127,
121
128
104-105
Period, I)
illustrated,
"lustrated.
Costumes,
Restoration,
Costumes,
2d
110
121
103
books.
significance, CC, 07
Cotte,
illustrated,
or
118
119
Mycenaean,
or
Costume.
Costume,
115
illustrated, 117,
sketch,
9
105
103-104
Color,
Color, tempera,
105
Costume,
,
118,
120
illustrated,
Color
6
101-102
Costume,
63
chroma.
illustrated,
Egyptian,
illustrated.
70-71
Crane, or
illustrated, 119 101-102
Empire,
63
Color,
Egyptian.
First
chai-t, 65-66
Color,
Directoire.
Costume,
Costume.
36
Color, complementary,
Costume.
102
61-71
Col^or,applying, 9,
120
illustrated, 117,
63
documents,
Col'
Consulate,
Design, Preface
century,
101
Collection,
Color,
122
18th
97, 98
color,
39
114, 120,
Costume,
Collar, flat, 116 Cold
91
96
Furnishings,
Egyptian
22
121
illustrated,
Costume
103
17
10, 37
Costume
103
30
fashions, illustrated,120
Convention,
Copying,
98
construction.
toothpick,
Coptic design,
97
books,
illustrated,
121
Consulate
10
illustrated, 17
53
figure illustrated, 15
of
Consulate.
Chiton,
Cloaks,
harmoziy, 65
Composition,
Chinese
Colbert.
colors, 63
Construction,
Children,
Cloak,
30
Construction
Children,
Classic
50
Complementary
Chiffon,
Circle,
9
wash,
Complementary
Chicing, 10.
hue, 63
tertiary. 03
Compass.
6
Chlamys,
63
tint, shade,
with
Colors,
65-60
108
Cheruet,
theory,
Color,
Color,
95
illustrated, 41, 42
Checks,
Color,
Color, water,
122
121,
INDEX
Empire,
117
illustrated. illustrated,
121
122
121
119
INDEX
Crane,
Dr.
ciilor, 67-70
Frank,
Drc-s,
Consulate,
Dress,
ISlh
century,
.'" Crepe, illiistratecl,
Dress,
18th
century
Cromwell,
Dress,
Egyptian,
Crayon,
pencil, 48, oO, 51,
Oliver,
Cromwell
ian
1'2-i
110
period, 86
Crown,
re"l, 102
Crown,
white,
102
Dancing
David,
Jacqne.s Loni.s,
120 117-121
illustialed, 117, 118,
Dress,
11th
century,
Dress,
First
Empire
108
illustrated, 120
and
15th
century.
Dress,
Greek,
Dress,
Louis
XIV,
illustrated, 115
101
Dress,
Louis
XV,
iliustra'.ed, 117,
87
Dress,
Louis
XVI,
Dress,
Louis
XVIIL
Dress,
Louis
Philippe, illustrated,
102
15th
centiiries
92
detail fashion
Decorative
lialf-tone, 56
Dress,
19th
Decorative
pen
and
ink, 40
Dress,
parti-eolored 93, 109,
Decorative
pen
and
ink, ilhistrated, 53
Dress,
Restoration
Decorative
treatment,
Dress,
Roman,
Dress,
Romantic
Design, .ad.aptationillustrated, 91, 75, 76
Dress,
.second
Design, costume,
Dres.s, Kith
century,
113,
Dress,
17th
century,
116 108
Department
38
advertising.
store
of, 65
and
70-78
Dress,
Watteau,
decorative,
Detail,
illustrated, 42
ilhistrateii. 44, 45
of Valentinois,
Dutchess
Directoire,
121
98. 120,
Directoire
and
Directoire
co.stume,
Directoire
period.
Directorate,
design,
Empire
98
illustration. Frontispiece 47, 54
Helen,
16, 47, 54
Dryden,
Helen,
illustration, 16, 24
Maurier,
George,
J. M..
88
Prrface,
Diuer,
All"ert, study
Durer,
Albrecht,
Duval,
14
of hands,
19
38
illustration, 85
Preface
Dyes, ancient,
87
110
Dryden,
Diirer, Albrecht,
ilhistrated, 119 97
centuries,
illustrated, 117
Drian,
Dunjop,
113
14th
114
Drian,
Du
])ctai!s, 5-6
illustrated. 121
illustrated, 122
Empire,
century,
significance,91
105
104,
Period,
13th
Detail,
Diana,
93,
12th
6
110,
illustraleil, 121
Dress,
Design, symbolic
121
121
century,
Dress,
91
Design, primitive, sources,
illustrated, 121
91
Design, influences,
Designers,
39
75-79
Design, fundamentals
Design,
ilhistrated, -14, 45
118
illn.strated, 119
Decorative
work
illustrated, 110
111
Dec-orative
illn.strated, 44,45
119
102
92. 101,
Dress,
girls,Egyptian,
Ages, Egyptian,
Thirty-nine
Dre.ss, 14th
Crnsa(le.s, 95, 108
Dark
Hundred
Page One
92
Directory, 121, 122 Documents,
36. 86
Documents,
u.se
Dominant Doric
Early fabrics
harmony,
chiton.
Early
illustrated, 37-38
East
62
India
East,
103
and
designs, 91
Renais.sance
costume,
Company,
influence
illustrated, 112
97
of, 91, 93 ,
Dotted
materials,
Doul)le
complementary
Pouhlet, Dow,
Eastern
37
harmony,
30, 52
38
Drapery,
illnstrate"l, 85
Drawing,
without
models,
13-23
(i
and
History. 3d
to
lltii
Century,
106-107
Editorial,
magazine
Editorial,
newspaper,
Editorial,
pen
and
Egyptian
costume.
Egyi)tian eoslume
v
91
Editori.ii. magazine,
53
Drapery,
Dress
design.
97
Editori.nl. magazine.
114
Arthur,
Dretoll,
Eastern
65
character,
56
illusfrale"j, 44, 45
color, illustrated, 62 40
ink. .38, 39 101,
102
illustrated, 92, 101, 102
Hundred
One
Page
Egyptian
dress,
Egyptian
emblems,
Egyptian
fabrics, 91, 92
symbols,
Egyptian
century,
Eighteenth
century,
reference
costume
illustrated,
costume,
Eleventh
century
dress, 108 of
Queen
Elizabethan
era,
113
97,
3C
illustrated, 37
Emblems,
102
Egyptian,
Enibroiilery, illustrated,
88,
Empire
1-3
Fern,
Forrester,
Francis
I, 95
Francis
I.
Franks,
107
38
Furs,
decorative
Furs,
realistic method
illustrated,
illustrate"l, 105
Gathers,
38
illustration, 5
Gathers, Gauls,
costume,
style, 87
Gauls,
history and
Gauls,
reference
29
George
I, George
George
III, 87
classification. 90
Faces,
to, 131-133
Feature
illustrated, 47
reali tic treatment, illustrated, 50
cut 19
Fichu,
107
Fifteenth
century,
Fifteenth
84, 85
Gloves,
107
thread,
use
Age,
103
Gothic
architecture,
Gothic
tapestry,
Greek
Classic
Greek
costume,
103,
costume,
century
Doric
Fifteent
century
reference
Greek
dress, 92
Greek
girdle, 103
Greek
history and
Greek
Influence,
First
Empire,
First
Empire
Flowered,
123
Flowered
materials,
Fontange
headdress,
103 104
illustrated, 103, dress
dress, 103, 104 91
Greek
Law,
0, 27, 28
Greek
Law,
illustrated.
37
Green.
illustrated, 120
110
Fontauge headilress, illustrated,
115
Ehzabeth
104
illustrated, 92
illustrated,5
fashions
material,
84
Period,
Greek
illustrated, 5
83
illustrated, 84
Greek
material,
102
Gorget, illustrated,
dress, illustrated. 110
Figured
III, 117
of, 95
dress. 111
111
George
103
Egyptian,
century
books.
106
121
Fifteenth
Figure, 13-23
105,
lOG
II, and
Globes,
Golden
116
Feathers,
IV,
Greek,
Gold
16-18
Fans.
Feet,
reference
documents,
Fabric,
George
dress,
books.
Ert6, illustrations, 44, 43
Girdle,
106
105,
Ert6, 42, 47, 54
60
illustrated, 105
co.stume
1st, 123
Enlarging, illustrated,
45
illustrated, 47
86
costume
Gallo-Roman 98
illustrated, 1, 2, 3, 4
form
view,
Gallic
38
113
86
2d, 122
Fabric,
illustrating,
illustrated, 94
of France,
King
Empire,
Etching, 54,
111 dress
54
Empire,
Empire
books.
century,
6
Gainsborough,
42
work,
122
costume,
arrangement,
Forms,
Fur,
Ellipse, construction
Empire,
119
8.5
wash
Formal
Front
Ellipse, constructing,
fifteenth
and
Fragonard,
England,
collar, 8G
Emijroidery,
117,118,119
illustrated, 107
century
Elizabethan
dress, 110 reference
century,
Francis,
late, illustrated,
century,
Eleventh
Elizabeth,
hooks. 1 1 6, 1 23
costume
dress, 117-121
century
Eighteenth
century
110
86, 88
Eighteenth century
Mile,
Fourteenth
Fourteenth
101
de, f)7, 116
Fontanges,
Fifteenth
102
Eighteenth
Eighteenth
102
101, 102
Kingdom,
Old
Egyptian,
92,
INDEX
Forty
27
Shippen,
16
Green.away,
Kate,
16, 87
Greenaway,
Kate,
style illustrated.
87
INDEX
Page One
Hair.
18
Homeric
Hair,
illustration, 18
Hoop,
Half-tone,
references.
Wash
see
Handkcreliiefs,
lines, 65
Houppelatide.
90.
illustrated, 84, 110
Froitti.ijiiccf. 8, 19
Houppelande.
Hands,
illustration.
Hue,
7. 18. 19. 20
103
costume,
Hands,
Harmonies,
Forty-one
117
Horizontal
107
Hundred
110
61
62-03
Harmonies
of difference, 65
Imagination,
Harmonies
of likeness, 62
"
Impossibles,"
costume
illustrated,
"
Ineroyables,"
costume
illustrated,
"
Ineroyables," "unimagineables,"
Harmony, Hat,
G5
design illustrated,
75
Hats,
6
Hats,
designing, 78,
Hats,
illustration. 8. 24. 79
Hatton.
Hicliard
G.. Preface
Indian
lawns,
122
Indian
shawl,
98
Individuality, 43, 45.
Head,
1.S, U
Influences
Head,
illustrated, 17
Ink, 42
Heads,
16, 17
Heads,
children,
Fontanges,
Headdress,
hennens.
illustrated. 115
horne"l. 83
Headings,
illustrated, 110
headdress, 110
U.
Henry
VHI.
85
Henry
VHI,
King
Historic
costume,
History
and
I, King
James
II, King
d'Arc,
116
47
90
121
illustrated, 22
Kerchiefs,
fal"rics,95
105-106
Lace,
Greek,
10,3-104
Laces,
dress,
History, 11th
114
England,
103
dress, Gauls,
to
of
prints, 44,
Josephine,
Ill
England,
of
Egyptian,
102
101-123
History, Roman, History, 3d
James
Jumping, 93.
Hisi)ano-Mores(|ue
History and
England.
95
Greek.
Hiniation,
I, 86
Jeanne of
97
James
Japanese
97
Her.aldic forms,
illustrated, 93
costume
123
Jacobean,
Henry
103
century
110
Jackets.
42
Hennins,
14th
Jabot.
illustrated, 27
Hennin,
116
chiton.
Italian
52 91
110
illustrated. 54
Heading,
Hem,
Ionic
116
Headdress.
La
104
11th
century,
century.
History, 12th century, 14th
illustrated, 42 37-38
Valliere, Louise,
Lawns,
106
Indian,
107-108
Lawrence,
108
Laws
for
Lay-out,
97
122
86 use
of color, 65
illustrated. 41
History. 13th
and
History, 15th
century,
110-111
Lay-out, finished, illustrated. 30-31, Lay-outs, 29,
centuries,
108-110
30
century,
111-113
History, 17th
century,
114-116
Lay-outs, rough, illustrated, 29
History, 18th
century,
117
Leaping, illustrated,
History,
Hogarth.
10th
Holbein.
Hans,
Hollar,
86
22
Legs, 14
96
Holl)ein, Hans,
119
merverilleuses"
governing, 65
Interregnum,
Hea"ldres.s. Fontange.
Headdress,
design,
in
Intensity, laws 16
"
119
"impossibles," 121
and 79
77
85
Lepape, George,
illustration, 86
Lettering, book Line
cut,
see
Pen
42, 54, 80 on,
30
and
ink
references.
35,
41, 47, 51
Hundred
One
Page Lines,
Forty
INDEX
-two
Monvel,
45
Lord,
Harriet.
Egyptian,
Lotus,
Pliiiipi)e, 122 121.
Louis
Philippe
Louis
XI,
Louis
XIII.
King
Louis
XIV,
117
Louis
XIV,
King
95
of France,
Louis
XIV
Louis
XV,
87,
Louis
XV,
costume
Louis
XVI,
87,
Louis
XVI,
costume
Louis
XVI,
period of,
Louis
XVIII,
121,
Louis
XVIII,
costume
Lutz,
E.
8G. 00.
07,
lit!
Metropolitan,
Metropolitan,
illustrated, 121
57 53
pattern
and
Mantles,
118
Nocturne
Margins,
6
Normal 87, 98
strips, 98
Marie
Louise,
Old
Preface
One
Armand,
and
Materials,
for crayon
Materials,
wash.
McQuin.
47. 54
Medici,
Catherine
Medicis,
Marie,
Memling,
Hans,
Meredith,
Owen,
"
jiencilwork,
113
1 13
painting of,
Method, Method
catalogue decoration of
95
illustrated, method
colors. 08. 69
two
Method,
realistic
illustrated. 39
Method,
realistic
treatment
Method,
textile
Monochromatic
Montespan,
designing, harmony,
Madame
119
llustrated, 58
illustrated, 44, 45
reproducing
illustrated, 40, 46
mofle
Egyptian,
harmony, 4
characteristics.
construction,
97
13, 14
Roman,
104
Paintings, having bearing
on
costume.
Paintings, having bearing
on
fabrics, 131-133
Paisley shawl,
98
Palla. Roman,
104
117
Paper, carbon,
32
Paper, frisket,
32
Paper, graphite,32 Paquin.
0
Parasol,
illustrated, 38
Parsons.
Frank
Alvah,
Parti-colored
costume.
62
Parti-colored
costlmie
Parti -colored
dress, 95
116
101
62
54-59
de, 97,
inspiration, 77
as
94
Kingdom.
Pauier,
88
wash
dress, 121, 123
century
by Whistler
Paenula,
de. 97,
illustrated, 107
87, 88
51
-18
Marveilleuses,"costume
Method,
Oval,
102
costume
color, 61
Oriental
color, 65, 70, 71
101.
centuries
century,
Openings,
0
37
Materials,
65
Ogival forms,
121
IMaterials, black,
42
tenth
Ninteenth
de, 97, 116
122
empire. Egyptian.
Nineteenth
57
121
122
III. 121,
Kay,
Magazine,
Martial
Louis.
Neutralization,
Ninth
Antionette,
84
87, 98
Neilson,
editorial illustrated. 02
Antionette,
from.
103
Bonaparte,
86
Magazine,
Marie
tapestry
116
costume,
Nattier,
New
Marie
92 88
122
Napoleon
editorial. 50
Marshall,
boots,
Napoleon.
Magazine,
Madame
92
trated, design illus-
room,
period dolls.
Metropolitan,
Napoleon
G., Preface, 8
Maintenon,
of
source
Metropolitan, Coptic
Napoleon.
98
drawing,
a
119
122
advertising,
as
Museum,
Mycenaean
illustrated, 118
Magazine, advertising illustrated,
Coptic designs,
Union,
Museum,
Muslins.
118
117, 120
98,
Museum,
Musketeer
illustrated, 117,
97,
Cooper
Museum
117
97, 98,
II., 61
A.
76
illustrated, 115
costume
131
century,
Museum.
110
of France,
6th
83
age.
Munsell, illustrated. 121
costume
de, 96, 111
Byzantine.
Moyen
102
Louis
Magazine,
Boutet
Mosaic.
3-t
30 110
illustrated, 109
131-133
INDEX
Parti-colored Pattern
dress ilhistraterl, 93
Pattern
drawing, magazine, drawing, newspaper,
Pattern
work, magazine illustrated..50
Pattern
illustrated,48
Problem.
Hundred
One
Page
Forty-three
45
Puritans, 86
57 39
Quaker,
86
Pen
work, new.spaper and ink, 38-47
Pen
and
ink, black detail work
Pen
and
ink, black
Pen
and
ink. catalogues. 40
Reference
books, Egyptian, 102
Pen
and
ink, catalogue illustrated,Si
Reference
books, Gauls, 106
Pen
and
nik, decorative, 40
Reference
books, 3d to 11th century, 107
Pen
and
ink, decorative
Pen
and
ink, illustrated,46
books, 11th century. 108 Reference books, 12th century, 108
Pen and
ink, magazine advertising illustrated,53
Reference
books, 13th, 14th, and
Pen
and
ink, magazine work, 39-47
Reference
books,
Pen
and
ink, pattern work
Reference
books, 18th century, 116, 123
Rael)urn, 86 illustrated,40
material illustrated,40
work
illustrated,53
illustrated,40, 52
Red,
Reference
Pen, ruling,36
Reference
Pens, 43
Regency,
Pencil
Peplum, Period
books, 19th century, 123
84
79
Renaissance, 85, 97
116
Renaissance
influenced, silhouette, 83-88
Periods in designing,77, 78 Periods, painting as Persian
references, 131-133
verdure, 96
late, illustrateil, 113, 114
costume,
Renaissance, early,costume
Reproduction,
illustrated,112
color proce.ss, 68, 69
two
Republic, French,
122
Restoration, 122
Personal characteristics,75
Restoration, costume
Personality,79
Reta
Pericles, age
Revolution. French. 98, 120
Perneb,
of, 103
Petit Trianon,
Rhythm,
120
illustrated,121
Sanger, illustrations.13, 43, 62
Reynolds. Sir Joshua,
101
86
65
Phrygean bonnet, 108
Richter, Pre/arc
Pilgrims,80
Roman
costume,
Plai.is,37
Roman
costume
104 illustrateil.
Plaids, illustrated,41
Roman
costume
reference
Plaids,shepherd, 37
Roman
dress, 93
Plaids, shepherd's,illustrated,42
Roman
history,104
Pleating,illustrated,5
Roman
palla,104
Plaits, box, 38
Roman
poenula, 104
Plaits, side, 38
Roman
toga, 104
Roman
tunic,104
Pleats,Watteau,
118
Romantic
Poiret, Paul, 6
Pompadour,
de, 87, 98, 117
Marchioness
Poor, Henry A.,
Ross
30
Pre-Hellenic costimie, 4
103
104, 105
books, 105, 106
.
period,122
Romantic
Romney,
Pompadour stripes,98
Premet,
15th centuries. 111
century, 116
117
Rembrandt,
50, 51
fabric design,91-98
Period, how
17th
Religiousorders.
48
crayon,
Pencil, crayon,
102
crown,
Reducing, illustrated,29
period,costume 86
board, 31
Ross board, illustrated,33
Royal gardens, 97
Priests, 102
Rubens.
Primaries, colors, 61
Ruff, 114
Primitive design, 91
22 Running, illustrated,
80
^
121 illu.strated,
Forty-four
Hundred
One
Page
Catherine, betrothal
Saint
INDEX
Spotting,
of, 95
53
Scale, in design, 79
Squares, ruled,
Scale of color, 61
Standing
Scroll motif,
illustrated, 94
Sculpture, Greek
Empire
Second
Senger, Reta,
and
Roman,
costumes, 43.
13,
54.
131
M.
G., illustration, 56, 60
Stipple, illustrated.
34
Stitcliing.,38
century
costmne
Seventeenth
century
dress, 116
86
illustrated, 114
Stitching, illustration, Stock,
110
Straps, Egyptian
87
5
116
Stockings,
61
102
hanging,
Stripes,37
122
Shawl.
Indian,
Shawl,
Paisley,
Shawls,
E.
64
century,
Shawl,
55
Steinmetz,
Stipple,34
Seventeenth
Shakers,
Steinmetz,
illustrated, 12'2
Seventeenth
Shade,
32
illustrated, 22
Stripes, illustiated.
98
5, 41
Antoinette,
Stripes, Marie
98
Shepherd
kings,
Shepherd
plaid,37
101
98
98
Stripes, Pompadour,
123
Surcot.
110
Surcot,
illustrated, 95, 109
Shoes,
19, 22
Swastika,
Shoes,
illustrated, 7, 18, 34, 35
Swipe
collection, 36
Swipe
collection, illustrated, 37, 38
Side
plaits,38
Significance, color, 66,
Symbols,
67
Syrian
Silhouette,
34-36
Silhouette,
fashion,
Silhouette,
half-tone,
Silhouette,
illustrated, 36,
Silhouette,
period illustrated,
Silhouette,
value
print,
illustrated, 43
Theory,
86
Third
of, 83
century
costume
illustrated. 111.
Sixteenth
century
costume
reference
Sixteenth
century
dress, 113,
85-86
seventeenth
Sketch,
dressmaker's,
Sketch,
manufacturer's,
centuries,
9
4
4
memory,
dress. 106. century
111
century
dress, 110
Thirteenth
century
reference
Technique
catalogue
107
Wilcox,
97
books.
111
illustrated, 30,
31,
35, 41,
Technique,
color, 9
Technique,
crayon
pencil, 50
Technique,
crayon
pencil illustrated, 7, 59, 124
Technique,
decorating,
Technique,
decorative,
Technique,
decorative
Technique,
detail, 37-38
Technique,
detail,
illustrated, 44, 45, 53 illustrated, 56
illustrated, 42
pattern and
Technique,
pen
pencil, 3
pen
Ben
see
Board,
Day,
Air
etc.
and
ink, 40
ink, 38-41
Spatter work,
31,.32
Technique,
Spatter work,
illustrated, 33
Technique,
realistic, illustrated, 35, 42, 47, 51
Technique,
silhouette. 34-37
Technique,
sketching,
Split complementary 54
42,
40
half-tone
mechanical,
Print, Ross
Technique,
16
Soulie, 54, 124
Sport suit,
trated, illus-
costume
51. 52, ,58
Silver
Jessie
century fourteenth
Thirteenth
Technique,
113, 114
Sleeves, 88 Smith,
and
,
-5
Sketching, life, 7
costumes,
112
47,
10
Sketching, garment,
books.
114
9
Sketching, for manufacturer
Sketching,
eleventh
109
century,
Slashed
color, 63
to
Thirteenth
Sixteenth
Sketching.
83, 84
illustration, 6
Theatrical
32
and
102
93
Tapestries, Gothic,
87
Sixteenth
Sixteenth
Egyptian.
weavers.
83
Silks, oriental, 122 Silver
91
harmony,
65
3-10
Brush,
INDEX
Technique,
stipple,
Technique,
wash,
card
sliow
Tempera,
colors,
Tertiary
Van
culors,
54-57
Textile
designing,
illustrated,
Textures, Tint,
Vest,
Roman,
Tone,
61
Toothpick
22
construction,
applied,
Walking,
23
32 32
period,
Transaction, Treatment,
97
decorative,
Iwrmony,
Triangular
38
65
erection,
Trianon,
Petit,
101
120
Trimmings,
37
Trimmings,
illustrated,
Trunk Tucks,
38
Tucks,
illustration.
Tulle,
94
illustrated, color,
Wash,
advertising, catalogue.
Wash,
decorative,
Wash,
editorial,
Wash,
layout
Wash,
materials,
Wash,
methods,
Wash,
pattern,
Wash,
pattern
Wash,
realistic,
Watteau,
9 104
Twelfth
century,
costume
Twelfth
century,
dress,
illustrated, 108
109
illustrated,
62
Value,
color,
Values,
de
Mile,
Valliere, Value,
la,
52,
116
66
52
Vanderpoel,
illustration,
20,
21
illustrated,
41
48 49-50 47
work,
48
48 48
47-50 86
costume,
Watteau
plait.
Watteau
styles.
Weeks,
64
50
48, 47
Watteau
Weaving. Underwear,
47-48 48
sketching, work.
22
61
Wash,
Wash,
Roman,
122
116
Warm
Wash
5
illustrated,
Tunic,
5
illustrated,
motive,
normal,
Waistcoat,
construction,
Transferring,
Triad
39 102
104
14
Tracing,
illustrated.
Egyptian,
Waist,
Toothpick
Torso,
121
Vulture,
Toga,
75
113
Vignette,
61
19
116
Victoria,
38
Preface,
86
lines,
Vcrtugale, 55
H.,
86
Valastjuez,
S^i
paper,
37,
Dyke,
Vertical
designing,
of
71
61
Textile
Texture,
J.
Vanderpoel,
3-1 "t7-,30
Hundred
One
Page
illustrated, 118 120
93
illustrated,
White,
Chinese,
White,
crown.
3 37
102
William
IV.
121
William
the
Conqueror,
Wimple,
illustrated,
Women,
Egyptiau,
107 83
103
117
Forty
-five
