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The Artistic Crafts Series of Technical Handbooks
Edited by W. R. Lethaby
DRESS DESIGN
[Illustration: A Long-trained Muslin Dress. About 1800.]
DRESS DESIGN
An Account of Costume
for Artists & Dressmakers
by
TALBOT HUGHES
Illustrated by the Author from
Old Examples . Together
with 35 Pages of Half-Tone Illustrations
London
Sir Isaac Pitman & Sons, Ltd.
Bath, Melbourne, Toronto, and New York
Reprinted 1920
GENERAL PREFACE TO THE SERIES
In issuing this volume of a series of Handbooks on the Artistic Crafts,
it will be well to state what are our general aims.
In the first place, we wish to provide trustworthy text-books of
workshop practice, from the points of view of experts who have
critically examined the methods current in the shops, and putting aside
vain survivals, are prepared to say what is good workmanship, and to set
up a standard of quality in the crafts which are more especially
associated with design. Secondly, in doing this, we hope to treat design
itself as an essential part of good workmanship. During the last century
most of the arts, save painting and sculpture of an academic kind, were
little considered, and there was a tendency to look on "design" as a
mere matter of _appearance_. Such "ornamentation" as there was was
usually obtained by following in a mechanical way a drawing provided by
an artist who often knew little of the technical processes involved in
production. With the critical attention given to the crafts by Ruskin
and Morris, it came to be seen that it was impossible to detach design
from craft in this way, and that, in the widest sense, true design is an
inseparable element of good quality, involving as it does the selection
of good and suitable material, contrivance for special purpose, expert
workmanship, proper finish and so on, far more than mere ornament, and
indeed, that ornamentation itself was rather an exuberance of fine
workmanship than a matter of merely abstract lines. Workmanship when
separated by too wide a gulf from fresh thought--that is, from
design--inevitably decays, and, on the other hand, ornamentation,
divorced from workmanship, is necessarily unreal, and quickly falls into
affectation. Proper ornamentation may be defined as a language addressed
to the eye; it is pleasant thought expressed in the speech of the tool.
In the third place, we would have this series put artistic craftsmanship
before people as furnishing reasonable occupations for those who would
gain a livelihood. Although within the bounds of academic art, the
competition, of its kind, is so acute that only a very few per cent. can
fairly hope to succeed as painters and sculptors; yet, as artistic
craftsmen, there is every probability that nearly every one who would
pass through a sufficient period of apprenticeship to workmanship and
design would reach a measure of success.
In the blending of handwork and thought in such arts as we propose to
deal with, happy careers may be found as far removed from the dreary
routine of hack labour, as from the terrible uncertainty of academic
art. It is desirable in every way that men of good education should be
brought back into the productive crafts: there are more than enough of
us "in the city," and it is probable that more consideration will be
given in this century than in the last to Design and Workmanship.
* * * * *
The designing and making of Costume is a craft--sometimes artistic--with
which we are all more or less concerned. It is also, in its own way, one
of the living arts, that is, it is still carried forward experimentally
by experts directly attached to the "business." It has not yet been
subjected to rules of good taste formulated by Academies and
Universities; but when Inigo Jones, the great architect, was asked to
make some designs for fancy dress, he based them on the Five Orders of
Architecture, and ponderous fancies they were.
If we look for the main stem of principle on which modern Costume
develops, we seem to find it in the desire for freshness, for the clean,
the uncrushed, and the perfectly fitted and draped. Probably a modern
lady's ideal would be to wear a dress once, and then burn it.
A correlative of the ideal of freshness is the delight in perfect "cut,"
and the rapidly changing fashions are doubtless conditioned in part by
the desire for the new and unsullied. "Novelty" is a guarantee of
newness.
In such ephemeral productions it would be vain to seek for certain fine
types of excellence which were once common when dresses were not so
lightly cast aside. So it is necessary that we should understand what
the ruling principle is, for it is one which will not be set aside at
the bidding of well-meaning reformers. I will only venture to say that
it would be desirable to make the attempt to separate in some degree the
more constant elements of dress from those which are more variable. It
will seem a pity to more than outsiders that a "well-dressed" person
need wear so little which deserves to have been made by human hands, and
nothing which deserves to be preserved. Fine laces and jewels are
allowed to be antique--could not the circle of such things be a little
broadened? A properly groomed man carries about on him literally nothing
worth looking at. We might surely look for a watch-chain with some
delicacy of handiwork--something beyond mechanical reductions of iron
cables. Fine buttons might conceivably be made to go with the studs, or
be made of crystal, amethyst, and silver or gold. Women might allow of
the transfer of fine embroidered applications from one dress to another,
or make more use of clasps and the like. I am confident that when it is
pointed out, it will be felt as a shortcoming that no part of a fine
lady's dress need now be too good to throw away. Although the present
volume is cast into the form of a history, it is also intended to be a
book of suggestions; and the hope is held that modern dressmakers may
refer to it as much as, or more than, those who are interested in dress
from the historical point of view.
In any case the author's accurate knowledge of the facts, and his many
bright sketches--which are often drawn from examples in his own
remarkable collection--make the present volume an admirable handbook of
English Costume. The more technical "patterns" which are included
amongst the illustrations will be found most valuable to all who wish to
go deeper than the first glance reveals.
W. R. LETHABY.
1913.
CONTENTS
PAGE
GENERAL PREFACE TO THE SERIES xi
_Preface_ xiv
LIST OF PLATES xxiii
INTRODUCTION 33
CHAPTER I
Prehistoric Dress--Female 40
Prehistoric Dress--Male 41
CHAPTER II
The Development of Costume to the Tenth Century--Female 45
The Development of Costume to the Tenth Century--Male 49
CHAPTER III
Tenth to the Fifteenth Century--Female 57
Tenth to the Fifteenth Century--Male 71
CHAPTER IV
Fifteenth Century--Female 84
Fifteenth Century--Male 92
CHAPTER V
Sixteenth Century. Character of Trimmings 109
Sixteenth Century. Henry VIII--Female 113
Sixteenth Century. Henry VIII--Male 118
Sixteenth Century. The Reigns of Edward VI and Mary--Female 124
Sixteenth Century. The Reigns of Edward VI and Mary--Male 129
Sixteenth Century. Elizabeth--Female 133
Sixteenth Century. Elizabeth--Male 139
CHAPTER VI
The Character of Trimmings through the Seventeenth Century 142
James I 142
Charles I 143
The Commonwealth 145
Charles II 145
James II and William and Mary 146
Seventeenth Century. James I--Female 147
Seventeenth Century. James I--Male 150
Seventeenth Century. Charles I--Female 154
Seventeenth Century. Charles I--Male 160
Seventeenth Century. The Commonwealth--Male and Female 168
Seventeenth Century. Charles II--Female 169
Seventeenth Century. Charles II--Male 174
Seventeenth Century. James II--Female 178
Seventeenth Century. James II--Male 180
Seventeenth Century. William and Mary--Female 184
Seventeenth Century. William and Mary--Male 186
CHAPTER VII
The Character of Decoration and Trimmings of the
Eighteenth Century 190
Eighteenth Century. Anne--Female 193
Eighteenth Century. Anne--Male 198
Eighteenth Century. George I--Female 201
Eighteenth Century. George I--Male 207
Eighteenth Century. George II--Female 211
Eighteenth Century. George II--Male 214
Eighteenth Century. George III to 1800--Female 217
Eighteenth Century. George III to 1800--Male 231
CHAPTER VIII
Character of Trimmings of the Nineteenth Century 237
Nineteenth Century. George III--Female 241
Nineteenth Century. George III--Male 246
Nineteenth Century. George IV--Female 248
Nineteenth Century. George IV, 1820-30--Male 254
Nineteenth Century. William IV--Female 258
Nineteenth Century. William IV--Male 263
Nineteenth Century. Victoria--Female 264
Nineteenth Century. Victoria--Male 273
PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME 276
PATTERNS TO SCALE 283
PATTERNS TO SCALE, DETAILED LIST 353
INDEX 359
LIST OF DESCRIPTIVE LINES TO THE PLATES
FRONTISPIECE _Facing Title_
A Long-trained Muslin Dress, about 1800.
PLATE I _Facing p. 39_
Boots and Shoes from the Fourteenth to Nineteenth Century.
PLATE II " 42
_A._ Elizabethan Robe in Plush, 1585-1605.
_B._ Elizabethan Robe in Silk Brocade, 1565-85.
_C._ Elizabethan Male Robe in Velvet Brocade, 1580-1615.
_D._ Back-piece of Elizabethan Doublet in
Embroidered Linen, 1580-1605.
PLATE III " 55
_A._ Elizabethan Jump (or Jacket), about 1600.
_B._ Portrait of Lady in Embroidered Costume,
between 1620 and 1640.
PLATE IV " 58
_C._ Youth's Jacket of Linen embroidered in Worsted, 1635-65.
_D._ Linen Male Jacket embroidered with Gold and Silk, 1600-40.
PLATE V " 71
_A._ Jerkin--Period James I.
_B._ Lady's Bodice of Slashed and Vandyked Satin, 1635-50.
_C._ Jerkin of Embroidered Linen, 1630-60.
_D._ Jerkin of Embroidered Linen, 1580-1635.
PLATE VI " 74
_A._ Collar and Cuffs set with Lace, 1600-30.
_B._ Embroidered Leather Jerkin, 1620-1640.
_C._ Top of Stocking, Embroidered Linen, 1625-50.
PLATE VII " 87
_A._ Herald's Coat, Embroidered Velvet and Silk,
First Half Seventeenth Century.
_B._ Lady's Bodice of Black Velvet, 1630-60.
_C._ Black Silk Jerkin, 1640-50.
PLATE VIII " 90
_A._ Three Suits--Period Charles II.
_B._ " " " "
_C._ " " " "
PLATE VIIIA " 103
_A._ Suit of Embroidered Silk, 1610-30.
_B._ Three Sword-hangers Embroidered in Gold, Charles II.
_C._ Braided Suit, 1670-90.
PLATE IX " 106
_A._ Lady's Embroidered Silk Jacket, 1605-20.
_B._ Lady's Bodice of Silk Brocade, 1680-1700.
PLATE X " 119
_A._ Black Velvet Bodice, 1600-25.
_B._ Five Embroidered Waistcoats, between 1690 and 1800.
PLATE XI " 122
Sixteen Leather Boots and Shoes, between 1535 and 1850.
PLATE XII " 135
_A._ Lady's Outdoor Costume, 1785-95.
_B._ Costume, Early Eighteenth Century.
_C._ Silk Brocade Dress, 1760-80.
PLATE XIII " 138
_A._ Silk Coat, 1735-55.
_B._ Brocade Silk Coat, 1745-60.
_C._ Embroidered Cloth Coat, 1770-90.
PLATE XIV " 151
_A._ Embroidered Silk Dress with Pannier, 1765-80.
_B._ Brocade Dress and Quilted Petticoat, 1750-65.
PLATE XV " 154
_A._ White Cloth Coat, 1775-90.
_B._ Silk Dress, 1740-60.
_C._ Embroidered Velvet Coat, 1753-75.
PLATE XVI " 167
_A._ Silk Brocade Dress, 1740-60.
_B._ Silk Brocade Sack-back Dress, 1755-1775.
_C._ Dress of Striped Material, 1755-85.
PLATE XVII " 170
_A._ Silk Suit, 1765-80.
_B._ Quilted Dress, 1700-25.
_C._ Silk Embroidered Suit, 1765-80.
PLATE XVIII " 183
_A._ Brocade Bodice, 1770-85.
_B._ Flowered Silk Dress, 1750-70.
_C._ Silk Brocade Bodice, 1780-95.
PLATE XIX " 186
_A._ Silk Brocade Dress, 1775-85.
_B._ Embroidered Silk Jacket, 1775-90.
_C._ Brocade Jacket, 1780-95.
PLATE XX " 199
_A._ Gold-embroidered Muslin Dress, 1795-1805.
_B._ Nine Aprons, between 1690 and 1750.
_C._ Dress of Spotted Stockinette, 1795-1808.
PLATE XXI " 202
Twenty-three Boots and Shoes, from 1800 to 1875.
PLATE XXII " 215
_A._ Linen Dress, 1795-1808.
_B._ Silk Bodice, 1825-30.
_C._ " " 1818-25.
PLATE XXIII " 218
_A._ Muslin Dress with Tinsel Design, 1798-1810.
_B._ Silk Dress, Period George IV.
_C._ Satin and Gauze Dress, 1820-30.
PLATE XXIV " 231
_A._ Outdoor Silk Jacket, 1798-1808.
_B._ Embroidered Muslin Bodice, 1816-1830.
_C._ Embroidered Muslin Bodice, 1824-1825.
_D._ Satin and Gauze Bodice, 1820-30.
PLATE XXV " 234
_A._ Silk Dress, 1800-10.
_B._ Cotton Dress, 1800-10.
_C._ Embroidered Muslin Dress, 1820-30.
_D._ Silk Gauze Dress, 1824-30.
PLATE XXVI " 247
_A._ Morning Coat of Chintz, 1825-45.
_B._ Cloth Coat, 1808-20.
_C._ Cloth Overcoat, 1820-35.
PLATE XXVII " 250
Outdoor Silk Dress, 1825-35.
PLATE XXVIII " 259
_A._ Silk Pelisse, 1820-30.
_B._ Cotton Dress, 1830-40.
_C._ Silk Spencer and Cape, 1818-27.
PLATE XXIX " 263
_A._ Embroidered Silk Gauze Dress, 1820-30.
_B._ Gauze Dress with Appliqued Design, 1825-35.
_C._ Printed Linen Outdoor Dress, 1827-1847.
PLATE XXX " 266
_A._ Printed Silk Bodice, 1840-50.
_B._ Gathered Linen Bodice, 1837-47.
_C._ Silk Bodice and Bertha, 1845-55.
PLATE XXXI " 270
_A._ Embroidered Muslin Outdoor Dress, 1855-65.
_B._ Riding Habit, 1845-75.
_C._ Gauze Ball Dress, 1840-55.
PLATE XXXII " 279
_A._ Silk Dress, 1860-70.
_B._ Gauze Walking Dress, 1850-60.
_C._ Silk Dress, 1848-58.
PLATE XXXIII " 282
_A._ Silk Dress with Court Train, 1828-1838.
_B._ Silk Afternoon Dress, 1872-78.
_C._ Silk Coat and Skirt, 1855-56.
DRESS DESIGN
Plates originally printed in collotype are now produced in half-tone
INTRODUCTION
The subject of Historical Costume covers such a multitude of detail that
a volume on each century could be written, with hundreds of
illustrations. Thus it is, most works on costume are expensive and
bewildering; but I hope this small practical handbook will be a useful
addition to the many beautifully illustrated works which already exist.
I have divided the matter into centuries and reigns, as far as possible,
in this small work, besides separating male and female attire, thus
simplifying reference. A special feature has also been made, of
supplying the maker or designer of dress with actual proportions and
patterns, gleaned from antique dresses, as far back as they could be
obtained; and I am much indebted to the authorities at the Victoria and
Albert Museum for the permission given me to examine and measure their
unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield,
Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their
valuable assistance with interesting specimens. I have used outline
drawings in the text, as being more clear for purposes of explanation.
The dates given to the illustrations are to be taken as approximate to
the time in which the style was worn. Many of the photographs have been
arranged from my own costume collection, which has made so much of my
research simple, reliable, and pleasant. I am also happy to state that
before the final revision of this book I have heard that my collection
of historical costumes and accessories will, after a preliminary
exhibition at Messrs. Harrod's, be presented to the Victoria and Albert
Museum as a gift to the nation by the Directors of that firm. Thus the
actual dresses shown in these plates will find a permanent home in
London, and become valuable examples to students of costume. The
coiffures in the collotype plates are not to be judged as examples, for
it would have consumed far too much time to set up these figures more
perfectly, but all the bonnets, caps, and accessories given are genuine
examples.
In a book of this size, one cannot go into the designs of materials, &c.,
which is a study any earnest student would not neglect, but in this
connection I would draw attention to the comparative colour density and
proportion of designs chosen for various effects.
It has been my endeavour to arrange a greater variety of the forms which
make up the characters of each period, and also to give a wider
knowledge into the footwear, or details of the footwear, than is usual
in most costume books.
In a review of the styles I would not press any choice for building new
designs, as I believe in close individual research and selection, which
may utilise many interesting features from costume settings even in
periods which are almost scorned. I believe the purest beauty is found
in the simple forms of dress and decoration settings from the 12th to
the 15th centuries, schemed to the natural proportions of the figure.
The grace of line and movement is often aided by the short train, which
can be so happily caught up in many ways; the slight drag of the train
always keeps the front clear in outline, besides showing the movement of
the limbs. Length of fall in the material was desired, the figure
creating its own folds with every turn, but a belt was often placed
rather high under the breast. There is little reason with nature of
fine form to make dress into sections by a corset waist. A long, lithe,
complete curve in outline--much happier unbroken, except by the
girdle--is certainly the most artistically useful conception, not
breaking the rhythm (as does the harder belt), while it also induces
much beauty in lifting and arranging the drapery. The long falling
sleeve also has the same qualities, giving a greater fullness of shape,
a variety of colour (by a difference of lining), with a winglike motion,
besides softening the angle of the elbow.
I think the next garment for high esteem is the chasuble-shaped tunic
(with or without sleeves). Falling cleanly from the shoulders, it stops
at a charming length for the skirt to take up the flow of line. The
delightful effect of partly-laced or clasped sides was not missed by the
ablest designers. How refined, too, was the character of decoration of
the old period! The art of concentrating effects is seen to perfection,
retaining the breadth of shape and length unbroken. Jewelled embroidery
of fine enrichment was wrought on the borders, neck settings, square
corners, the girdle, and the clasps. The preciousness of effect was
truly appreciated by the enclosing of the face in the purity of white
lawn and zephyr-like veilings; the circlet and the long interlaced
plaits and charming nettings were all tastefully schemed. Has woman ever
looked more supreme through all the centuries of extravagant styles and
distortions? I believe not: but I have come to the conclusion that, at
whatever period of seeming insanity of style, the woman of fine taste
can overcome all obstacles by her individual choice and "set up," and
has really always looked fascinating.
There was another form of decoration at this period--the cutting of the
edges into a variety of simple or foliated shapes, giving a flutter and
enrichment to forms in a simple manner, and this, in conjunction with
the increasing richness of materials, was a valuable aid to lighten the
effects. It was probably initiated by the heraldic characteristics in
vogue.
The pricked and slashed details had much the same result in enriching
surfaces.
Later the fan sleeves of the 18th century were enhanced in a similar way
by the curved and scalloped shaping, which was used as late as the
Victorian sixties with happy effect on the polonaises.
Now, as regards the finest corset dress, the palm must be given to the
sack-back dress of the eighteenth century (not in the period of its
distortion with hoops), and a full setting showed it to greatest
advantage.
This type of design lent itself to more variety in beauty of arrangement
than any other; the looping, reefing, and tying always set gracefully in
accord with the back fall. The easy exchange of the stomacher also gave
additional chance of effect, and the beauty of the fan-shaped sleeve,
with its lace falls at the elbow, was a delightful creation. How rich
and refined this character could be, without the monstrous forms and
head-dresses which later invaded it and turned it into ornate absurdity!
When we examine the period of Charles I, we find much charming dignity
in the adaptations of earlier inventions; the collar settings were
noble, indeed perfect, in arrangement, and the bodice decoration and
proportions most interesting.
For the grace of girlhood no dresses are happier than those of the early
19th century to 1830, and the inventions in trimmings through this
period were prolific in beauty and lightness of style.
Analysis of the many fashion-plates and original dresses of this
period will well repay all interested in beautiful needlecraft and dress
design. The arrangement of frills, insertions, gathered effects, applied
forms, and tasselled or buttoned additions, will be found full of beauty
and novelty, especially in the dresses of white embroidery. Plates XXIII
and XXIV (see pp. 218-231) give some happy examples of this time.
[Illustration: Plate I.--Boots and Shoes from the 14th to the 19th
Centuries.
1. Charles II.
2. James II.
3. William and Mary.
4. George II.
5. George III., 1770.
6. George III., 1760.
7. George III., 1780-1800.
8. 1870-1880.
9. William and Mary.
10. 1680-1700.
11. 1680-1702.
12. 1750-1775.
13. 1580-1625.
14. 1710-1730.
15. Henry VIII.
16. Semi-Clog, 1780-1800.
17. Henry VIII.
18. 1778-1795.
19. Late 15th Century or early 16th Century.
20. 1500-1540.
21. Late 14th Century to middle of 15th Century.
22. 1530-1555.
23. 1535-1555.]
A word on the most condemned flow of fashion during the Victorian era.
There are many dresses of real charm to be found amongst the mass of
heavy styles which must not be overlooked in studying design and style.
Even the crinoline dress, when treated with the exquisite silk gauzes,
as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282), was as alluring
as any woman could wish, and the original design of the jacket in the
latter figure, with its richly embroidered, long-skirted front cut short
at the back, arranged itself perfectly on this type of undersetting.
There was notable refinement of effect and beauty of proportion in many
dresses of the sixties, as exemplified in Fig. A, Plate XXXII (see p.
279), the waist being set rather high, and the very full skirt carried
back by the crinoline being held thus with its cross ties.
CHAPTER I
PREHISTORIC DRESS. FEMALE.
The woman's attire would have been chiefly a shortish skirt or wrap of
coarse linen, wool, or leather, gathered in front or folded at one hip;
grass cloth may also have been in use in most primitive tribes. Probably
the upper part of the body was kept bare, except for many ornaments and
necklaces, but a bodice or jacket cut in the same simple form as the
male shirt, with a heavy belt or girdle, would have been used, and
certainly a large shawl, which could be wrapped over the head and round
the figure during inclement hours. Dyed or painted patterns on the
cloths might well have been also in use, their chief designs being
stripes, circles or dots, zigzag lines, diamonds and plaid squares, rope
patterns and plaited patterns. The hair would have been loose, plaited,
or coiled on top, held by bone pins or circlets of bronze.
PREHISTORIC DRESS. MALE.
We have little description or illustration to certify the actual dress
of the early inhabitants of Britain, but we can draw conclusions with
pretty certain assurance, from the knowledge of their mode of living.
From their attainments in artistic design and handiwork, it is clear
they had arrived at a very high state of savage culture before the Roman
invasion; and we have only to study the better types of savage life
still in progress, to picture how our own primitive race would be likely
to dress under the conditions of climate. The thousands of "finds,"
which accumulate evidence every year, give us a closer acquaintance with
their customs and work. The rest we must imagine from our general
knowledge of what they had to contend with in climate, forest, cave, and
floods.
These early people, it is presumed from certain discoveries, had long
known the art of coarsely weaving flax and wool, which must soon have
been in general use, from its being healthier and cleaner than the
garments of skin. And very probably a coarse linen, with simple dyes of
red, blue, yellow, and brown, was in use here when the Romans came.
The head-dress consisted of a cap of fur or wool, probably decorated
with a feather, over loose and most likely very unkempt hair falling to
the shoulders. The Gauls cut their locks from the back of the head,
often tying up the remainder in a tuft on the top; no doubt the hair was
sometimes plaited or pinned up with wood, bone, or bronze ornaments.
Bone pins, teeth, and boar tusks were carried in the ears, as well as
studs of bone or stone in the underlip, and even the cheek may have been
so decorated, as it was amongst the Esquimaux. The face and body were
painted with red and white ochre and a blue stain. The neck was adorned
with strings of teeth, stones, amber, jet, bronze, and probably beads of
glass or baked clay coloured. Amulets and tokens, armlets and bracelets
were all in use. Also the torque, a twisted rod of gold flattened or
curled together at the ends, was a mark of dignity. A wristlet of wood,
bone, or leather was worn when the bow and arrows were used. The arms
were a spear of flint or bronze and a dagger of the same, a hatchet or
heavy club, a mace studded with flint or bronze spikes, and the sling,
which would have necessitated a leather wallet to carry the stones; fish
spears and snags. Also the bolas for felling cattle seems to have been
known; in fact nearly all the usual implements appertaining to savage
life were in use.
[Illustration: Plate II.--
(_a_) Elizabethan Robe in Plush. 1585-1605.
(_b_) Elizabethan Robe in Silk Brocade. 1565-85.
(_c_) Elizabethan Male Robe in Velvet Brocade. 1580-1615.
(_d_) Back-piece of Elizabethan Doublet in Embroidered Linen.
1580-1605.
_Measures, see p. 281._
_Sleeve pattern of C, see p. 300._]
The first item of male attire was of two skins fastened at the
shoulders, and from this we get the early chasuble form (which may be so
beautifully treated, even to the present time), girt with a leather
thong or strap at the waist. One skin lapped the other, and hardly
needed sewing together at the sides, while thus it was easier to throw
off; it may also have been tied up between the legs. The fur was worn
both inside and out, according to the weather; this large skin wrap
would also be worn cross-ways with the right shoulder free, and the
simple cloak of various lengths with a hole for the head to pass through
was no doubt one of the first discoveries in costume.
A loin cloth or skin may have been worn alone, caught up through the
legs and fastened at the back of the waist with a heavy belt and set
well down the hips. This would hold a number of personal necessities, in
the shape of a wallet and dagger. The legs would be wrapped with skins,
tied up or crossed by leather or sinew thongs, or with hemp or grass
rope. Skins were probably also used on the feet, gathered and tied above
the instep and round the ankle.
The enumeration of these items will give a pretty definite idea of how
the early race would appear in their more or less attired form. In
fighting, they cleared for action (as it were) and discarded all
clothing, their only protection being a shield of wicker or wood covered
with leather; it may have been studded with bronze plates or painted
with grotesque characters, as were their own bodies, in true savage
style, to strike fear into their enemies; it is even possible feather
decorations formed part of their "get up."