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http://www.archive.org/details/cu31924029921180

SELECT Historical Costumes COMPILED

PROM THE MOST RELIABLE SOURCES

HENRY

L.

HINTON

NEW YORK WYNKOOP 18

&

SHERWOOD

Beekman 1868

St.

EnUTutl aceurtUn^'

lo

Act

ut (.'ongn-sb, in tlie

HENIIY 111

L.

the Clerk's Office of the District Ouurt

Southern District of

BRADSTEEET

PRESS.

year 1S67, Uy

IIINTON, (.f tlie

New

United States for the

Yorli.

TO

Edwin Booth, AS A SLIGHT TRIBFTE TO ni9 RARE GENIUS, ANU AN ACKNO"WLEDGMENT OF

MANY GREAT KlNDNESSEb,

THIS V L U M E f)

IS

RE8PECTFFLL T INSCRIBED

BT

THE EDITOR.

II^TEODUCTIOK ''HE effort to seek

expression in

tume

is

one of the

most universal

in nature.

^Xature -"'

cos-

strews

along the

sea-

shore shells of an infinite variety of

tints,

apparently with no

other object than to please the eye; she scatters flowers of countless hues

and hills

the

delicate combinations of colors over the

and meadows, from, simple

love

it

would seem,

of adornment;

she decks

her animal creation in furs and plumage

marked and painted by the delight of

its

a fancy revelling in

own freedom.

Man

forms

INTRODUCTION.

no exception; the

him

instinct in

to array

himself in varied colors and draperies part of the system of Nature, and

mony

with her creative

The philosopher,

and

who

then,

in the

a

is

in har-

free

spirit.

despises dress

overdoes the character he assumes.

need we an apology

is

for catering, as

volume here presented,

Nor

we do

to the fancy

of the masquerader or to the tastes of the actor and artist.

While the

which we speak

instinct of

an attribute of every age, as in

it is

is

natural that

youth we more especially rejoice

in

a spontaneous self-expression, so in those

epochs of history

when

or group of peoples

is

a distinct

people

passing through

its

period of youth, there should be exhibited

an extraordinary flowering-out of gay costume.

Such an epoch was that of the

INTRODUCTION.

Middle Ages divided classes,

and

—a

period

subdivided

when

society

was

into

orders

and

secular and religious, to a degree

never before witnessed, and when the rank

and circumstance of

were denoted and

life

decorated by every fashion of gai'b

and

device that a glowing fancy could invent. It

is

therefore principally to this great

period that

we have had

recourse in select-

ing material for this work.

In making as

this selection, while

great variety as

limits of the

is

aiming at

consistent with the

work, we have given prefer-

ence to those costumes that combine the quaintness of the past with an artistic grace

and beauty,

since, in the

masquerade, people

of taste will seek to reproduce

which is

is

not that

simply grotesque, but that which

beautiful as well as novel.

Where

ex-

INTRODUCTION.

pense

is

a matter of consideration the mas-

querader will do well to observe that

many

of the styles here represented, though rich

may

in appearance,

than

is

be

made

at

less

cost

usually paid for the hire of a single

dress to the professional costumer,

whose

tawdry goods have neither the recommendation of cleanliness nor historic truthfulness

—whose

and the

"Henry VIII," "Joan

like,

of Arc,"

need to be placarded to be

known.

The Editor being

also

solicitous,

as

an

Actor, to subserve the interests of his profession, has

had an eye

to the choice of such

costumes as are suited to the stage, and at the same time have been rarely or never

brought out.

Venetian"

The costume of was

selected

by

Booth on the revival of the

"

"

The Young Mr.

Edwin

Merchant of

INTRODUCTION.

Venice," at the late Winter Garden Theatre

—the

when the

only

occasion,

that great

stage with

in

country,

this

drama was brought upon historic

strict

truthfulness

of costume.

The Editor that the

the in

work

artist,

is

also

will

encouraged to believe

be found acceptable to

as affording

him material help

reproducing on his canvas the

life

of

the past, as well as rich suggestion for the

elaboration of the work of pure fancy.

In proof of the historic styles here presented,

it

fidelity

will only

of the

be neces-

sary to state that they are selected from the

great works of Ferrario, Bonnard, Herbe,

Kretschmer, and others of equal authority. In the text which accompanies the plates

we have not

in

every instance sought to

give detailed descriptions, as the execution

INTRODUCTION.

of even the most delicate features of dress

has been well looked to by the

As

articles requisite

for

of such costumes as those

artist.

the making-up

we

illustrate

can

who

are

only be procured of certain parties,

probably unknown

hands

this

by many

book may

fall,

we

into

shall,

do good service in giving a to

whom

ally

perhaps, of those

the theatrical profession

Messrs.

resort.

Crane,

list

Shannon,

No. 32 Maiden lane,

whose

gener-

&

Miller

furnish the

gold and silver trimmings, together with the

cloths,

tableau

swords,

lights,

&c.

ornaments,

feathers,

Messrs.

Vanderlip

&

Taylor, No. 96 Bowery, supply the hosiery, tights,

body-dresses,

symmetries, &c.

John O'Donnell, 260 Bowery, ter boot

and shoe maker

and Mr.

J. P. Deuel,

is

Mr.

the charac-

for the profession;

124 Amity

street, the

INTRODUCTION.

manufacturer of the stage properties.

De

Paul

Spotte, 336 Canal street, supplies the

wigs,

beards and masks.

though

when

all in

New

ordered,

country.

These

parties,

York, send their goods,

by mail

to all parts of the

OOI^TENTS. No.

A A A A

French Ladt of Rank,

1

German Noble,

2

Peasant of the Gbilthal,

3

...

Peasant "Woman of the Geilthal,

4

English Musicians,

5

Anne, Dauphine DAuvergnb,

A Young A Young An

' .

.

...

Girl of the Canton Schwytz,

English Lady

Juggler,

A A A

Young Duchess (13th Young Nobleman, Lady and a Gallant

.

.

8

Century),

10

.... .... .

.

.

.11 12 13

14 15

16

(1795),

Agnes Soeel, Peasant of Hallau,

.

.

....

Istria,

A Scottish Chief, A Young Venetian of Rank A Lady of Rank of Milan, .

17

...

(Costume 14th and 15th Centuries),

.

1

9

A

"Woman of

.

(15t,h Century),

German Falconer, Young German Peasant "Woman, Young -Italian Girl,

Young Lady

6

.

Venetian of the Society of "LaCalza,"

A A A

A A A

.

.

.

18 .

.

.

19

20 21

22 23

CONTENTS. No.

A A

Venetian Soldiee,

Lady belonsins to the

24 suite

op the Dauphiness

D'AUVERGNE,

A Military Costume (15th and 16th A Peasant Wouan of the Canton A Cavalier (llth Century) A Young Italian Lady A French Nobleman (1365)

25 Centuries)

of Fribourg,

26

.

.

.

.

27 28 29 30

)

A

FRENCH LADY OF R A N K,

f

15^"

CE NTUR Y.

A FRENCH LADY

OF RANK.

"HIS costume

is

ta-

ken from a miniature of the manuscript entitled

which

^'

is

Ainoureux"

Echecs

found in the Royal

The wearer,

Library of Paris.

a noble French lady,

is

decked

with the sugar-loaf head-dress so

commonly adopted during

A

fifteenth century.

all

band of black

ornamented with an edging of

of the

velvet,

gold, binds

her forehead; the part of the robe which covers the breast

is

worked

in black velvet

above, and in tissue of gold girdle; the outer robe

is

down

made

to

the

of blue vel-

HISTORICAL COSTUMES. vet,

bordered with gold, and

trimmed with crimson

is

lined

and

velvet; the ends of

the sleeves are also of crimson velvet; the veil

is

girdle

of a white, transparent tissue; the is

green,

with

golden ornaments;

the portion of the under-skirt which

below

is

is

violet; the stockings are black.

seen

A

GERMAN

NOBLEI.

A GERMAN

NOBLE.

HIS costume ken from

ta-

is

a picture

of Pinturicchio, and

represents a nobleman in the suite of the eric,

Emperor Fred-

at the interview wlien he

plighted his faith to the Princess

of Portugal.

He wears

a red hat, held in

its

place by a greenish ribbon, passing under

the chin.

The

collar

and the hood are

low, bordered ia part with gold. is

yel-

The coat

white, changing to a bluish tint, and

terminated by a border of gold.

The

is

stock-

ings are red; the boots of a yellowish color.

HISTORICAL COSTUMES. silver.

The sword-belt

red, with gold buttons.

The case of the

and the spurs are is

sword

The

is

white, with gilded ornaments.

Italian costumes furnish few

of the use of boots; but the

examples

monuments

of

the northern nations prove that the French,

the Germans, and the English very generally availed themselves of this

mode

of protect-

ing the feet and legs; compelled, doubtless,

by the mate.

necessities of a cold

and moist

cli-

A

peasaMt of the geilthal

A PEASANT OF THE ^HE

GEILTHAL. dress of the

of Geilthal,

mer times

men

in for-

of an ex-

'?^-^tremely peculiar fashion,

even at the unique and *the

hair

present

original.

cut

or black color,

is

The high-

it is

made

daily

becoming

plaited friU,

coat

is

red,

The neck sewed and

is

is

is

now

a low crown;

of felt in winter, and in

of straw.

green

hat, of a

more rare among them; the hat more commonly worn with

day

They keep

short.

crowned sugar-loaf

is

encircled

to the shirt.

summer with a

The

waist-

fastened to the trowsers 3

HISTORICAL COSTUMES.

by green braces; the doublet

is

brown; the

trowsers are brown or green, and reach no

lower than the middle of the

calf;

ings are of white worsted;

the sandals or

slippers are It is

made

the stock-

of bark.

from the lUyrian peasantry, and

particular those

of the G-eilthal,

Italian theatre has

some of

its

in

that the

borrowed the dress of That of the men,

buffoons.

as

described above, bears some resemblance to the costume of various burlesque characters in the ancient shows. 3

A PEASANT

WOMAN OFTHE

GEILTHAL

A PEASANT WOMAN OF THE GEILTHAL.

HE women Geilthal hah'

which the

hang

in

of the their

let

long twists,

unmarried females

intertwine with ribbons of silk or red worsted.

The head-dress

of the married

women

consists

of a kind of round cap, which

is

sometimes fastened above with a black ribbon. of glass beads,

They wear

made

broad muslin ruff or plaits.

a necklace

to imitate coral, frill,

of a

and a

with very small

Their short-sleeved jacket

red; the petticoat

ders

also

and apron

is

usually

blue, with bor-

strongly-contrasted color;

wide

EISTOEICAL COSTUMES. ruffles

ter a

hang down

brown cloak covers

petticoats seldom

the

knee.

This

and

in win-

the whole.

Their

at the elbow;

much lower than

reach dress

extremely

is

mode

light,

and well suited

to the

mountaineers.

Their stockings are of white

of

life

of these

or colored worsted; their sandals are tied

with ribbons or thongs.

The waist

is

encir-

cled with a girdle of black fur, adorned with

small plates of copper; upon knife.

They seldom wear

it

hangs a closed

their hats, unless

obliged to do so by rain or the heat of the sun; in general they carry

a ribbon to the arm. 4

them hanging by

jisl

edward :ngush musicians,. reign or

3°;

ENGLISH MUSICIANS. REIGN OF EDWARD

III.

'N

the

great

houses lords,

musi-

cians occupied

place

among

of

the

the class

of domestics.

In early Saxon times, the com-

mon

people had their bards,

who

received their support from the contributions

of the

many, while the

kings had their minstrels as part of their

household.

Among still

the Celtic races musicians held a

more important place

and even

in

our

own day

in it

domestic

life,

can hardly be

HISTORIGAL COSTUMES. said that,

among

the G-aUic and Scotch peo-

performers upon

ples, the class of itinerant

the harp and the flute

is

entirely extinct as

a recognized element of society.

The

plate

which we give represents a

group of simple musicians of the time of

Edward

III,

and the singularity of

costume proves that a taste in dress

for the

their

grotesque

had already made sensible progress

at this period.

•^^

\NNE D'AUVER GN

E.

1371-1416,

ANNE, DAUPHINB D'AUVERGNE. isn-uie.

jHIS medigeval

cos-

tume, so bizarre to our modern eyes, 'yet so simple in

its

that no description

is

Anne D'Auvergne was ^

of Louis

II,

gained so English.

Genoese

Shortly

is

details

needed. the wife

Due De Bourbon, who

many after

victories over the his

solicited the aid of

marriage

the

France against

the pirates of the Barbary States,

making continual inroads upon

who were

their

com-

merce; the Due de Bourbon demanded and obtained the

command 6

of the troops which

HISTORICAL COSTUMES.

were sent the

to their relief.

month

of

Having

set out in

May, 1391, with twenty thous-

and men, and disembarking,

at the

beginning

of the summer, in sight of the ancient city of

Carthage, he invested that place, and in a single

day twice defeated the King of Tunis,

who was

forced to sue for peace.

On

his

return he gave chase to the Saracens, whose vessels infested the Mediterranean,

and

after

a cruise of a few months re-entered the port of Genoa, in the midst of the acclamations

of a people

Soon

who

after, the

hailed

him

as their liberator.

protracted illness of the King

of France forced the

Due de Bourbon

to

assume the administration of the government. History has recorded nothing remarkable of the wife of this Prince,

whom

our plate

represents in the costume of the time. 6

A

YOUNG VENETIAN. BELONGING

TO

THE SOCIETY OF

LA

CAL7A

A YOUNG VENETIAN or THE SOCIETY OF "LA CALZA."

^HE

Society of

"La

Calza" was an association of ^'jtiau ^;

young Vene-

noblemen and a few

gers of high

rank,

stran-

who, with

the sanction of the magistrates,

bound themselves by the reciprocal friendship,

^ able

ties of

and had

for

their object the pursuit of honor-

pleasures.

expense, public

They gave\ fetes,

at their

own

accompanied with the-

atrical representations.

They met together

to discourse music, to hold gondola races, to

celebrate

masquerades,

and

for

every

EISTOEIGAL COSTUMES.

kind of innocent amusement. recognize

In order to

each other in the pubhc

fetes,

they wore the right stocking ornamented

with various colors, and even with embroideries of gold, of silver, or of pearls.

The young man of plate represents

a

picture

is

this Society

drawn and colored

of Carpaccia, of Fine

bonnet

is

of violet velvet,

golden

embroideries

jacket

is

and ornaments

;

the

of green velvet, with a narrow black,

is

stocking

is

scarlet,

and

left stock-

adorned with white and black

right

The

enriched with

permits the shirt to be seen; the

the

after

Arts at Venice.

red border below; the doublet

is

our

preserved in the

Academy

ing

whom

stripes;

ornamented

with two palm branches, and with an embroidery

of

pearls

gloves are yellow.

upon

the

thigh;

the

A

YOUNG

GIRL OF THE CANTON SCHWYTZ.

A

YOUNG GIEL OF THE CANTON SOHTVYTZ.

/HE costume

of wo-

men and yomig girls in

Schwytz,

Canton

the

and especially

of in

the chief place of that name, is

characterized

by

a certain de-

^gree of stiffness, and the

ancient

French

approaches taste

;

it

is

something between the dress of the

peasant and

the

It follows,

citizen.

too, the caprices of fashion,

and

is

subject

to various changes.

The ordinary and more or

less

modern

dress of the inhabitants consists at the pres-

HISTORICAL COSTUMES.

ent time of a black woolen corset, bordered

with silken trimmings; a

skirt, in

ornamented with blue

stripes

part wool,

or

flowers,

covered with a linen apron of various colors; shoes ornamented

white cotton stockings;

with

buckles.

little silver

The

hair

is

gath-

ered into a twist at the back of the head; the principal ornament consists of an original

and unique

and coarse

coif,

laces,

composed of common

rising in

two enormous

butterfly wings,

between which

sue of

flowers, intermingled

tinsel,

set

artificial

and fastened by a large

transversely in the hair.

dress, singular as

pleasing

pretty

when

blonde.

coming to hair

is

it

it

is,

rests a tis-

with

silver eagle

This

does not

fail

headto be

decks the head of some It

is

naturally

ladies of a certain age,

gray and powdered.

less

be-

when

the

Finally, as a

HISTOBICAL COSTUMES.

mark

of feminine

women

piety,

girls

and young

rarely go forth without holding in

the hand a rosary and a book of prayers.

AN ENGLISH LADY.

(

15^."

CENTU R Y,

)

AN ENGLISH LADY. FIFTEENTH CENTURY.

'his

costume

longs

to

be-

the close

of the fifteenth century,

and

most elegant of '

is

one

the

of

this epoch.

This

noble lady wears over her breast

an

article

fashion,

of

attire of a peculiar

which was very generally

adopted about the end of the

fif-

teenth and the beginning of the sixteenth centuries.

by the

dress

is

also characterized

long, trailing sleeves of the chemise,

similar in

times.

Her

mode

to those of the

men

of the

A

GERMAN FALCONER.

A GEEMAN

FALCONEE.

HE

chase was, of

others,

ment

the

for

all

amuse-

which the

-^northern nations of Europe

i

had

the

strongest

attach-

ment, and which, together with the ^right of

wearing the sword, contheir

stituted

Frederic

II,

composed a

Emperor

treatise

of

dearest

Germany, himself

upon the nature of

and the care they required. the

modes of

privilege.

birds,

In this treatise

raising birds of prey, such as

the sparrow-hawk and the falcon, are ex-

plained in

full.

This costume

is

taken from a precious

SISTOSJGAL COSTUMES.

manuscript preserved in the Library of the Vatican.

It

would appear that the hvery

of this falconer

was common

to

all

employed

in the imperial chase.

bonnet

furnished with red cords.

is

those

The white Bands,

alternately violet, white and green, cross the

which are embroidered with

coat, all of

The coat

open from the

is

girdle

red.

down,

as

well as in the upper part to allow the head to pass through, but

black

The glove is

borne

closed over the breast

The under-sleeves

by buttons. with

is

cords.

of the

The

violet

hangs over the shoulders, cord.

The

green bag,

is

hat,

falcon

which

held by a red

belt or girdle, which carries a is

black.

He

decked with a piece of

emblem

blue,

The hose are brown.

hand upon which the

gray.

is

are

holds a bird's wing,

scarlet ribbon, as an

of his employment. 10

GERMAN PEASANT

A YOUNG GERMAN PEASANT WOMAN. 'HIS dress ple that

tion

is

is

so sim-

no descrip-

needed.

It

is

taken from the great German

work on costume by

Kretscli-

mer.

The custom of drawing

to-

gether the outer garment in front so as to form a graceful drape ly on

the back, was long practised by the Ger-

man

peasantry, and has not yet fallen en-

tirely into disuse.

The

colors of the differ-

ent garments, as represented in the plate, are those most

generally adopted by the

peasants. 11

,

A

YOUNG

ITALIAN GIRL.

^v.

A rOUNG ITALIAN

GIEL.

easy to per-

is

ceive,

the ings

by observing

ancient paint-

and the monuments of

the Renaissance, that the

ItaHan

girls retained,

young

even in the

thirteenth and fourteenth centuries,

freely

of the

the custom of allowing the hair

to grow,

and of permitting

upon the

shoulders, after the

early Lombards.

This

it

to float

manner

mode was

even employed as a sign of distinction be-

tween married women and young

As

to the dress of

women

girls.

in general, after

the poverty of the earlier ages was succeeded 12

HISTORICAL COSTUMES.

by an excessive degree of magnificence, there

many

arose so to

make a

choice

tumes which

The

variations that

fill

figure

among

it

difficult

is

the nmnerous cos-

the pictures of this epoch.

here

which

represented,

is

taken from a painting of Pinturicchio, has so

much

of the character of a portrait that

there can be

little

doubt of the authenticity

The robe

of the costume depicted.

mode

in its

of adjustment, the drapery of

the antique statues;

and

is

imitates,

it

is

without sleeves,

secured upon the shoulders by golden

clasps; it is of a violet color.

The

the sleeves and the stockings are a tissue of gold.

A

bodice,

woven

small, yellowish veil,

from which her black locks escape and

upon the

is

float

shoulders, partly covers the top

of the head.

tume

of

In other paintings,

this cos-

repeated with the addition of a 12

light,

BISTOmCAL COSTUMES. rose-colored or violet scarf, which

around the neck, shoulders,

and

is

floats gracefully

tied

over the

upon the back. 12

passes

A

JUGGLER

A

JUGGLER.

"HE

figure here rep-

resented was taken

from the

"Roman

a manuscript

de

la

of

Rose," pre-

served in the Royal Library at Brussels.

The jugglers occupied themselves

by turns with

performances,

with

poetry, with music, etc. 18

sleight of

hand

dances,

with

A

YOUNG DUCHESS

13'"

CENTURY,

A YOUNG DUCHESS. THIRTEENTH CENTURY.

HE rich

accompanying and elegant

cos-

tume has been ex-Attracted

sf

the

from a picture by

Due de

Seyde,

who

died, in the flower of his years, a i^victim to his

was

passion for

celebrated both

and engraver.

and

rival of

tion led jects,

as

He

painter

the friend

Albert Durer, a noble emula-

them

and

At once

art.

often to treat the

the

friendship

same sub-

which

united

them was expressed by

a frequent inter-

change of their works.

The

picture from

which the present costume has been copied 14

HISTORICAL COSTUMES. is

one of the most precious oi'iiaments of

the

Academy

of Fine Arts at Pisa.

The young Duchess who

is

here repre-

sented wears upon her head a small white

hood covered with a black bonnet, edged with gold; upon

The chemisette light

band of

this rests a is

gold,

white,

golden crown.

trimmed with a

and closed

neck

Through the open-

with a golden button. ing of the chemisette

at the

may be

of the chemise,

which

The under-dress

is

is

black,

seen the neck

edged with

lace.

ornamented with

pearls across the breast and over the shoulders.

She wears a

little

medal attached to

a red cord passing around the neck.

outer robe

is

of golden brocade, the open-

ing on the side of which

by

The

is

brought together

rich clasps, permitting the under-skirt to

be seen.

A

golden chain 14

is

thrown about

HISTOBICAL COSTUMES. the shoulders, and hangs low in front. large sleeves are

made

of

terial of a yellowish hue,

color,

some

light

The ma-

changing to a lake

and are fastened at the shoulders by

two black

lacets,

be seen.

The under-sleeves, of red

permitting the chemise to velvet,

are tight, but fuller around the hands, which

they partly cover;

they also have slashes

upon the arms, which are laced with small white lacets, allowing another white sleeve to

A

be seen beneath.

blue girdle with

red cords, clasped with a rich cameo, sur-

rounds the waist.

The shoes 14

are black.

AYOUNG NOBLEMAN

A YOUNG NOBLEMAK HIS costume markable fulness

and

is

for

re-

the

of the sleeves,

for the stripes of pinking

over the body of the coat. fulness,

This

and the lavish use of

bells, indicate

a dress designed

for a festal occasion, as well as the

high rank of the

wearer.

The

head-dress consists of a twisted turban of

gay

colors,

decked with high feathers. 15

A ladV an d a

gallant

A LADY AND A

GALLANT.

1795.

^HE most

noticeable

features in the cos-

tume of the i

gallant

which the plate represents are the excessively high cra-

vat, the variegated hose, the short

the coat, and the dupli-

!*waist of

cate fob-chains.

The extravagance

of the costume in these particulars

beyond that which

is

common

to the time,

together with the great length of the hair, gives the character something of a dandyish appearance.

This effect

is

still

heightened by a striking contrast of 16

further colors.

HISTORICAL COSTUMES.

The

lady, as represented in the plate,

more modestly and costume bearing a of the styles

now

tastefully dressed,

slight

is

the

resemblance to one

in vogue.

These figures are taken from Kretschmer. 16

AGNES SOREL

AGNES

SOREL.

'GNES SOREL,

or

Soreau, mistress of

Charles VII, King of France, village of raine.

the

was born

Fromenteau,

in the

in

Tou-

She was the daughter of

Seigneur

nobleman attached

Saint-Geraud,

a

to the house of

the Count de Clermont.

With

the

advantages of an elaborate education added to her natural gifts, she came, as maid-of-

honor to the Duchess d'Anjou, to the court of France in the year 1431.

was

called the

then in the

full

Maid

Agnes, who

of Fromenteau,

was

bloom of her beauty, and 17

EISTORICAL COSTUMES. easily captivated the heart of the King.

In

order to attach her to his court, he conferred

upon her the

position of maid-of-honor to

the Queen.

The Enghsh were then masters

kingdom of France. urally brave,

had

of half the

Charles, though natfallen

into

a

profound

apathy in consequence of a feebleness of character which unfitted against misfortune. in recalling to his

own

She died

him

him

for the struggle

Agnes alone succeeded

to a sense of

what was due

glory and that of his people. in

Normandy, whither she had

gone to warn the King of a conspiracy. 11

A PEASANT

OF HALLAU.

HE

peasant of Hal-

lau wears black, felt hat,

and

a

large,

three-cornered

in addition,

dur-

ing the winter, a black bonnet or leathern cap, which he also

wears at work when he has not .

his hat.

rarely

is

Around vat,

The jacket

removed from

his

neck he wears a black

his

which

This bonnet, once put on,

is

tied

head.

silk cra-

on the nape of the neck.

or short coat

is

made

of linen,

or sometimes of some woolen or cotton material.

It

is

only in winter that he wears,

as here represented, a kind of scarlet waistis

EISTORIGAL COSTUMES. coat,

with white or yellow metal buttons.

Above

this waistcoat

mediately over the

(and in

shirt)

may

summer imbe seen the

gallowses, an indispensable feature in the

costume of the inhabitant of these are sometimes of as here,

of leather.

known under made

the

silk,

this

and sometimes,

The puffed

name

district;

trowsers,

of plump-hosen, are

of black woolen or cotton goods; they

are very

full,

and hang in numerous

folds.

The knit woolen or cotton stockings are fastened

to

the

trowsers.

In

place of

buckles, the shoes have leather strings, cov-

ered by a strip of leather of the same length as the shoes. 18

-I'r

A

YOUNG

LADY,

ICOSTUMEOF FRANCE a H O LLAN D,

14" a

ISn"

CENTURY.

A YOUNG

LADY.

COSTUME OF FRANCE AND HOLLAND IN THE FOUETEENTH

AND FIFTEENTH CENTDRIES.

HE

young woman

who

figures in the

accompanying plate f^:i^ holds

y

of

in her

the

hand a feather

peacock.

In the

fourteenth and fifteenth centuries,

Hhe peacock, the pheasant and the heron were to the chevaliers of the time what the Styx was to the gods of fable.

Whenever an important

enterprise

was

undertaken, a peacock or a pheasant, sometimes roasted,

but always arrayed in 19

its

BISTOEIGAL COSTUMES.

most beautiful plumage, was carried with great solemnity, by married ladies or maidens, in a large silver or golden basin, into

the

midst of the numerous assembly of

was presented

knights.

It

chevalier,

and each one made

the bird;

it

in turn to

his

vow over

was then placed upon the

to be distributed to all

who

each

table

assisted in the

ceremony.

The

figure

here

given,

taken

from

a

painting of Lucas de Seyde, will serve as a type of the general costume of the of France,

women

Holland and Italy during the

fourteenth and fifteenth centuries.

The head-dress of sists

this

young woman con-

of a kind of turban, of a rose color.

The middle band

is

small bonnet which

black, as well as the

falls

border of the bonnet 19

is

over her ears; the of gold, and the

HISTORICAL COSTUMES.

embroideries of

A

silver.

light,

white veil

covers her forehead, envelops a lock of hair

under the

ear, and, passing

turban,

tied

end to

is

float

upon the

top,

leaving the

over the shoulders.

The chem-

isette is white,

and

adorned with golden

is

The robe

buttons and embroideries.

some green

is

and

material,

trimmings and sleeve

back over the

fillets

bound by

is

The short

and some golden

The under-sleeve

ornaments.

of

enriched with

of gold.

a lacet

is

is

of crim-

son velvet, through the openings of which is

arm

is

laced

The cloak is

The

seen the chemise.

is

slash

under the

by two small black

cords.

white, changing to a blue, and

ornamented with a golden border.

girdle

is violet,

and the hose are black. 19

The

V

A

WOMAN OF

ISTRIA.

A WOMAN OF

ISTEIA.

'HE costume Istrians

frequent

but

its

is

of the

subject to

modifications,

general character

is

as

follows:

The men wear a felt hat,

that

it

low, black

with so narrow a brim

affords

no protection from

either the sun or the rain.

hair

is

narrow

cropped short. collar

Over a

shirt

Their

with a

they don a short white jacket,

of coarse woolen cloth, the sleeves of which are turned

back to the shoulder.

Their

trowsers are black, or of white and brown stripes,

and are tied below the knee. 20

Most

HISTORICAL COSTUMES.

them carry

of

at the girdle a pouch, into

which they place

all sorts

Their

are

stockings

of knick-knacks.

generally

white

of

worsted, and their shoes are of undressed leather.

The women, both

in

wear gowns of white

summer and linen; over

the cold season, which

winter,

which

in

of short duration,

is

they throw an over-garment of some dark material.

The

head, which

hair

is

combed back over the

covered with a turban of

is

white linen, so twisted that one end of this

head-gear

falls

upon the

left shoulder.

chemise covers the entire neck, and

numerous liar

folds.

form.

in

their waist a

which they are fond of setting

a posy of flowers.

attached the

falls

Their shoes are of a pecu-

They wear about

girdle, within

The

distaff,

To

this girdle

which 20

is

also is

the indispensa-

HISTORICAL COSTUMES. ble

companion of these women.

sea-coast thej

market on

may

asses,

Along the

be seen daily, riding to

spinning the thread and

gayly singing on their route. 20

A SCOTTISH CHIEF, (TIME OF ROBERT BRUCE.)

A

SCOTTISH CHIEF.

TIME OF EDTVAED

I,

AND EOBEBT BRUCE.

I

HE

representation

of a ship with clouds flying above, i

on the

buckler of this warrior, leads us to

conjecture

that this

personage was a descendant of the 'ancient

race

;

kings of the

a lord

of the

Norwegian

The

isles.

"lion rampant" at the

base

of

the shield, surrounded by a kind of plait,

denotes some Scotland;

and

affiliation

this

last

with the kings of circumstance

lead to the discovery of the Chief.

The costume agrees 21

name

may

of the

perfectly with

HISTORICAL COSTUMES. the

which we form of the Scottish

idea

warriors before their league with France, as Froissart describes them.

This historian

says that they were very imperfectly cov-

ered with defensive armor prior to the time

who

of Charles YI,

sent to their aid a body

of French knights, together with the suits

obtained by the

of mail

disarmament of

seditious Parisians.

The

chief here represented

a lance; linen

coif,

upon

his

leans

upon

head he wears a small

such as distinguished most of the

Anglo-Saxon warriors long before the epoch in question.

The form of

his

buckler, as

well as that of his large sword, belongs to the time and the reign above mentioned.

The purse which he idence

The

of

shell

the is

carries

antiquity

is

also

of this

an ev-

costume.

a kind of trumpet carried for 21

HISTORICAL COSTUMES.

the purpose of sounding the appeal of his clan.

This figure was copied after a large

effigy

on a monument which was

found

behind the church at lona or IcolmkiU. 21

CMJNG VLNETIAN GLNTl.FIMAN l.i

I

'

X

IS '"

cr ITU I

R-i

A YOUNG VENETIAN

OF RANK.

LATTEK PART OF THE EOURTEENTH OENTUET.

'T

is

supposed that

the origin and even the

liberty

of the

famous republic of Venice date

back beyond the Middle

Ages, and the Venetians boast of never having at any period

^

been subject

to the

yoke of the bar-

barians.

The costume represented,

of a

young Venetian, here

though more

common, near

the close of the fourteenth century, to the

young nobles of other countries than

Italy,

.belonged especially to this most opulent and 22

HISTORICAL COSTUMES. gallant of all

whose lagoons were dolas,

and of

Yeneizia la

this

cities,

so

hella,

gay with rich gon-

and with vestments of

silk,

of velvet,

gold.

The representation of here given

is

a

young Venetian

taken from a picture of

Crivelli,

preserved in the gallery of Biera at Milan.

His head

is

covered by a bonnet of scarlet

wool, such as was generally

young men

the

The small velvet

of the time.

cloak, of a lake color,

worn by

lined with similar

is

material, but of a green color, edged with gold;

border of the cloak about the

the

neck, above which shirt-collar,

which

is

is

also

of

gold.

many

not, as in

open on the

se$n the edge of the

is

side, is

The

cloak,

similar costumes,

thrown up on the

left

shoulder, and partly covers the right hand.

The collar-band

is

of gold, and 22

is

enriched

HISTORICAL COSTUMES.

with rows of pearls and precious stones.

The doublet

is

sky-blue, ornamented with

sil-

ver flower-work; the crimson velvet sleeve,

dashed with gold, open from the wrist to the elbow, shows the shirt beneath, and

brought together by red

lacets.

in the side of the doublet

braid stitched with gold. consists of a

band of gold

is

is

The hose

slash

adorned with a

The border below lace,

with embroidered work of a lake girdle

The

is

ornamented color.

The

of green velvet, edged with gold. are

made

of scarlet cloth;

the

shoes are red, and are laced with a yellow cord; or yellow, laced with a red cord.

lance bears a streamer, which

and red below. 22

is

The

white above

NOBLE LADV OF M

I

LAN.( l5^."CENTURy.)

A LADY

OF

EANK OF

MILAN.

CLOSE OF THE EIFTEENTH CENTUET.

'

HIS elegant costume is

taken from a min-

iature 1

others,

which,

with

ornaments a small

book of prayers.

The exe-

cution and finish of these precious ^paintings leave no

concerning

the

they belong.

room

for

doubt

epoch to which

The date may be

fixed as near the close of the fifteenth century.

This lady has her head dressed with a small white bonnet, bordered with pearls

and enriched with precious 23

stones.

The

HISTORICAL COSTUMES. cloak

is

green

red, with golden embroideries

The outer robe

lining.

some white

material,

is

is

blue.

made

of

bordered with gold

and having a lining of a lake inner robe

and

color.

The stockings

The

are crim-

son,

and are adorned with golden spangles.

The

sleeves belong to the outer robe; they

have a lining of a lake dered with gold.

color,

The small cord which

passes over the forehead,

with a precious stone, allowed to

The

fall

ladies

and are bor-

is

and

is

adorned

black; the hair

is

unconfined. of this

period,

as

many

of

the contemporary paintings show, were in the habit of carrying their book of prayers in a

kind of a silken or velvet bag, richly

worked.

The noblewoman here represent-

ed holds her book open upon ment, which

is

this

envelop-

here of crimson velvet. 23

"-^ss:*?"

A

SOLDIER.

A

VENETIAlSr SOLDIER

'LTHOUGH mediasval

costumes

the

military

were

as

as are those of our

May, yet

styles not materially dif-

ferent from that of the Venetian

we have here given

soldier

are

'found in the old illuminated books of

many soldier,

of the

European

nations.

This

though doubly armed, has on but

comparatively httle armor, which was falhng gradually into disuse at this time. consists

are

of a jacket

made very

bands

at

short

full,

The dress

and breeches, which and bound down with

distances, 24

forming

puffs.

HISTORICAL COSTUMES.

These puffs are slashed, displaying the undei'-garments, which are white. feather,

which

dress, does not

is

a

marked

vary from

it

was sometimes of a bright ers of a deep orange. 24

The long

feature of this in color,

red,

which

and at oth-

A I.ADY IN

THT

':,

U

1

I

Ol

Tl-I

T

Ij /'.LI

PI

1

1

1

I

C

i

' Al IV

E

R

r,

n

ET ,

A

LADY

BELONGING TO THE SUITE OF THE DATJPHINESS D'AUTERGNE.

HE costume

here re-

presented, of a lady in ^'"^

the

suite

of

Anne

D'Auvergne, wife of Louis

Due de Bourbon,

is

II,

copied from

an armorial record of Auvergne. This lady came to the court of j^->-^^France with the Dauphiness in 1371. It

was

in the

fourteenth

century

that the custom began of blazoning armorial

bearings upon the dress; but the

reign

of Charles

became general

V

in Prance. 25

it

was not

that the

till

custom

_,JSteaM^

MEDIAEVAL M LITARY C O ST U M E I

.

A MILITARY COSTUME. FIFTEENTH AND SIXTEENTH CENTUBIES.

HE which is '~\

much

''^'

figure this

copied

from

costume has

too

of the character of

a portrait to permit of any un-

certainty concerning ticity.

date,

the

traits

authen-

Although of a much

has,

it

its

nevertheless,

peculiar

to

later

some of

certain

cos-

tumes

in the paintings of Giotto, preserved

in the

Campo Santo

His head

is

of Pisa.

protected by a kind of white

bonnet or

hat.

He wears

the sides,

made

of an earth-colored cloth, 26

a dress open on

EISTORIOAL COSTUMES.

with a turned-down collar of black velvet.

He

is

armed with

leather strap.

a sabre suspended from a

The scabbard

gilded furnishings. dish yellow color,

The hose

is

black, with

are of a red-

and the boots are

black,

with white reversed tops.

The

picture

from which

represents the Crucifixion;

this it is

of Verona, and bears the date 26

is

taken

by Michael

MDI.

PEASANT WOMAN OF THE CANTON FRIBOURG.

A PEASANT WOMAN OP THE CANTON OF TEIBOFEG, IN FESTAL HABIT.

'HIS costume

differs

in every respect

that of the

Romance is

'

colors,

artificial

flowers

of various

grouped harmoniously, and silver cord.

parted upon the forehead, and

two

The head

surmounted with a crown

bound by a

in

French or

dressed in a black bonnet or

cap,

of

peasants.

from

The falls

hair

is

behind

free, floating masses, confined

by a

ribbon varying from scarlet to green.

Around of

the neck

a bluish

tint.

is

A 27

an antique linen ruff fine

black or

deep

EISTORIGAL COSTUMES.

brown under-waist, garnished with black velvet ribbons,

covers the

shoulders in winter, while in tiful

arms and the

summer beau-

white linen sleeves, with lace

ruffles,

extend from a scarlet bodice, from which

hangs a petticoat of the same

color.

Above

the ruffs that surround the neck they wear

a black neck-piece of cut velvet, adorned

with black velvet ribbons.

The

corselet

is

laced over the breast with ribbons of vari-

ous colors, mingled with silver and gold;

and over

hung a is

called

this a silver chain,

silver

is

box of an oval shape, which

Agnus

less richly

upon which

Dei,

and which

is

more

or

worked, according to the fortune

of the wearer.

A

black silk apron, tied be-

hind by a large ribbon worked with varie-

gated flowers, or with silver and gold, after the manner of a

scarf, 27

completes this singu-

'

HISTORICAL COSTUMES. larly rich apparel, which,

upon a

beautiful

person, shows to fine effect, and which besides

recalls

forcibly the

costumes of the

fifteenth century.

The dressing

of the feet and legs

very

is

ordinary, consisting of white stockings, and

black shoes with large buckles.

women

leather

or

Pointed heels have grown into

gradual disuse. privilege

silver

Only young

girls

of wearing the crown. are

dressed

in

all

have the Married

respects

maidens, except that the black cap set off with the crown. 27

is

like

not

A

CAVA LIE

R.

A CAYALIEE. SBTENTEENTH OENTtTET.

^RESS

at this epoch

had undergone great changes in rf

^the

countries

were

Boots

of

many

of

Europe.

beginning

to

be very generally used, and the

trunks" or breeches, which for

some time had been

now extended below cloak

which

across

the

left

were

The small

been previously- worn

had

back was now placed on the

shoulder.

The

hair

was worn long edged with

lace,

lace trimmings to the boots,

were

and curled; large and even

the knee.

short,

collars

28

HISTORICAL COSTUMES.

much

in vogue.

came

into such general use, appeared about

this time.

The

cane, which afterwards

The exact

style of

costume here

represented prevailed more particularly in

France about the time of Richelieu. 28

A YO U N G ITALIAN LA D

^'

12

aO

A YOUNG ITALIAN

LADY.

"FTER

observing the

ancient paintings, is

if

it

easy to perceive that,

the costume of

women in

gen-

eral justified the passage of laws

to restrain their too great

mag-

nificence of dress, nevertheless

the costume of young

gii-ls

always

united modesty with richness, and

ought to disarm the most severe censors.

Ambroise Lorenzetti did not deem the

tume here represented unworthy

to

cos-

deck

the blessed ones in his picture of The Last

Judgment;

it

accompanying

is

from

figure

is 29

this

work

taken.

that the

HISTORICAL COSTUMES.

The outer robe edged with blue,

of a rose color, and

The under-dress

gold.

and permits the

to show.

The

to the wrist,

cord,

is

collar of the

is

is

bright

chemise

sleeves open from the elbow

edged and laced with a golden

showing another white sleeve beneath.

The

hair,

though held back by a small

chain, falls free

upon her

then the custom with

all

shoulders, as

young

girls

was

before

their marriage.

The shoes are

of blue velvet, embroidered

with gold.

Ricordano Malespini, the historian, contrasts the richness of this

costume with the

dress of the Florentines prior to the year

1260:

"Then

the inhabitants of Florence were

sober; their food sive,

was simple and inexpen-

but their manners were good. 29

They

HISTORICAL COSTUMES. did not despise the coarsest stuffs for their dress, or for that of their wives.

Many

even

covered themselves with simple skins and plain bonnets.

A

narrow petticoat made

of a coarse

material of goat's hair, of a

scarlet color,

and gathered around the waist

by a leathern

girdle,

having a buckle a

V antique; a cloak lined with minever, with a

hood

which

at the

the'

back

—such was the dress with

women were 29

content."

A

FRENCH NOBLEMAN, II365J

A FRENCH NOBLEMAN. 1365.

"OWARD the

the end of

reign

of

King

John fashionable gentlemen began to pink the borders of their robes; but under

Charles

V

this

and continued century. also of

The

became

into the fifteenth

fashion

appendages embroidered with

Charles

was

Y

sleeves,

gold, or long

ground.

Under

the ipitoge, or presidential cap,

laid aside,

stituted

continued

wearing long half

ribbons reaching to the

the rage,

and

two wide

in its place qjaulieres, so

were sub-

or shoulder-

EISTORIGAL COSTUMES. pieces,

which formed

at the

sleeves and a false collar.

same time

The queue

false

of the

hood, greatly lengthened during the reign of

King John, and

prolonged

till it

after

his

death,

reached the ground,

in the

form of a cord, which was sometimes around the head.

There were

was

tied

also in fash-

ion certain kinds of cardinals or pelisses,

with several queues, or pinked in various ways,

and worn often on the shoulders.

Noblemen

ordinarily

for great occasions

open on the the

breast

wore

chapes, or caps;

they wore a large cloak

right, or

having two

from

slits

down, and furnished with an

Armorial bearings were very

epitoge.

little

used except on state occasions; people contented themselves with taking the armorial colors

for their

suits of

ordinary garments;

two and sometimes three 30

hence

colors.

Antobte Watteau, Iris

Die Mode.

18. Jatrh. 1

DIE MODE Menschen und Moden im achtzehnten Jahrhundert Nach

Bildern und Stichen der Zeit ausgewählt von

Dr. Oskar Fischel Text von

Max von Boehn

Zweite verbesserte Auflasre

MÜNCHEN

/

BEI

F.

BRUCKMANN

A.-G.

Alle Rechte, besonders das für

fremdsprachliche Ausgaben, vorbehalten

Klischees und Druck von F. Bruckmann A.G.,

München 1919

Dasgeben,

Bild der

Text

Mode

hat dieses

menschlich und ohne Verzerrung zu

Bändchen

schildert als Parallele

sich

zum

dazu das Leben

Ziel gesetzt.

Der

in seinen geistigen,

und künstlerischen Faktoren, kurz alles, was die Abbildungen schuldig bleiben müssen. Ganz ineinander aufgehen können Bild und Wort hier naturgemäß nicht. Niemand

politischen

wird vernünftigerweise zu allem, was an kulturellen Regungen einer Zeit besprochen wird,

eine Illustration aus der

erwarten

wie es

einem

dürfen,

das

Bilde,

Paraphrase

in

so

wenig,

sich

von

selbst

notwendig erklärt,

Mode

scheint,

zu

nochmals eine

Worten zu geben.

Nur, wer Text und Bild als ein Ganzes nimmt, wird das, was der Titel verspricht »Menschen und Moden«

—

—

finden.

Für eine kurze Spanne Zeit die

gesamte Kostümgeschichte

ist

hier versucht,

geleistet

werden

was

sollte:

für

die

äußere Erscheinung einer Epoche im Spiegel ihrer Kunst zu geben, aufrichtig, aber ohne die Schärfe oder Uebertreibung, die bisher fast stets in Kostümgeschichten beliebt

worden

ist.

Denn

dem

Bilde

heiten

nicht

die

Kuriosa und Absonderlichkeiten

früherer Zeiten,

in

so wenig wie lokale Besonder-

man

suchen, sondern das Typische, Normale und gesetzmäßig Entwickelte der Tracht. Wer sich wirklich mit Empfinden und Gehaben einer Epoche vertraut machen kann, wird auch für die unserem Gefühl widersprechenden sollte

2076800

Formen

der älteren

Moden

nicht die besser wissende Kritik

und den Spott erübrigen können,

in

denen lange Zeit das

Interesse an diesem Teil der Kulturgeschichte sich erschöpft

So wurde

hat.

hier

versucht,

neben der Mode und der

geistigen Erscheinung der Zeit zugleich soviel wie angängig

von der Szenerie des Lebens in Wohnungen, Möbeln, Gärten anzudeuten, kurz die Kunst als Zeugin für das gesamte Leben aufzurufen. Denn die Maler sind die unbefangensten

und zuverlässigsten bedacht gewesen,

kunde

für die

Die

Illustration

ist

das

darauf als

Ur-

äußere Erscheinung der Zeit gelten kann, zu

Bei der

bieten.

Schilderer.

nur authentisches Material,

Anordnung desselben

ist

wie beim

17. Jahr-

hundert der Versuch gemacht worden, eine möglichst chronologische

Ordnung durchzuführen.

die Originale der Bilder

In den Fällen,

oder Stiche ein

Datum

dasselbe auf andere Weise zu ermitteln war, schrift

hinzugefügt worden.

Zwischen diese

ist

in

denen

tragen oder es der Unter-

zeitlich fest be-

grenzten Bilder sind jene eingeschaltet worden, deren

Datum

nur annähernd zu bestimmen war. Dieses Verfahren schließt Irrtümer nicht aus, wer aber die Schwierigkeiten der Materie kennt, wird die Arbeit mit Nachsicht aufnehmen.

Die Verfasser möchten an dieser Stelle Herrn Dr. Doege auf das wärmste für die große und selbstlose Liebenswürdigkeit

danken, mit der

Mode

gefördert

MAX

V.

und

BOEHN

sie

von ihm bei ihren Studien über die

unterstützt wurden.

DR.

OSKAR FISCHEL

Für das Abbildungsmaterial Sammlungen entnommen

sind die Vorlagen besonders folgenden

der Freiherrlich LipperheideschenKosiümbibHothek,

dem K. Kunst-

gewerbemuseum, dem K. Kupferstichkabinett, dem HohenzollernMuseum, dem Kaiser-Friedrich-Museum in Berlin, der K. Neuen Pinakothek, der

Graphischen Sammlung, dem Nation^lmuseum

und der K. Residenz

in

München, der Bibliolheque

nationale,

dem Cabinet des Estampes in Paris, dem British Museum und dem South Kensington Museum in London, dem Museum in Versailles, der Kaiserl. Gemäldegalerie, der Albertina, der Hof-

bibliothek, der Galerie Liechtenstein in

lags

das

Wien.

Dank der Herausgeber und des Verfür das Entgegenkommen, mit dem von staatlicher und privater Seite Unternehmen unterstützt wurde, zum Ausdruck gebracht. Auch an

dieser Stelle sei der

Ganz besondere Dankbarkeit schulden Verfasser und Verlag den der Kunstgewerbemuseums- und Lipperheideschen Kostüm-

Vorständen bibliothek

urd des Kupterstichkabinetts

Chodaiüiecki

,

JJjg

in

Berlin.

Chodowiecki, ijSi

MENSCHEN UND MODEN

IM

ACHTZEHNTEN JAHRHUNDERT

Inhalts-Übersicht 1

.

Kapitel

—

—

—

Rousseau S. 6 Einfluß Frankreichs Empfindung S. 5 Standesvorurteile S. 16 Rang Deutsch und französisch S. 12 S. 8 Die Jesuiten S. 26 Erund Titel S. 18 Die Bekenntnisse S. 21 Politik S.

I

—

—

—

ziehung 2.

S. 29.

Kapitel:

Die Moral 38 — Empfindung und Empfindelei — Werther 50 — Bildungsbedürfnis 52 — — Friedrich der Große 58 — Der Aberglaube

S.

S.

S.

— —

— Klopstock 60 — Abenteurer 47

S.

Norden und Süden

S.

S.

3.

— —

—

S.

S.

49 54

S. 66.

Kapitel:

—

—

Der Klassizismus S. 77 Romantik Architektur S. 74 Die Kunst S. 71 Das Porträt S. 85 Das Pastell S. 86 Die Malerei S. 79 S. 79 Das Mobiliar S. 94 Das Interieur S. 90 Das Silhouette S. 88 Gartenkunst S. 108 Das Briefschreiben S. 104 englische Möbel S. 100

—

— — —

—

Das Porzellan 4.

S.

—

— —

—

iii.

Kapitel:

— Die Damenmode S; 124 — Die Fontange' 128 — 13S — Die Adrienne S. 145 — Der Reifrock 130 — Das Schnürleib Der Caraco 148 — Stoffe und Farben 148 — Das Brautkleid S. 151 — Unterkleider S. 152 — Die Spitzen und Wäsche 156 — Die Frisur 172 — Schminke S. 174 — Die Mouches S. 177 — 158 — Puder Die Mode

S.

121

S.

S.

S.

S.

S.

S.

S.

S.

Der Schuh 5.

—

S. 178.

Kapitel:

—

—

Spitzen Die Herrenmode S. 181 Das Beinkleid S. 186 Gilets S. 186 Der englische Anzug Der Degen S. 190 Hofaniformen S. 194 S. 189 Die Frisur S. 198 Puder und Schminke S. 197 Die Perncke S. 200 Kleiderordnungen S. 209 S. 206 Der Hut S. 207 Die Orden S. 208 Das Modejournal S. 2 20. Uniformierungssucht S. 2 1 4. Die Uniform S. 2 1 7

— —

—

—

— — — —

6.

—

S.

Kapitel:

— Reisen 228 — Reinlichkeit 232 — 241 — Das Spiel 244 — Die Jagd — Die Heilkunde 252 — Die Klöster

224 Vergnügungen Theater S. 248 Zustände

— — — — S.

S.

S.

S.

S.

S.

S.

Zeitungen

S.

256.

Essen 246 254

S.

— —

235

Das Die

^%.di yacques-Andre Portaii, Bildnis einer

Die Mode.

18. Jährt. 2

\\

Dame

/en