Digitized by the Internet Archive in 2011 with funding from Boston Library Consortium IVIember Libraries http://www.archive.org/details/costumedesignill1918trap THE WILEY TECHNICAL SERIES FOR VOCATIONAL AND INDUSTRIAL SCHOOLS * EDITED BY J. M. JAMESON THE WILEY TECHNICAL SERIES EDITED BY JOSEPH M. JAMESON GiRARD College TEXTBOOKS IN DRAPTINQ AND DESIGN Decorative Design. A Tc.\lb<^Kik of Practical Methods. By Joseph Cummings Chase, Instructor in Decorative Design at tlie College of the City of New \ork and at the Woman's .Vrt School, Cooper Union, vi+73 pages, 8 by loj, 340 figures. Cloth, Si. 50 not. Agricultural Drafting. Hy Charles B. Howe, M.K. S by 10,'. viii + o.i pages, 45 figures, lO plates. Cloth, Si. 25 net. Agricultural Drafting Problems. .\ Manual to Supplement the text in .\gri- cultural Drafting. By Charles B. Howe, M.li. 26 plates, 8 by 10 J. In paper cover, 50 cents net. Architectural Drafting. By A. B. Greenderc, Stuyvcsant Technical lliuli School. Niw York; and Charles B. Howe, Hushwick livening Ilij;h Sihool, lirooklyn. viii+iio pag-s, 8 by loj, 53 fi^ur.s, 12 plates. Cloth, $1.50 net. The Orders of Architecture. A Manual to Supplement the te.xt in .Xrcliiteclural Drafting. By .\. Benton Greenberg 20 plates, 8 by 10 J. In paper cover, 50 cents net. Mechanical Drafting. By Charles B Howe, M.K., Bushwi.k Evening High ScImoI, IJrookiyii. .\+ 147 pages, SXioJ 1 05 figures, 38 plates. Cloth. Si. 75 net. Drawing for Builders. By R. Buruette Dale, Formerly Director of Vocational Courses, Iowa Stale College. v-)-i06 pages, 8 by lof, 69 figures, 5° plates. Cloth, 81.50 net. Sheet Metal Work, lly Charles B. Howe, M.E., and Wakken P. Doing. (In I'nss, Ready l-'all igiS.) Costume Design and Illustration. By Ethel II. Traphagen, Instructor and Lecturer at CoOiKT Union, etc. i.x+us pages, 8 by 10,'. Upwards of 200 illustrations, inclu.ling several in color, and a Color Spectrum Chart. (Moth, $2.50 net. IS I'REI'A KA TIPS Engineering Drafting. By Charles U. H')We. M.E., Bushwick Evening High School, Brooklyn; and Samuel J. Berard, Sheffield Scientific School, Yale University. I- or full .uuuninn-mnil src list fatUmin?, imlcx. Drawing by Urian Frontispiece Courleey of Harper's Ba COSTUME DESIGN AND ILLUSTRATION ETHEL TRAPHAGEN Instructor and Lecturer at Cooper Union, The New York Evening School of Industrial Art, and Brooklyn Teachers' Association Classes; formerly on the staff of Dress Magazine and The Ladies' Home Journal RST EDITION NewYork 1918 JOHN WILEY & SONS, Inc. CHAPMAN & HALL, Limited London BC^^rnS"--' BIGHT, 1918, BY EL TRAPHAGEN TT 501 328007 THIS BOOK IS SINCERELY DEDI- CATED TO MY STUDENTS, WHOSE ENTHUSIASM AND SUCCESS HAVE BEEN ITS INCENTIVE AND INSPIRATION THE PREFACE Costume Design and Costume Illustration are not always looked upon as distinctly different branches of what is termed fashion work, but in truth there is a marked difference between them. In the former, one must consider the judging of color, and all that this includes by way of harmonies, contrasts, areas, etc.; the relation of spaces; proper proportions; and the beauty and effect of line, balance and scale arrangements for the production of a design that is dignified, fanciful, frivolous, dainty, formal, or subtle, to express the designer's conception of the purpose of the costume and its suitability to the wearer. The costume illustrator, on the other hand, has the privilege of representing the garment after it has been designed — he must be able to render the material with his pen, pencil or brush in such a way that the actual design is not robbed of anj^ of its charm. Of course, there are many ways of doing this, according to the technique and sensitiveness or temperament of the artist, as well as the different methods customary for the special use for which the design is intended. It can easily be seen how advantageous it is to any fashion artist, whether designer or illustrator, to have an understanding of both branches to get the best out of either, for they have much in common. The designer and the illustrator should both have a knowledge and a keen appreciation of the beautiful lines of the human form, to know what lines are important to emphasize and what to conceal in a figure which may not be perfect. Drawing from the nude is of great advantage to the student, and no serious costume illustrator should be without this valuable training. There are some books which may help the ambitious student in the life class to observe and impress on the mind fundamental facts which it is believed most life-class teachers will agree in thinking extremely useful. Among these are Dunlop's Anatomical Diagrams, Figure Draiving by Hatton, Anatomy in Art by J. S. Hartley, Richter, Marshall or Duval, and Drawing the Human Figure by J. H. Vanderpoel. If the student is studying without an instructor. Practical Drawing, by Lutz, will be found helpful. Ethel H. Traphagen. New York, 1918. THE CONTENTS CHAPTER PAGE I. Sketching 1 II. Drawing without Models .... 13 III. Methods 27 IV. Color 63 V. Design 75 VI. ' The Fashion Silhouette ..... 83 VII. Period Fabric Design 91 VIII. Outline of Historic Costume ... 99 IX. Bibliography . .127 X. Artists whose Work Has Bearing ON Period Fabrics or Costume. . . 131 XL Index 137 SKETCHING CHAPTER ONE COSTUME DESIGN AND ILLUSTRATION CHAPTER ONE SKETCHING 1. Forms. — In both lines of fashion farthest point out of the other oval, to work it is necessary to be able to con- represent the skirt. Connect these and struct quickly a form on which to sketch you have a form. See Fig. 1. The bust or design a dress, and, like the forms in and hip should be on a line, and for the Fig. 1. — First steps in constructing a dress form. store windows, this should be constructed to enhance the good lines of the garment. Care must be taken, however, never to confuse this with the human figure, the structure of which is entirely different. The simplest way of obtaining this form is by drawing two ovals. First, make a straight line for the shoulders, then swing an oval, somewhat foreshort- ened, from the shoulder line, to repre- sent the waist. Next, swing another more elongated oval, from near the end- ing points of the first oval, having the farthest part out always opposite the present-day silhouette the connecting lines should be but slightly curved. Next, extend the two lines for the sleeves, add the collar and put in the centre line, which, in the front, follows the outside line of the waist and goes straight in the skirt. See Fig. ^. (Of course, the proportions differ according to fashion; i.e., the normal waist would go but twice into the short skirt of the summer of 1916.) It is interesting to note how the reverse of this straight line and curve forms the back. In making the back, connect the ovals in the same man- Page T^ SKETCHING ner, Ixit note that the centre Hne goes straight in the waist and curves in the skirt. See Fig. 3. The waist and collar lines curve up. The normal waist goes into the skirt about the straight full front view, because of the advantage of showing the side of the dress as well as the front. An examina- tion of fashion publications will prove how general is this preference. two and a half times, and the sleeves bend at the waist line or a little above. The supporting points at the shoulder, elbow, and hips should be marked, for it is these points that most affect the drapery. With a little application, these forms may soon be mastered, and the practice of doing them rapidly and turning them both ways makes for proficiency. See Fig. 4. Observe that three-quarter front and back views are used in preference to 2. Summary. — The main points to be remembered are that the bust and hips, for the present silhouette, should be on a line, that the arms bend at the waist line or a little above, and that the normal waist goes into the instep length skirt about two and a half times. In the front view remember that the centre line follows the outside line in the waist and goes straight in the skirt, that in the back the centre line goes straight in the waist and curves in the SKETCHING A GARMENT Page Three skirt. (The centre hne is the centre of the actual figure, not of the sketch.) The collar and waist lines curve up in the back and down in the front. The bottom of the skirt describes a circle; therefore, like the waist and collar, , ^ the line curves, but ir-Mi. U M.y .. always downward. The shoulder lines should be made to slant as much as the silhouette re- quires. For this work use an H.B. pencil, Eberhard Faber, Ruby or Emerald ,^^ eraser, and emery '"^ board pad. The '^'«* point of the pencil should be kept very sharp by con- tinually pointing it on the pad. From - - the start great at- ' tention should be paid to a clean-cut and beautiful line and to the proper placement of the sketch on the paper. See under " Greek Law," page 27. 3. Sketching a Garment. — After the form is mastered up to this point, the next step is the sketching of a garment on the foundation drawn. If possible, have as a model a simple dress or suit on a I* coat-hanger, or preferably a dressmaker's form; then find the centre line of the garment and see that, in sketching it OQ the oval form first constructed, you have the centre line of your sketch cor- respond with the centre line of the gar- ment. You will find the proper observa- tion of the centre line an infallible guide in giving you the proper relation of the sketch to the gar- ment. ^^^ Next observe the large, impor- tant facts — such as \ length of sleeves, .' \'i length of coat, the - ' long, important lines— and be par- ticular to put in the seams; but leave details such , - , as embroidery, lace, tucks, plaits, *'^'«^ gathers, etc., until the last. See Figs. 5, 6, and 7. After the lengths / of the sleeves, : ■■:- waist, coat, etc., are determined, you must strive for skill in keeping your pencil line clean and sharp. This gives the much-desired, well pressed newness to the garment. To keep this effect, beware of too rounded curves. After the sketch is finished, some accents should be put in, in places where shadows would naturally be; this gives added interest to sketches. From the first, observe and work for texture. Notice how delicate, light lines express thin material better than heavy, hard ones. After ability of this kind is Fig. 5. — Pencil sketch of a suit, Page Four SKETCHING d-(U acquired, the next step is to work for speed. Garments in shop windows give excellent opportunity for sketching when the student is trying to acquire speed. 4. Sketching from Memory. — Training the memory in sketching is also most important. A good way to do this is to sketch from memory what has been drawn from ths garment the day before. Another good way is to observe a dress either in a shop window or on a -'^^uu. person, and then, without again -T looking to aid the memory, to try to put on paper all you remember. It is well to verify this sketch by comparing it with the garment, to find out how much you have forgotten and where you have made mis- pic. G.-]'reIin,iMnrv takes. To be able to sketch from memory is a truly valu- able asset in costume work. So much can be carried away in one's mind from "Openings" and places where sketching is not possible. 5. Sketching from Garments.— A knowl- edge of the proper way to sketch gar- ments such as gowns, hats, and acces- sories, is absolutely necessary in fashion work. It is helpful, first for j'our own convenience when you see things you wish to remember, or when you wish to explain things seen to some one else, next, in gathering ideas to adapt to your own designs, and again, in doing ;> sketching for news- papers or maga- zines. Designers for manufacturers '- 6„,-,.' gn(j j^ ^ great *'" '* " boon to be able to sketch in their ex- ploring trips in the shops and along Fifth Avenue. Sketching for manufacturers is done for two pur- j.oses: To give them the latest French models from the "Open- ings" from which to make exact copies or some- ^ tiling adajjled to llieir special trade needs, and to give luil skoitli(ii:i f;own. them an inventory of their own stock for their reference and convenience. Sketching for dressmakers is a little line of fashion all its own. The sketches for them nmst be daintily finished, as they are to be shown to the customer and plaj' an important part in the sale of the gown represented. The simple ones (see Fig. (i) are done in pencil, with- ^ SKETCHING FROM GARMENTS Page Five Fig. 7.— Illustrating a variety of details out heads, but with a styhsh foundation but as a rule the form under- neath, with sometimes a little color added in the background to throw the sketch out. Sometimes they are still more finished though without heads, Pig. s, more finished dress- makers' sketches are done on figures express- ing some action and illustrating the presumed efTect of the gown on the wearer. See Figs. 13 and 14. When sketch- es are being Page Six SKETCHING done for embroideries, an additional small detail drawing should be made of the embroidery at the side of the paper. Tex- tures and colors should always be noted on the sketch as well as details, such as the number of buttons, etc , in order that there may be no confusion when making the finished sketch at home or in your studio. A convenient size for rough sketches is six and one-half inches. Practical sizes for finished dress- makers' sketches are from ten to twelve inches when heads are included; with- out heads, six and one- half or seven inches. AVide margins lend dis- tinction. Some of the well known French designers are Paul Poiret, Cheruet, Beer, Callot Sa?urs, Paquin, Martial and Armand, Francis and Drecoll. Al- ways note the designer's name on your sketch as well as the texture, color, and detail. The name of the design always en- hances the value of a sketch. Always place these sketches on the paper according to the Greek Law, i.e., most margin at the bottom of the paper. When making a finished sketch of this kind, a pretty pose should be chosta, and this should be thought out and practically finished in pencil; then draw in the garment carefully before putting Fig. 9.- on the color. The usual method is to put in the shadows first, the light big washes next, and the detail last. Clear color is used as a rule but opaque or tempera is often used in small areas combined with the clear color sketch; sometimes opaque paints are substituted. (See Page 9 and description under Color, page G8.) Pen-and- ink outlines are often used for these sketches and kid bristol or illustration board is considered the best kind of paper. 6. Hats.— INIuch of what has just been stated ap- plies also in sketching hats. Care should be taken to express the most characteristic side of the hat; in other words, catch its "feature." Be careful not to lose the relation of the crown of the hat to the head. When pos- sible, it is best to have some one pose for you to insure the right angles. See Fig. 1^2. Before going into this further, consult Section lo, page 17. Theatrical designs and sketches are carried out in the manner of the other sketches of hats and dresses, but a greater liberty in the way of eccentricity and exaggera- tion is permitted. See Fig. 9. 7. Accessories. — In connection with sketching, the student would do well to pay attention to accessories such as col- ? ^i" liy WiiUnm Gcbhardt Theatrical design. SKETCHING FROM LIFE Page Seven lars, sleeves and shoes. It tends to much greater facility on the part of the student to arrange these according to the Greek Law of proportion, page 27. For sugges- tions see Fig. 11 on this page. 8. Sketching from Life. — Sketching from life is strongly advised; drawing from the nude is of great advantage when done with un- derstanding. In all sketching and draw- ing it is advisable to block in, or in other words, sketch with light lines the general proportions, using tentative or trial lines and "feeling for" the form. See Figs. 15, 16, 18, and 19. Never complete one part before another part is thought out; never fix your attention on the outline, but rather on general proportion, or the result will be un- happy. See Fig. 17. Decide where your drawing is to begin ♦\//: < '■^'-Wf Courtesy of ( Fig. 10. — Crayon drawing. Fig. 11. — Shoes drawn by Elfrida Johnson. on the paper, and where it is to end, leaving good mar- gins (more at the bottom than top) , and block in between these spaces. After- wards make sketches from memory of the pose you have been studying. When doing rapid sketching to catch the action of a figure in motion, indicate the position of the head, hands, and feet and fill in the rest. Excellent practice is obtained in doing five, seven, ten, and fifteen minute poses from the nude or draped model. These quick sketches often afford good action poses that can be carried out and used to great advan- tage. See Figs. 40 and 41. This sketching will be most helpful in assisting the stu- dent to obtain a pro- fessional touch and an individual style. More and more stress is being laid on the well-drawn figure underlying the fashion drawing and too much emphasis Page Eight SKETCHING cannot be put on the value of drawing this figure with understanding and appre- ciation. Great care should be given the study of hands and feet, as these play an impor- tant and telling part in fashion work. See Front- ispiece and Figs. 10, 27, and 28. The student is advised to make copies, by way of study, from the hands in Vaiider- povVsIfiinun, Fi,/- inr and llien lo mako studies from lilV. It is iiiij)()rlaiit in lliis work U) obser\-e from which side the light is com- ing. (Sec Figs. 28 and 2!).) It is practical to make the lil'c studies in a loose, artistic manner, in charcoal, chalk, etc., and after- wards to draw from this sketch another figure, coi)ying the pose and keeping the action, but refin- ing it slightly, to make an at tractive fashion drawing on which to put the dress from one's costume sketch . See Figs. 40 and 4 1 . Lutz, in his book entitled Practiced Drawing, wisely says: "When drawing from life, it is a good plan to put yourself in the same pose as the model; that is, imitate as well as you can, the ac- tion, the disposi- tion of the limbs, and the pose of the head. This mimicry — it will only be that some- times, as you will find that different persons have dif- ferent ways of carrying them- sehes, and you can perhaps only api)roximatc the pose of the model — will give you a better understand- ing of the pose and impress itself on you mentally and further the work of pictur- ing it. "Note how, when the hips slant one way, the shoulders, to counterbalance, incline the other way; and the head again to preserve the balance, tilts away from the falling shoulder. This applies to the greater part of poses. Sometimes, though, models deviate from the general." This is valuable advice to observe in your work. SKETCHING FROM LIFE Page Nine Figs. 13 and 14 show two treatments of the same kind of sketch. Fig. 13 is done in a realistic way, in Fig. 14 the conven- tional method is used. In Fig. 13 Hght in clear water color. The tempera paint is put on in one flat tone and allowed to dry ; the other colors are then put on over this The opaque paint has the advantage ); ^ ^ .^\' y-^ i .> -^. Fig. 13. — Complete dressmaker's sketch done in trans- parent water color. and shade have been considered while in Fig. 14 these have been eliminated. Fig. 13 has been done in transparent water color, Fig. 14 is done in tempera, an opaque or body color, except the chif- fon, flesh tones, and hair, which are done * With flat transparent washes, pencil lines often Courtesy of Henry Block. Fig. 14. — A dressmaker's or manufacturer's sketch in tempera colors. of being able to be worked over. It is best to avoid shading, and to keep to flat tones. In this sketch the folds are indicated with strong pencil lines ; this same line effect can be done with lighter or darker values of the tempera used for the garment.* are used most eff'ectively in making a colored sketch. Page Ten SKETCHING \s Courtesy 0/ Vic Prang Co. Fig. 15. — First stage of sketch of dog. The illustrations on this page show one of ' the most important things to be considered in all kinds of draw- ing, whether it be from life, from memory, chicing, or even copy- ing, and that is get- ting the general pro- portion and action of the whole, before con- '> '^ Courtesy of the Prang Co. Fio. 17. — Incorrect way to start a sketch. Courusy of the Prang Co. 3. — Second stage of sketch of dog. centratiiig on any one part in detail ; re- membering never to finish one part before the other parts are thought out. Fig. 17 shows the danger of fixing your attention on the outline. It is always advisable to block in. (See Figs. 15 and 18.) r A 7 V \ Fig. 18.— First stage ol skcUh of boy. DRAWING WITHOUT MODELS CHAPTER TWO CHAPTER TWO DRAWING WITHOUT MODELS 9. To Set Up a Well-proportioned Fig- ure. — It is best to understand how to set up a well-proportioned nude figure "out of one's head" or chicing a figure as it is sometimes called. See Fig. 21. To con- struct this figure find the centre of the paper, through which run a vertical line. The head is the unit most useful in meas- using one inch as the unit of measure. This gives the height of the figure. Mark each of these divisions with a dot. The figure is divided into four important sec- tions; the head, torso, arms, and legs. To keep the drawing as simple as possible we will have to start, in some detail, with the head, it being our unit of measure. Dravm hy Reta Senger. Fig. 20. — Editorial featuring infants' wear. uring the human figure, and in this instance, we will use it, making it, for convenience' sake, one inch long. (The dimensions we are using will vary slightly from those given in most anatomies, be- cause we are constructing a figure to use in fashion work, where slimness is the chief requirement.) Mark off on this line seven and one-half heads, in this case seven and one-half inches, as we are To construct the oval which will be used for the head, mark oif the first inch and divide this one inch vertical line into three equal parts. At a point just a little below the first third just established, draw a light horizontal line of indefinite length and mark ofl^ on it a distance equal to a little less than two-thirds of the one-inch vertical line and so spaced that the vertical line exactly bisects the Page Fourteen DRAWING WITHOUT MODELS horizontal line. Construct an oval on this plan. Horizontal lines drawn through the points that divide the vertical line into thirds give the eyebrows and the tip of the nose. A horizontal line drawn through a point one-third of the distance between the eyebrows and the tip of the nose marks the centre of the eye socket, and a horizontal line drawn through a point one-third of the distance between the tip of the nose and the base of the oval marks the centre of the mouth. Divide the horizontal eye structure line into five parts; the middle space represents the width of the nose, and the nearest parts on each side the eyes. Guide lines dropped from the centre of the eyes, ver- tically, give the corners of the mouth. For the ears extend a line a litlle beyond the oval on each side of tlic head, from the first third to tlie second third, or, in other words, from the line indicating the eyebrow to the line indicating the end of the nose. Continue the bisecting vertical line down one-third of its length, to establish the pit of the neck. Draw a horizontal line through this point. Drop guide lines from the base of the ear to this line. Connect the extremities of these guide lines with arcs curving slightly towards each other, thus giving proper expression to the neck. 10. The Torso.— Three-quarters of the length of the head gives the width of each shoulder and of each hip. Cut the dis- tance between the chin and liie pit of tiie neck in half by a dot placed on the centre line. Connect this point with the point made in marking the width of the shoulders. The point where this line intersects the curved line of the neck is where the neck sets on the shoulders. The second "head" or unit of measure gives the bust line. Curve the line in- dicating the bust section. The third "head" gives the placing of the abdomen. One-half the distance between the bust and abdomen, or between the second and third head, is the waist line. Indicate this. The centre of the figure comes slightly above the fourth head, this is also the end of the torso. The line of the hip is halfway between the third and fourth head. Establish the width of the hip line by verticals from the shoulders. 11. The Legs. The knees come half- way between the hips and the soles of of the feet. The ankles come at the seventh head. The width of the ankle is one-third the width of the hip line. The inside ankle is high, the outside ankle low. The calf of the leg is about one-half the width of the hip, the outside calf of the leg is higher than the inside calf. 12. The Arms.— The length of the arms, stretched out horizontally including the shoulders and the hands, equals the length of the body. The wrist comes at about the end of the torso. The elbow comes at the waist lines. The pit of the arm is one ihird each shoulder. With these meas- urements established, block in the figure and features. 13. Other Positions of Head and Figure. — The diagram of a woman's fig- ure on page 71 of Dunlop's Anatomind Diagrams will be found helpful to the student, at first, in blocking in the figure. After the proportions are well under- stood, the figure and head may be turned in other positions; for this the "tooth- THE FIGURE Page Fifteen PIT OF ARM ONE-THIRD WIDTH OF SHOULDER THE WIDTH OF EACH SHOULDER IS THREE - FOURTHS LENGTH OF HEAD SHOULDER LINE oa pit of neck — ONE-THIED HEAD BELOW CHIN BREAST LINE WAIST LINE ONE-HALF WAT BE- TWEEN 2nd and 3rd HEADS ELBOW LINE END OF TORSO a little above 4tH HEAD WHIST LINE KNEE LINE is one-halp way BETWEEN HIP LINE AND SOLES ANKLE LINE SOLES OF FEET Drawn by Gertrude F. Derby. -Construction of fashion figure without model. Page Sixteen DRAWING WITHOUT A MODEL -Modern fasliioiis liy Jlelcn Drydcii «1 pick figures" (see page 22) make a good foundation, helping to make simple the foreshortening then necessary. For suggestions for turning tlie head in dif- ferent positions, see Fig. 2;5. 14. Children's Proportions. — The chart shown in Fig. 24 illustrates the propor- tions found in various stages of devel- opment. In infancy, or at the age of about six months, the head measures about four times into the height; at four years, the head measures about five and one- fourth times into the height; at seven, approximately six and one-half times; at ten years, about six and three-quarter times; at fifteen, about seven times; and in the adult from seven and a half to eight times. Children's heads, therefore, it should be noted, are larger in propor- tion than those of the adult, the eyes are wider apart, the nose shorter, and the lips somewhat fuller. See Fig. 22, also Fig. 24 and Figs. 20, 94 and 95. Professor C. II. Stratz of The Hague, Holland, who is one of the greatest author- * See " Happy All Day Through," ilhistruled by Janel Caroline Hunt Rimmer. ities on the human body in the world, says a child grows as follows: Fir.'il, in breadth and height from birth to the end of the fourth year. Scco)td, in height from the fourth to the beginning of the eighth year. Third, in breadth from the eighth to the tenth year. Fourth, in height from the tenth to the fifteenth year, when the youth gets lanky, thin and angular; this is the period when the hands and feet look too big. Growth then continues to manhood or womanhood. In drawing children, great care should be taken to keep their legs, at the slim period, long and slender. Care nmst be taken not to make them developed, which detracts from their childlike charm and makes them look vulgar. In studying children, look at good illustrations by Kate Greena- way, Jessie Willcox- Smith, Elizabeth Shippen Green, Birch, and Helen Dryden.* 15. Heads and Faces. — The general shape of the head is that of an oval Laura Sfdtl, and also "Figure Drawing for Children" by HEADS AND FACES Page Seventeen Fig. 23. — Showing construL-tion lines that help in drawing heads. with the greatest width at the top; ob- of the nose is halfway between the eye- serve this, too, in side, three-quarter and brows and chin. See Fig. 23. The eye- back views of the head. The eyes are brows are on a level with the top of the in the centre of the head, and the end ear, and the lower end of the ear on a 7 Years 10 Years 1 Fig. 24. — Proportion of figure at different ages. Page Eighteen DRAWING WITHOUT MODELS level with the nostrils. This forms a rubbed out except the nostrils, but they never-changing axis on which the head will appear more correctly placed than O ^'f^ turns up and down. Note how the fea- tures are located in these changes, and how the fore- shortening is sim- plified by means of this method. In drawing heads al- ways use the centre and otherconstruc- tion lines. When the head is turned up, we see more chin and less forehead ; when turned down, more forehead and less chin. The eyes are one eye apart, and the lower lip ends at about half the distance between the nose and chin. A triangle is heljjful in dividing the face into planes, and great care should be taken not to ignore the cheek, jaw and chin bones. Ob.serve that the cheek bones come slightly below the eyes, the jawbone slightly below the mouth. In drawing the nose it is helpful to think of a little round knob; from which extend the nostrils, sketch in the sides, and extend a line suggestive of when put in with- out this foundation thought. See Fig. 25. In drawing the mouth, think first of a Cupid's bow, the string of M'hich is broken in the centre ; then sug- gest the lower lip, shade the upper lip, which is always darkest as the lower catches the light, and you have the mouth. Never make a hard line around the lips, as it destroys the flesh-like qual- See Fig. 25. In making the eye, al ways hold the pupil in by the line of the lid. Block in the head, ears, hands, and everything before putting in the detail. Hair should be expressed in waves of light and dark, not by single lines (unless you are making a deco- rative, unrealistic draw- ing). Never draw a clean-cut line between the face and forehead, because the hair in many places blends in with the tone of the face. See Fig. 2(5 the planes. Afterwards everything can be and observe other drawings that show hair. HANDS AND FEET Page Nineteen 16. Hands and Feet. — The next step high, using the Greek Law of arrange- should be a careful study of the hands and feet. The drawing of these is sim- pHfied by looking for the large masses first and blocking them in. See Figs. 27, 10, and 28. For example, in draw- ing the hand, deter- mine the relation of the length of the fingers to the palm, and where the thumb comes in relation to the fingers. All knowl- edge gained by study or observa- tion from life wUl help in drawing or chicing them. Van- derpoel's Human Figure, mentioned before, has some splendid illustra- tions of both hands and feet that the student would find it helpful to study. One good way of studying them is to make careful drawings from these plates, and after- wards to try to making your own draw- ings first from life and then from imagination. See Figs. 28 and 29. Shoes are extremely important in fashion work, and should likewise receive the careful attention of the student. A good way is to group five or seven pairs of shoes, including sport shoes and slippers, in different positions on a sheet of bristol board about 11 inches wide by 14 inches Pig. 27.— Study of hands by Albert Diirer. ment. It is well to use real shoes and slippers for models, but study also well- drawn examples to see how they are usu- ally rendered. Notice how the inside of the foot is straight- er than the outside line, which has some curve. Ob- serve also low much shorter the line of the inside of the shoe is than the outside line, which extends nearer the heel. See Figs. 25 and 11. Note that the inside ankle is higher than the outside ankle. It is well to ob- serve what is ap- propriate and to select shoes of different character. There are shoes for shopping, for after- noon, for evening, for travel, and for sport. You must select the right shoe for the right dress. The footwear must Ibe in keeping with the costume; not afternoon shoes or evening slippers with a sport suit. It is usually best to have evening slippers match the gown and hosiery unless you use a patent leather pump. In these days we cannot make the skirt cover up bad drawing of the feet Page Twenty DRAWING WITHOUT MODELS ;l^jifc. / ruui Naii.if]],,,,-!!, ■■ lium;m I'igurc. ARMS Page Twenty-one Courtesy of The Inland Priroer, Fig. 29. — Construction of Arm from Vanderpoel's " Human Figure." Page Twenty -two DRAWING WITHOUT MODELS and shoes. No longer can it be said Dame Fashion that "Her feet beneath her petticoat Like little mice steal in and out. As if they fear the light." 17. The Human Form Reduced to its Simplest Elements. — Relative propor- tions and helps to express action can perhaps best be acquired by observing the following facts in connection with toothpick figures : The t r u n k, thigh, and leg are each about one- third the length of the body with- out the head and neck, though the trunk is a trifle the longest. The trunk is about twice the length of the head and neck. The elbow reaches to about the waist and the hand half way down the thigh. Walking is best de- scribed on paper wh'-u both feet are on the ground, though in reality the greater part of the time the body rests on one foot. See Fig. 30. Running is best shown when one foot is on I lie groimd, though in reality much of the ti both feet are off the ground. See Fig. Fig. 32 Leaping is best shown in the same manner as running (limbs ready for the next effort), but with the feet off the ground as in jumping. See Fig. 31. Jumping is best shown with the feet off the ground but gathered together to preserve poise and ready to alight safely. See Fig. 31. A stick stands when balanced on one end and also when supported on eacli side as shown in Fig. 31. The body may be bent at the hips so as to bring the head over either foot and maintain an up- right position un- til the weight of the body is bent beyond the line of support, when it must come to the g r o u n d as shown in Fig. 32. Kneeling fig- ures, leaning back, make it necessary that support be given behind as shown by the vertical dotted line in Fig. 33. The student should notice that a straight line extending from the neck to the floor comes just between the feet when the weight is evenly distributed on both legs. When THE HUMAN FORM Page Twenty-three Figs. 34 and 35. Figs. 36 and 37. Toothpick construction applied to fashion drawing. the weight is on one leg, the plumb line begins at the pit of the neck (viewed from the front) and extends to the ankle of the supporting leg. On the other hand, when the figure is in action, the plumb line from the neck falls between the legs, pro- viding a proper balance; when this bal- ance is destroyed, the figure either has to be leaning against something or it falls to the ground. See Figs. 32 and 33. After studying these, it is well to build the figure on these foundations to acquire action. See Fig. 34. In Fig. 36 is shown a seated figure; the stool is the principal part of support, though the foot is extended to receive the weight of the body. Fig. 37 is this con- struction applied. Figs. 34, 35, 36 and 37 are given as illustrations of the use of the toothpick construction in giving action to the human form. From a drawing by Helen Dryden, in which {wncll, wash and ink were iisefl, on a rough texture paper. METHODS CHAPTER THREE CHAPTER THREE METHODS 18. The Greek Law. — In the sixteenth century, in the days of the Renaissance in Italy, Leonardo da Vinci with other artists worked out, through study of classic art, an ideal proportion which is commonly known as the Greek f„^ < Law. Instead of using exact me- chanical measure- ments, such as the half, third, fourth, etc., so easily measured in inches and easily grasped by the mind, this law supplies the idea of a consistent variety, so fundamental in all artistic things, stimulat- ing the imagination and lending interest to the object. Thus, if an oblong is divided horizontally in half, the equal areas will be found both mechanical and uninterest- ing, see (a), Fig. 38. On the other hand, if the difference in areas is great, as in (5), Fig. 38, the sizes are too incomparable to be satisfactory. In (c). Fig. 38, the oblong has been divided into thirds and then into halves, and a point found some- where between one-third and one-half, through which to draw a horizontal, shown by the heavy line. It will be seen that the relation of the areas above and below this line to each other are neither mechanical nor monotonous, but subtle and interesting. Hem Muslin Tucks These same proportions may be prac- tically applied in clothing to tucks, hems, etc., as illustrated in Fig. 39. Suppose a line is drawn six inches long to repre- sent a muslin skirt. Divide by the Greek ,) ((,) Law to find where any trim- ming (hem and tucks) should start. Re-divide the space given up to this trim- ming to obtain further good pro- portions (of the hem to the tucks) . In Advertising — Its Principles and Prac- tices, published by The Ronald Press Co., the following statement is made : "This Greek Law of proportion is some- times crudely stated as the ratio of 5 to 7 to 11. This is somewhere near correct, and perhaps near enough to work with. In applying this ratio to the margins of a page it will clearly be seen that the widest margin, or 11, should appear at the bottom, the next widest, or 7, at the top, and 5, the narrowest, alike on either side in all vertical com- positions of space. In horizontal com- positions the widest margin should still appear at the bottom, the middle size at the right and the left, and the nar- rowest at the top. This is so that the "^r "^ 1 1 1 1 1 1 — \ Page Twenty-eighit METHODS the Greek Law of margins, but also. general form of the display within the composition shall preserve the same ratio as is found in the enclosing space itself. "Not only should areas be applied to when possible with- out interfering with the meaning of the copy, it should apply to the width and strength of the various parts or paragraphs of the copy within the space. 'When it is possible to do this, the effect is doubly pleasing. There is also often a chance to apply these pro- portions to the blank space between different parts of the copy display. When it is possible to do so, this has an added value. Not enough attention is paid to the relative widths ( spaces. Blank space is often than copy." Summarizing the above to be noted tiiat: (1) Mechanical divisions are in- artistic. (2) Sizes too unrelated, sudi as a very large size and a very small one, fail to satisfy, as the mind does not see any relationship in things that emphasize each other's difference. (3) Areas or sizes near enough alike to be easily compared by the eye and yet Drawn by Esther 40.— Quick sketch from )f tl.e: l)lank Kiueiit brieflv. different enough to interest because of their unlikeness, satisfy us. (4) Spaces are most pleasing together, when one is between one-half and two- thii-ds the length or space of the other. This gives quite a difference in size for individual treat- ment, but avoids in- harmonious lengths or sizes placed to- gether. In other words, when two lines are in good relation to each other, the shorter line is between one- half and two-thirds the length of the longer line. The Greek law may be applied to the margins of draw- ing papers as well as to folds and coat lengths. The best arrangement of margins for a vertical hiy-out is to have the greatest width at the lower edge, the next at the top, and the snudlest at the sides; while for a horizontal page the widest margin should still appear at the bottom, the second size at the sides, and the narrowest at the top. This is to preserve a like relation with the en- closed sjjace. Design is selection and arrangement, and from the start of any work the details which make for good design should be kept in mind. If it is .school work, even the nanu" and the lesson should form part of the plan. Observe how the enclosing Fia. 41. — Co.sfiimc sketch made from f|iiiek skctih. LAY-OUTS AND REDUCTIONS Page Twenty-nine form determines the shape within. The nearer one comes to the structural edge, the more nearly the lines should conform to it. Avoid lines that lead to corners, lines that lead to the centre, and lines that tend to be- come tangents. The lines of the background or setting should be less intense than those forming the object shown against them. The larger the area the less intense the color should be; the smaller the area the more the printed page is given to the artist (for example eight inches high by seven and one-quarter inches wide) and the number of figures to be put in that space (say five figures). The artist's work is to compose these figures in the most attractive group or groups. The first step is to enlarge the dimensions to a convenient work- ing size. In doing this, the original proportions must be kept. The en- larging is done by means . . .1 ^ Fig. 42. — Enlarging and reducing. Rectangles p i • i_ j m mtense the color may leaving the same line as a common diagonal are in of a drawmg board, T- be. In order to have two proportion. square, ruler and or more shapes hold together for unity, triangle. A detailed statement of the the space between must be less than the process, using the dimensions just given smallest of these shapes. For illustration, the paths of a garden should be smaller than the di- visions of the garden shapes. 19. Lay-outs and Re- ductions. — Lay-out is the technical name given to the composi- tion of a catalogue page, and the drawing of the figures which go on it. It is also ap- plied to the grouping of any objects to be put in a certain given space, whether for magazines, booklets or news- T-square blade, papers. The height and width of the corner, measure seven and one-quarter space which the lay-out is to occupy on inches to the right and eight inches down Fig. 43. — The rough lay-out. is as follows: Draw a horizontal line, say two inches from the top of the paper, straight across, using the T-square, the head of which is held against the left edge of the drawing board. Next measure in, let us say, two inches from the left side of the paper, and draw the vertical line against the edge of a triangle, the base of which rests against the upper edge of the At the left-hand uppei' Page Thirty METHODS with the ruler, using the triangle to per- interesting effect is obtained. See Fig. fectly complete this little rectangle; then 45, the original size of which was 12| draw a diagonal and determine the height inches wide by 17| high, desired for working out the lay-out and Each line bounding the lay-out should extend a horizontal line wherever this be touched by some part of some figure. horizontal touches the diagonal, erect a perpendicular and the dimensions of the large and small rectangles will have the same propor- tion. See Fig. 42. Catalogue pages often go through many hands before they come out a technically finished product, photo- graphically perfect but often stiff, in- artistic and unin- teresting. There is often a special artist who does nothing but lay- outs, grouping the figures and plan- ning the page as in Fig. 4;5; another who makes sketches of the garments; another who draws them on the 1 figures; another who puts on th washes; another who does details such as lace and embroidery; another who finishes the heads; and still another who finishes the hands and feet. See Fig. 44; the original of this was twenty-five inches by seventeen and three-quarter inches. When, however, this work is done through- out by one expert artist, a much more Fig. 44.- ,rk ..f d-oiit large The better the lay- out artist the less space will be wast- ed. It will be found advisable to give the centre to the figure with the darkest clothes, as this is found most agreeable to the eye, and also sets off the other fig- ures to advantage. The law of per- spective requires that, if there are smaller figures, these should be nearer the top of the page. The effect is like a staircase; when one stands below, those at the top seem smaller than the people nearer the foot of the stairs. For the principles of general composition which underlay all design, the student will find it helpful to read Pictorial Com- position, by Henry A. Poor; Principles of Z)c.s/(7», by Batchelder; Composition, by Arthur Dow, and Principles of Advertising Arraiu/nncut by Frank Alvali Parsons. 20. Mechanical Helps and Short Cuts. — Before taking up ink and wash render- ing, certain mechanical helps and short Courtcvy of John Catalogue drawing. The comhinefl I artists. MECHANICAL HELPS Page Thirty-one cuts to results and effects must be con- sidered, such as Ben Day rapid shading mediums, Ross Board, spatter, air brush and silver prints. Ben Day is a great time-saver, as can be seen from even the few samples shown in Fig. 49 of some of the complicated textiles and half- tone effects obtain- able in the line cut or ink drawing. When Ben Day is desired, the places where it is to be used are colored with a blue pencil or blue water - color wash and marked with the number of the texture wanted; the engraver with the Ben Day machine does the rest. See Fig. 49, and the floor and hat in Fig. 77, showing Ben Day stipple. Notice the difference between these and Fig. 50, done by hand; observe particularly the greater irregularity of line. When two or more printings are made the Ben Day can be put on in color, but this necessitates two or more plates according to the number of colors used. See Fig. 97 in which two plates were used. Ross Board comes in a variety of designs. The three most used kinds are perhaps the plain white with raised or embossed f lo... f texture, the smooth white with black texture, and the cross-ruled blind with black texture. A knife and pencil are the tools used to obtain effects with this paper. See Fig. 48. In the first, the stipple effect is ob- tained by rubbing the pencil over the plain v/hite and the raised surface, which in this case consists of dots. These catch the lead and a stipple effect is the result. In the second, white can be ob- tained by scraping off the surface and a darker tone by rubbing a pencil on the rough sur- face. Two effects can be obtained with the third; with the knife, the stipple surface; with the pencil, the fine check. Black can be put on with ink. This makes possible an even gradation from white to dead black. Fig. 48. Fig. 46 shows a finished Ross board drawing. Spatter ivork is done with a toothbrush, and makes good flat tone effects for tex- tures, posters and backgrounds. Cover the entire drawing, except the parts to be spattered, with paper, cutting out these to make what is practically a stencil (tracing paper fastened down with rubber \ Courtesy of John Wanavmker Pig. 45. — Catalogue drawing, the work of one artist from start to finisli. Page Thirty-two METHODS cement is convenient). First, dip the toothbrush in a saucer of ink, hold it facing the paper and about three feet away, and draw the edge of a penknife or the handle of a pen or brush over the bristles toward ' . , v you, letting the spatter fly onto the drawing. With a little practice this can be done very skillfully. See Fig. 47. The texture of rough paper often gives interesting effects in the repro- duction of a draw- ing; for this rea- son craj'on, pencil, charcoal, and even wash drawings are sometimes done on what is called a paper with a tooth, such as a charcoal or other Fig. 45. The air brii.sh gives either an even or a varied tone, as desired, and in the doing of half-tone shoes it is found very useful. It is really an atomizer run by pressure, and by its use a great variety of tone can be obtained. See Fig. 55. As in spatter work, the surface of the paper to be kept white is covered. Frisket paper, which is thin and transparent, is used for this purpose and pasted down with rubber cement. When the rubber cement is thoroughly dry it may be rubbed off, leaving a perfectly clean surface. The effect is photographic and mechanical. See Fig. 54. Fio. 46. — Drawing on Ross l.iKl. 1..V 7" rcugh paper. See The silver print method is often used for making line cuts or pen drawings of shoes. For this purpose a silver print photograph is made in a size convenient to work over on Clemmon's plain salted "^ ^1 paper and mounted on cardboard to get a smooth surface for drawing. Out- lines are then care- fully 1 raced with the usual drawing pens and India-ink, doing deep shadows first and gradually working up to the high lights. When finished, the silver or photograph color is bleached away by pouring over it a saturated solution of bichlo- ride of mercury. This leaves the pen lines clean and sharp upon a perfectly white sheet of paper. When dry, the result should be compared with the original photograph and touched up where necessarj'. See Fig. 52. 21. Tracing. — Tracing is often found n(>cessary and is a time-saver in doing repeats, etc. Graphite paper gives a better line in transferring than carbon paper. The pencil should be kept very sharp when tracing and a hard pencil is good for doing the transferring through the carbon. Ruled squares are useful to put under thin paper in doing some kinds of designs. Courtesy uf ijui Hoard, reduceil froi wide original. TRACING Page Thirty-three No 329— 9!4xl4>^ ^° 330—9/1x14^ No 33' — 9'') J^ I4'-out illustrating methods of rendering, stripes, plaids, checks, etc. Page Forty-two ISIETHODS naturalistic work, where mistakes are sometimes hidden. In this decora- tive work beauty of Hne and in- teresting spotting is given great consideration. The eiTect is ob- tained by the fewest lines pos- sible, and very interesting work of this type can be found in pcii- and-iiik,wash and color. This style of work was fir.sL made popular by Aubrey Beardslcy, see Fig. 85, and the student would find it profitable to -sec his illustra- tions of SirTlioinas Mallory's Moric iV Arthur, Bruiicl- leschi's illuslr.i- tions of La Xml Venetiennc, and Les Masques et les Personnages de la Comidic Italicnnc, andKayNeilson's illustrations of Powder and Crin- oline. * The draw- ings of George Barbier (some of which can be • • • • r»*a • • • !• • • • I • • • • ••■••••••• ■••••••••a ■:;:.;• t I i -fi ^ ^i* 'y ^ Fio. G8. — Catalogue detail done by Samuel Cohen. Also " East of the Sun and West of the Moon," antl Fairy Talcs by Hans .\ndersen illus' seen in Album Dcdie a Tamar Karsavia), Le- pape and Erte, all show the in- fluence of Aubrey Beardsley and should be studied by the fashion artist. See Figs. 70 and 71. Headings and page decorations are often required by the department store fashion art- ist, see Fig. 8-1, and here is the place where good i tie as are at a premium. For this reason, other people's ideas should be con- sulted, studied and weighed, and something plaus- il)le and catchy worked up. The same thing holds hue of feature cuts or, in other words, white sales, silk sales, toys, etc., and these do not want to be omitted from the swipe collection — not that you are going to copy trated by Harry Clarke. INDIVIDUALITY Page Forty-three them, but that they may give you an in- spiration. In doing pen and ink the beginner will find Gillott's 170 pen or Gillott's 303 pen most useful. Because of their firmness, it is easier at first to gauge your line. After- wards the Gillott's 290 and 291 pens will be found very agreeable to work with because of their elasticity. Higgins' waterproof ink is useful where wash is to be com- bined with the pen and ink, but many people, for general use, prefer Higgins' non-waterproof and French black ink. Use two- or three- ply Bristol, plate (or smooth) finish if for ink alone, kid finish if washes are to be added. Very good efi^ects can be obtained with ink and a brush, see Figs. 73 and 86. A large drawing board placed at the right angle against a table will give better results than the board flat on the table. Usually speaking, it is best to work from the top down and from left to right, but when a long. Draim by Reta Senger. Courtesy of Good Housekeeping Magai Fig. 69. — A silhouetted half-tone drawing. straight, even line is desired, satisfactory results will be obtained by keeping the right arm, from the elbow, resting on the board and drawing away from you. Do not get your lines too close together. Observe the differ- ence between a dry, harsh line and one full of variations of color. Practice beginning a line dark and ending light and vice versa. Make your line ex- press the soft deli- cacy of skin (see Fig. 65), the light- ness of chiifon or the' heaviness of A^elvet. Make e^^ery line you put down tell or mean some- thing; this requires study and applica- tion. Compare Fig. 82 showing a hard line with Figs. 20, 22, 70, 71 and 97, showing a beautiful one, and be able to tell the difference and why. It is understood that a pencil sketch is made first and that the ink is put in afterwards. Reproductions in pen and ink are called line cuts. 28. Individuality. — There are great dif- ferences in the make-up of different Page Forty-four METHODS people. Some of us seem born with a strong mechanical bias and others with a delicate sensitiveness. In the one case we will tend to draw strong and precise We cannot declare either of these manners good or bad to the exclusion of the other, for each of them, and all the gradations between, have their purpose. The great Fig. 70, 'pttu of ffarper's Bazar. e niugazinc editorial drawing — showing influence of .\iibrc.v Beardsley. lines, in the other to draw lines that are light and subtle though by no means to be confused with the weak and broken lines of inexperience. The distinction is one that will be noted not only in our modern art, but also in old Japanese prints. thing is to find out the method that is most natural to you and improve that to the utmost. Do not be discouraged if your forte is the delicate, sketchy line and if you do not succeed with the pre- cise mechanical one. Find the place that INDIVIDUALITY Page Fortj^-five is waiting for you where your particular manner is needed. Too often those in charge of art de- partments do not appreciate any kind of work except that which they happen to use. Do not let them discourage you, but remember the words of Carlyle, "The block of granite which is an ob- Problem. — On a one-quarter size sheet of bristol board, held vertically, plan mar- gins according to the Greek proportions. Divide the space within the margins into four equal parts. In the upper left-hand corner draw lightly, with a compass, a well-related circle; in the upper right- hand corner draw lightly, free hand, a -Magazine editorial decorative fashion drawings designed by Erte. CuuTtusy of Harper s Bazar. stacle in the pathway of the weak be- comes a stepping-stone in the pathway of the strong." One way to cultivate the proper ap- preciation of beautiful lines is to begin by drawing the simplest kind of forms. This is certainly advantageous in the case of children, and a teacher of such a class would no doubt find it useful to give out such a lesson as this: well-related oval; in the lower left hand corner another well-related oval; in the lower right-hand corner a well-related ellipse. Then, with a very sharp pencil, go over these lightly blocked in figures with as beautiful lines as possible. This problem can then be repeated with the idea of filling in these spaces with con- ventionalized designs to be used for belt buckles or other ornaments. Page Fort3'-six METHODS >' "} i' ,''^-> ^ Ciiurti.^il u/ Ell-tworll, I'ic. 7^. — Pen ami iiik catalogue nl copper is removed, and the circumfereiK t of the cylinder of course grows less. When a cylinder has been used for a number of patterns, the circumference has gradually been reduced from 16 to 15 inches, and when it becomes less than 15 inches it is junked. TEXTILE DESIGNING one-third or one-fourth its size to become practicable for printing. Most commercial designers work on a 7|-inch square for silk. " The above refers to the printing of silks. For printing cottons, the same process is used. A cotton printing roller, however, is 18 inches in cir- cumference when new, and for suc- ceeding patterns is polished until the cir- cumference becomes 16 inches. When designing for cottons, therefore, the repeat must be figured on the basis of a 16- to 18-inch cylinder, corre- sponding to the 15- to 16-inch scale for silk printing. For example, a three- inch repeat could be used for silk or cotton being divisible into either 15 or 18. On the other hand, a six-inch repeat could be used only for cotton; it is evenly divisible into 18 but is Page Fifty-seven Cuttrte^y oj Chtnty Bros Fig. 92. — Characteristic half-tone magazine advertising. CouTtesv 01 Crit ~rton Magazine. 1. — Magazine half-tone pattern drawing. not evenly divisible into 15 or 16. An 8|-inch square is the commer- cial standard for use in cotton design- ing for dress goods. " A pattern is expensive in propor- tion to the elaborateness of the engraving and the number of colors used. It is commercially important, therefore, that the arrangement of colors be effective and the actual number of them be kept down. It is better to limit the number of colors, if possible, to five or less although more colors can be used. This refers both to silk and cotton. " With no wish to restrict the art- ist, we suggest that museums and libraries be often consulted for ideas and we feel that the artist may with profit give some thought to the condition of mind of the women of America. For this is always Page Fifty-eight METHOD f y.'!.— IIIu.slniliiiBsk-psinjK aloKuc < indoors are appropriate for sport wear out of doors, wl a picture, seen on a (lal surface, but the decoration of a garuieni which will fall in folds. VisiuUize your design in the fabric, made up as some part of a woman's costume. That is the test of a good design." The chapters on Color, Design and Period F:il)ric Design should be care- fully consulted in connection with the mechanical method given above in re- gards to Textile Designing. For general Theory of Design such books as Design vorlooked. Certain colors that arc loo l)rilli;iiil or crude for e Uie scale of everything is greater. TEXTILE DESIGNING Page Fifty-nine ^^' Crayon pencil sketches. in Theory and Practice and Principles of Design by Ernest Batchelder, Handbook of Ornament by F. S. Meyer, Decorative Design by Joseph Cummings Chase, Theory of Pure Design by Denman Ross, 200 Units of Design (plates), Henry Warren Poor, and Plant Form and Design by A. E. V. Lilley and W. M. Midgley will all be found helpful to the student. The peasant design must not be over- looked and such books as "A Magyar Nep Miiveszete," Molonyay, in four vol- umes. Peasant Art in Austria Hungary, Peasant Art in Sweden, Lapland and Iceland, and Peasant Art in Russia, edited by Charles Holme, will be found an inspiration to designers and stu- dents. drawn by Claire Avery. From ail etcliiiiy Ijy E. M. A. Stein Courusa of Harpefs Bazar. COLOR CHAPTER FOUR c a I I nil II II > >• O u I o en la ^ OS -' fi 553 £b o J u u ^ w CHAPTER FOUR COLOR 31. General Theory. — The most con- venient and general theory * about color is that based on the three primaries, red, yellow, and blue. As these colors can- not be reproduced by the mixture or combination of any other colors, they are said to be pure or simple colors, i.e., primaries. The secondary or binary colors are orange, green, and purple. These are made by mixing two of the primary colors together. This mixture forms the C07n- plement of the remaining primary. Binary colors are halfway between the primaries en the color chart. Red and blue make purple, the com- plement of yellow, and directly opposite yellow on the color circle. Blue and yellow make green, the com- plement of red, and directly opposite red on the color circle. Yellow and red make orange, the com- plement of blue, and directly opposite blue on the color circle. Complementary colors, being directly opposite in the spectrum circuit, are wholly unrelated in their normal intensity. They show strong contrast and enrich each other. See Fig. 96. A color mixed with its complement makes gray. * Another Theory: There is another color theory which declares the elements of color to be red, green, and violet- blue. This is based on spectrum analysis instead of pigments and is preferred by some authorities. It changes the color wheel somewhat, regarding colors and their complements, making red the complement of blue-green, green the complement of red-purple, and violet-blue the complement of yellow. For further explanation see A Color Notation by A. H. Munsell. The coldest color is blue and the warmest is its complement, orange, which is the farthest away from blue in the color wheel. Tertiary Colors are those formed by the mixture of the secondary colors. Thus, green mixed with purple makes olive; orange mixed with green makes the tertiary citrine; and orange mixed with purple gives russet. The more a color is grayed the more neutral it becomes. By normal color is meant the foundation color of a scale of tone, the tones getting darker or lighter from this foundation. By tone is meant the modification of any normal color by the addition of black or white. By tint is meant the light tone of any color (formed by the adding of white or water to a standard color). By shade is meant the dark tone of any color (formed by the adding of dark or black to a standard color). By scale of color is meant the grada- tion of a series of tones of the same color from the lightest tint through the normal or pure color to the darkest shade. By hue is meant the departure from the original scale of a certain color, to a greater or less degree, by the addition of a comparatively small proportion of another color. For hue think around the color sphere; the even steps between the binary and adjacent primary in the color sphere is called the hue. Thus the step between blue and green is blue-green, between green and yellow, yellow-green, both hues of green. In the same way Page Sixty-four COLOR there are two hues of violet, two of orange, and two of red. To change a color to a hue add the next-door neighbor (any color between two primaries), that is, change its place on the spectrum. By intensity or chroma is meant the think up and down the color sphere; yellow is lightest, violet darkest, in value. 32. Harmonies of Likeness. — Har- monies of likeness may be classified as: 1. Monochromatic, i.e., a group of dif- ferent tones, values or intensities of one Courtesy of Good Uousekecjnng- olor Ben Day is used. strength or brilliancy of a color. For intensity think inward or across the sphere. To change intensity, add the complementary color; in other words, gray it. By value is meant the amount of dark or light expressed by a color. For v^alue, color. This is sometimes called a one mode harmony. 2. Analogous, i.e., made by colors that are next to each other in the color circle, and are harmonious because they have, in different quantities, a common element. 3. Dominant Harmony, i.e., several colors HARMONIES OF DIFFERENCE Page Sixty-five all influenced or subdued by the same color. 33. Harmonies of Difference. — The har- monies of difference are: 4. (a) Comple- mentary, i.e., two complementary colors used together with some unifying ele- ment, by the mixing of the one with the other or by mixing a little gray with both. (6) Split complementary harmony, i.e., the combination of a primary with the two colors on each side of its secondary complement; as yellow combined with red-violet, and blue-violet, or blue com- bined with yellow-orange and red-orange, or red combined with yellow-green and blue-green. Always begin on the pri- mary and split on the complement; never split a primary color. (c) Double complem,entary harmony, i.e., that made by the combination of two colors side by side on the color wheel with their direct opposites, as, for instance, violet and blue-violet with yellow and yellow- orange. 5. Triad Harmony, i.e., any harmony of three colors that make an equilateral tri- angle in the spectrum circle. Example: yellow-orange, blue-green and red- violet. In producing triad harmony, use hues and neutralize to make them harmonious. Only one of the three should be wholly intense. 34. Laws for the Use of Color.— Law governing intensity. The larger the area the less intense the color must be and the smaller the area the more intense the color may be. Law of background. — Backgrounds must be more neutral than objects shown upon them. Neutralization. — Three parts yellow and * It is not well to combine colors in their full one part violet makes a neutralized yellow or gray-yellow. Three parts violet and one part yellow makes a neutralized violet or gray-violet halfway between violet and gray. This is true of the other colors.* 35. The Color Chart. — To make a color circle which is composed of the full in- tense primary colors, yellow, red, and blue, and full intense binary or sec- ondary colors, orange, green, and violet, and the full, intense intermediate hues, yellow-orange, yellow-green, blue-green, blue-violet, red-violet and red-orange, with the inner circle showing these colors half neutralized and the center neutral gray, a paper should be used which holds water color (a "Keystone" Student's Drawing Block nine by twelve is good), on which to make the washes. These may be put on in small areas from two to four inches square. Satisfactory colors to use for this chart are Winsor & Newton's Gamboge for yellow, Winsor & Newton's Alizarine Crimson mixed with Milton Bradley's Standard Red for red, Winsor & Newton's New Blue for blue, Winsor & Newton's Cadmium Orange and Stand- ard Red for orange, New Blue and Milton Bradley's Standard Green for green, and Milton Bradley's Standard Violet for violet. (Don't mix standard red, standard green, or standard violet with other colors for use, except on the chart. They stain and settle. They can be used satisfactorily only in small areas. The ten-cent tube is the size to obtain for the color chart — the Winsor & Newton colors difler in price and are more expensive. These are the colors that seem the best to obtain the desired result.) intensity unless relieved by black or white. Page Sixty-six COLOR To obtain the hues such as yellow orange, it is understood that a little yellow is added to the orange, for yellow-green a little yellow to the green, while for blue- green a little blue is added to the green, etc. The colors of the inner circle, which are knowTi as colors at their half intensity, as, for instance, gray-orange or gray-yellow, are obtained by mixing the color with its complement. For example, about three parts yellow plus one part violet makes a neutralized yellow or gray-yellow. On the other hand, three parts violet plus one part yellow equals gray-violet, and this is true of all the other colors. The throe primaries mixed give the center, neutral gray. (Alizarine crimson, gamboge and new blue.) Taking a neutral scale showing nine degrees of value from white to black, the equivalent color values should be found for the color chart; as for example, the Yellow Yellow-Orange Yellow-Green W. White H. L. High Light Light L. L. Low Light yi. yinuik' Orange | Green J Red -Orange Blue-Green Sr^ ! H. D. High Dark Blue J Red-Violet Blue- Violet Violet Low Dark B. Black This value scale should be used in selecting colors in order to keep them keyed correctly together according to value. D. Dark Practice on the paper in these small squares about three inches in size until satisfactory results are obtained; do not get your paint on too thick or too thin. Be sure your brush is perfectlj^ clean and get one color at a time, always making four or five squares that you may be sure to obtain a satisfactory value for your choice of color. After you have finished cut your squares out and compare them with your value scale; half closing your eyes often helps this comparison. AYhen a satisfactory selection has been made, use either a quarter, a nickel, or a dime, according to the size of the chart you wish to make and put these over the smoothest part of the washes, draw with a sharp pencil a circle, with the coin as a guide, and then cut out the colored discs. A compass should be used to make a guiding line for the placement of these small discs, which should be done very carefully. A good library paste should be used to mount the discs. 36. Significance of Color. — In Prin- ciples oj Adrcrtisiiuj ArruiKjcmenl the author says: "Color is one of the most interest- ing and important elements in nature, because the eye, the organ of one of the five senses of man, sees nothing but color. Form, as we call it, is seen only because one color is placed against another and by its position and contrast makes a shape. And every tone of color has a separate meaning — yellow speaks a definite thing to those who understand it. Blue cannot say what j'ellow says — neither can red or violet." In a folder gotten up by the Art in Trades Club of New York City, valuable information was given in a strikingly simple and concise way under the heading. The SOURCES OF COLOR SCHEMES Page Sixty-seven Principles of Color Harmony, which reads as follows: " Psychological Significance. — Color, as it varies in hue, value and intensity, by ">^ its intrinsic qualities and the association of ideas, excites certain definite thoughts and feelings in the human mind. Hues. — Blue — cold, formal and distant. Green — cool and restful. Yellow — cheerful, brilliant and unify- ing. Red — warm, rich and aggressive. Orange — hot, striking, but decorative. Violet — mournful, mystic, and darken- ing. Value. — Light color tones express youth, femininity, gayety and informality. Dark color tones express strength, dig- nity, repose, and seriousness. Intensity. — Colors in their full intensity are strong, loud, vital, and elemental in feeling. Colors that have been neutralized ex- press subtlety, refinement and charm. Balance in Color Harmony. — Colors to balance in harmony must be similar in intensity and area. If dissimilar, the in- tensity must vary in inverse proportions to the area. Backgrounds should be less intense than objects to be shown on them." (It is not well to figure a whole warm object on a cold background.) 37. Sources of Color Schemes. — Many are the designer's sources for color schemes. With the knowledge of what harmony consists in, he may go to nature and find an endless variety in the animal, mineral, bird, reptile and flower kingdoms, and in atmospheric effects. Or he may go to museums and study china and glass and textiles, such as tapestries, rugs and old embroidery and laces. Again, he may go to picture galleries and get inspira- tions from old and new Japanese prints and from old and new masters in art. See illustration of the gown adaptation from Whistler's Nocturne, Fig. 102. In deciding what colors are becoming; it must be remembered that a color not only reflects its own tint on the face of the wearer, but also its complement (this is called simultaneous contrast) . Therefore, the eyes, hair, and skin of the wearer must be considered and such a color for the dress chosen as will neither give the per- son a faded, ghastly tinge nor too harsh and florid an appearance, but which will enhance his or her particular beauty. In large areas neutralized colors are always best — avoid the harshness of too much intensity. A very ugly combination may result from putting together two different hues of the same color. Simultaneous contrast can take place with a disastrous result. This is often what we mean when we say one blue kills another or one red kills another red. On account of this matter of hue, things that are the same color but of a different hue do not always harmonize. Be careful about using together colors of the same intensity, unless both or one is much neutralized. It is usually more satisfactory to use the more brilliant color in the smaller quantity. Modern colors have taken on many titles which they change from season to season, and which, while catering to the imagination of the public are quite over- whelming. This is wittily expressed in the following quotation from Dr. Frank Crane. Page Sixty-eight COLOR MODERN COLOR BY Dr. Frank Crane "Yes," said the saleslady, "we have all the new official Panama Exposition colors!" "For instance?" "Well, there's flagpole red, wall blue, exposition gold, travertine, lattice green, and " "But haven't you anj-thing in just plain colors — red, green, or yellow and so on?" "Oh, no!" "Aren't those reds over there?" "We don't say red, you know, any more." "What then?" "Well, this is cerise and those are raspberry, brick dust, cardinal, crushed strawberry, carnation, and — let me see — this is old rose, this is ashes of roses, this is watermelon, this is sunset pink." "You interest me. How about blues?" "Why. there is navy blue, and Copenhagen blue, and Alice Blue, and old blue, and ultramarine blue, and sky blue, and robin's egg blue, and " "That's enough. I'm afraid you'll say Monday blue. Tell me some yellows." "Oh, lots of them! Straw, champagne, dust, tan, ca- nary, lemon, orange, tango, sand, and so on." "Goodness!" "Then we have in greens, Nile green, parrot green, lettuce green, Alice green, emerald green, Irish green, Reseda and others." Courtesy of Criterion Magazine. Fig. 98. — The reproduction from the color plate. SOURCES OF COLOR SCHEMES Page Sixty-nine "Isn't there any such thing as just plain, ordinary green?" "Oh no! It's the shade, you know. Here, for example, are elephant's breath gray, and taupe." "Indeed!" "Yes; and then all the flower colors are represented — rose, violet, lavender, wistaria, nasturtium, pansy, daf- fodil, American Beauty, cherry blossom, and poppy red." "Charming! They appeal to the imagination." "Precisely Half of the color-pleasure of dress goods is the pleased fincy ^^e strne foi the unique such as wood shades — walnut brown, mahogany, oak, and chest- nut; bird colors, such as coxcomb, chanticleer, dove, canary, yellow and parrot green; jewel tints, as ruby, sapphire, pearl, amber, topaz, coral, jade, and turquoise blue." "I am overwhelmed." "Oh, there are others — the most fantastic. You can have a claret necktie, a flame ribbon, laces of ivory or Isabella, a sash of cream, coffee, or chocolate color; a gown of mouse gray or steel gray, and other articles of your apparel to assist ypu to perfect self-expression. Maybe the color of pomegr^ate, apple gieen, fawn, delfl *;\' 8082 Courtesy of Criierio Fig. 99. — Reproduction showing the combination printing from the two plates. Page Seventy COLOR blue, lapis lazuli, taffy, salt and pepper, mustard, cinna- mon, mud, stone, cabbage, putty, string color, or wine color, besides Indian red or Pompeian red, sea green or pea green! "' " Thanks! I think I'll take some ribbons, some of those advertised as "distinctly American in nomenclature"" give me some Palm Beach, Piping Rock, Tu.xedo brown, Arizona silver, Gettysburg gray, Oregon green, Delaware peach, Newport tan, and Rocky Mountain blue, if you please." 38. Applying Colors. — In painting, bo- gin at the top and color (iownwariK from your left to your right. The edge of a color may be softened by a clean, damp bru.sh; this is necessary in doing velvets. WIkmc shiny taflFeta is desired, lei the ])ainls dry in a harder line to give crisp- ness and do not work over while still wet. Cold colors serve as shadows to warmer colors and should be laid on first; gen- erally, warm colors over cold should l)e the rule. After the sketch is finished and dry, unfinished-looking darks can be picked lip with some darker darks and the high lights on the edges of coats, pockets, tucks, etc., can l)e brought out by thin, steady, cri.sp Chinese while lines when detail is desired. Prussian Blue, Lake, and Sepia mixed make gray. One way of graying, or neutralizing, a color is by adding a little of its complement; but Payne's Gray and black are often of value for this use in dressmakers' sketches and commercial drawings. All brushes must be kept clean and rin.sed after use. Never leave them in the water. Take plenty of color in your brush and try first on a piece of spare paper to see that you have the right tone and that the brush is not too wet or too dry. When you intend covering a space with a flat tone, have enough color mixed to go from the top to the bottom and from side to side without doing any more mixing or dipping your brush again in the water. Have the drawing board tilted toward you and enough color in your brush to ensure its keeping the little rivulet going without the danger of dry spots. For practice work it is well to make some eight-inch squares and to try covering their surfaces with a uniform tone. When you are making a dressmaker's sketch in white, it is sometimes helpful to put a little color in the background, up on one side and down on the other, not mak- ing it too intense, and taking care to soften the edge. When wishing to work in opaque (or body color), add a little Chinese White to your color. This is often useful for reproduction. What are known as Devoe's Show Card Colors are good for tempera fashion work. Theatrical costume designs are often carried out in this way.* Thompson's While has a stiff quality which makes it of value in doing dress- makers' .sketches, where rai.sed l)uttons, l)eads, embroidery, lace, etc., are desired. Put it on rather dry and let it stand until all moisture seems gone before touch- ing up these buttons, beads, or lace with color, gold or silver. Ink is often used with color, both for dressmakers' sketches and for reproduction. Have 3'our sketch always carefully made in pencil, putting in the details last. Put in your big washes first and keep the whole sketch going, being particular not to concentrate too much on any one part. Avoid " niggling "; keep your wash clean and bold. Oramge Vermilion makes good flesh tones — vermilion, good lips and color in Page Nine. COLORS Page Seventy-one cheeks. There are two ways of putting this color on; one by putting the orange vermiHon in a very Hght tone over all the flesh and then, when dry, adding the desired color to the cheeks (preferably having it high on the cheek bone) and quickly softening the edge; the other way by stippling or putting on the added color with the tiny point of the brush while the all-over flesh tone is still wet. Always remember that colors dry much lighter. Blue and bluish gray make good shadows for white. In doing a dress- maker's sketch in dark blue or black, always keep the color transparent and lighter than the real material, though having the same effect, so that the detail will be shown. The following supplies will be found useful in doing this kind of water-color work: Colors. — Winsor & Newton colors are preferred. Less expensive but good stu- dent's colors are Devoe and Favor Ruhl. It is best to buy the box separately and fill it with the colors desired. Tubes dry up, therefore, unless colors are to be used constantly or in quantity, it is more eco- nomical to buy half pans, with the excep- tion of black and white; these should be bought in the tubes. One should have Prussian Blue and either New Blue, Cobalt, or Ultramarine, Payne's Gray, Emerald Green, Hooker's Green 1, Hooker's Green 2, Lemon Yellow, Yellow Ochre, Naples Yellow, Raw Sienna, Burnt Sienna, either Rose Madder, Car- mine or Crimson Lake, Vermilion, Orange Vermilion, Mauve, Sepia, Van-Dyck Brown, Gold, and Silver. In tubes, Lamp- black and White, and Thompson's White if raised work is desired. This list is found convenient in saving the time of mixing in doing dressmakers' colored sketches. The best colors to get in the Devoe Show Card list are White, Light Yellow, Orange, Light Red, Magenta, Mauve, Dark Blue, Light Blue, and Green. Some artists use letterine when a shiny finish is wanted. Brushes. Rubens, and Winsor & New- ton red sable brushes are recommended. Good sizes for fashion work are Nos. 3 and 4, and 6 and 7. Devoe or some less expensive brushes should be used for ink, Chinese white, gold, and silver, which are injurious to brushes. Bristle brushes are good for a steady, broad line. (^y^ Drawn by Robert Henry for Felix Jungmann & Cie., Paris. ^<^x^ C.BflRBjtR. ,^,j LES COLCHIQUES Manteau , the lines of the crown of the hat should ni)t extend beyond the line of the forehead nor beyond the hair in the back. If the hair extends far in the back, the hat should come between the head and end of the hair in order proj)- erly to balance willi the spinal colunm. People with small or narrow faces require smaller hats than those with large faces, to whom larger hat.s are becoming. Care should be taken not to accentuate undesirable lines or features by too strong repetition or opposition. Try rather to neutralize such. The milliner's problem is allied to that Green anil wlii uf Uie of the sculptor in so much as the effect is to be viewed from every side and, ac- cording to Beau Brummel, the most important part of a woman's hat is the back. Beside this, the laws of propor- tion demand that we consider not alone the relation of the hat to the head, but also the relation of the head and hat to the entire figure. (For illustration, headgear too large for the figure gives a chimsy, awkward appearance.) Thus, no matter what fashion decrees, the law of proper proportions for every individnal should be sought out and ol)eyed, even if it brings about a dis- iigreement with the pre\-ailing modes. 43. Designing Hats. -The height of any hat, generally speaking, should not be more than three- ((uarters the depth of the face. (That is, the length of the face from the chin to the eyebrows.) The greatest width of a wide hat should not exceed three times the width of the wearer's face, including the ears and the hair at the sides of the head. The greater width is often at the left side. The crown of a hat is very important DESIGNING HATS Page Seventy-nine and must appear to cover the head and also any puffs of hair. People with large heads should not wear hats with small crowns. On the other hand, people with long, thin faces, and plainly arranged hair should not wear hats with crowns wider than the width of their faces and hair. If we are ever to overcome our bromidic ten- dency in dress, we shall have to cultivate an appreciation of personality and character and become so in- terested in type that we will resist our hith- erto sheep-like tendency to follow the modes, even when they distort and cari- cature us. The designs shown in Fig. 104 were made by Kelly for the Globe. In designing we must get away from the consideration Scale must be considered in the combination of textures, for instance crystal bugles and pearl trimming that could be successfully combined with delicate chiffons or silk %\ould be wholly inappropriate with serge, while an Indian bead ornament that would be suitable with the serge would be out of place with the chiffon. Fluffy chiffon and lacy things or baby pinks or blues are out of place with tailored or mannish things. These points should be given serious consideration in connection with such accessories as parasols, hats, shoes, gloves, jewelry and dress trimmings. Some books that bear directly on designing are Principles of Correct Dress by Florence Hull Winterburn, Color Harmo- nies in Dress by G. A. Audsley, What Dress Makes of Us by Dorothy Quigley, Textile and Costume Designing by Ellisworth. :ic.. 10-4.— Drawi of clothes as studies in the flat and must aim to make them please from every side. At the same time we must not lose sight of unity and must never let distracting details interfere with the centre of interest which is usually the head. In other words, we should aim to make 'persojiality dominate the clothes. For a most telling illustra- lion of this last point, study the paint- ings of Rem- brandt. Note how all his wonderfully thought-out textures and tones of gar- ments are made subservient to his char- acterization, how all these lead up to the head and face and seem arranged to per- fectly reveal the individuality of the sitter, his occupation, his walk in life, and his inmost character. n which wash pencil, crayon pencil and pen and ink are combined rourttsy of \ 'ague. Nete ] From a color illustration hy George Lepape. THE FASHION SILHOUETTE CHAPTER SIX THE FASHION SILHOUETTE Fig. 105.— The gorget. 44. Value of the Silhouette.— The Sil- houette is the foundation of all fashions, and it is most interesting to study its varied aspect through the centuries. Taken in a literal sense, it so simplifies the cos- tumes of the period that the many errors now seen in the cos- tume world are un- necessary to even the novice. Much less necessary are the glar- ing mistakes we now see in print in regard to Moyen Age and Renaissance costumes, as well as those of the eighteenth and nineteenth centuries, that period of much uncertainty about the hoop and Empire, the crinoline and bustle. For this reason it seems advantage- ous, as well as interesting, to become thoroughly familiar with costume silhouettes of all ages. The silhouette classifies, sim- plifies, and so condenses details that both time and trouble are saved. Curiously enough, this saving is what its name sig- nifies, as it is taken from the name of Etienne de Silhouette, Minister of Finance to France Fig. 107.— The wimple. Fig. 106.— XV Century horned head-dress. in 1759, whose public economy in trying wimph to avert national bankruptcy during the earlier headdress had been followed by the centuries (the tenth and eleventh were so nearly like the twelfth and thirteenth that drawings are omitted) . The effect is of everything hung from the shoulder and all garments rather loose. The head was usually more or less bound or wrap- ped around, though at certain times in certain localities the hair was worn in long braids. The four- teenth century shows the innovation of scallops, the fifteenth the increased length of hats and shoes, but in spite of these touches all belong to the Moyen Age, to things that are Gothic. It is interesting to see these clothes so beautifully described in the Gothic Tapestries and illuminated books of the time and the effigies in churches. See Fig. 108. In the eleventh century the wimple was wound around the head, not allowing the hair to show; about a hundred years later came the fashion of the chin band and forehead-strap. See Fig. 107. The hair was still hidden by the A hundred years later and this reign of Louis XV caused his name to be given to things ostensibly economical. 45. Twelfth to Fifteenth Centuries.— To begin with, let us glance at Fig. 110, starting with the twelfth and thirteenth gorget — a piece of linen wrapped about the neck halfway framing the face. See Fig. 105. Around the wimple was some- times tied a silk band called a snood. The gown was still long and loose at the waist * This chapter is reprinted through courtesy of the New York Globe. Page Eighty-four THE FASHION SILHOUETTE -ShowiiiK the Iiuuppclanclc or XV Century rolie. The Giving of the Rose, a Golhic dec tappslry at Mctropniitan Mtispiini. Willi soincliiiu's a fiirdlc, ri'iii; unlil llir fil'li-ciilli cciiliiry. 46. Religious Orders. A i)ii toiidi of Ihi.s early cosIuiik' may today in the dress of the nuns and .sisters. The Dominican nuns wear practically the same garb as when their order was instituted by Saint Dominic in 121 S, including the rosary, which was his in- novation. Many rehgious orders were founded in the eleventh, twelfth, lliir- teenth, and fourteenth centuries as, for so cxaMiplc, the Sisterhood of the Annunci- ation al Bourges by St. Jeanne de Valois, |ue (hnighter of Louis XI of France. Today led I hey hiiiig lo us the legend, beauty and •rs. romance of tho.se dark ages. They breathe castles, crusades, monasteries, and con- vents. In the fifteenth century, as the pointed arches of tlie Gothic architecture grew more pointed, the head covering or hen- luns (see Figs. 106 and 110) as well as the shoes followed suit, so that in this c J SIXTEENTH CENTURY century came the high-water mark of extremes. To this day we find left over traces of these headdresses in some of the costumes of the peasants in re- ^^41*^. mote distiids on T^'"'^^^ the continent. s' ^ 47. Sixteenth Century.— The sixteenth cen- tury found great changes, on sea and land. Printing had been invented, America had been discovered and the first watches made. The silhouette was greatly changed. The Renaissance changed the architecture of dress as well as of every- thing else. Al- brecht Diirer has left us wonderf u' contemporary sketches of the early part of this century, the originals of which are in Nuremberg, see Fig. 109. We are all familiar with the slashed sleeves of Henry VIH and his queens (1509-1547) immortalized in the portraits Page Eighty-five by Hans Holbein. There was a stiffening of the figure and a tendency toward the smaller waistline in the sixteenth century. - . It might be well to say : - here that in the twelfth century lacing is sup- posed to have • ^ \ come in. Cal- throp tells us in his history of English Costume, "Not '\ that the lacing was very tight, but it com- menced the habit and the habit begat the harm, and the thing grew un- til it arrived finally at the buckram, square-built, cardboard-and- tissue figure which titters and totters through the Elizabethan era." Up to the fifteenth cen- tury is notice- able a sense of looseness, of everything being more or less supported from the shoulders, giving the straight lines of the middle ages. The fifteenth century was transitional; Courtesy of Art Student Magazine. Fig. 109. — Late XV Century costume drawing by Albrecht Diirer. Page Eighty-six THE FASHION SILHOUETTE m^u Fig. 110. — How the different centuries affected the fashion silhouette. Draum by Inez Casseau. after that the tight, long waists and wide skirts came to stay until the nine- teenth century brought in the Empire style. 48. Seventeenth and Eighteenth Cen- turies. — The Eliza- bethan high collar was the forerunner of the Charles I (1625-1649) flat collar and cuffs of which the Crom- wellian period (1649- 1600) was a simplifica- tion. The drawings of Hollar gi^■e excel- lent illustrations of these. The Quaker dress is the survival of the costume of Charles II period (1660-1085), although the hat is minus the feather — plain linen takes the place of lace. The shoes arc the same, but without the ribbon or roses, really similar in everj' way Fig. 111. — Early XVI Century fashion dra^\'ing by Hans Holbein. women of that day. The Puritans and Pilgrims both are distinguished by the costumes prevalent at the time they were organized (period of James I, 1603-1625, and Charles I, 1625-1649, of England). The portrait painters have done nobly in preserving for us the fashions of the times through the costumes worn by their distin- guished sitters. Such men as Velasquez, Van Dyck, and Rubens in the seventeenth cen- tury, and in the eigh- teenth Watteau, Fragonard, Nattier, Ronuiey, Gainsborough, Lawrence, Raeburn, and Sir Joshua Rey- nolds have left us valuable documents. Thus we pass through the sixteenth and part of the seven- teenth centuries, leaving the time of the with the extravagance eliminated and Renaissance for the period of the Louis of simplicity emphasized. The beaver hat France. The stately dignity and truly and hood of the Quaker, then called the roya' magnificence of Louis XIV was fol- Frcnch hood, were both worn by the lowed by the less formal but luxurious NINETEENTH CENTURY Page Eighty-seven ^Mi rococo period of Louis XV (1723-1774), when Pompadour and du Barry set the styles in the Parisian world of fashion. Then followed the reappearance of the hoop and the more extreme though re- fined attitude toward dress during the reign of Louis XVI and Marie Antoinette. In England at this time George III was reigning (1760-1820) and the Shakers came to this country wearing what con- stitutes their cos- tume to-day — the wide, pleated skirt, bonnet and apron of the English work- ing class. 49. Nineteenth Century. — The third great change in the silhouette did not come until the Directorate in 1795, so that the early nineteenth century Courtesy of London Graphic. 12. the classic revival of the Greek and Roman, modified to suit the climate and epoch. This revival was the natural out- come of the interest people were taking at that time in the restoration v/ork of the buried Pompeian cities, and one sees in the Empire style the classic type emphasized. It was an endeavor for something different, something essentially new, for anything suggesting the former royalty was frowned upon by Napoleon. It is in- teresting to note that it was back to this quaint period that Kate Green- away (1846-1901) loved to go for in- spiration. It was she who revived these costumes of the beginning of the nineteenth century, Pig. 113. — Quaint styles of Kate Greenaway. found the narrow skirts and short waists and it is truthfully said in this style, made conspicuous. See first silhouette of Fig. still more beautiful by her naive touch, she 112. Jacques Louis David, the court painter did dress, and still dresses, the children of of Napoleon, was a strong influence in two continents. See Figs. 113 and 22. Page Eighty-eight We have left now the hoop of the eighteenth century, and have come to the nineteenth century with its Empire and charming 1830 costume, which always makes one think of nosegays and old- fashioned valentines (see Fig. 112) and the crinoline of 1840, which made the skirt grow wider until 1864. (To get the atmosphere of this time, look at George Du Maurier's illustrations of Owen Mere- dith's "Lucile."') Fashion then took a turn and the skirt began in 1865 to grow narrower until in the winter of 1869-1870 the bustle and the draped skirts appeared. In this one century, therefore, with its narrow skirts, its bell skirts, its wide skirts, its bustles, and its draped skirts, there were really many more definite changes than in the ten centuries of sil- houettes we have been examining. While speaking of skirts, small mention has been made of sleeves, but they sil- THE FASHION SILHOUETTE houette quite as well as the other parts of the costume, with even the added in- terest of the fact that down through the centuries the sleeves of men and women were very much alike, no bigger no smaller, until the nineteenth century, when the leg-of-mutton sleeve was affected also by men. That seems to have been, how- ever, the time of emancipation, for then men's sleeves became small and have re- mained so ever since. The thirty beautiful little period dolls in the Metropolitan Museum illustrate how truly the silhouette has kept for us the fleeting shadow of the passing cen- turies. Let us then not deny or push aside the silhouette as of small importance. Historically it is valuable, and the paths it leads us through in the study of cos- tume are full of beauty and varied interest. It is witii the silhouette in mind that we should observe every fashion. mHM Drawn by Maroanl CaUerheai. How different centuries have affected the silhouette of men. PERIOD FABRIC DESIGN CHAPTER SEVEN CHAPTER SEVEN PERIOD FABRIC DESIGN 50. Primitive Design. — Primitive de- sign, often so fresh and simple in treat- ment and character, does not differ much in units. The United States Government pubHshed in 1894 a report that tlie results of its researches showed that the sanje swasticka used in prehistoric America had also been found in India, Eastern Turkestan, Northern Europe, Southern Europe, Asia Minor, Greece, Rome, Northern Africa and Byzantium. So much symbolic significance is often attached, or some strict religious meaning, that design is a deep and interesting subject from an ethnological point of view, but "simple pictorial ex- pressions are of world usage and are not suffici- ently intricate to consti- tute original thought." In these the student of design, however, can find splendid motives for mod- ern treatment. See Fig. 114. This ma- terial was designed from a unit on an Indian basket. 51. Influence in Design. — We know that the early civilized races had inter- course, and we see the influence of this in their designs. We find Greek influence in the art of China, and for hundreds of years B.C. the arts of Assyrians, Egyp- tians, and Persians were allied Ihrciigli and designed by G. Rothscln Fig. 114. — Design motive from Indian basket. wars and conquests, and their designs were often similar. The affinity between the Art of India and Japan is close on account of Bud- dhism, which exercises a strong influence over both peoples. The Art of Japan and China is also somewhat similar; indeed, at times the dif- ferences are difficult to determine. The Japanese have a greater love for detail and do not con- entionalize in as broad a way as the Chinese, but many of their forms are identical. It is inter- esting to know that, where this is the case, the in- fluence can be traced to India. The Japanese in their designs show a great love for nature — flowers, moun- tains, waves, dragons, tortoises, etc., and the method used is usually picturesque (in spite of its interesting conventionality) instead of formal. 52. Early Fabrics and Designs. — In outlining period fabric design, Egypt must first be mentioned, where weaving was known 3000 b.c. Examples of ancient fabrics dating as far back as 1000 b.c. can be seen in the Louvre, Paris. While we know that checkered rugs were woven, we find that garments during the Old »f Page Ninety-two PERIOD FABRIC DESIGN Fig. 115. — Greek Doric costume from Hope. Kingdom, Dark Ages, Middle Kingdom, Period of Shepherd Kings, and New Empire, i.e., from 2980 B.C. until 945 B.C., were usuallj' made of linen and wool, woven by hand. While the dyes used were principally red, blue, and saffron, white seems to have been most worn. The material was plain, the decoration, if any, being embroidery at the hem. ^Yhile fond of ornamentation, the l)eople during this time .seem to have depended on their wigs and headdresses, collars, hanging straps, armlets, and leg decorations, and not to have introduced figures in their weaves. See Fig. 116. The Copts or Egyptian Christians, like the Greeks and Romans, wore wonderfully woven or embroidered bands on their garments, the color and designs of which are most inter- esting. Good examples are to be seen in the Coptic Room, Metropolitan INIuseum of Art, and in the Cooper Union jMuseimi. 53. Greek Dress.— The Greeks used wool linen, and silk. Linen and silk were used for the more extravagant costumes of the later period, though they had cotton in small quantities. Cotton belonged to India; it did not become known to Europe until the invasion of Alexander the Great. It was too expensive for large garments and was a deep yellow in color. The Doric and Ionic chitons, or dress, and the himation, or cloak, were used in different colors. Blue and Tyrian purple as well as red and yellow were popular. Different borders were often combined in the Greek costume with an all-over design. See Fig. 115. The designs were frequently emblems, and birds, animals or flowers. The garments were woven in one piece which was complete in itself. The long, graceful folds of this single garment produced a decorative and simple effect, and it is interesting to note also the different effects obtainable by chang- ing the position of the girdle. This was worn at the waist in the Archaic period. 1 G. — Costume of man and woman of Egypt about 2500 B.C. from Histoire de L'.\rt Egyptian. ROMAN DRESS Page Ninety-three over the hips in the Golden Age, and under the arms at the last period. Interesting and detailed accounts of Greek costumes may be found in Evans's Greek Dress and Edith Abraham's Greek Dress; good illustrations in Hope's Cos- tume of the Ancients. 54. Roman Dress. — The Romans and Greeks imported much material from Babylonia. Some of the silk is described as having a nap on both sides (velvet), and as gold, scarlet and purple in color. The Roman women wore a tunic, a stola (like the Grecian chiton), and a folla, which corresponded to a Roman man's toga, or a Grecian woman's himation. The Roman women added a ruffle to their dress which was often elaborately decorated. Silk was at a premium, but was frequently mixed in weaving with wool or linen. With the exception of more elaboration, the fabrics did not differ much from the Grecian. Fig. 117. — Italian XIV Century costumes from Jacq 55. Influ- ence of the E a s t .— Fabrics seem always to have drawn their inspiration from the East. We fi n d the Gauls after the conquest of Caesar, 55 B.C., adopting a somewhat m odified form of the Roman cos- tume. The Franks in taking possession of Gaul gradually (from the third to the fifth century a.d.), while they did not part with their costume as a whole, the women retaining their veils for some ten centuries, adopted the Byzan- tine styles, for the Eastern influence of the Roman Empire continued after the arrival of the Franks. We find both men and women in the ninth and tenth and twelfth centuries wearing stuffs brought from the East, even after the art of embroidery became generally understood, and tapestry weaving and applique work was carried on in Europe. 56. Weaving. — While mechanical weav- ing was done in Egypt 2000 B.C., the more complex use of the shuttles by which figures were produced without embroider- ing was not known until 200 a.d. It was then done by the Syrian weavers in the Fig. 118.— XIV Century parti-colored dresses — from Jacquemin. Page Ninety-four PERIOD FABRIC DESIGN Eastern Roman Empire. For many years the devel- opment of weaving was slow, and the repeat pat- terns were of the simplest kind. Ornamental silks were first produced in Europe 500 a.d.; they were Roman and B^'zantine to the twelfth century. These were sometimes linked together, large circles Fig. 120.— XVI Century trunk motive. The design consisting of a circle or square frame developed in the first cen- tury; for the ne.\t five hundred years circles or squares, sometimes filled with Persian or Syrian floral detail, persisted. This same design was used for centuries afterwards for stained glass. About 400 to 600 A.D. broken circles came in, the upper and lower segments spreading out to form bands. Circles continued being joined by small ones at points of contact, and the patterns often becom- ing ciiiile t'lal)orate. The Saracenic hexajiou geomet- ricallj' arranged was also used. Up to the thirteenth century a formal arrange- ment was often followed, consisting of balanced groupings of birds, beasts, and men placed face to face or back to back. Fig. 121.— XVIIandXVIH Century scroll motive. Fig. 1'2'2.— XIV and XV Century unimal arrangement. The o^val form is a form of design in which the joining circles are brouglit into acute juncture, forming ovals. This design came in about 800 a.d., and like most things that were pointed, it continued thruugli the Gothic period. In 700 A.D. Spain was progressing with silk weav- ing. About this time also, merchants from Syria opened establishments in Paris. In 800 a.d., the Daughters of Charlemagne USE OF GOLD THREAD Ninety-five did silk weaving, but up to the eleventh century the making of fine fabrics was practically monopolized by Athens, Thebes, Corinth, and Constantinople. No great extravagance had reached France before this. In the tenth century we read of its king, Charles the Simple, possessing but three shirts In the four- teenth century Isabeau de Baviere, com- ing to marry Charles VI, was thought to be showing an extraordinary degree of lux- ury in having three dozen chemises in her trousseau. The return of the Crusaders initiated the nobility of France into the luxury of the Orient. 57. Use of Gold Thread. — Drawn gold thread was not used in early fabrics, but gold leaf on paper rolled around a fine thread of silk was employed. Sicilian fabrics of the thirteenth and fourteenth centuries frequently show a purple ground of twilled silk with birds and foliage formed by gold thread weft. Saracenic or Hispano-Moresque fabrics of Spain are distinguished by splendid crimson or dark blue conventional patterns of silk upon a yellow ground, and by frequent use of Courtesy ot the Metropolitan Mnseum of Art Fig. 123. — Painting by Hans Memling of Betrothal of Saint Catherine showing surcot and fabrics used in XV Century. strips of gilded parchment in place of rolled gilt thread. Undoubtedly through the influence of the Crusades, the Sicilian weavers of the thirteenth and fourteenth centuries produced many fabrics enriched with winged lions, crosses, crowns, rayed stars, harts, or birds, linked together with floriations or armorial bear- ings. See Fig. 117. 58. Parti- colored Dress. — The same influence which brought with the Per- pendicular Gothic the introduction of heraldic forms, such as shields, crests and badges, found women of rank wearing parti-colored dresses; a division which practically cut the figure in half, the right side representing the arms of the husband, the left that of the lady's own family. See Fig. 118. Late in 1200 a.d. this character of design was introduced into Northern Italy. Genoa adopted much that was Persian from the twelfth to the seventeenth centuries, and in the fifteenth century, when Louis XI encouraged the art of weaving in France at Tours, and later at Lyons under Francis I (1515), the Persian and Italian fabrics were closely Page Ninety-six PERIOD FABRIC DESIGN followed, and the vase pattern was adopted. The Oriental character of design in textiles did not entirely disappear until the seventeenth century when the gardens of Versailles and the Trianons under Louis XIV inspired the use of European flora. 59. Classification of Fabric Designs.— The following brief classification will be found helpful in placing fabric designs in their proper periods. Twelfth and thirteenth centuries, for- mal arrangement. See Fig. 119. Fourteenth and fifteenth centuries, ani- mal figures. See Fig. \'2'i. Sixteenth and seventeenth centuries, trunk motives. See Fig. l'-20. Seventeenth and eighteenth centuries, scroll motives. See Fig. l'-21. For a more detailed outline we can refer to that given by Cliiford, in his book on Period FurHi.shing.1, in conjunction with his well-chosen illustrations. "I. 200-400 A.I). The development of circle and geometric frames, sometimes filled with simple floral, bird or animal forms. "II. 400-000 .\.D. The utilization of broken circles spread out to form bands. "III. GOO-IOOOa.d. The use of circles linked by smaller circles, with ornaments inside and out, developing at length the ogival form; often hexagon framework. "IV. 1000-1;5.50a.d. Repeated parallel bands or ornamentation, detached details, patterns animated and inanimated, en- closed in ogival framing and combination circles or scale patterns as well as geo- metric straight-line framing. ISOO-LWO introduced features of design, as eagles, falcons, etc. "V. 1350-1500. A characteristic design of the fifteenth century was the use of reversed curves so arranged that they made frames. (The panels of Jeanne d'Arc, painted by Boutet de Monvel and owned by Senator William A. Clark, give very fine illustrations of the textures used at this period; they may be seen certain days upon wTitten request. Both the surcot, which was now gradually disap- pearing, and the houppelcmde, or robe, which was appearing, lent themselves magnificently to these fabrics.) "This form utilized the Hogarth line of beauty. Another form was the inter- section of a Hogarth panel by two bold curving stems coming up through the bottom of the panel and capped by a cone pineapple or fruit device. "Still another showed a .serpentine stem or winding trunk which ran through the Hogarth pattern in the midst of a variety of botanical forms. See Fig. 123. "VI. 1500. Designs adopted a free treat- ment. The plans of previous centuries were combined and elaborated. Orna- ment was arranged with ogival frames, springing out of the frame to which it seems to be attached. Interlacing of two frames of which one is ogival. Ogival frames of leaves and flowers enclosing a large concentric pattern. Elaborate ogival frames caught together by crowns. The use of vases, urns, crowns and animals became common. "VII. 1()00-1700. During this time we find an elaborate use of P^uropean garden flowers instead of purely tropical Persian verdure, following, however, the general ogival form arrangement. " VIII. 1700. Pictorial tapestries and prints. Pure Renaissance styles, or devel- SIXTEENTH AND SEVENTEENTH CENTURIES Page Ninety-seven opments of that style. Louis XIV or XV. Oriental characteristics of either the French or English styles as shown in the scenic bits of Chinese or East Indian life. Louis XVI classic revival examples as ex- pressed by the late Louis XVI. "Directoire or Transition period in France and the Adam school in England. This period overlapped into 1800 and was generally adopted in American colonies. "IX. Empire and Empire influence." 60. The Sixteenth and Seventeenth Centuries. — In the sixteenth and seven- teenth centuries, three distinct types of design were seen, the Renaissance, the Oriental Renaissance and the European floral. The Renaissance brought a change from the accustomed following of Persian Oriental design, and such motifs as the Per- sian rose and pink, the Rhodian lily and pomegranate gave way to such Egyptian, Roman, and Greek motifs as the Anthe- mion, Acanthus, Lotus and Iris. The second or Oriental Renaissance was really Portuguese-Persian, or the spirit of the Renaissance influencing the East through commercialism. The third or European flora was developed about 1650 during the reign of Louis XIV, when the ferns and flora of the Royal Gardens came into use as motifs. In studying the periods it must not be overlooked that the Dutch brought East Indian types into England under Elizabeth, the Jacobean, and Queen Anne reigns, and that the influence of China was strong in France during the reign of Louis XV, and in England under the Georges. The East India Company in 1609 reserved all strange fowls and beasts to be found there, "for the Council." This brought the parrot and cockatoo in wicker cages, and similar motifs, much into evidence in the embroideries and printed fabrics, so full then of animal and floral design of Eastern character. The British rule in India created a demand as early as 1760 for Indian goods, and India cot- tons, dimity, and gauze were used in both England and France. 61. Paris Becomes the Centre of Fashion. — For centuries Italy was the centre from which foreign courts adopted both fashions in clothes and customs. It was not until the seventeenth century that Paris became the centre and home of taste. Several things had much to do with bringing this about. First, a great and appreciative impetus was given in- dustry by Colbert, the able minister of Louis XIV. Secondly, at this time long dresses were abandoned and the vogue for large Italian patterns ceased. Thirdly, the discovery of a way around the Cape of Good Hope had much to do with the trade in silks turning from Italy to Asia. Under Louis XIV artists held high posi- tion; it was an ambitious period. World forces, conquests and statecraft, as well as the taste of Louise de la Valliere, Ma- dame de Montespan, Mile, de Fontanges and Madame de Maintenon influenced the arts of the time. The magnificent gardens that were built, besides the motifs sug- gested by European floriculture, brought in festoons, vases, architectural designs, etc. It was under this king and his minister, Colbert, that the highest achieve- ment in lace making was reached in France. Lace is supposed to have been introduced into France by Catherine de Medici, wife of Henry II, in 1547. ^ Page Ninety-eiglit PERIOD FABRIC DESIGN On the other hand, the arts of Louis XV had the stimulus of social life, and were full of ostentation and extravagance. We find much less symmetry or balance in the motifs, which were shells, feath- ers, ribbons, knots, garlands, and Chinese and Japanese fancies. Pronounced stripes were affected as creations of ^Madame Pompadour, and many charming gowns were made of the flowered silks named for this favorite of the King. 62. Period of Louis XVI.— By the end of the eighteenth century heavy materials had fallen from favor and less metallic effects were sought in weaving, but oriental foliation, which was used be- fore and during the Renaissance, again came in. Under Louis XAT the designers fol- lowed innumerable paths under the im- pulse of capricious fashion. We have Arabescjue composition, foliage, flowers, figures, landscapes, country scenes, alle- gories and Chinese ornament. In the fabrics we find stripes and rib- bons combinetl with flowers. Stripes were so much used that in 1788 it was said that, "Everybody in the king's cabinet looks like a zebra." Unlike the Pompadour stripe, the Queen Marie Antoinette stripes were interwoven with flowers and orna- ments such as feathers, medallions, lyres, columns, etc. Marie Antoinette liked flowers, the pink, the tulip, but best of all the rose, and the impetus she gave the production of lace in the beginning of her reign shows the influence of her taste, which is everywhere seen in the entwined ribbons and garlands. 63 Directoire and Empire Designs.— The Revolution, 1789-99, brought in simpler materials; cotton, India prints, and lawn were used. Colbert had put a stop to their use in former years because it threatened his pet silk industrJ^ The Directoire, 1795 to 18o/, followed this Revolution, and this was the tran- sition period between the classicism of the late king and the stronger style of the Empire. The India shawl — introduced after the Egyptian campaign — was much worn. This led to a French imitation and then to the Paisley copy made in Scotland, the Persian design of which has been so popular. The transition period was largely in combination with much that was Egyp- tian in character. The bee, laurel branch, wreath, helmet ed warriors, etc., were now used as motifs and stripes were still popular. This had marked influence and effect upon laces now wholly lacking in freedom of design. The costume of the Empire was usually more or less Oriental in ornamenta- tion, texture, and color. Napoleon's cam- paigns resulted in bringing into France the accumulated treasures of centuries, which became a source of inspiration, and left a characteristic imprint upon the period. Fabric design reveals much of the his- tory and atmosphere of each century and is worthy of intelligent study and con- sideration, not only by students, but by all who wish to develop their knowledge and appreciation of beauty. See Die Geivebe Sammlung des Kvust- gewerbe Museum von Julius Lessing, and Seidenweberei, Otto von Funke. OUTLINE OF HISTORIC COSTUME CHAPTER EIGHT CHAPTER EIGHT OUTLINE OF HISTORIC COSTUME! History and Dress 64. Egyptian Costume. — (a) Men. (1) Old Kingdom, 4tli, 5th, and 6th Dynasties (2980-2475 B.C.) . Memphis, capital. Lower classes wore a belt tied around the waist with hanging ends down the front (see Fig. 127), a kilt-like loin cloth (see Fig. 129), or a skirt apparently made of rushes (see Fig. 128). In the 5th Dynasty, trian- gular erection came in, being temporarily adopted by the king in this dy- nasty. See Fig. 124 of Perneb, representing an Egyptian noble- man in full dress. Both men and women shaved their heads and wore wigs. Men appear to have gone nude when engaged in stren- uous exercise. (2) Dark Ages, 6th to 12th Dynasty. No change in costumf^ shown. (3) Middle Kingdom, 12th and 13th Dynasties (2160-1788 B.C.). Thebes, capital. Courtesy of MetropolUan Museum. Fig. 12-1. Fig. 125. Fig. 126. Egyptian costumes. Showing a woman's costume, the triangular erection and the leopard skin worn by priests. Counesy of Metropolitan Museum. Fig. 127. Fig. 128. Fig. 129. The costumes worn by men in Egypt during the Old Kingdom (2980-2475 B.C.). Skirts became longer and narrower, and were closed in front, with one side lapping over the other. When of transparent material, a skirt of thicker material in the shape of the short kilt of the Old Empire was worn underneath. (4) Period of Shepherd Kings, 13th to 18th Dynasty. Israel- ites came down into Egypt. No change in costume shown. (5) New Em- pire, 18th, 19th and 20th Dy- nasties (1580-945 B.C.). Thebes, capital. In the 18th Dj^nasty a tunic was sometimes added. This was open on the right side and had a short left sleeve. Many changes in skirts now took place, plait- ed effects be- came popular. See Fig. 131. Cloaks were worn from the time of the 4th Dynasty, but became generally used during the Middle Kingdom. See Fig. 130. Page One Hundred Two OUTLINE OF HISTORIC COSTUME Apron-like decoration was worn from the 4th to the 20th Dynasty. Men were clean shaven, and wore wigs and false beards. Ker- chiefs were often used. Leopards' skins were worn by priests. See Fig. 126. (6) Women.^iih to 18th Dynasty. All, with the exception of some servants and dancing girls, wore.a simple costume from bust to ankles, very tight without folds, some- times held on by one, sometimes by two shoulder straps, and sometimes by a necklace. See Fig. 125. Embroidery was frecjuently used on borders In the 18th Dynasty the dress was carried over the left shoulder, plaits became popular, and a left sleeve was introduced. In the 20th Dynasty a thick under dress was used. White seens to have been in favor, also red, saffron, and blue. Both men and wo- men wore sandals in the street. The collar was an important dec- oration and was made of papyrus decorated with beads or embroi- dered in wool. Bracelets and leg decorations were largely used. These Coartcsu of Metropolitan Muscutju 30. — An Egyptian cloak. Courtesy 0/ MctrovoUlan Museum. Fig. 131.— Flailed effects of the New Empire were of metal and em- broidery. (c) Emblems or Symbols. — Upper Egyptian crown, red. Lower Egyptian crown, white. AYhen one king ruled both, he wore a combina- tion of the above. Lotus signified abun- dance. Globes signified eternal life. Vulture signified the roy- alty of a queen. Asp signified the kingly authority. Hanging straps indicated authority. Reference Books Bulletin of the Met- ropolitan Museum of Art, Vol. XI, No. 11, for Ancient Egyptian Kerchiefs, and Tlie Dress of the Ancient Egyptians, both pub- lished by the Metropol- itan INIuseum of Art; Prisse d'Avennes, Ilis- toire de UArt Egypt; The Book of the Dead, fac- ahmlQcA PapyrjisofAni, in the British Museum; Wilkinson, The Ancient Egyptian; Erman, Life in A ncieni Egypt, Chap- terX;Breastf(l,.l»nV«< Times; Racinct, History of Costume. GREEK COSTUME Page One Hundred Three History and Dress 65. Greek Costume. — (1) Pre - Hellenic otherwise called Minoan or Mycenoean Age (2800-1200 B.C.). See Fig. 132. Men wore waist cloth with hanging ends. Women wore tight-fitting waists and flounced skirts. See Fig. 133. (2) Homeric or Heroic Age (1200 B.C.). Both men and women wore a simplified costume not unlike the classic. Dorian Invasion, 8th century B.C. Rise of Sparta, inhabitants called Dorians. Rise of Allien ■>, 5th century B.C., inhabitants called lonians. (3) Classic Period. Costume of Greek men and women was the same except that of the men was more abbreviated. (a) Chiton or dress. (6) Himation or cloak. See Fig. 135. (c) The chlamys of short coat was worn on horseback. The chiton or dress was of two Icinds. The Doric chiton, worn by the Dorians, who were war- like and interested primarily in the phys- ical, made of heavy material and fell in few folds, had no sleeves, see Fig. 134.. The Ionic chiton, worn by the lonians. of Mctrinmhlan Musaim. Flc. l.'K>--('o.tii,nrnf M%c-cu;iMiiiii,u.. KS'-: Courtesy 0/ Metropolitan Museum, 133. — Costume of Mycensean woman. a people fond of all things beau- tiful, made of finer material, fell in many and finer folds, had sleeves. See Fig. 135. Girdle was worn at the waist line during the Archaic period, sixth century B.C. Statues of people of this century adorn the Acropolis. This was the elabo- rate period when cascades of ma- terial are found in the statues. Girdle worn over the hip or below the waist in the Golden Age. This was sometimes called the Age of Pericles, 459-431 B.C. The maidens of the Parthenon frieze are of this time. Girdle worn under the arms during the last period. Wool, linen and silk were used, and the garments were dyed purple, red, yellow, and other col- ors. Sandals and shoes were worn when out of doors, and the women had many different kinds of jewelry and hair ornaments. Reference Books A Cretan Snake God- dess, Century Mag- azine, August. 1916; C.H.andH.B.Hawes, Crete the Forerunner of Greece; Hope, Costumes of the Ancients; Ra- cinet, Histoire du Cos- turn e; Evans, Greek Dress; Edith Abra- hams, Greek Dress; Page One Hundred Four OUTLINE OF HISTORIC COSTUME Cottrtcsy of ^frtTnpoJttan Museum. Fig. 134.— Greek Doric cliitoii. G. Baldwin Brown, Bur- lington Magazine of De- cember, 1905, and Janu- ary, 1906, How Greek Women Dressed. History 66. Roman Costume. Rome founded 7.5:5 b.c. Rome was a kingdom 753-509 B.C. Rome was a republic 509-31 B.C. Rome was an empire 31 B.c.-476A.D.in West. Dress (Roman) Men wore a tunic; a toga, or cloak corre- sponding to the Greek himation; but cut semi- fig. Coimcsv of Mctrovolitan Museum. Fig. 135. — Greek Ionic chiton and himation. circular in form, whereas the Greek himation was rectangular. Only Roman citizens could wear the toga, which was a national garment, so the pccnula was worn by the work- ing class. This was like a cape, and some- times had a hood. This was worn by all classes, both men and women, to travel in. ^Yomen wore a tunic which was like that of the Roman men; a stola or dress corre- sponding to the Greek Ionic chiton (differing in that it had a border or rufl3e at the bot- FromHope. . , -ThecostumeofaRomanmanand woman, torn); a pfl//a or CloaK ROMAN COSTUMES Page One Hundred Five corresponding to the Grecian himation. ^omgn ofthe lower classes could not wear the stola; they: woxe tunic and palla, but this palla was made like the Grecian Doric chiton. Roman men did not wear hats, except the lower classes, who wore tight-fitting caps. See Fig. 133. Roman women had far inore jewelry than the Greek. They had all the precious stones we now have. They dj^ed^ curled, and arranged their hair elabo- rately and wore sandals and fancy boots. They took ex- cellent care of their bodies. Books of Reference 'Racinet, Histoire du Costume; Tram Hottenrotk. Fig. 138.— Gallic costume be- fore coming under Iloman influence, 55.B.C. Hope, Costume of the Ancients; Preston and Dodge, Family Life of Romans; Planche, General History of Costume in Europe. History and Dress 67. The Gauls.— Caesar made a complete conquest of Gaul, 55 B.C. In ancient times the civilized races were un- trousered. (See Egyptians, Greeks, and Romans.) Un- civilized races were trousered (Gauls, Franks, etc.). (a) Men. — Wore trousers to the ankles, called hraie; a mantle of wool fastened in front, called sai; a tunic to mid-leg with long sleeves; girdles; shoes to ankles. See Fig. 137. From Hottenroth. Fig- 137.— Gallic costume before coming under Roman influence, 53 b.c. From Hottenroth. Fig. 139. — Gallo-Roman costume 100 a.d. Page One Hundred Six OUTLINE OF HISTORIC COSTUME Later the men shortened the trousers and tunic and wore leggins and sandals with bands. (b) Women. — Inner tunic to ankles; short outer tunic with short sleeves; girdles; shoes. See Fig. 138. The women afterwaixls shortened their outer tunic and wore a mantle like a Roman pajnula. See Fig. 139. Both men and women made their hair red with lime water. About a hundred years after the Roman conquest, the Gauls had become civilizetl, and had adopted a dress somewhat resem- bling the Roman costume, but the Roman dress was also influenced by that of the Gauls, as can be seen by the introduction of short trousers that were worn under the tunic. Reference Books Hottenroth, Le Costinne.s rhez lea Peit]>les- From Hottenrotiu Ml. — Women's costume of tlie Franks about 8lli teulury, showing fichu and veil. Racinet, Le Costume Uistorique; Zur Ge- schichte der Costume, Nach Zeichnungen von W. Diez, C. Frohlish, I\r. Heil, C. Haberlin, A. Muller, F. Rothbart, J. Waller Muchen. Fig. 140.— Men'i • of the early Franks alu JlisUmj 68. Third to Elev- enth Centuries. — [)?>() ? A.D. King Arthur in England m. Guinevere. ^71-901 A.D. King Al- fred the Great in England m. Ethels- witha. d. of Elhel- ran of INIcrcia. THIRD— ELEVENTH CENTURY One Hundred Seven 742-814 A.D. Charlemagne m. Ist, Her- mengardg, m. 2d, Hildegarde, m. 3d, Fastrade, 4th, Liutgarda. 276 A.D. The Franks came down the Rhine took possession of Gaul grad- ually, but made a complete conquest. The fifth century to the sixteenth century comprises the costume history of the Middle Ages. Dress {III to XI Century) (a) Men. — Wore a kind of tunic usually to the knee; mantle the shape of a cape which often had a hood; girdle; shoes. See Fig. 140. (6) Women. — Wore, like the women of Gaul, two tunics, also a veil (sometimes large enough to take the place of a mantle) . See Fig. 141. The women in England wore a similar head covering, called a wimple. The influence of the Eastern Roman Empire continued after the arrival of the Franks who had become well established by the sixth century. By the ninth cen- tury gloves and handkerchiefs were some- times used. The outer tunic of both the men and women was now often decorated with a band called a fichu. This was sometimes set with precious stones and showed Byzantine influence. See Fig. 142. Reference Books Zur Geschichte der Costume; Quicherat, Ilistoire du Costume en France; Chal- lamel, History of Costume in France from Gallo-Roman to the Present Time. History 69. Eleventh Century.— 1066-1087 William the Conqueror, King of England, m. Mathilda, d. of Baldwin V, E. of Flanders. 1087-1100 William II, King of England. From '^UT C licfte d r Costume. Fig 142 — French costume of *)th and 10th centuries Frojn Zur GescMchtt- der Costume. Fig. 143.— King and Queen of the 11th century. Page One Hundred Eight OUTLINE OF HISTORIC COSTUME 1031-1060 Henry I, King of France m. Anna, d. of Jaroslaw I of Russia. 1060-1108 Philip I, King of France, m. 1st Bertha, d. of Florence I, C. of HoUand, m. 2d Bertrade, d. of Simon I, C. of Montfort. Dress {XI Century) In the eleventh century the influence of the Crusades began to show in costume; apparently the costumes of the Orient influenced costume and men adopted a very long and inconvenient type of dress. (a) Men. — Wore a long under tunic down to the feet called a chemise; outside tunic long and full called a bliaud (pronounced bleo). This was held in by a girdle. The bliaud had sleeves similar to those of our kimona (the extra fullness in the skirt was obtained bj' gores). See Fig. 143. Irousers and stockings were worn underneath. The long mantle now worn was fastened often on the left shoulder; up to this time it had been more conveniently fast- ened on the right shoulder, giving freedom to the right arm. Men wore two kinds of hats, one that resembled a Phrygian bonnet, and a cap. Men and women now dressed much alike. Reference Books Hilaire Billoc, Book of Bayeux Tapestry; Racinet, Costume Ilistorique; Zur Geschichte der Costume; Planch^, Dictionary and Cyclc- ■padia; Jacquemin, Iconographie du Cos- tume; La Croix, Manners, Customs, and Dress During the Middle Ages and Renais- sance, and Ary Renan, Le Costume en France. History 70. Twelfth Century.— 1100-1135 Henry I, King of England, m. 1st, Mathilda of Scotland, m. 2d, Adelicia of Brabant. 1135-1154 Stephen, King of England, m. Mathilda, d. o* Eustace, E. of Bou- logne. 1154-1189 Henry II, King of England, m. Eleonora of Aquitaine. 1189-1199 Richard I, King of England, m. Berengaria, d. of K. of Navarra. 1108-1137 Louis VI, King of France, m. Adelaide, d. of Humbert II, of Savoy. 1137-1180 Louis VII, King of France, m. 1st, Eleanor, d. of Guillaume X of Aquitaine, m. 2d, Constance, d. of Alphonso VII of Castile, m. 3d, Alice, d. of Theobald II, C. of Champagne. 1180-1223 Philip 11. King of France, m. 1st, Isabelle of Artois, m. 2d, Ingeborg of Denmark, m. 3d, Marie, d. of Berthold V of Meran. Dress {XII Century) In the twelfth century the bliaud for the men became fitted and hoods were worn. The women's outer tunic became fitted, tricot and lacing were both introduced. This tunic had long bell-shaped sleeves. The sleeves of the chemise were long and fitted at the wrist. A smaller veil called an antique veil, held by a circlet or crown, sometimes embioidered, now took the place of the long veils. The shoes began to show points. See Fig. 143 and 144. Reference Books Calthrop, English Costume; Racinet, Costume Historique; Planche, General His- tory of Costume; La Croix, Manners, Cu - toms, and Dress During the Middle Ages and Renaissance; Quicherat, Histoire du Cos- tume en France; Viollet-le-Duc, Diction- naire du Mobilier Franqais, Vols. 3 and 4. History 71. Thirteenth and Fourteenth Centu ies. 1199-121(i John, King of England, m. 1st Alix, d. of Hugo, C. of Mortain, m. 2d, Havoise, d. of D. of Gloucester, m. 3d Isabel, d. of C. of Angouleme. THIRTEENTH— FOURTEENTH CENTURIES Paee One Huiidxed Nine r ^ 1 , 1^1 f -m^ /-""^Tv fe .i^^J^it ,. I Si'ii i^ li r P i ill \ |l;| — -- _ From VioUet~?e-Duc Fig. 144— Fitted costume of 12th century. From VtoUet-lf^J>uc Pig. 146. — Parti-colored or armorial dress. From VioJUt-l^Duc G. 145. — 2nd form of surcot 13th and 14th centuries. 1216-1272 Henry III m. Eleanore of 2d, Maria, d. of Heinrich III of Bra- Provence, bant. 1272-1307 Edward I m. 1st, Eleanora of 1285-1314 Philip IV, King of France, m. Castile, 2d, Margaret, d. of Philip III. 1307-1327 Edward II m. Isabelle, d. of Philip IV, King of France. 1327-1377 Edward III m. Philippa, d. of Wilhelm III, C. of Holland. 1377-1399 Richard II m. 1st, Anna of Bohemia, m. 2d, Isabella of France. 1399-1413 Henry IV, Lancaster (Red Rose), m. 1st, Mary Bohun, m. 2d, Jane of Navarra. 1223-1226 Louis VIII, King of France, m. Blanche, d. of Alphonso VIII of Castile. 1226-1270 Louis IX (St. Louis), King of France, m. Marguerite, d. of C. of Provence. 1270-1285 Philip HI, King of France, m. 1st, Isabelle, d. of King of Arragon, m. Jeanne, Queen of Navarra. 1314-1316 Louis X, King of France, m. 1st, Margaret, d. of Robert II, of Bur- gundy, m. 2d, Clemence of Hungaria. 1316-1322 Philip V, King of France, m. Jeanne, d. of C. of Meran. 1322-1328 Charles IV, King of France, m. 1st, Blanch, d. of Otho IV, m. 2d, Maria of Luxemburg, m. 3d, Jeanne, d. of Louis, C. of Evreux. 1328-1350 Philip VI (Valois), King of France, m. 1st, Jeanne, d. of D. of Burgundy, m. 2d, Blanche of Navarra. 1350-1364 Jean II, King of France, m. 1st Bonne of Luxemburg, 2d, Jeanne, d. of William XII, C. of Auvergne. 1364-1380 Charles V, King of France, m. Jeanne, d. of Duke of Bourbon. Page One Hundred Ten OUTLINE OF HISTORIC COSTUME 1S80-1422 Charles VI, King of France, m. Isabelle of Bavaria Ingolstadt. Dress {XIII and XIV Centuries) In the thirteenth century, more interest was sho\^^l in dress. Both men and women wore a semi-fitted garment called a surcot, hollowed out under the arms. (a) Men. — Wore close fit- ting trousers ihraie); mantle; surcot ; tunic (chemise) ; cotte (tunic); stockings; hats or hoods. (6) Women. — Wore inner tunic or chemise, over this a cotte, or fitted chemise worn with a girdle, over this the surcot. The surcot had no Fig.ut. sleeves, and those of the , cotte, usually of a con- trasting color, were an <; important feature of this robe; by degrees the arms-eye became larger and was trimmed with fur. Sec Figs. 1"2:5 and 145. The skirts were very long and were hel< 1 up as the woman walk- ed, showing the cotle again, which was the same material as the sleeves, making a pleas- ing repeat of the con- trasting color. In the fourteenth century the parti-colored or ar- morial dress was worn, see Figs. 146 and 118, f,g. us.-Mcn ..f the Vrom VioUet-i€-Duc. — 14thnnrll.5lh ccntiirycoslim ing licnuin aud tiuuppcluuU. From VMIel-lc-Dlic. ,51 li fcntiiry. and the hennins or high head dress came in. Toward the last of the century the houp- pelande or one-piece dress replaced the surcot. See Figs. 147, 148 and 108. In this garment women are said to ha\-e discovered the nor- mal waistline. This had a V-shaped neck, widely off at the shoulders. The women were at this time wearing the wimple or head covering, and about the throat the gorget in certain localities. The surcot of the men grew .shorter and had large sleeves. Their stockings were close- fitting and combined with the trousers. The shoes were more pointed. They added an houpplande or some- times long, sometimes short, outer garment with large sleeves. See Figs. 108 and 148. Reference Books Books mentioned under fifteenth centurj'. Hi. si cry 72. Fifteenth Cen- tury. — 141:5-142^2 Henry V, King of England, m. Catherine of Valois, d. of Charles VI of France. 1422-1401 Henry VI, King of England, m. Margaret of Anjou. 1461-1483 Edward IV SIXTEENTH CENTURY Page One Hundred Eleven (White Rose), m. Elizabeth of Wood- ville. 1483 Edward V, King of England. 1483-1485 Richard III (White Rose), m. Anne Nevill. 1485-1509 Henry VII (Tudor), m. Elizabeth of York. 1422-1461 Charles VII, King of France, m. Marie, d. of D. of Anjou. 1461-1483 Louis XI m. 1st, Marguerite, d. of James I, King of Scot- land, m. 2d, Charlotte of Savoy. 1483-1498 Charles VIII. m. Anne of Brittany. 1498-1515 Louis XII. m. 1st, Jeanne, d. of Louis XI, m. 2d, Anne, widow of Charles VIII, m. 3d, Mary, d. of Henry VII, King of England. Dress {XV Century) The fifteenth century was an exaggera- tion of the modes of the fourteenth. More extravagant fabrics were used, and every- thing became more extreme, even to the points of the hats and shoes. Towards the end of this century came a transitional period. The toes of the shoes became round, the dresses became more semi-fitting, and were split up the front, showing the underskirt. They had Fig. square necks and were worn with a girdle. The close-fitting cap was the head- dress now used, and had probably been introduced into France by Anne de Bre- tagne. Queen of France. See Fig. 150. The Fifth cen- tury to the six- teenth century comprises the cos- tume history of the Middle Ages. Reference Books Calthrop, Eng- lish Costume; Zur Geschichte der Cos- tume; Quicherat, Histoire du Cos- tume en France; Pauquet Freres, Modes et Costumes Historiques; Hot- tenroth, Les Cos- tumes chez les Pen f les; La Croix, Manners, Costume, and Dress During the Middle Ages and Renaissance; Robida, Ten Centuries in Toilette; Racinet, Histoire du Costume; Planche, Dictionary and Cyclopedia; Viollet-le-Duc, Dictionnaire du Mohilier Frangais, Vols. 3, 4; Raphael Jacquemin, Iconograpkiedu Costume; Helen Sanborn, Anne of Brittany. For fifteenth century illustrations of costume, see Joan of Arc, by Boutet de Monvel. History 73. Sixteenth Century. Renaissance. — 1509-1547 Henry VIII, King of England, m. 1st, Catherme of Aragon; m. 2d, FrQDi Zur Gesc/iic' German costume of early IGth cen Page One Hundred Twelve OUTLINE OF HISTORIC COSTUME F^om Pauqucl Frircs. From Paugua Fr&cs. Fi. English text. Rieci. Elisa. Antichc Trine Italianc. Italian text. Pollen, Mrs. J. Ilungcrford. Seven Centuries of Lace. English text. Jourdain., M. Old Lace. English text. Lowes, Mrs. Chats on Old Lace and Needlework. English text. Laprade, Mme. Laurence de. Le Poinet de France. French text. Jackson. Mrs. F. Xerill. A History of Hand-made Lace. English text. Lefebure. Ernest. Embroidery and Lace. English text. Huish. Marcus B. Samplers and Tapestry Em- broideries. English Text. Modes et Maniers D'.4ujourd'Hui. Illustrated by Lepape, 1912. Martin, 1913, and Barbier, 1914. French text. Nerill. Ralph. British Military Prints. Illustrated. English text. FalU: D. W. C. Army and Navy Information of the Warring Powers. English text. IVietz. Ecclesiastical Costume. 2 vols. German text. Villcrmont. Comte.i.ie de. Histoire de la Coiffure I'Y-niininc. Illustrated. French text. Darcy. Richard. A History of Mourning. Illus- trated. English text. Rhcad. a. \i: History of the Fan. Illustrated. English text. Ridfcrn. \y. B. Royal and Historic Gloves and Shoes. Illustrated. English text. The Brooklyn Library. A Reading and Reference List on Costume, arranged alphabetically. For IVriodical References see Poole's Index and the Readers' Guide. iXcir VorL- Public Library. .\rt Division. In prep- aration. Textile list and CostMnie list. Each not sis books and articles, hut parts of books Henry fur FelL\ Jungmunn & C'ii ^^ ARTISTS WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME ARTISTS WHOSE WORK HAS REARING ON PERIOD FARRIGS OR GOSTUME Greek and Roman Sculpture. (See University Prints, Students' Series A.) Mosaic. Emperor Justinian and his suite. Byzantine, 6th century, at Ravenna. San Vitale. ca. (circa) = about. Italian Painting Ambrogio da Predis (School of Milan), fl. 1482- 1506. Bartolommeo Veneto (Venetian School), fl. 1505- 1555. Bassano, L. da P. (Venetian School). 1557-1622. Bissolo, F. (Venetian School). 1464-1528. Botticelli, S. (Florentine School). 1444^1510. Bronzino, A. (Florentine School), ca. 1502-1572. Butinone, B. J. (School of Milan), ca. 1436- 1507. Calisto Piazza da Lodi (School of Brescia), fl. 1521-1562. Carnevale, Fra (School of Umbria and Perugia). 15th century. Carpaccio, V. (Venetian School), ca. 1455- ca. 1525. Cimabue (Florentine School), ca. 1240-1302. Conti, Bernardino de' (School of Milan), fl. 1490-.? Cossa, F. (School of Ferrara). ca. 1435-1480. Crivelli, C. (Venetian School), ca. 1430-ca. 1493. Domenico Veneziano (Florentine School), ca. 1410-1461. Duccio di Buoninsegna (School of Siena), ca. 1260-1320. Ghirlandajo, D. and pupils (Florentine School). 1452-1525. Giotto and pupils (Florentine School). 1266-1337. Giovanni di Paolo (School of Siena), ca. 1403- 1482. Giovanni di Piamonte. fl. 15th century. Giovenone, G. (School of Vercelli). ca. 1490- 1555. Jacobello del Fiore (Venetian School), fl. 1400- fl. = flourished. Lorenzetti, A. and P. Follower of (School of Siena) fl. 1323-1348-^. 1305-1348. Mantegna, A. (School of Padua). 1431-1506. Maratti, C. 1625-1713. Masolino. (Florentine School.) 1384-ca. 1435. Moroni, G. B. 1520-1578. Palma Vecchio. Venetian School. 1480-1528. Parmigianino (School of Parma). 1504-1540. Perugino, P. (Umbrian School). 1446-1523. Pesello, G. (Florentine School). 1367-1446. Piero di Cosimo (Florentine School). 1462-1521. Pinturicchio. B. (Umbrian School). 1454-1513. Pisanello. ca. 1397-1455. Pulzone, S. ca. 1562-cffl. 1588. Romanino, G. (School of Brescia), ca. 1485-1566. Rotari, P. dei, 1707-ca. 1762. Sellajo, J. del (Florentine School), ca. 1441-1493. Signorelli, Luca (Umbro-Florentine School) . 1441- 1523. Sodoma, II (School of Vercelli). ca. 1477-1549. Spinello, G. (Florentine School). 1387-1452. Stefano da Zevio (School of Verona), ca. 1393- 1451. Titian (Venetian School). 1477-1576. Vasari, G. 1511-1574. Veronese, P. (Venetian School). 1528-1588. Verrocchio, A. (Florentine School). 1435-1488. Vivarini, A. (Venetian School), fl. 1444-1470. Zuccaro, F. ca. 1543-1609. Masters dei Cassoni. Painting, Byzantine School. Painting, Florentine School. Painting, Italian School. Painting, North Italian School. Paintmg, Umbrian School. 16th century. Painting, Venetian School. 16th century. Painting, Venetian School. Page One Hundred Thirty-two LIST OF ARTISTS Dutch Painting Codde, P. 1610-1660. Cornelisz, J. 1-175-1560. Cronenburch. A. van. 16th century. Cu\T), J. G. 1575-1649. Dou, G. 1613-1675. Hals, F., the elder. 1580-4-1666. Heist, B. van der. 1613-1670. Honthorst, W. van. 1604-1666. Jacobsz, L. 11.94-1533. Janssen, P. 2d half of 17th century. Joest von Calcar. J. 1460-1519 Ketel, C. 1546-1616. Keyser, T. de. 1596-1667 (1679.^). Mesdach. S. 1st half 17th century. Metsu, G. 1630-1667. Mierevelt. M. J. 1567-1641. Molcnaer, J. M. ?-1688. Morcelse, P. 1571-1638. Mostaert, J. 1474-1556. Mytens, D., the elder. 1590-1658. Palaniadesz, A. 1601-1673. Ravesteyn, A. van. 17th century. Santvoort, D. D. 1610-1680. Stcen, J. ca. 1626-1679. Tcr Boreh, G. 1617-1681. Troost. C. 1697-1750. Venntv A. van der. 1589-1662. Acrmeer van Delft, J. 1632-1675. Verspronck, J. C. 1597-1602. Voort, C. van der. 1576-1624. Wilt. T. van der. Painlinj,'. Dutch. Paiuliufi, Dutch. Paintiiif,' Dutili. Painting, Dutcli. 1659-1733. lltl: century. 1 5th century. Kith century. 17 til century. Flemi.sh Painting Bles, H. (le. 1480-1.550. Blyenberch, A. 1566-1625. Bouts. A. ?-1548. Bout.s, D. 1410-1475. Campin, R.. 1375-1444. Chanipaisnc, P. van. 1602-1674. Claeis.sens, P., the elder. 1500-1576. Cleve, J. van, the elder, ca. 1485-1540. Coffermans, M. jl. 1549 -1575. Cristus, P. 1400(?)-1473. David, G. 1450-1523. Dyck, A. van. 1599-1641. Eyek, J. van. ca. 1381-1440. Francken, F., tlie younger. 1581-1642. Geerarts, M., the younger. 1561-1635. Goes, H. van der. .'-1482. Heere, L. de. 1534-1584. Isenbrant, A. Before 1510-1S51. Justus of Ghent ca. 1470.'' Mabuse, J. van. 1470-ca. 1533. Marniion, S. ca. 1425-1489. Massys, Jan. 1509-1575. Master of the Legend of St. Lucy. 15th century. Master of the St. LTrsula Legend. 15th century. Memlinc, H. (Memling). ca. 1430(.?)-1494. Moro, A. 1512-1576. Pourbus, F., the elder. 1541-1581. Pourbus, F., the younger. 1570-1622. Pourbus, P., the younger. 1510-1584. Roynicrswale, M. van. 1497-1567. Rubens, P. P. 1577-1640. Somer, Paul van. 1570-1621. Vos, C. de, the elder. 1585-1651. Weyden, R., van der. 1400-1464. Painting, Flemish. 16th century. Painting, Flemish, of Brussels. 15th century. (icrman Painting Bruyn, B., tlie oKlor. 1493-1655. Bruyn, B., the younger, ca. 1.530-fa. 1610. Cranacli, L., the elder. 1472-1553. Diinwegge, H. and V. 1520-.' Master of tlie Life of the Virgin, ft. ca. 1460-1480. Master of St. Bartholomew, ca. 1490-1510. Master of St. Severin. .'-1515. Mult-scher, H. ca. 1440-1467. Neufchritel, N. ca. 1527-1590. Pacher, M. 14,30-1498. Pley.leinvurflF. 1450-1494. Ratgeb. J. 16th century. Ring, L. ca. 1521-1.583. R00S.T. 1638-1698. Sc'heits, M. 1640-1700. Seisenegger, J. 1505-1567. Wolgemut, M. 1434-1519. Painting, Gorman. 15th century. ^ Painting, German. 16th century. Spanish Painting Carreno, J. de M. 1614-1685. Coello, A. S. 1513(.')-1590. Gonzalez, B. 1564-1627. LIST OF ARTISTS Page One Hundred Thirty-three ■ Goya y Lucientes, F. J. de. 1746-1828. Liano, F. de. 1556-1625. Pantoja de la Cruz, J. 1551-1609. Velasquez. 1599-1660. Vermejo, B. fl. ca. 1490. Zurbaran, F. de. 1598-1662. Painting, Spanish. 15th century. Painting, Spanish. 16th century. Painting, Spanish. 17th century. Painting, Hispano-Flemish. 1451. Russian Painting Ritt, A. 1766-1799. French Painting Bourdichon, J. 1457-1521. Clouet, Franyois. 1500-1572. Corneille de Lyon. ^-ca. 1574. Coypel, C. A. 1694-1752. David, L. 1748-1825. Drouais, F. H. 1727-1775. Dumont, J. 1701-1781. Fantin-Latour. 1836-1904. Favray, A. C. de. 1706-1789. Fouquet, J. ca. 1415-ca. 1480. Fragonard, J. H. 1732-1806. Froment, N. 15th century. Gandara, A. de la. 1862-. Gerard, F. P. S. 1770-1837. Greuze, J. B. 1725-1805. Hilaire, J. B. 18th-19th century. Huet, J. B. 1745-1811. Ingres, J. A. D. 1780-1867. Lancret, N. 1690-1743. Largilliere, N. de. 1656-1746. La Tour, M. Q. de. 1704-1788. Le Brun, (Mme.) Elisabeth Louise Vigee. 1755- 1842. Lefebvre, Jules Joseph. 1834-.? Lefevre, Robert. 1756-1830. Liotard, Jeau fitienne. 1702-1789. Loo, C. A.^ van. 1705-1765. ^ Manet. Edouard. 1833-1883. Mares, Pierre. 15th century. Master of Moulins. 15th century. Nattier, Jean Marc. 1685-1766. Oudry, P. 16th century. Pater, Jean Baptiste Joseph. 1695-1736. Perreal, Jean. fl. 1483(?)-1528. Pesne, Antoine. 1683-1757. Prud'hon, Pierre Paul. 1758-1823. Quesnel, FranQois. ca. 1544-1619. Renoir, Firmin Auguste. 1841- Rigaud, Hyacinthe. 1659-1743. Rioult, Louis Edouard. 1780-1855. Thevenot, Arthur Frangois. 19th century. Tocque, Louis. 1696-1772. Vestier, Antoine. 1740-1824. Watteau, Jean Antoine. 1684-1721. Painting, French. 15th century. Painting, French, of Amiens. 15tli century. Painting, French, of Amiens. 16th century. English Painting. Beechey, Sir W. 1753-1839. Closterman, J. 1656-1713. Corvus, J. 16th century. Cotes, F. 1726-1770. Gainsborough, T. 1727-1788. Hogarth, W. 1697-1764. Hoppner, J. 1758-1810. Jervas, C. 1675-1739. (Irish Pnt.) Lawrence, Sir Thomas. 1769-1830. Raeburn, Sir Henry. 1756-1823. Ramsay, Allan. 1713-1784. Reynolds, Sir Joshua. 1723-1792. Richardson, J., the elder. 1665-1745. Romney, G. 1734-1802. Sharpies, J., the elder, ca. 1750-1811. Talfourd, F. 1815-1874. J Ward, E. M. 1816-1879. Painting, English. 15th centiu'y. Painting, English. 16th century, American Painting Badger, Joseph. 1708-1765. Blackburn, J. B. 1700-1760. Copley, J. S. 1737-1815. Feke, R, 1724-1769. Frothingham, J. 1786-1864. Greenwood, J. 1729-1792. Inman, H. 1801-1846. Jarvis, J. W. 1780-1834. Morse, S. F. B. 1791-1872. Osgood, C. 18th-19th century, Pratt, M. 1734-1805. Smybert, J. 1684-1751. Stuart, G. 1755-1828. Sully, T. 1783-1872. Trumbull, J. 1756-1843. Waldo, S. L. 1783-1861. CouTUay 0/ h'arper'6 From a colored cover design by Bruuelleschi. INDEX INDEX Accessories, 6 Acropolis, 103 Action, 10 Adam school, 97 Advertising, department store illustrated, 49 Advertising, magazine, half-tone, 57 Advertising, magazine, illustrated, 51 Advertising, magazine, pen and ink illustrated, 53 Advertisement, magazine illustrated, 46 Age, Golden, 103 Age of Pericles, 103 Air brush, illustration, 35 Alfred the Great, 106 Analogous harmony, 62 Anatomy, Preface, 13, 23 Animal arrangement, illustrated, 94 Anne of Brittany, costume illustrated, 112 Anne, Queen, 97 Anne, Queen, of England, 117 Applying color, 9, 70-71 Armorial dress, 110 Armorial dress, illustrated, 93, 109 Arms, 14 Arms, illustration, 21 Arthur, King, 106 Artists whose work has bearing in period fabrics or costume, 131-133 Asp, Egyptian, 102 Austria, Anne of. Queen of France, 116 Avery, Claire, 54, 59 Background, 65 Back view, form illustrated, 1, 2, 3, 4 Balance, 65 Balance, of figure, 22 Barbier, George, 42, 54, 72 Barry, Countess du, 87, 117 Basquine, 113 Batchelder, Ernest A., 30 Baviere, de Isabeau, 95 Beardsley, Aubrey, 42 Beardsley, Aubrey, illustration, 54 Beer, 6 Ben Day, 31, 39, 40 Ben Daj' color, illustrated, 62 Ben Day, illustrated, 33, 49, 55 Ben Day, magazine, illustrated, 50 Betrothal of Saint Catherine, 95 Bibliography, 127-128 Binary colors, 61 Birch, 16 Bliaud, 108 Blocking in, 10 Boots, musketeer, 116 Box plaits, 38 Braie, 110 Bristol board, kid finish, 43 Bristol board, plate, 43 British or masculine costume illustrated, 119 Brittany, Anne of. 111, 112 Brummel, Beau, 78 BruneUeschi, 42, 54, 134 Brush, air, 32 Brush work, 52-53 Brush work, illustrated, 40, 45, 46, 53, 54 Brushes, 71 Brushes, for wash work, 48 Buddhism, 91 Bustle, 123 Buttons, illustration, 5 Byzantine influence, 107 Callot, Sojurs, 6 Carlyle, 45 Catalogue, ink work, illustrated, 46 Catalogue page, illustrated, 30,31, 35 Catalogue, pattern work illustrated, 52 Catalogue, wash, 50 Catalogue work illustrated, 47, 51 Charlemagne, 107 Page One Hundred Thirty-eight INDEX Charlemagne, daughters of, 9-1 Charles I, King of England, 86, 114 Charles II, King of England, 86, 116 Charles VL, 95 Charles X, 121, 122 Charles the Simple, 95 Chart, color, 65-66 Checks, illustrated, 41, 42 Chemise, 108 Cheruet, 6 Chicing, 10, 13 Chiffon, 37 Chiffon, illustrated, 9 Children, 59 Children, illustrated, 13, 16 Children, lay-out illustrated, 41 Children, proportions, 16 Children, proportions illustrated, 17 Chinese influence, 97 Chinese ornament, 98 Chinese while, 37 Chiton, Doric, 103 Chiton, Greek, 103 Chiton, Ionic, 103 Chlamys, Greek, 103 Circle, construction, 36 Classic Period. Greek. 103 Clifford. Period Furnishings, 96 Cloak, Egyptian illustrated. 102 Cloaks, Egyptian. 101 Colbert, 97. 98 Collar, flat, 116 Cold color, 63 Collection, documents, 36 Collection, swipe ,36 Color, 61-71 Color, applying, 9, 70-71 Color, binary, 63 Color chart, 65-66 Color, complementary, 63 Color, Dr. Frank Crane, 67-70 Color, intensity or chroma, 62 Color, materials, 65, 70, 71 Color, normal. 63 Color, primaries, 63 Color scale. 63 Color schemes, 67 Color, significance, 66, 67 Color sketch, 6 Color, tempera, 9 Color, theory, 63 Color, tone, tint, shade, hue, 63 Color, value, 66 Color, warm, 63 Color, water, 9 Color, with wash, 50 Colors, tertiary, 63 Compass, 36 Complementary colors, 63 Complementary harmony. 65 Composition, 30, 52, 53 Composition, reference books, 30 Construction, head illustrated, 17 Construction of figure illustrated, 15 Construction, toothpick, 22 Consulate, 121 Consulate fashions, illustrated, 120 Convention, i'21 Coptic design, 91 Copying, 10, 37 Corset, illustrated, 39 Corsets, 114, 120, 122 Costume, Consulate. 120 Costume Design. Preface Costume. Directoire, illustrated, 119 Costume. Egyptian. 101-102 Costume Egyptian, illustrated, 101-102 Costume, 18th century, illustrate*!, 117, 118, 119 Costume, First Empire, illustrated. 120 Costume. Gallic, illustrated, 105 Costume, Gallo-Roman. illustrated, 105 Costume, Greek, 103-104 Costume, Homeric. 103 Costume, illustration. Preface Costume, Louis XIV, illustrated, 115 Costume, Louis XV, illustrated, 117, 118 Costume, Louis XVI, illustrated, 119 Costume, Louis XVIII, illustrated, 121 Costume, Louis Philippe, illustrated, 121 Costume, masculine, British or English, 120 Cost\mie, IMinoan or Mycenaean. 103 Costume, Pre- Hellenic, 103 Costume, Restoration, illustrated, 121 Costume, reference books, 127, 128 Costume, Roman, 104-105 Costume, Romantic Period, illustrated, 121 Costume, Watteau, illustrated, 117 Costumes, Restoration, illustrated, 121 Costumes. 2d Empire, illustrated, 122 Cotle, 110 INDEX Page One Hundred Thirty-nine Crane, Dr. Frank, color, 67-70 Crayon, pencil. 48, 50, 51, 124 Crepe, illustrated, 5 Cromwell, Oliver, 116 Cromwellian period, 86 Crown, red, 102 Crown, white, 102 Crusades, 95, 108 Dancing girls, Egyptian, 102 Dark Ages, Egyptian, 101 David, Jacques Louis, 87 Decorative detail illustrated, 44, 45 Decorative fashion work illustrated, 44, 45 Decorative half-tone, 56 Decorative pen and ink, 40 Decorative pen and ink, illustrated, 53 Decorative treatment, 38 Department store advertising, 39 Design, adaptation illustrated, 91, 75, 76 Design, costume, 75-79 Design, fundamentals of, 65 Design, influences, 91 Design, primitive, 91 Design, sources, 76-78 Design, symbolic significance, 91 Designers, 6 Detail, decorative, illustrated, 44, 45 Detail, illustrated, 42 Details, 5-6 Diana, Dutchess of Valentinois, 113 Directoire, 98, 120, 121 Direotoire and Empire design, 98 Directoire costume, illustrated, 119 Directoire period, 97 Directorate, 87 Directory, 121, 122 Documents, 36, 86 Documents, use illustrated, 37-38 Dominant harmony, 62 Doric chiton, 103 Dotted materials, 37 Double complementary harmony, 65 Doublet, 114 Dow, Arthur, 30, 52, 63 Drapery, 38 Drapery, illustrated, 85 Drawing, without models, 13-23 Drecoll, 6 Dress and History, 3d to 11th Century, 106-107 Dress, Consulate, 120 Dress, 18th century, 117-121 Dress, 18th century illustrated, 117, 118, 119 Dress, Egyptian, 92, 101, 102 Dress, 11th century, 108 Dress, First Empire illustrated, 120 Dress, 14th and 15th centuries illustrated, 110 Dress, 15th century. 111 Dress, Greek, 92 Dress, Louis XIV, illustrated, 115 Dress, Louis XV, illustrated, 117, 118 Dress, Louis XVI, illustrated, 119 Dress, Louis XVIII, illustrated, 121 Dress, Louis Philippe, illustrated, 121 Dress, 19th century, 121 Dress, parti-colored 93, 109, 110, Dress, Restoration illustrated, 121 Dress, Roman, 93, 104, 105 Dress, Romantic Period, illustrated, 121 Dress, second Empire, illustrated, 122 Dress, 16th century, 113, 114 Dress, 17th century, 116 Dress, 12th century, 108 Dress, 13th and 14th centuries, 110 Dress, Watteau, illustrated, 117 Drian, illustration. Frontispiece Drian, 47, 54 Dryden, Helen, 16, 47, 54 Dryden, Helen, illustration, 16, 24 Du Maurier, George, 88 Dunlop, J. M., Preface, 14 Dtirer, Albert, study of hands, 19 Dtirer, Albrecht, 38 Durer, Albrecht, illustration, 85 Duval, Preface Dyes, ancient, 92 Early fabrics and designs, 91 Early Renaissance costume, illustrated, 112 East India Company, 97 East, influence of, 91, 93 Eastern character, 97 Eastern design, 91 Editorial, magazine, 56 Editorial, magazine, illustrated, 44, 45 Editorial, magazine color, illustrated, 62 Editorial, newspaper, 46 Editorial, pen and ink, 38, 39 Egyptian costume, 101, 102 Egyptian costume illustrated, 92, 101, 102 Page One Hundred Forty INDEX Egyptian dress, 95, 101, 102 Egyptian emblems, 102 Egyptian fabrics, 91, 92 Egyptian, Old Kingdom, 101 Egyptian symbols, 102 Eighteenth century, 86, 88 Eighteenth century, costume reference books. 110,123 Eighteenth century costume illustrated. 117,118.119 Eighteenth century dress. 117-121 Eighteenth century, late, illustrated. 119 Eleventh century costume, illustrated, 107 Eleventh century dress, 108 Elizabeth, Queen of England. 97, 113 Elizabethan collar, 8G Elizabethan era, 85 Ellipse, constructing, 30 Ellipse, construction illustrated, 37 Emblems, Egyptian, 102 Embroidery, illustrated, 42 Embroidery, wash work, 38 Empire, 88, 122 Empire costume, 98 Empire, 1st, 123 Empire, 2d, 122 Empire style, 87 Enlarging, illustrated, 29 Ert6, 42, 47, 54 Ert6, illustrations, 44, 45 Etching, 54, 60 Fabric, classification. 96 Fabric, doc^umenls. rclerencc to, 131-133 Faces, 16-18 Fans. 116 Feathers, reali .tic treatment, illuslratcd, 47 Feature cut illustrated, 50 Feet, 19 Fichu, 107 Fifteenth century. 84. 85 Fifteenth century dress, 111 Fifteenth century dress, illustrated, 110 Fifteent century reference books, 111 Figure, 13-23 Figured material, illustrated, 5 First Empire, 123 First Empire fashions illustrated, 120 Flowered, material, illustrated, 5 Flowered materials, 37 Fontange headdress, 116 Fontange headdress, illustrated, 115 Fontanges. Mile. de. 97, 116 Fourteenth century dress, 110 Fifteenth century, reference books, 111 Fourteenth and fifteenth century, dress illustrating, 110 Formal arrangement, illustrated, 94 Forms. 1-3 Forrester, Fern. 54 Francis, 6 Francis I, 95 Francis I, King of France, 113 Fragonard, 86 Franks, 107 Front view, form illustrated, 1. 2. 3, 4 Fur, 38 Furs, decorative illustrated, 45 Furs, realistic method illustrated, 47 Gainsborough, 86 Gallic costume illustrated. 105 Gallo-Roman costume illustrated, 105 Gathers, 38 Gathers, illustration, 5 Gauls, costume, 105. 106 Gauls, history and dre.ss, 105, 106 Gauls, reference books, 106 George I, George 11, and George III, 117 G<-orge III, 87 George IV, 121 Girdle, Greek, 103 Globes, Egyptian, 102 Gloves, 107 Gold thread, use of, 95 Golden Age, 103 Gorget, illustrated, 83 Gothic architecture. 84 Gothic tapestry, illustrated, 84 Greek Classic Period, 103 Greek costume, 103, 104 Greek costume, illustrated. 103. 104 Greek Doric dress illuslratcd, 02 Greek dress, 92 Greek girdle, 103 Greek history and dress, 103, 104 Greek Influence, 91 Greek Law, 6. 27, 28 Greek Law, illustrated. 27 Green, Elizabeth Shippen, 16 Greenaway, Kate, 10, 87 Greenaway, Kate, style illustrated. 87 INDEX Page One Hundred Forty-one Hair, 18 ' Hair, illustration, 18 Half-tone, see Wash references. Handkerchiefs, 107 Hands, Frontispiece, 8, 19 Hands, illustration, 7, 18, 19, 20 Harmonies, 62-63 Harmonies of difference, 65 Harmonies of likeness, 62 Harmony, 65 Hat, design illustrated, 75 Hats, 6 Hats, designing, 78, 79 Hats, illustration, 8, 24, 79 Hatton, Richard G., Preface Head, 13, 14 Head, illustrated, 17 Heads, 16, 17 Heads, children, 16 Headdress, Fontange, 116 Headdress, Fontanges, illustrated, 115 Headdress, hennens, 110 Headdress, horned, 83 Heading, illustrated, 54 Headings, 42 Hem, illustrated, 27 Hennin, headdress, illustrated, 110 Hennins, 110 Henry II, 97 Henry VIII, 85 Henry VIII, King of England, 111 Heraldic forms, 95 Himation, Greek, 93, 103 Hispano-Moresque fabrics, 95 Historic costume, 101-123 History and dress, Gauls, 105-106 History and dress, Greek, 103-104 History, Roman, 104 History, 3d to 11th century, 106 History, 11th century, 107-108 History, 12th century, 108 History, 13th and 14th centuries, 108-110 History, 15th century, 110-111 History, 16th century, 111-113 History, 17th century, 114-116 History, 18th century, 117 Hogarth, 96 Holbein, Hans, 85 Holbein, Hans, illustration, 86 Hollar, 86 Homeric costume, 103 Hoop, 117 Horizontal lines, 65 Houppelande, 96, 110 Houppelande, illustrated, 84, 110 Hue, 61 Imagination, 77 " Impossibles," costume illustrated, 119 " Incroyables," costume illustrated, 119 " Incroyables," "uniniagineables," " merverilleuses' and "impossibles," 121 Indian lawns, 122 Indian shawl, 98 Individuality, 43, 45, 52 Influences in design, 91 Ink, 42 Intensity, laws governing, 65 Interregnum, 116 Ionic chiton, 103 Italian 14th century costume illustrated, 93 Jabot, 116 Jackets, 123 Jacobean, 97 James I, 86 James I, King of England, 114 James II, King of England, 116 Japanese prints, 44, 47 Jeanne d'Arc, 96 Josephine, 121 Jumping, illustrated, 22 Kerchiefs, Egyptian, 102 Lace, illustrated, 42 Laces, 37-38 La Valliere, Louise, 97 Lawns, Indian, 122 Lawrence, 86 Laws for use of color, 65 Lay-out, illustrated, 41 Lay-out, finished, illustrated, 30-31, 35, 41, 47, 51 Lay-outs, 29, 30 Lay-outs, rough, illustrated, 29 Leaping, illustrated, 22 Legs, 14 Lepape, George, 42, 54, 80 Lettering, book on, 36 Line cut, see Pen and ink references. Page One Hundred Forty -two INDEX Lines, 45 Lord, Harriet, 34 Lotus, Eg^-ptian, 102 Louis Philippe, 121, 122 Louis Philippe costume illustrated, 121 Louis XI, 95 Louis XIII, King of France, IIC Louis XIV, 117 Louis XIV, King of France, 86, 90, 97, 116 Louis XIV costume illustrated, 115 Louis XV, 87, 97, 98, 117 Louis XV, costume illustrated, 117, 118 Louis X\l, 87, 97, 98, 117, 120 Louis XVI, costume illustrated, 118, 119 Louis XVI, period of, 98 Louis XVIII. 121, 122 Louis XM^II, costume illustrated, 121 Lutz, E. G., Preface, 8 Magazine, advertising, 57 Magazine, advertising illustrated. 53 Magazine, editorial, 56 Magazine, editorial illustratcil, 62 Magazine, pattern drawing, 57 Maintenon, Madame de, 97, 116 Mantles, 118 Margins, 6 Marie Antionette, 87, 98 Marie Antionette, strips, 98 Marie Ix)uise, 121 Marshall, Preface Martial and Arniand, 6 Materials, black. 37 Materials, color, 65, 70, 71 Materials, for crayon iwmkII work, 51 Materials, wash, 48 McQuin, 47, 54 Medici. Catherine de, 97. 113 Medicis. Marie, 113 Memling, Hans, painting of, 95 Merey Whistler as inspiration. 77 Normal color. 61 Ogival forms. 94 Old Kingdom, Egyptian, 101 One motle harmony, 62 Openings, 4 Oriental characteristics, 97 Oval, construction. 13, 14 I'aciMila, Roman, 104 Paintings, having bearing on costume, 131-133 Paintings, having bearing on fulirics, 131-133 Paisley shawl, 98 Palla, Roman, 104 Panier, 117 Paper, carbon, 32 Paper, frisket, 32 *aper, graphite, 32 'aquin, 6 'arasol, illustrated, 38 'arsons, Frank Alvah, 30 'arti-colored costume, 110 'arti-colored costume illustrated, 109 'arli-colored dress, 95 INDEX Page One Hundred Forty-three Parti-colored dress illustrated, 93 Pattern drawing, magazine, 57 Pattern drawing, newspaper, 39 Pattern work, magazine illustrated, 50 Pattern work, newspaper illustrated, 48 Pen and ink, 38-47 Pen and ink, black detail work illustrated, 40 Pen and ink, black material illustrated, 40 Pen and ink, catalogues, 40 Pen and ink, catalogue illustrated, 52 Pen and ink, decorative, 40 Pen and ink, decorative work illustrated, 53 Pen and ink, illustrated, 46 Pen and ink, magazine advertising illustrated, 53 Pen and ink, magazine work, 39-47 Pen and ink, pattern work illustrated, 40, 52 Pen, ruling, 36 Pens, 43 Pencil crayon, 48 Pencil, crayon, 50, 51 Peplum, 116 Period fabric design, 91-98 Period, how influenced, silhouette, 83-88 Periods in designing, 77, 78 Periods, painting as references, 131-133 Persian verdure, 96 Personal characteristics, 75 Personality, 79 Pericles, age of, 103 Perneb, 101 Petit Trianon, 120 Phrygean bonnet, 108 Pilgrims, 86 Plaids, 37 Plaids, illustrated, 41 Plaids, shepherd, 37 Plaids, shepherd's, illustrated, 42 Pleating, illustrated, 5 Plaits, box, 38 Plaits, side, 38 Pleats, Watteau, 118 Poiret, Paul, 6 Pompadour, Marchioness de, 87, 98, 117 Pompadour stripes, 98 Poor, Henry A., 30 Pre-Hellenic costume, 103 Premet, 4 Priests, 102 Primaries, colors, 61 Primitive design, 91 Problem, 45 Puritans, 86 Quaker, 86 Raeburn, 86 Red, crown, 102 Reducing, illustrated, 29 Reference books, Egyptian, 102 Reference books, Gauls, 106 Reference books, 3d to 11th century, 107 Reference books, 11th century, 108 Reference books, 12th century, 108 Reference books, 13th, 14th, and 15th centuries. 111 Reference books, 17th century, 116 Reference books, 18th century, 116, 123 Reference books, 19th century, 123 Regency, 117 Religious orders, 84 Rembrandt, 79 Renaissance, 85, 97 Renaissance costume, late, illustrated, 113, 114 Renaissance, early, costume illustrated, 112 Reproduction, two color process, 68, 69 Republic, French, 122 Restoration, 122 Restoration, costume illustrated, 121 Reta Sanger, illustrations, 13, 43, 62 Revolution, French, 98, 120 Reynolds, Sir Joshua, 86 Rhythm, 65 Richter, Preface Roman costume, 104, 105 Roman costume illustrated, 104 Roman costume reference books, 105, 106 Roman dress, 93 Roman history, 104 Roman palla, 104 Roman poenula, 104 Roman toga, 104 Roman tunic, 104 Romantic period, 122 Romantic period, costume illustrated, 121 Romney, 86 Ross board, 31 Ross board, illustrated, 33 Royal gardens, 97 Rubens, 86 Ruff, 114 Running, illustrated, 22 Page One Hundred Forty-four INDEX Saint Catherine, betrothal of, 95 Scale, in design, 79 Scale of color, 61 Scroll motif, illustrated, 94 Sculpture, Greek and Roman, 131 Second Empire costumes, illustrated, 1'2'2 Senger, EeU, 13, 43, 54. 64 Seventeenth century, 86 Seventeenth century costume illustrated, 114 Seventeenth century dress, ll(i Shade, 61 Shakers, 87 Shawl, n-2 Shawl, Indian, 98 Shawl, Paisley, 98 Shawls, 123 Shepherd kings, 101 Shepherd plaid, 37 Shoes, 19, ii Shoes, illustrated. 7, 18, 34, 35 Side plaits, 38 Significance, color, 06, 07 Silhouette. 34-30 Silhouette, fashion, 83 Siliiouelte. half-tone, illustrated. 43 Silhouette, illustrated. 36, 87 Silhouette, period illustrated. 80 Silhouette, value of, 83 Silks, oriental. Ui Silver print. 32 Sixteenth century, 85-86 Sixteenth century eostunic illustratecl. 111. 11 Sixteenth century costume reference Ixxiks. 1 1 Sixteenth century dress, 113, 114 Sixteenth and .seventeenth centuries, 97 Sketch, dressmaker's, 9 Sketch, manufacturer's, 9 Sketching. 10 Sketching, for manufacturer , 4 Sketching, garment, -5 Sketching, life, 7 Sketching, memory, 4 Slashed costumes, 113. 114 Sleeves, 88 Smith, Jessie Wilcox, 10 Soulie, 54, 124 Spatter work. 31,. 32 Spatter work, illustrated, 33 Split complementary harmony, 05 Sport suit, 54 Spotting, 53 Squares, ruled, 32 Standing, illustrated, 22 Steinmetz, 53 Steinmetz, E. M. G., illustration, 56, 60 Stipple, 34 Stipple, illustrated, 34 Stitcliing. 38 Stitching, illustration, 5 Stock. 116 Stockings, 110 Straps, Egyptian hanging, 102 Stripes, 37 Stripes, illustrated. 5. 41 Stripes, Marie Autoinotte, 98 Stripes, Ponii)adoiir, 98 Surcot, 110 Surcot, illustratetl, 95, 109 Swastika, 91 Swipe collection, 30 Swipe collection, illustrated. 37, 38 Symbols, Egyptian. l()'-2 Syrian weavers. 93 Tapestries. Gothic, 83. 84 Theatrical illustration. 6 Theory, color, 63 Third to eleventh century dress. 100. 107 Thirteenth and fourteenth century costume illus- trated. 109 Thirteenth century dress, 110 Tliirteenth century reference books, 111 '!"<(hniq\ie catalogue illustrated, 30. 31, 35, 11, 42, 47. 51. .52. .58 Te<-htiique, color, 9 Technique, crayon pencil, 50 Tc(luii(iue, crayon pencil illustrf Tc(hni<|ue, decorating, 40 Technique, decorative, illustrat<' Techni(|Ue, decorative half-tone Technique, detail. 37-38 Techni(|ue, detail, illustrated, 4'^ Technique, mechanical, see 15c Silver Print, Ross Board, etc. Technique, pattern pen and ink. 40 Techni{|ue, pen and ink. 38-41 Tecluii(|ue, pencil, 3 Technique, realistic, illustrated, 35, 42, 47, 51 Technique, silhouette, 34-37 Technique, sketching, 3-10 7, .50, 124 44. 45. 53 list rated. 56 Day, Ail Bv INDEX Page One Hundred Forty-five Technique, stipple, 34 Technique, wash, 47-50 Tempera, show card colors, 71 Tertiary colors, 61 Textile designing, 54-57 Textile designing, illustrated, 55 Texture, of paper. Si Textures, 37, 38 Tint, 61 Toga, Roman, 104 Tone, 61 Toothpick construction, 22 Toothpick construction, applied, 23 Torso, 14 Tracing, 32 Transferring, 32 Transaction, period, 97 Treatment, decorative, 38 Triad harmony, 65 Triangular erection, 101 Trianon, Petit, 120 Trimmings, 37 Trimmings, illustrated, 5 Trunk motive, illustrated, 94 Tucks, 38 Tucks, illustration, 5 Tulle, illustrated, 9 Tunic, Roman, 104 Twelfth century, costume illustrated, Twelfth century, dress, 108 Underwear, illustrated, 52, 64 Valliere, Mile, de la, 116 Value, 62 Value, color, 66 Values, 52 Vanderpoel, illustration, 20, 21 Vanderpoel, J. H., Preface, 19 Van Dyke, 86 Valasquez, 86 Vertical lines, 75 Vertugale, 113 Vest, 116 Victoria, 121 Vignette, illustrated, 39 Vulture, Egyptian, 102 Waist, normal, 122 Waistcoat, 116 Walking, illustrated, 22 Warm color, 61 Wash, advertising, 47-48 Wash, catalogue, 48 Wash, decorative, 48, 50 Wash, editorial, 47 Wash, layout illustrated, 41 Wash, materials, 48 Wash, methods, 49-50 Wash, pattern, 47 Wash, pattern work, 48 Wash, realistic, 48 Wash, sketching, 48 Wash work, 47-50 Watteau, 86 Watteau costume, illustrated, 117 Wattean plait, 118 Watteau styles, 120 Weaving, 93 Weeks, illustrated, 3 White, Chinese, 37 White, crown, 102 William IV, 121 William the Conqueror, 107 Wimple, illustrated, 83 Women, Egyptian, 102 ^683 Uit) DATE DUE FEB M2007 oD T ? }m / PH ^' < MAY ifi 200A APR > 9 IQ""' mi 1 3 201 7 F£ i 1 420 J7 lOOZ i. vry^ UNIVERSITY PRODUCTS, INC. #859-5503 BOSTON COLLEGE 3 9031 028 01698 8