Origin and Early History of the Fashion Plate Part 3

The book was reissued in 1564 and 1567.]

[Footnote 16: Translated, this reads: ". . . our predecessors of old . . . were more careful about sumptuous dress than rare virtue . . . for as the monk was recognized by his frock, the jester by his cap, and the soldier by his arms, so the wise man was known by his moderate habit."]

[Footnote 17: A. M. HIND, _Engraving in England in the 16th and 17th centuries_ (Cambridge: Cambridge University Press, 1952), vol. 1, pl. 34.]

[Footnote 18: F. BERTELLI, _Omnium fere gentium nostrae aetatis habitus_ . . . (Venice, 1563).]

[Footnote 19: For the origin of this Spanish fas.h.i.+on in 1470, see CARMEN BERNIS MADRAZO, _Indumentaria medieval espanola_ (1956), p. 50, pl. 158.]

[Footnote 20: There are two editions of the book by CESARE VECELLIO: _De gli habiti antichi e moderni_ . . . (Venice: Zenaro, 1590 [Italian text]); _Habiti Antichi e Moderni_ (Venice: Sessa, 1598 [Italian and Latin text]). The quality of the woodblocks and impressions varies considerably.]

[Footnote 21: Translated, this reads: "Underneath, the habit of the ladies [who imitate the d.u.c.h.ess] is to wear the farthingale or pleated frock, which skillfully holds the petticoat out wide like a bell. This fas.h.i.+on is extremely convenient for walking or dancing, and nowadays, ladies throughout all Italy wear this pleated frock mentioned above." (1590 ed., folio 187.a.)]

[Footnote 22: Translated, this reads: "The originator of these beautiful fabrics in Venice is Master Bartholomew Bontempele at the sign of the 'Chalice.' From time to time at exhibitions he makes of these materials he has created, he shows the greatness of his intellect, which is accompanied by an incomparable generosity and kindness for which he is greatly loved by the Venetian n.o.bility, by many princes of Italy, and in particular by his Serene Highness the Duke of Mantua. In his store, to which many gentlemen and princes send orders, even the Seraglio of the Grand Turk, are to be seen brocades worked in all manners of gold and silver." (1590 ed., folio 139.)]

[Footnote 23: There is an excellent reprint of Buytewech's book with an introduction by W. BRUHN (1926).]

[Footnote 24: C. LE BLANC, _Manuel de l'amateur des estampes_ (1854), no. 549-560.]

[Footnote 25: For examples, see A. BLUM, _L'oeuvre grave de Abraham Bosse_ (1924), nos. 957-961; the plate "Pompe funebre de la Mode," by A. BLUM (in _Les Modes au XVIIme siecle_, 1927), p. 21; and F. P. WILSON, "Funeral obsequies of Sir All-in-new-fas.h.i.+ons" (in _Shakespeare Survey_, 1958), p. 98.]

[Footnote 26: J. L. NEVINSON, "Fas.h.i.+on Plates and Fas.h.i.+on, 1625-35," _Apollo_ (1950) vol. 51, pp. 138-140.]

[Footnote 27: GUSTAVE PARTHEY, _Kurzes Verzeichniss der Hollarschen Kupferstichen_ (1853), nos. 606-609.]

[Footnote 28: GUSTAVE PARTHEY, _Kurzes Verzeichniss der Hollarschen Kupferstichen_ (1853), nos. 1908-12, 1930-33.]

[Footnote 29: PARTHEY, ibid., nos. 1946-51.]

[Footnote 30: JOHN EVELYN, _Tyrannus or the Mode_ (1661).

Facsimile reprint with introduction by J. L. NEVINSON (Oxford: Luttrell Society, 1951), no. 11.]

[Footnote 31: E. S. DE BEER, "King Charles II's own fas.h.i.+on,"

_Warburg Inst.i.tute Journal_ (1935), vol. 2, no. 2, p. 105.]

[Footnote 32: Translated, this reads: ". . . nothing is more pleasing than the styles born in France . . . . This is why much relating to dress is imported from France into all the provinces of the world, though the final dress is not exactly French."]

[Footnote 33: EMILE MAGNE, _Images de Paris sous Louis XIV_ (1939). In this book, the social historian Dr. Magne devotes the best part of a chapter to the _Mercure Galant_ and gives a listing of all fas.h.i.+on articles up to 1700.]

[Footnote 34: See J. L. NEVINSON, "The 'Mercury Gallant' or European Fas.h.i.+ons in the 1670's," _Connoisseur_ (1955) vol. 136, p. 87.]

[Footnote 35: See F. G. ROE, "Prints and Tinsel," _Connoisseur_ (1932), vol. 89, p. 302.]

[Footnote 36: _The Cryes of the City of London, Drawne after the Life_, delineated by M. Lauron, engraved by P. Tempest (London: H. Overton, 1711).]

[Footnote 37: _A new Drawing book of Modes_, by Mons B. Picart (printed for Richard Ware at the Bible & Sun in Amen Corner, Warwick Lane, London; no date).]

[Footnote 38: R. COLAS, _Bibliographie du costume_ (1933), nos.

2502, 2503.]

[Footnote 39: G. PASTON, _Social Caricature in the 18th Century_ (1905), pl. facing p. 10.]

[Footnote 40: J. LE GROS, L'Art de la coiffure (1768). JAMES STEWART, _Plocacosmos or the whole Art of Hairdressing_ (1782).]

[Footnote 41: C. L. REGNAULT DE SAVIGNY, _Les almanachs ill.u.s.trees du XVIIIme siecle_ (1909).]

[Footnote 42: Justus Moser of Osnabruck, a prolific writer in the 1770s, discussed, in his _Patriotische Fantasien_, not only national dress but whether magazines should deal with ladies'

fas.h.i.+ons.]

[Footnote 43: EVA BERGMAN, _Nationella Drakten_ (Stockholm, 1938).]

[Footnote 44: J. C. RYGE, _Ideer til en national Smag i dansk Klaederdragt_ (Copenhagen, 1827).]

[Footnote 45: GRa.s.sET DE SAINT-SAUVEUR, _Costume des Representans du peuple_ (Paris, 1795).]

[Footnote 46: H. LE BLANC, _The Art of Tying the Cravat_, 3rd ed.

(1828). _The whole Art of Dress_, by a Cavalry officer (1830).

Both of these small books contain fas.h.i.+on plates.]

[Footnote 47: VYVYAN HOLLAND, op. cit. (footnote 1), chap. 5 ff.

C. WILLETT CUNNINGTON, _English Women's Clothing in the Nineteenth Century_ (1937). JAMES LAVER, _Nineteenth Century Costume_ (1947).

C. H. GIBBS-SMITH, _The Fas.h.i.+onable Lady in the 19th Century_ (1960).]