Brocade dress with quilted petticoat.
Third quarter of i8th Century.
Sec page 3.
Frontispiece.
VICTORIA AND ALBERT MUSEUM
DEPARTMENT OF TEXTILES
GUIDE TO
THE ENGLISH COSTUMES
PRESENTED BY
Messrs, HARRODS Ltd.
LONDON: PRINTED UNDER THE AUTHORITY OF
HIS MAJESTY'S STATIONERY OFFICE.
1913-
Crown Copyright Reserved.
V. <& A.M. Puhln. No. 90 T. Price Sixpence.
First Edition December 1913.
(11)20151 VVt 1500 12/13 E&S
Ill
PREFATORY NOTE.
The extensive collection of English costumes now exhibited in
the Central Court of the Museum has been secured for the
Nation by the public-spirited action of Messrs. Harrods, and
the Board are glad to take this opportunity of placing on
record their high appreciation of the generosity of this Firm
and their great obligation to them for the gift of such a
remarkable series of examples of English Art, the educational
value of which can hardly be over-estimated. They also wish
to express their thanks for the facilities which Messrs. Harrods
have so courteously afforded in connection with the preparation
of this guide while their own exhibition was in progress.
CECIL SMITH.
Victoria and Albert Museum,
December 1913.
LIST OF ILLUSTRATIONS.
Brocade dress with quilted petticoat. Third
quarter of i8th Century Frontispiece.
Child's embroidered coat. Second half of 17th
Century ..... Plate i.
Embroidered linen jacket. Second half of 17th
Century ii.
Child's brocade frock. Middle of i8th Century „ iii.
Brocade dress. Third quarter of i8th Century -
■
Brocade dress. .A.bout 1780 V.
Child's frock of silver tissue. " Empire " Period vi.
Brocade dress with apron. Early Victorian
„ vii.
Evening gown with polonaise. About 1865-70 „ viii.
Silk dress. Mid-Victorian ix.
Leather hat. i6th Century x.
Leather shoe (Poulaine). 15th Century -
„ XI(o).
Slashed leather shoe. Second quarter of i6th
Century . -
. . . XI(6).
Leather shoe. Late 14th Century „ XTI(a)..
Leather shoes with latchets. Charles I. -
„ X1I(6)..
Leather top-boot. Middle of the i8th Century -
„ Xlll(a).
Leather boot with broad top. Middle or Second
half of 17th Century „ xiii(ò).
Hessian boot. Middle of igth Century -
m xlv(a)..
Leather top-boot. Late i8th Century „ xiv(ò;.,
4 Brocade shoes—(a and ò) Late 17th Century ;
(c) About 1700 ; (d) Early i8th Century „ xv.
Stocking purses. Late i8th and 19th Centuries
„ xvi.
L DRESSES AND MEN'S SUITS.
Note.—A Reference Table of Sovereigns, Artists, etc., from the
Reign of Edward III. onivards will he found on page 20.
HE extensive collection of dresses* and men's suits belongs,
for the most part, to the i8th and earlier half of the
19th century. It forms a most valuable and instructive series,
illustrating the course of fashion, which changes with increasing
rapidity as time advances, from the reigns of Queen Anne and
George I. to the mid-Victorian period. Even those for whom
the whim and caprice of a passing phase lack the charm the
subject imposes upon the minds of many, may yet find some-
thing worthy of their attention in the brocades and other silken
fabrics, often of English origin, with which these dresses are
f
I
The collection of costumes already in the Museum provides
more ample material for a review of the 17th century, but
the collection now exhibited includes a few most interesting
,1 specimens of that period.
■il_, The earliest example is a tight-fitting black velvet bodice, with
w
Í? long sleeves and narrow turned-up cuffs, dating from the reign of
James I. A small over-dress or coat for a child (Plate /.), of
openwork, is a rare example of the later Stuart times. It is
of silk, cut into fantastic shapes, which are outlined with cream
silk gimp and embroidered with coloured flowers.
The youth's linen jacket, effectively embroidered with a floral
pattern in coloured wools, and trimmed with red velvet, also
belongs to the latter half of the 17th century. Another jacket,
of striped linen (Plate II.), is of about the same period. It is
richly embroidered with flowers in coloured silks. Other inter-
esting items of this time are two corset bodices of quilted linen.
* Larger cards are placed before those specially mentioned here, as it was
not found possible to assign numbers to the costumes before the preparation of
this guide.
The varying fashions of the 18th century are illustrated by
a comprehensive series. A characteristic example of the earlier
years is a dress made of French floral brocade worn with a
stomacher of silk and gold embroidery on linen ; it opens wide
in front so as to show the pale blue quilted satin petticoat.
The V-shaped stomachers were a great feature of the time, and 2
called forth the best efforts of the embroideresses. Besides the
example exhibited with this dress there are other attractive
specimens in the collection. A short silk apron, worked in gold
thread or coloured silks, was also worn with such a dress as
this, and continued in favour throughout the first half of the
century. The use of the embroidered apron and quilted
petticoat is again illustrated by a costume of which the dress
is in plain brown silk. Such dresses belong to that stage in
the history of British portraiture, which is marked by the latter
years of William Hogarth and the rising fame of Sir Joshua
Reynolds. The men's costume of the same period is repre-
sented by a fine suit of pink flowered brocade, with a long
waistcoat of embroidered white satin. A child's frock {Plate III.),
of English cream brocade with a large floral pattern, dates from
the middle of the century.
A lady's dress, also of English brocaded silk, with a cream
ground, is a little later in date.
The style of costume familiarised to us by the great portraits
of Reynolds and Gainsborough may be seen in the beautiful
dress of plum-coloured shot silk with a floral pattern, having
an under-skirt and elaborate trimmings of the same material,
and dating from about the year 1760. An elaborately purfled
dress {Plate IV.) of much the same style, but a few years later,
is of cream silk with flowers in colours. The long loose pleat
from the neck of these two dresses show them to be examples
of the sack (French saque) which is mentioned, as early as
the reign of Charles II., in the diary of Pepys. Many of these
costumes can be seen in the paintings of Watteau and his
school at the beginning of the next century, and after being
worn for upwards of a hundred years they were revived within
living memory.
The fashion of looping back the skirt so as to give greater
importance to the embroidered silk petticoat is illustrated by
two fine dresses of English silk. One has a pattern of trees and
flowers on a cream ground (Frontispiece), and the other is of a
darker shade with floral stems in colours.
A silk dress of celadon green colour with a very full and
richly-embroidered under-skirt, belongs to about 1780.
Among the men's costumes of the period is a suit of pale 3
blue satin, showing coloured embroidery round the edges and
on the cuffs and pockets. xA.nother, of ribbed blue silk, with
white satin waistcoat, marks the approaching end of the century.
A brocade dress, with red vertical stripes and floral forms, is
of about 1780 (Plate V.). But the dress, with green stripes which
have become the predominating feature of the brocade, shows a
further development in design, while in shape it indicates an
advance to the manner so well rendered in portraits by Romney.
A woman's dress with green velvet skirt, paler green cloth
bodice, and waistcoat of embroidered white silk, illustrates a
fashion for imitating men's costumes, prevalent in the last years
of the 18th century.
A man's suit of about this period consists of a plum-coloured
silk coat, with high turn-over collar, a richly embroidered waist-
coat, and silk knee-breeches of a close diaper pattern. A suit,
only a few years later in date, has a green silk coat with short
lapels, profusely embroidered black satin waistcoat, and black
silk knee-breeches.
The next development in men's fashions can be seen in a
suit consisting of a brown cloth coat with velvet collar, a short
brocade waistcoat cut low with large lapels, and tight black
trousers reaching to the ankle, where they are buttoned at the
sides, a fashion prevalent in the reign of William IV. At this
time loose trousers held by straps under the boot also began
to be worn. There is an example in nankeen in the collection.
To turn once more to women's fashions, a dress of the last
decade of the i8th century has a short striped brocade bodice
with tight sleeves reaching just below the elbow, with a skirt
still ample, but not so full as formerly.
A dress of pale pinkish silk, cut square at the neck, with
short puffed sleeves, and another of embroidered white muslin,
with a long train, belong to about the year 1800, when the
high waist first became fashionable. This high waist is, perhaps.
the chief feature of the succeeding "Empire" style, which
reached its utmost development at the Court of Napoleon.
The classical style, with the hair dressed "à la grecque" is
seen in the engravings of the " "
Lady's Magazine for the first
year of the "
new century. The high-waisted " Paris dresses there
illustrated show that the French fashions were then, as since, in
high regard in this country. In the same magazine a dozen years
later the " Parisian fashions "
no longer take precedence of the
" London fashions." The former, in fact, are not mentioned at
all, a circumstance which is probably due to political causes
alone.
A number of charming examples, principally of tissue, muslin,
and other slight materials, which found favour at this period,
are included in the collection. A child's frock (Plate VI.), of
silver tissue, has a white satin band round the edge with
embroidery in silk ribbon and spangles. A woman's dress of
white muslin, with graceful embroidery in gold and white, is a
pleasing example of this style.
Another muslin dress has a small blue diaper pattern. It is
of the same period as a dress of green watered silk with
a close diaper of flowers, both dating from about 1810. A
printed cotton dress of similar shape, but provided with long
sleeves, may be assigned to this time.
Slightly later again are two printed cotton dresses ; one
has a striped floral pattern on a dark ground, the other a floral
design with pink vertical stripes on a white ground.
The reign of George IV. is recalled by a gold gauze dress
of simple design, which is cut in a V-shape at the neck and
has very short openwork- sleeves. A blue satin dress of similar
form, but more ornate, has an overskirt of white embroidered
net.
About this time a heavy flounce to the skirt came into
vogue. This is exemplified by a lemon-coloured satin dress ;
and, in a modified form, by another of watered silk gauze, with
a gold embroidered waistband. A cream-silk dress with puffed
sleeves reaching half-way to the elbow, has round the skirt
a double border of gauze festoons, held down by large satin
bows.
Another type of King George's reign may be seen in a long-
sleeved bodice, an example of the " "
spencer which, in various
forms, was popular for some years before and after. It is of
brown silk, with a small cape of the same material, and is
embellished with bows and interlacings in front, on the
shoulders, and at the wrists.
A short-skirted dress, known as a "polonaise" from its
association, real 5
or fancied, with the fashions of Poland,
illustrates a style in vogue during the reign of William IV.
This feature is also exemplified in several later dresses in the
collection. The types of this reign, with the bell-shaped skirts,
the heavy fiounces, and the inflated sleeves, contrast unfavour-
ably with the grace and simplicity seen at the opening of the
century.
The earliest days of the Victorian era are represented by a
fine watered silk dress with two deep flounces and embroidery
in blue and gold ; the short, very full sleeves are drawn in well
above the elbow. With it is worn a court train of pink watered
silk, embroidered in gold. Another elaborate dress of this time
is of blue silk gauze, with white silk embroidery.
The " leg-of-mutton "
sleeve, so called from being full at the
shoulders and narrow at the wrists, is seen on a printed cotton
dress with striped ornament of the time of Queen Victoria's
accession. Another dress of about the same period {Plate VIL),
with pleated sleeves widening below the elbow, is of silk
brocade with a striped pattern.
A plain drab-coloured silk dress, with long sleeves and square
collar falling over the shoulders belongs to the first years of
the reign.
A ball-dress of silk gauze trimmed with pink silk ribbon,
over a brocade under-skirt was worn shortly before 1850. A
flounced ball-dress of the same date is made of pink silk ;
the overdress is of flowered gauze with long full sleeves.
A third dress of this time consists of a spotted muslin skirt
with six flounces and a blue silk bodice.
An elaborate dress of the middle of the century has a close-
fitting bodice of blue silk, richly embroidered round the edges,
and a wide brightly-coloured skirt flounced almost to the waist
and worn with a crinoline. Another dress is of white striped
gauze printed in colours with stems of flowers and fruit.
These and similar dresses in the collection are recalled by John
Leech's inimitable drawings in the early volumes of " Punch."
We have now reached the second half of the century, the
period of the crinoline, as several dresses in the collection
witness. A ball-dress of muslin, with floral embroidery in
colours, has a tight low-cut bodice of red silk trimmed with
lace. Contemporaneous with it is a dress of yellow silk damask
showing a large floral pattern and one of blue silk with white
stripes. Several flounced muslin dresses with printed patterns
may also be assigned to this period. An evening gown with
polonaise {Plate VIII.) of blue and white striped silk, with
a pattern of rose-buds, dates from about 1865-70.
A change of shape can be seen in a grey watered silk dress ;
the skirt is less ample, and the tight-fitting bodice buttoned in
front extends below the waist.
The "
revival of the " sack is exemplified in a costume of
1860-1870. It is of brocade with stems of rose-buds, alternating
with close pink stripes. The under-skirt has plain parallel
stripes of pink and black. A bright blue silk dress is an example
of the plainer costumes of this period.
A distinctive dress of the mid-Victorian epoch {Plate IX.) is
of dark green silk, heavily ornamented with tassels and flounces ;
the pink skirt, which is worn with a bustle, is pleated and
festooned round the edge. A similar dress in the collection is
entirely of lilac silk, trimmed with lace.
The fashion of a generation ago is recalled by a dress of
purple and gold silk, elaborately pleated in front.
Four hunting-suits in the collection illustrate the types worn
from 50 to 100 years ago. Three of them have the customary
pink coat ; the fourth is of nankeen faced with green velvet
and has a running fox and the name Bobbery Hunt embroidered
in silver on the collar. In two cases the breeches are of
leather.
A lady's riding habit of black cloth, with silk hat and lace
veil, belongs to the third quarter of the century.
Three post-boys' uniforms date from the early days of the
19th century. The coats are of blue cloth, and the breeches of
corduroy.
A footman's livery is slightly later. It consists of a black
felt coat, buff felt waistcoat and lemon yellow velvet breeches
reaching nearly to the ankle.
Two linen smocks record a rustic fashion that is even now
not quite extinct.
II. VARIOUS ARTICLES OF COSTUME.
Bodices.—In addition to the remarkable collections of com-
plete dresses and suits that have already been described, the
collection is rich in single articles which do not form part
of any one costume. Perhaps the most interesting of these
items is the collection of bodices which date from the
18th century to the Victorian Era.
Among the earlier specimens is one of pinkish-brown brocade
with a small flower-pattern in various colours ; another is of
light blue silk ornamented with slender stems in silk cord and
trimmed with gold lace. A bodice of buff-coloured silk with a
bold floral pattern in colours has frilled sleeves reaching to the
elbow, and similar to those of the celadon-green silk dress
mentioned on p. 3, The striped pattern of the pink and white
bodice with long narrow sleeves indicates the last years of the
century.
The time of King George IV. is recalled by a short brown
bodice with puffed sleeves, which much resembles the gold
gauze dress already described. A pink brocade bodice with a
small red floral pattern is among the examples of the earlier
Victorian period.
Waistcoats.—At the end of the 17th century waistcoats
were nearly as long as the coats. With the eighteenth they
began to be worn sHorter. A white linen waistcoat, with an
elaborate quilted and floral pattern, cut square in front, belongs
to the early years of the century. Another of similar form
is of white silk, with a woven pattern round the edge disposed
in such a way as to show that the fabric was expressly made
for a waistcoat. After this period waistcoats continued to be
worn long, but with the lower corners cut away. An interesting
specimen, of plum-coloured velvet, shows the beginning of this
fashion. It is only very slightly cut away, and probably does
not date later than 1750. A further development is exemplified
by .a specimen in white quilted satin, and another in blue satin
edged with silver braid. In these waistcoats the flap still covers
the pocket, but later it is retained merely as an ornament, being
sewn on to the outside of the pocket or even sewn all round
so as to make a pocket impossible.
Towards the end of the century waistcoats are again worn
straight in front, but often shorter than formerly with the
pockets cut square. A waistcoat showing horizontal white satin
stripes, and woven with a narrow leaf border, is typical of
this period. Another is of linen, embroidered with flowers in
coloured silks.
A remarkable specimen of this same period is of cream ribbed
silk with an elaborate embroidered design showing a male
"
figure holding up a festoon of flowers. The name Zanini,"
written in ink on the collar, suggests an Italian origin for this
waistcoat.
In the early years of the 19th century waistcoats cut low at
the neck, with large lapels, came into vogue. In this fashion
is a waistcoat of black satin, embroidered in. silk; another is
of cream cloth with white satin embroidery.
Head-coverings.—By far the earliest specimen in the collec-
tion is a leather hat worn on the side of the head over a skull
cap of knitted wool. It is somewhat fantastically-shaped and
slit for the insertion of a plume, recalling the shapes prevalent
at the beginning of the reign of Queen Elizabeth. {Plate X.)
A characteristic head-dress of the last half of the i8th cen-
tury is the "calash," of which there are three examples in the
collection. Their resemblance in shape to the hood of a carriage
is striking and, indeed, they derive their name from a light
form of carriage called a calèche, which was much used in
France at this time. The custom of dressing the hair to a
great height accounts for the introduction of this fashion. All
three specimens are of black silk, lined with silk of a lighter
colour, and set out with whalebone. Varieties of the Poke-
bonnet can also be seen in the collection ; one specimen has a
broad "poke" coming right forward till it practically hides
the face when in profile. It is of straw, trimmed with a
coloured ribbon, the ends of which are tied under the chin.
The beginnings of this form of head-dress may be found in the
last years of the i8th century ; it remained in favour for about
fifty years, the later examples in the collection showing that it
had by then become smaller. A tam-o'-shanter, of which a
specimen is to be seen, was also worn by ladies about this
time.
The cocked hat, which was as characteristic of the i8th
century as the top-hat has been of the 19th, is illustrated by
several examples. Two of these are three-cornered, one with
feathers and gold-braided, the other of plain black cloth. The
change in shape, which marked the close of the century, is
clearly seen in four cocked hats of the Napoleonic time.
A cone-shaped top-hat, with a silk band held by a buckle
in front, belongs to the earlier years of the 19th century. Shortly
later is a silk hat of squat form with a broad brim. A black
felt hat in the collection is of very similar shape. A rough
white beaver hat approximates more nearly to the modern
A black uniform helmet "
type. or Shako " with a very broad
crown dates from the first half of the 19th century.
Gloves.—Few gloves so old as the i6th century have been
preserved. A single example is, however, shown in the collec-
tion. It is of stout leather, and was possibly a driving glove,
as there is only a single space for all the fingers, though there
is a separate thumb. Most of the other gloves are of the types
worn during the last hundred years. One pair is of white
kid, embroidered with bouquets of roses. Another is printed
with a group showing "Virtue and the three Graces crowning
Cupid," with a Spanish inscription below. A pair of leather
gloves, embroidered with the lion of Venice, is said to have
been worn by Kemble when acting the part of Othello.
III. SHOES.
The extensive collection of shoes and boots illustrates the
progress of fashion during a period of more than four centuries.
The most remarkable specimen in the whole collection is a single
"
shoe (No. I, Plate XIa.) known "
as a Cracowe "
or Poulaine,"
dating from the 15th century. It is of leather, with the point
lO
exaggerated to the utmost extreme the fashion ever reached,
measures 15 inches from heel to toe. It is laced at the side.
Though imperfect examples of shoes of this style and period
have from time to time been brought to light, the discovery
of this shoe some years ago in the rafters of an old house has
provided for us a specimen of unique interest owing to its
completeness.
An incomplete shoe (No. 2, Plate Xlla.), slightly pointed and
curved at the toe, belongs to the later years of the 14th cen-
tury. The shoes of Richard II., in the contemporary portrait
in Westminster Abbey, are of the same shape, but covered
with quatrefoils and discs. These, and the slightly earlier
paintings that used to be in St. Stephen's Chapel, Westminster,
illustrate that line of Chaucer in which "Panic's windows"
" "
are described as carven on the shoes of the Priest Absolon.
"
Such shoes, received the "
name of Cracowes from the city of
Cracow, in Poland. The adoption of this name in England
was perhaps due to the fact that Richard's Queen, Anne, was
a daughter of Charles IV., King of Bohemia, whose jurisdiction
since 1355 extended over territories formerly ruled by the Kings
of Poland. The long pointed shoe continued to be worn under
one name or another till the later years of the 15th century,
being succeeded, as is so often the case, by a fashion which
ran to the opposite extreme.
The broad-toed shoe, which has been familiarized to us by
the portraits of Holbein and other artists of the period of
Henry VIII., is represented in this collection by more than one
example showing the short parallel cuts or slashes character-
istic of the time. Shoe No. 2 is of an intermediate stage,
belonging as it does to the last decade of the 15th century.
No. 22 (Plate Xlb.) is perhaps the best specimen of the second
quarter of the i6th century. Several children's shoes, belonging
to the Tudor period, are also exhibited. Special reference may
be made to a very complete specimen belonging to the reign of
Edward VI. ; the slashing is here restricted to the toe.
A considerable number of the shoes of this period are
extant. They have for the most part been recovered from the
soil during building and other operations in various districts,
notably in the vicinity of London. These shoes are mostly of
the plain type, as illustrated in this collection, being strongly
made of leather and evidently intended for the wear and tear
of every-day life. It is indeed this stout craftsmanship which
has preserved them, for the more elegant specimens of satin,
velvet, or other fine material have perished almost entirely.
In the reign of Queen Elizabeth we see the beginnings of the
development of the raised heel. A thick corked sole, sloping
downwards towards the toe, was also worn at the time. An
example may be seen in the portrait of the Queen in the
possession of the Duke of Devonshire, at Hardwick Hall, and
in Van Somer's portrait of James I. in the National Portrait
Gallery. No. 27 is a child's pair of shoes of white kid, dating
from Queen Elizabeth's reign ; they were found some years
ago under the staircase of an old house in Suffolk.
An extraordinary device for increasing the height of the
wearer was a kind of clog or high shoe called "
a chopine,''
which was very fashionable on the Continent. These chopines
are said to have sometimes been half a yard high. They were
particularly favoured at Venice, and interesting illustrations of
the fashion in all its extravagance can be seen in Vecellio's
" Gli abiti antichi e moderni di tutto il mondo "
(published
at Venice in 1589). The particular pair in this collection
are, however, of more modest proportions ; they are of French
or Italian origin. They are covered with green silk damask,
and the top of the leather sole is tooled with a guilloche
pattern. Chopines are mentioned by Shakespeare in a familiar
passage, but it does not seem to be satisfactorily proved that
they were ever in general use in England.
A leather shoe with latchets (No. 29, Plate Xllb) is of the
shape worn in the time of Charles I. It has a long square
toe, and is in a good state of preservation.
The Commonwealth is represented, as might be expected,
by footwear of a martial type. A single top-boot (No. 33) of
this period is in a fine state of preservation, with a leather
spur-support at the heel. The top-boots (No. 34, Plate XIIlb.)
with the original spur still attached to the right heel, are also
of the shape used during the Civil War and the Common-
wealth. Such boots remained in use for military purposes with
little change until the close of the century ; a good illustration
may be seen in the large equestrian portrait of William III. in
the National Portrait Gallery. Another pair of top-boots (No. 42)
are of finer workmanship and lighter construction. These boots
belong to the period of the Restoration, and may perhaps,
have been worn in the reign of Charles II. A stout leather
shoe "
(No. 30), of the same reign, has the typical " duck-bill 12
toe, A pair with a still broader toe belong to the succeeding
reign (James II.).
The large pair of shoes numbered 44 (Plate XVa.), are of
approximately the same time. They are of green brocade with
latchets and large tops. The shaped front of another pair
(No. 47, Plate XVh.) is made to turn down so as to show the
pink silk lining, a fashion that survived into the i8th century.
Several silk shoes in the collection date from before the
close of the 17th century. An especially fine pair (No. 45) are
of yellow satin, braided in the same colour. Another pair
(No. 46) of this shape are more elaborately decorated, being
closely braided with silver lace. The pair No. 58 are also of
silk brocade, the top of the instep being cut into points ; the
heels are covered with red leather.
Perhaps the most remarkable of all the shoes of this class is
the pair numbered 53 (Plate XVc). The material of which
they are made is a Persian brocade in silk and gold of the
17th century.*
The 18th century is represented by a series of shoes of silk
brocade or satin, in which the rapid changes of fashion, particularly
as regards the shape of the toe and heel, are clearly shown.
A pair of shoes (No. 59) dating from the first quarter of this
century are made of English brocade, with a pattern of flowers in
colours on a cream ground. The high heels are covered with
the same material. Another fine pair (No. 31) are made of plain
red satin, with a close diaper pattern in embroidery. A single
shoe of pink flowered brocade (No. 70, Plate XVd.) is also of this
time. It is inserted in a clog to show the way in which the
latter were worn. Both shoe and clog are heavily enriched with
silver lace. There are several other clogs of this period in the
collection, besides specimens of earlier and later date. The silver
* The importation into England of silk fabrics from the East Indies, Persia
and China was forbidden by Statute from the 29th September, 1701.
brocade shoes numbered 68 are of French workmanship, and date
from about the middle of the century. The heels are high and
narrow, and are brought in towards the instep. Another pair
(No. 73) is of the third quarter of the century, and was probably
made in Italy or Spain.
The pair of shoes (No. 78) of pale blue satin with embroidered 13
fronts illustrate an early stage in the gradual diminution of
the heel that is to be observed in the last 40 years of the
"
18th century. The high " spindle heel is covered with blue
satin. In this pair we still see the round toe, although the top
of the instep is pointed.
A pair of green shoes with silver needlework (No. 83) are
slightly later in date, as is shown by the fact that the toe is
more pointed and the top of the instep is cut square, being
crossed by two white silk latchets.
From the middle of the 17th century until this time the
leather heels were often bright red, a fashion which is illustrated
in the portraits of Van Dyck, Kneller, and Lely, and is quite
common in the following century as the paintings of Hogarth
and his contemporaries testify.
The dancing shoes of white satin (No. 80) possess several
noticeable features. The back of the heel is ridged, and the
« latchets are brought far down the instep, with two silk eyelets
close to the sole, probably used for keeping a rosette or some
such decoration in position. The sole is of very thin polished
leather.
About the year 1775 the latchets over the instep begin to be
discarded. This is illustrated in a pair of blue satin shoes
(No. 85). A slightly earlier pair of the same material, with
long latchets, are also exhibited.
The extreme reduction in the size of the heel is shown in
several specimens of the last quarter of the i8th century. Ihe
black shoes (No. 88) made by Thomas, High Street, Marylebone,
are a typical example of the period. The fronts are embroidered
with diminishing chevrons in pink silk.
Another pair of red leather (No. 91) show that the ridge at
the back of the heel is still found at the end of the century.
With the close of the i8th century the heel almost disappears,
as exemplified in the green leather shoes (No. 194), and in the
X 20151 B
H
early days of the 19th century the round toe again comes into
fashion, A. white satin pair of this time are included in the
collection (No. in). Toe caps are found from about the year
1820 (No. 122-124), spring sides were introduced towards
the middle of the century {see No. 129).
A pair of white satin shoes (No. 144), made shortly after
the middle of the century, has white rosettes brought down
nearly to the toe.
The embroidered black satin shoes (No. 117), worked with
a royal crown at the front, were worn by Queen Adelaide.
The cream leather slippers (No. 118) bear the printed
monogram of Queen Victoria, by whom they were worn before
the middle of the century.
The sandal of white leather (No. 169) is said to have been
used by John Philip Kemble the actor.
Another pair of shoes (No. 163) of white satin demonstrate
the return of the heel. They are closely banded with blue
ribbon, and have large blue and white rosettes.
Another pair is remarkable on account of the material—a
plaited straw.
A white kid pair show a low heel and round toe. They
are laced at the side, and may be dated shortly after the middle
of the century. These should be compared with the boots
No. 216a, of white satin, which are laced in front with yellow
silk. A pair of pale blue satin shoes (No. 164), with high heels,
and bows over the round toe, illustrate, with others in the
collection, the fashion of about forty years ago.
In addition to the top boots of the 17th century, already
mentioned, a number of later pairs is included with the
collection. No. 62, a pair with wide rounded toe and large
flat heel, belong to the middle of the i8th century (Plate
Xllla.). A pair with green morocco turnover tops (No. 100,
Plate XI Vb.) is later in date. The beginning of the 19th
century is represented by a pair of military boots (No. 112),
which have the tops cut away behind the knee, and by a pair
with shaped tops numbered loi (Plate XIVa.). The last
lack the tassels which should be worn at the top. These
" Hessian " boots are described in " A Chapter on Boots " in
the first volume of "Punch" as "little more than ambitious
Wellingtons, curved at the top—wrinkled at the bottom (showing
symptoms of superannuation even in their infancy), and betasselled
in the front, offering what a Wellington never did—a weak point
for an enemy to seize and shake at his pleasure."
IV. PURSES, BAGS, ETC. 15
Purses, more or less of the shape which gave rise to the term
" stocking purse" (Plate XVI.), appear towards the close of the 17th
century, and continued in use throughout the i8th. They were
" "
very popular in the Empire period of the early 19th century,
and continued in favour down to about 1870. " It is amazing
" to me, said Bingley, how many ladies can have patience to
" be so very accomplished as they all are. . . . They all
" paint tables, cover screens, and net purses."* Fifty years later,
Thackeray was to relate, in "Vanity Fair," how Joseph Sedley
was left with Becky at the drawing-room table, where she
was occupied in netting a green silk purse. The expression "
a
long purse," meaning one well filled, has a special significance
when associated with purses of this form. The coins are inserted
through a long opening in the middle, and dropping to one of
the ends, are secured by the sliding "
rings. The cut-purse,"
the forerunner of the " pick-pocket," used to cut the cords
securing the earlier pendant pouches, and so for greater security
took place the gradual transfer of the purse from the girdle to
the pocket.
The stocking purses in this collection are for the most part
netted or knitted by hand in silks of various colours, steel
or glass beads being often introduced for further decoration.
The fine-facetted steel rings, and the long tassels and wide
fringes of the same material, first made towards the end of
the i8th century, form the chief feature in the ornamentation
of many of these purses. There are more than two hundred
altogether in the collection, offering a great variety of types.
The following brief notes draw special attention to the
most interesting among them :—No. 4 is of brown silk, with
a leaf pattern in steel beads, and elaborate fringe ; Nos. 14
* Jane Austen's " Pride and Prejudice," written 1796-7.
i6
and 25 are of plain knitting in stripes of graduated colours
both with wooden rings ; No. 16 is of blue silk, with a curious
looped decoration in steel beads, arranged like leaves ; No. 19 is
knitted with a lozenge pattern in red on a green ground, outlined
by steel beads, with rings, tassel and fringe of the same
metal ; No. 30 is worked in red and shades of green, with
chain ornament and stars at each end in steel beads—it is
completed with fine, long tassels ; Nos. 31, 32, and 50 are
specimens of openwork purses made entirely of steel beads,
with tassels attached ; No. 42 is made of large network in
silver-gilt thread and red silk—there are two gilt metal rings
of floral pattern ; No. 47, of plain knitting in claret-coloured
silk, has panels of small adjacent circles ; Nos. 57 and 68 are
interesting purses, also of plain knitting, but with striped
patterns—they both have silk tassels ; No. 67, in red silk, has an
effective symmetrical floral pattern in steel beads ; No. 70, in blue
silk, bears a geometrical design of lozenges and zig-zag stripes
in similar beads ; Nos. 73, 74, and 88 are further examples of
openwork purses composed of steel beads ; No. 76, knitted in
red and yellow silk, has a floral pattern in pointed compart-
ments, also in beads ; No. 77, a handsome 18th-century purse
in blue silk, bears the "
name Samuel Stockford "—a rare occur-
rence on these articles ; No. 95 is a long purse, plainly knitted
in green silk, with plant and lozenge patterns ; Nos. 96 and
107 have cone patterns and elaborate fringes in flat and round
steel beads ; No. 103 is an unusual purse of about the year
1830, knitted in white silk and printed with rose-stems in soft
colours—it has bone rings ; No. 105, of reddish-brown silk, is
worked with a decorative design of floral stems and diagonal
stripes in steel beads ; No. 119 is made of plain chamois
leather; No. 151 is completed with two rings and
, pendant
beads of twisted gilt wire ; No. 156, knitted in dark blue silk,
is decorated with lozenges and stripes in gilt metal beads ;
Nos. 158 and 185 are open-work purses in steel beads ; No. 161
is conspicuous for its long fringes of steel beads ; No. 163,
knitted in red silk, has geometrical compartments outlined in
similar beads, with good tassels ; No. 166 is an unusual variety
dating from the end of the i8th century, woven in yellow silk,
with a pattern of butterflies painted in colours; No. 175, or
red silk, shows a cone pattern and has a fringe of steel beads ;
Nos. 178 and 179 are long striped purses in plain knitting of
late 17th or early iSth century date, the first specimen being
decorated with a fret pattern in black ; No. 177 has an
elaborate fringe of long steel beads bound round with wire ;
No. 184, knitted in blue silk, bears the initials B. W. and leafy 17
stems in steel beads ; Nos. 159 and 193, large purses knitted with
silk in openwork, are decorated with fine steel beads arranged
in loops, and terminate in fringes of geometrical pattern ;
No. 195, of red, green, and bufE-coloured silks, has zig-zag
stripes and floral stems in steel beads ; the striped purse in
blue and yellow silk. No. 198, has elaborate fringes ; No. 199,
in red and brown silk, is knitted with openwork stripes, and
No. 202 is decorated with a zig-zag pattern in blue and orange
with the addition of steel beads. There are also a few examples
completely knitted in silk and glass beads ; amongst those in
openwork is No. 204 with a pattern of red and white lozenges,
and No. 207 in blue, white, and gold ; No. 212 has a striped
design in blue and colourless beads.
Beadwork.—Purses of rounded or rectangular form, generally
made of glass beads knitted with silk, came into favour
towards the end of the i8th century. They are completed with
ornamental mounts, clasps, and chains of silver, steel, or gilt
metal. Designs on these purses include floral and geometrical
patterns, besides representations of human figures, birds and
animals. The more important and decorative examples are the
following :—No. 225 is a large circular bag with studded steel
clasp, and chain for suspension : the pattern consists of a nine-
sided compartment with a white star in the centre, surrounded
by small cone ornament in colours on a dark blue ground, with
an outer border of roses upon opal colour ; No. 226, with gilt
metal clasp, has roses in colours on white, with small figures
below on a red ground, with looped fringe ; Nos. 227 and 229
have sporting subjects, the former showing a stag pursued by a
man with gun and hounds, in colours on an opal ground, and
the latter with a setter in colours, and leaves and berries
below ; No. 230 is a circular purse with a nine-pointed star
and rose border in red and blue beads ; No. 235 a purse with
silvered metal clasp, is an example of fine beadwork : the pattern
i8
is a diaper of floral sprigs on an opal ground ; Nos. 236, 241 and
246 represent houses and trees ; No. 238 a small circular purse with
gilt metal clasp and fringe, is decorated with a nine-sided com-
partment containing roses and a border of houses, plants, and
animals ; No. 244 has a diaper of blossoms in blue on a white
ground ; No. 251 is a bag of fine beads, with a pattern of
roses above and cone ornament below upon a ground of white
and red respectively ; No. 263, a bag in rather coarser work,
represents baskets of flowers in colours with blue stripes above
and below ; a German purse bearing the "
inscription " Aus Liebe
with roses below is numbered 264 ; and No. 274 a knitted bag
with steel clasp, chain and tassel, is decorated with stripes and
scrollwork.
Other purses in plain knitting with beads more sparingly
used are No. 270, a flower-shaped specimen, in raised pattern ;
No. 272, a cylindrical purse striped in blue and yellow, with
painted medallion of a triumphal arch within a circular gilt
metal clasp ; a square bag. No. 308, with interlacing fret
pattern, cones and stars ; and two circular purses. Nos. 296 and
352, knitted in blue, red and white silk openwork, with
steel beads and fringe. There is also a curious chain purse
loosely made of silver wire. No. 293 ; and a circular example.
No. 316, closely worked with steel beads.
Beadwork was further used to decorate needlecases, such as
Nos. 388, 391, and 393, and pincushions. Nos. 429, 432, and 433,
as well as watch guards, necklaces, bracelets (401), spectacle
cases (399), scent bottles (400), and bonbonnières (412). This
work was popular in many European countries, and numerous
examples were produced in England, France, and Germany.
The fashion is now being revived.
Parasols came into use later than umbrellas, appearing in
England about 1770 or 1780. At first they have very long
sticks and ferrules, with small handles, and the frame is
sometimes constructed of whale-bone. At the beginning of
the ipth century, the parasol was flat or dome-shaped; many
were edged with a deep silk fringe. The material was usually
silk, watered, striped, or embroidered. The sticks were still
long, but a metal joint was introduced in the middle to enable
the handle of ivory or bone, decorated with carving and
turning, to be folded. A ring was sometimes added at the top
for convenience in carrying. Numerous examples are illustrated
in the Fashion Plates of the first quarter of the 19th century.
Three varieties may be noticed in this collection :—No. 19A of
striped green silk, trimmed with woven silk ribbon in delicate
colours, another of black silk with printed oval panels of figure
subjects, and a third of watered grey silk. These all have 19
fringes and jointed sticks ; the last example also has a ring at
the top. A circular parasol of pale blue silk is embroidered
with floral sprigs in colours, trimmed with a fringe of split
goose quills.
Parasols of the early Victorian period were heavily fringed,
and of similar shapes. Very small ones were used when
driving, such as the plain black specimen. No. 252. A late
example, perhaps dating from the middle of the century, is the
violet silk parasol, embroidered with conventional leaf patterns
in white silk and steel beads ; the short wooden stick has a
slightly crooked handle and an ivory ferrule.
Snuff-boxes.—There are in the same collection a number of
models of boots and shoes, the majority for use as snuff-boxes
with hinged or sliding lids. Many are carved in wood, with
piqué work of metal pins in minute geometrical patterns ;
others are inlaid with mother-o'-pearl and coloured woods, or
lacquered. There are a few specimens in other materials, such
as earthenware and porcelain, leather, metal, and even slate.
They principally date from the latter part of the i8th and the
early years of the 19th century.
Miscellaneous Items.—Among these may be mentioned the
following : embroidered book-markers ; leather pocket-books and
a card-marker decorated with panels of embroidery and bead-
work ; pincushion-covers in the same work ; some pairs of
mittens in plain kid and embroidered net ; two pairs of
stockings, one being in silk (No. 460) with elaborate clocks
embroidered with silver thread in a floral pattern ; and part of
a set of baby-clothes (Nos. 462 to 464) of linen, trimmed with
narrow pillow-lace of the i8th century.
REFERENCE TABLE
of Sovereigns, Artists, &c. in English History from the
Reign of Edward III. onwards.
Edward III.* 1327—1377 Wall-paintings representing this King and his
family in Saint Stephen's Chapel, Westminster
(burned 1834 ; but previously lithographed
by Richard Smirke for the Society of Anti- 20
quaries).
Richard II.* 1377—1399 Portrait in Westminster Abbey ; diptych at
Wilton.
Henry IV. 1399—1413 Effigy in Canterbury Cathedral.
Henry V.* 1413—1422 Agincourt, 1415.
Henry VI. 1422—1461
Edward IV. 1461—1485
Edward V. > Wars of
1485 the Roses.
Richard III. 1485—1487
Henry VII.* 1487—1509
Henry VIII. 1509-1547 Hans Holbein (1497—1543).
Hans Eworth (fl. 1543-—1574).
Antonio Moro (1512—before
Edward 1582).
VI. 1547—1553
Bu Mary 1553-1558
ueen Elizabeth* 1558—1603 Nicholas Hilliard, Miniaturist (1547—1619).
Federico Zuccharo (1542 ? —1609).
Isaac Oliver, Miniaturist (1556—1617).
William Rogers, Goldsmith-Engraver (fl. 1580—
1610).
Marcus Gheeraerts I1561—1635).
Paul van Somer (1576—1621).
James I. 1603—1625 Daniel Mytens (1590 ? —1642 ?).
Cornelius Jannsen (1593—1664 ?).
Peter Oliver, Miniaturist (1594—1648).
Charles I.f 1625—1649 Sir Anthony Van Dyck (1599—1641).
John Hoskins, Miniaturist (d. 1664).
Samuel Cooper, Miniaturist (1609—1672).
William Dobson (1610—1646).
William Faithorne (1616—1691).
The Common- 1649—1660 Joseph Michael Wright (1625—1700).
wealth
Charles II.:}; 1660—1685 Sir Peter Lely (1618—1680).
Thomas Flatman, Miniaturist (1633—1688?).
James II.§ 1685—1688
William HI. 1689—1702 Sir Godfrey Kneller (1646—1723).
Queen Anne 1702—1714 Grinling Gibbons (1648-1720).
George I. 1714-1727 William Hogarth (1697—1764).
.Allan Ramsay (1713-1784).
George II. 1727—1760 Sir Joshua Reynolds (1723—1792).
Thomas Gainsborough (1727—1788).
George III. 1760—1820 John Zoffany (1733—1810).
George Romney (1734—1802).
Richard Cosway, Miniaturist (1740—i82i\
Maria Cosway, Miniaturist (1745— after 1821).
Sir Henry Raeburn (1756—1823).
John Hoppner (1758—1810).
John Opie (1761-—^1807).
John Philip Kemble, Actor (1757—1823).
Richard Smirke (1778 1815).
George IV. 1820—1830 Sir Thomas Lawrence (1769—1830).
William IV. 1830—1837
Queen Victoria 1837—1901 First number of " Punch issued 1841.
John Leech (1817—1864).
* Effigy in Westminster Abbey, t Statue in Whitehall and Winchester Cathedral.
:}: Statue in front of Chelsea Hospital. § Statue opposite Admiralty in St. James' Park
 
 
Embroidered linen jacket. Second half of 17th Century.
See page i.
 
Plate III.
Child's brocade frock. Middle of i8th Century.
See page 2.
 
Plate IV.
Brocade dress. Third quarter of i8th Century.
See page 2.
a
ÎÊm
 
Plate V.
Brocade dress. About 1780.
See page 3.
 
Plate VI.
Child's frock of silver tissue. "Empire" Period,
See page 4.
 
%
Plate VII.
Brocade dress with apron. Early Victorian.
See pcige 5.
 
Plate VIIL
Evening gown with polonaise. About 1865-70.
See page 6.
 
I
f"
I Plate
1
i
t--
Silk dress. Mid-Victorian.
See page 6.
.W
r
t
 
Plate X,
Leather hat. i6th Century.
See page 8.
 
Plate XI
CLh m
i
 
Plate XII.
Sp
^ 5
b/j
co
l-i-H C/}
0)
rxq
oj
-2
 
Plate XÍII.
 
P late XIV.
c
tu
 
 
 
 
 
 
 
i8
19
is a diaper of floral sprigs on an opal ground ; Nos. 236, 241 and
to be folded. A ring was sometimes added at the top
246 represent houses and trees ; No. 238 a small circular purse with turning,
for convenience in carrying. Numerous examples are illustrated
gilt metal clasp and fringe, is decorated with a nine-sided com-
in the Fashion Plates of the first quarter of the 19th century.
partment containing roses and a border of houses, plants, and
Three varieties be noticed in this collection :—No. 19A of
animals ; No. may
244 has a diaper of blossoms in blue on a white
striped green silk, trimmed with woven silk ribbon in delicate
ground ; No. 251 is a bag of fine beads, with a pattern of
above colours, another of black silk with printed oval panels of figure
roses and cone ornament below upon a ground of white
subjects, and a third of watered grey silk. These all have
and red respectively ; No. 263, a bag in rather coarser work,
fringes and jointed sticks ; the last example also has a ring at
represents baskets of flowers in colours with blue stripes above
the A circular
and below German " parasol of pale blue silk is embroidered
; a purse bearing the inscription " Aus Liebe top.
with floral
with below is numbered and No. knitted sprigs in colours, trimmed with a fringe of split
roses 264 ; 274 a bag
with steel clasp, chain and tassel, is decorated with stripes and goose quills.
Parasols of the early Victorian period were heavily fringed,
scrollwork.
and of similar
Other in shapes. Very small ones were used when
purses plain knitting with beads more sparingly such as the plain black specimen. No. 252. A late
used are No. 270, a flower-shaped specimen, in raised driving,
pattern ;
example, perhaps dating from the middle of the century, is the
No. 272, a cylindrical purse striped in blue and yellow, with
violet silk parasol, embroidered with conventional leaf patterns
painted medallion of a triumphal arch within a circular gilt in white silk and steel beads ; the short wooden stick has a
metal clasp ; a square bag. No. 308, with interlacing fret
crooked handle and an ivory ferrule.
pattern, cones and stars ; and two circular purses. Nos.' 296 and slightly
a number of
352, knitted in red are in the same collection
blue, and white silk openwork, with SnufiF-boxes.—There
steel beads and There for use as snuff-boxes
fringe. is also curious chain models of boots and
a shoes, the majority
purse
are carved in with
loosely made of silver wire, No. 293 ; and a circular with hinged or sliding lids. Many wood,
example.
No. 316, closely worked with in minute
steel beads. piqué work of metal pins geometrical patterns ;
and coloured or
Beadwork was further used to de others are inlaid with mother-o'-pearl woods,
such
Nos. 388, 391, and 39] materials,
nd even slate,
as well as watchguai
e 18th and the
cases (399), scent botj
work was popular in
examples were produj mentioned the
The fashion is now bd cket-books and
Parasols came intcj lery and bead-
England about of
1770 some pairs
sticks and ferrules, two pairs of
sometimes constructec iborate clocks
the jpth century, the I ; and part of
trimmed with
were edged with a de¿
silk, watered, striped,!
long, but a metal joinj
the handle of ivory