Dress as a Fine Art Part 2

The Greek and Oriental costume has always been a favorite with painters: the "Vernon Gallery" furnishes us with two ill.u.s.trations; and the excellent engravings of these subjects in the _Art Journal_ enable us to compare the costumes of the two figures while at a distance from the originals. The graceful figure of "The Greek Girl,"

(engraved in the _Art Journal_ for 1850,) painted by Sir Charles Eastlake, is not compressed by stays, but is easy and natural. The white under-drapery is confined at the waist, which is short, by a broad girdle, which appears to encircle it more than once, and adds to the apparent length of the waist; the open jacket, without a collar, falls gracefully from the shoulders, and conceals the limits of the waist; every thing is easy, natural, and graceful. M. De Stackelberg's beautiful figure of the "Archon's Wife" (Fig. 54) shows the district whence Sir C. Eastlake drew his model. There is the same flowing hair,--from which hang carnations, as in the picture in the "Vernon Gallery,"--the same cap, the same necklace. But in the baron's figure, we find the waist encircled with a broad band, six or seven inches in width, while the lady rests her hand on the sash-like girdle, which falls round the hips.

Turn we now to Pickersgill's "Syrian Maid," (engraved in the _Art Journal_ for 1850:) here, we see, the artist has taken a painter's license, and represented the fair Oriental in stays, which, we believe, are happily unknown in the East. How stiff and constrained does this figure appear, after looking at Sir C. Eastlake's beautiful "Greek Girl;" how unnatural the form of the chest! The limits of the waist are not visible, it is true, in the "Syrian Maid," but the shadow is so arranged, that the rounded form, to which we have before alluded, and which fas.h.i.+on deems necessary, is plainly perceptible; and an impression is made that the waist is small and pinched.

We could mention some cases in which the girdle is omitted altogether, without any detriment to the gracefulness of the figure. Such dresses, however, though ill.u.s.trative of the principle, are not adapted to the costume of real life. In sculpture, however, they frequently occur.

We may mention Gibson's statue of her majesty, the female figure in M'Dougall's "Triumph of Love," and "Penelope," by Wyatt, which are engraved in the _Art Journal_, (the first in the year 1846, the others in 1849.) But the drapery of statues can, however, scarcely be taken as a precedent for that of the living subject, and although we mention that the girdle is sometimes dispensed with, we are far from advocating this in practice; nay, we consider the sash or girdle is indispensable; all that we stipulate for is, that it should not be so tight as to compress the figure, or impede circulation.

In concluding our remarks on this subject, we would observe, that the best means of improving the figure are to secure freedom of motion by the use of light and roomy clothing, and to strengthen the muscles by exercise. We may also observe, that singing is not only beneficial to the lungs, but that it strengthens the muscles, and increases the size of the chest, and, consequently, makes the waist appear smaller.

Singing, and other suitable exercises in which both arms are used equally, will improve the figure more than all the backboards in the world.

CHAPTER III.

THE HEAD.

There is no part of the body which has been more exposed to the vicissitudes of fas.h.i.+on than the head, both as regards its natural covering of hair, and the artificial covering of caps and bonnets. At one time, we read of sprinkling the hair with gold dust; at another time, the bright brown hair, of the color of the horse-chestnut, so common in Italian pictures, was the fas.h.i.+on. This color, as well as that beautiful light golden tint sometimes seen in Italian pictures of the same period, was frequently the result of art, and receipts for producing both tints are still to be found in old books of "_secreti_." Both these were in their turn discarded, and after a time the real color of the hair was lost in powder and pomatum. The improving taste of the present generation is, perhaps, nowhere more conspicuous than in permitting us to preserve the natural color of the hair, and to wear our own, whether it be black, brown, or gray.

There is also a marked improvement in the more natural way in which the hair has been arranged during the last thirty years. We allude, particularly, to its being suffered to retain the direction intended by nature, instead of being combed upright, and turned over a cus.h.i.+on a foot or two in height.

These head-dresses, emphatically called, from their French origin, _tetes_, were built or plastered up only once a month: it is easy to imagine what a state they must have been in during the latter part of the time. Madame D'Oberkirch gives, in her Memoirs, an amusing description of a novel head-dress of this kind. We transcribe it for the amus.e.m.e.nt of our readers.

"This blessed 6th of June she awakened me at the earliest dawn. I was to get my hair dressed, and make a grand _toilette_, in order to go to Versailles, whither the queen had invited the Countess du Nord, for whose amus.e.m.e.nt a comedy was to be performed. These Court _toilettes_ are never-ending, and this road from Paris to Versailles very fatiguing, especially where one is in continual fear of rumpling her petticoats and flounces. I tried that day, for the first time, a new fas.h.i.+on--one, too, which was not a little _genante_. I wore in my hair little flat bottles, shaped to the curvature of the head; into these a little water was poured, for the purpose of preserving the freshness of the natural flowers worn in the hair, and of which the stems were immersed in the liquid. This did not always succeed, but when it did, the effect was charming. _Nothing could be more lovely than the floral wreath crowning the snowy pyramid of powdered hair!_"

Few of our readers, we reckon, are inclined to partic.i.p.ate in the admiration of the baroness, so fancifully expressed, for this singular head-dress.

We do not presume to enter into the question whether short curls are more becoming than long ones, or whether bands are preferable to curls of any kind; because, as the hair of some persons curls naturally, while that of others is quite straight, we consider that this is one of the points which must be decided accordingly as one style or the other is found to be most suitable to the individual. The principle in the arrangement of the hair round the forehead should be to preserve or a.s.sist the oval form of the face: as this differs in different individuals, the treatment should be adapted accordingly.

The arrangement of the long hair at the back of the head is a matter of taste; as it interferes but little with the countenance, it may be referred to the dictates of fas.h.i.+on; although in this, as in every thing else, simplicity in the arrangement, and grace in the direction of the lines, are the chief points to be considered. One of the most elegant head-dresses we remember to have seen, is that worn by the peasants of the Milanese and Ticinese. They have almost uniformly glossy, black hair, which is carried round the back of the head in a wide braid, in which are placed, at regular intervals, long silver pins, with large heads, which produce the effect of a coronet, and contrast well with the dark color of the hair.

[Ill.u.s.tration: Pl. 6.

Figure 55. After Parmegiano.

56. t.i.tian's daughter.

57. Lady Harrington.

59. Roman peasant.

61. Gigot sleeves.

The examples afforded by modern sculpture are not very instructive, inasmuch as the features selected by the sculptors are almost exclusively Greek, whereas the variety in nature is infinite. With the Greek features has also been adopted the antique style of arranging the hair, which is beautifully simple; that is to say, it is parted in the front, and falling down towards each temple, while the long ends rolled lightly back from the face so as to show the line which separates the hair from the forehead, or rather where it seems, as it were, to blend with the flesh tints--an arrangement which a.s.sists in preserving the oval contour of the face, are pa.s.sed over the top of the ear, and looped into the fillet which binds the head. The very becoming arrangement of the hair in the engraving, from a portrait by Parmegianino, (Fig. 55,) is an adaptation of the antique style, and is remarkable for its simplicity and grace. Not less graceful, although more ornamental, is the arrangement of the hair in the beautiful figure called "t.i.tian's Daughter." Fig. 56. In both these instances, we observe the line--if line it may be called--where the color of the hair blends so harmoniously with the delicate tints of the forehead.

The same arrangement of the hair round the face may be traced in the pictures by Murillo, and other great masters.

Sir Joshua Reynolds has frequently evinced consummate skill in the arrangement of the hair, so as to show the line which divides it from the forehead. For some interesting remarks on this subject, we refer our readers to an "Essay on Dress," republished by Mr. Murray from the "Quarterly Review." Nothing can be more graceful than Sir Joshua's mode of disposing of the hair when he was able to follow the dictates of his own good taste; and he deserves great credit for the skill with which he frequently treated the enormous head-dresses which in his time disfigured the heads of our countrywomen. The charming figure of Lady Harrington (Fig. 57) would have been perfect without the superstructure on her beautiful head. How stiff is the head-dress of the next figure, (Fig. 58,) also, after Sir Joshua, when compared with the preceding.

The graceful Spanish mantilla, to which we can only allude, is too elegant to be overlooked: the modification of it, which of late years has been introduced into this country, is to be considered rather as an ornament than as a head-covering. It has been recently superseded by the long bows of ribbon worn at the back of the head--a costume borrowed from the Roman peasants. Fig. 59. The fas.h.i.+on for young people to cover the hair with a silken net, which, some centuries ago, was prevalent both in England and in France, has been again revived.

Some of the more recent of these nets are very elegant in form.

The hats and bonnets have, during the last few years, been so moderate in size, and generally so graceful in form, that we will not criticize them more particularly. It will be sufficient to observe that, let the brim be what shape it will, the crown should be nearly of the form and size of the head. If this principle were always kept in view, as it should be, we should never again see the monster hats and bonnets which, some years ago, and even in the memory of persons now living, caricatured the lovely forms of our countrywomen.

CHAPTER IV.

THE DRESS.

We shall consider the dress, by which we mean, simply, the upper garment worn within doors, as consisting of three parts--the sleeve, the body, and the skirt.

The sleeve has changed its form as frequently as any part of our habiliments: sometimes it reached to the wrist, sometimes to a short distance below the shoulder. Sometimes it was tight to the arm; sometimes it fell in voluminous folds to the hands; now it was widest at the top, then widest at the bottom. To large sleeves themselves there is no objection, in a pictorial point of view, provided that their point of junction with the shoulder is so conspicuous that they do not add to the apparent width of the body in this part. The lines of the sleeves should be flowing; and they are much more graceful when they are widest in the lower part, especially when so open as to display to advantage the beautiful form of the wrist and fore-arm. In this way, they partake of the pyramid, while the inelegant gigot sleeve, which for so long a period enjoyed the favor of the ladies, presents the form of a cone reverted, and is obviously out of place in the human figure. When the large sleeve, supported by canes or whalebones, forms a continuous line with the shoulder, it gives an unnatural width to this part of the figure--an effect that is increased by the large collar which conceals the point where the sleeve meets the dress. Examples of the large, open sleeve, in its extreme character, may be studied with most advantage in the portraits of Vandyck. Fig. 60, Lady Lucy Percy, after Vandyck. The effect of these sleeves is frequently improved by their being lined with a different color, and sometimes by contrasting the rich silk of the outer sleeve with the thin gauze or lace which forms the immediate covering of the arm. The figures in the plates will show the comparative gracefulness of two kinds of large sleeves, namely, that which is widest at the top, and that which is widest below.

If the outline of the central figure of our more modern group, (Fig. 61,)--consisting of three figures, which is copied from a French work,--were filled up with black, a person ignorant of the fas.h.i.+on might, from the great width of the shoulders, have mistaken it for the Farnese Hercules in petticoats.

The large sleeves, tight in the upper part, and enlarging gradually to the wrist, which are worn by the modern Greeks, are extremely graceful. When these are confined below the elbow, which is sometimes done for convenience, they resemble somewhat the elbow sleeves with wide ruffles which were so common in the time of Sir Joshua Reynolds.

Sleeves like those now worn in Greece were fas.h.i.+onable in France in the tenth century, and again about the beginning of the sixteenth century. They were also worn by Jeanne d'Albret, the mother of Henry IV., and are seen in Fig. 41.

A very elegant sleeve, fitting nearly close at the shoulder, and becoming very full and long till it falls in graceful folds almost to the feet, prevailed in England during the time of Henry V. and VI. Fig. 62, copied from a ma.n.u.script of the time of Henry V., now preserved in the British Museum. On the authority of Professor Heideloff, it is said to have existed also in Flanders in the thirteenth and fourteenth centuries, and in France in the fifteenth century. In the examples of continental costume, the _tout ensemble_ is graceful, and especially the head-dress; while in England the elegant sleeve is accompanied with very short waists, and with the hideous, horned head-dresses then fas.h.i.+onable. The effect of these sleeves much resembles that of the mantles of the present day, and from its wide flow is only adapted for full dress, or out-of-door costume. The sleeves worn under these full ones were generally tight.

At a much later period, the large sleeves were made of more moderate dimensions, both in length and width, and a full sleeve of fine lawn or muslin, fastened at the wrist with a band, and edged with a lace ruffle, was worn beneath. This kind of sleeve has recently been again introduced into England, but has given place to another form, in which the under sleeve of lace or muslin, being of the same size as the upper, suffers the lower part of the arm to be visible. The effect of this sleeve, which is certainly becoming to a finely-formed arm, is a.n.a.logous to that of the elbow sleeve, which, with its deep ruffles of point lace, is frequent on the portraits of Sir Joshua Reynolds.

[Ill.u.s.tration: Pl. 7.

Figure 63. From Bonnard's Costumes.

64. Sancta Victoria.

65. Anne, Countess of Chesterfield, from Vandyck.

67. Woman of Markinitza.

The slashed sleeve, criticized by Shakspeare in the "Taming of the Shrew," was sometimes very elegant. The form in which it appears in Fig. 63, worn in the fifteenth century, is particularly graceful. Not so, however, the lower part of the sleeve.

In the preceding remarks, we have considered the sleeve merely in a picturesque point of view, without reference to its convenience or inconvenience.

The length of the waist has always been a matter of caprice. Sometimes the girdle was placed nearly under the arms; sometimes it pa.s.sed to the opposite extreme, and was suffered to fall upon the hips.

Sometimes it was drawn tightly round the middle, when it seemed to cut the body almost in two, like an hourgla.s.s. Judging from what we see, we should say that this is a feat which many ladies of the present time are endeavoring to achieve. The first and third cases are almost equally objectionable, because they distort the figure. The hip girdle, which is common in Greece (as shown in Figs. 48 and 53) and Oriental countries, prevailed also in England and France some centuries ago. The miniatures of old ma.n.u.scripts furnish us with examples of long-waisted dresses fitting closely to the person, sometimes stiffened like the modern stays, at others yielding to the figure. The waist of this kind of dress reached to the hips, where it was joined to the full petticoat, which was gathered round the top--an extremely ungraceful fas.h.i.+on. The hip girdle, properly used, is, however, by no means inelegant. It is not at all necessary that it should coincide with the waist of the dress; it should be merely looped or clasped loosely round the figure, and suffered to fall to its place by its own weight. But to enable it to do so in a graceful manner, it is essential that the skirt of the dress should be so united with the body as to produce no harsh lines of separation, or sudden changes of curvature; as, for example, when the skirt is set on in full plaits, or gathers, and spread over a hoop. We have before noticed, that this point was attended to by Rubens, (Fig. 66,) by Vandyck, (Fig. 65,) by Sir Joshua Reynolds, and by the modern Greeks.

We refer also to the elegant figure 64. The most natural situation for the girdle, or point of junction of the body with the skirt, is somewhere between the end of the breast bone and the last rib, as seen in front--a s.p.a.ce of about three or four inches. Fas.h.i.+on may dictate the exact spot, but within this s.p.a.ce it cannot be positively wrong.

The effect is good when the whole s.p.a.ce is filled with a wide sash folded round the waist, as in Sir C. Eastlake's "Greek Girl," or some of the graceful portraits by Sir Joshua Reynolds. How much more elegant is a sash of this description than the stiff line which characterizes the upper part of the dress of "Sancta Victoria."

(Fig. 64.) The whalebone, or busk, is absolutely necessary to keep the dress in its proper place. The resemblance in form between the body of the dress of this figure and those now or recently in fas.h.i.+on cannot fail to arrest the attention of the reader. Stiff, though, as it undoubtedly is, the whole dress is superior to the modern in the general flow of the lines uniting the body and skirt. Long skirts are more graceful than short ones, and a train of moderate length adds to the elegance of a dress, but not to its convenience. Long dresses, also, add to the apparent height of a figure, and for this reason they are well adapted to short persons. For the same reason, waists of moderate length are more generally becoming than those that are very long, because the latter, by shortening the skirt of the dress, diminish the apparent height.

Besides the variation in length, the skirts of dresses have pa.s.sed through every gradation of fulness. At one time, it was the fas.h.i.+on to slope gradually from the waist, without gathers or plaits; then a little fulness was admitted at the back; then a little at the front, also. The next step was to carry the fulness all round the waist. In the graceful costume of the time of Vandyck, and even in the more stiff and formal dress delineated in the pictures of Rubens, the skirt was united to the body by large, flat plaits, when the fulness expanded gradually and gracefully, and the rich material of the dress spread in well-arranged folds to the feet. The lines were gently undulating and graceful, and that unnatural and clumsy contrivance called a "bustle"--a near relation of the hoop and fardingale--was at that time happily unknown. This principle of uniting the skirt gradually with the body of the dress is carried out to the fullest extent by the modern Greeks. In the figure of the peasant from the neighborhood of Athens, (Fig. 47,) the pelisse is made without gathers or plaits: the skirt, which hangs full round the knees, is "gored" or sloped away till it fits the body at the waist. The long underskirt is, as we find from the figure of the woman of Makrinitza, (Fig. 67,) gathered several times, so as to lie flat to the figure, instead of being spread over the inelegant "bustle." It is only necessary to compare these graceful figures, in which due regard has been paid to the undulating lines of the figure, with a fas.h.i.+onable lady of the present day, whose "polka jacket," or whatever may be the name of this article of dress, is cut with violent and deep curves, to enable it to spread itself over the bustle and prominent folds of the dress.

[Ill.u.s.tration: Pl. 8.

Figure 60. Lady Lucy Percy, from Vandyck.

69, 70. By Jules David, in "Le Moniteur de la Mode."

68. The hoop, after Hogarth.

Not satisfied with the bustle in the upper part of the skirt, some ladies of the present day have returned to the old practice of wearing hoops, to make the dresses stand out at the base. These are easily recognized in the street by the "swagging"--no other term will exactly convey the idea--from side to side of the hoops, an effect which is distinctly visible as the wearer walks along. It is difficult to imagine what there is so attractive in the fardingale and hoop, that they should have prevailed, in some form or other, for so many years, and that they should have maintained their ground in spite of the cutting, though playful, raillery of the "Spectator," and the jeers and caricatures of less refined censors of the eccentricities of dress. They were not recommended either by beauty of line or convenience, but by the tyrant Fas.h.i.+on, and we owe some grat.i.tude to George IV., who banished the last relics of this singular fas.h.i.+on from the court dress, of which, until his time, it continued to form a part. Who could imagine that there would be an attempt to revive the hoop petticoat in the nineteenth century? We invite our readers to contrast the lines of the drapery in the figures after Vandyck, (Figs. 60 and 61,) and those in the modern Greek costume, (Figs. 51 and 54,) with that of a lady in a hoop, after a satirical painter, Hogarth, (Fig. 68,) and two figures from a design by Jules David, in "Le Moniteur de la Mode," a modern fas.h.i.+onable authority in dress.

(Figs. 69 and 70.) There can be no doubt which is the most graceful.

The width of the shoulders and the tight waist of the latter, will not escape the notice of our readers.