- Greek costume of the Classic Period
A drawing made from the Pandora Vase, dated 460 B.C., in the Ashmolean Museum, and is given as an example of the treatment adopted by Greek artists in delineating the following garments It represents Zeus (on the left), Hermes and Hercules, wearing respectively the himation, chlamys, and kolobus. Pandora wears the Ionic crinkled chiton, and a small himation, which is nothing more than a veil, over an elaborate stephane. Eros is holding her girdle. - The Ionic Chiton
The costume of these people consisted practically of only two garments for men and women alike—nothing more than rectangular pieces of material—but the manner of wearing them required care, management and perfect taste. These garments were called by the Greeks: THE CHITON and THE HIMATION, but are commonly known to us as "The Tunic" and "The Mantle." The last six centuries B.C. and the nineteenth and twentieth centuries A.D. share a distinction in the history of costume, as being the only periods in which women have dominated the fashions. The women were compelled by law to change their attire, as it was found that the large pins by which the earlier "peplos"* was fastened proved dangerous weapons in the hands of infuriated women, whereas the Ionic chiton generally required no pins. - The Crinkled Ionic Chiton
The top part. The crinkled Ionic chiton was shaped like the original garment, but made of even thinner material, almost transparent, for the limbs could be seen through it. It was necessarily thinner, as more material was required in its width. It is seen on statues, the top part being crinkled in some way, in zig-zag or wavy lines, to about the hip level, where it is turned under and secured by an invisible waist-belt. It was fastened by buttons or clasps, or sewn as described earlier, to form sleeves. The skirt part was not crinkled, but, being very full, it hung in many flat folds, which gave a zig-zag effect at the bottom edge. - The Doric Chiton
The Doric Chiton, 550 B.C. {circa)-A.D. 100 About the same time, or shortly after the introduction of the Ionic chiton, a variation of the peplos was adapted under the name of the Doric chiton. It was worn simultaneously with the Ionic chiton, even to the end of the first century A.D., as may be seen on many vase paintings and pieces of sculpture. It was made of fine woollen material and woven complete in itself - The Himtation. A garment worn in Greece and Rome between 550 B.C. and 300 A.D.
From this time onward another garment, distinct in itself, came into general use, and remained until the end of the Classic Greek Period. This was the himation, an essential part of a Greek woman's costume, and indispensable with the Ionic chiton. It was often worn in the house, and always out of doors. In shape it resembled a shawl, and was an oblong piece of woollen or linen material, twelve to fifteen feet long, and in breadth about equal to the height of the wearer. - Hairdressing and Head-dresses 600 BC - 146 BC
Hair dressed with a wave on the temples was the most important feature of hairdressing at the beginning of this period, and during the first two centuries the elaborate stiff waving had the effect of a scalloped edge {left picture). On top of these waves, a series of stiff curls, pointing downwards, was often arranged. Another style in vogue at the same time was the dressing of the front hair to form a coronet of circular curls, all round the head from ear to ear {middle picture). The side ringlets, "braided tresses," were still retained, coming from behind the ears, and brought forward on to the shoulders, and the back portion (left picture) was allowed to hang down behind in waves or ringlets. Above this was tied a band, or fillet, of ribbon or metal, also encircling the head behind the row of waves or curls. Late in the sixth century the fillet became a little wider in the band, and was more upstanding on the head, forming a coronet that was often richly ornamented {right picture), and this was the early form of the stephane. - The Age of Pericles and down to the year 338 B
The Age of Pericles and down to the year 338 B - The Chiton
The early chiton. At the beginning of the sixth century B.C. men followed the example of the women by adopting the Ionic chiton for general use. The masculine variety was a shortened version of the original worn by the women, and reached to just above the knees. In its early stage (sixth century B.C.) it was no more than a rectangular piece of linen, or wool, folded round the body and fastened on each shoulder by buttons or brooches, and round the waist by a girdle; or it could be girded under the arms. It was worn open down one side, and these two edges were usually finished off with a fringe, probably the raw edges left in the weaving. - The Crinkled Chiton and the Clamys (left) and the Chiton (right)
The later chiton. Approximately at the beginning of the fifth century B.C., the chiton was made on the same principle as the women's Ionic chiton using wider material; and was bound or worked at the top edge, with the portion covering the upper arms slightly gathered. This part was buttoned or clasped back to front, and. later on sometimes sewn together, to form a sleeve. It was girded at the waist and under the arms. It eventually became customary to sew up the open side, thus making the garment a cylinder in shape. The figure on left is a young man wearing a crinkled chiton under the chlamys. His long hair is twisted up and banded. He carries his petasos in his hand. The figure on right represents a young man dressed in accordance with the fashion of the fifth century B.C., but his hair is of the sixth and fifth centuries. The lyre is a development of the more primitive instrument of an earlier Age. - The Kolobus, 400-146 B. C.
The figure represents a man of this particular epoch (400-146 B.C.) wearing the kolobus ornamented with bands of embroidery. It is girded at the waist, and a himation of small dimensions is draped over the left shoulder, ready for the other end to be thrown over it. He wears the pilos and his hair has been allowed to grow longer than heretofore, in accordance with the new fashion of this age. If this young man had desired to be in the height of fashion, he would have had long close-fitting sleeves added to his kolobus. - The Himation, 600-146 B.C.
The Himation was not exclusively a feminine garment; it was also worn by men. It was an oblong piece of material, woven with a border, and in dimensions approximately eighteen feet by six feet. During the sixth century of the Classic Period, it was often the sole garment worn. How to wear it. It was draped over the left arm, with one end hanging in front, the rest of the material being drawn across the back, round the body on the right side, and over the left shoulder again. As civilisation progressed, it was deemed necessary by ordinary men to add an under-garment—either the chiton or the kolobus. - Peasants (600 - 146 BC)
The following excerpt from Homer's Odyssey, XXIV. 225, gives details of the costume worn by peasants of an earlier period, and this description applies equally to the dress of peasants between the years 600 and 146 B.C. He was clothed in a filthy chiton, patched and unseemly, with clouted leggings of ox-hide bound about his legs, against the scratches of the thorns, and long sleeves over his hands by reason of the brambles, and on his head he wore a goatskin cap. "Sleeves " did not mean arm-coverings in the way the term is generally understood, but were pieces of hide tied or laced round the forearm, wrist and hand, leaving the fingers free, with possibly a hole for the thumb. This was the first Glove. - The Peplos
The peplos was the chief garment of the Achaean women of the early Archaic Period (circa 1200-600 B.C.). In shape it was a rectangular piece of material, often heavily embroidered and consequently of a solid texture. It was put on in the manner of the Doric chiton, but being made of more substantial stuff it was wrapped tightly round the figure without folds, girded at the waist and open up one side, the top part falling back over the chest and back. It was fastened on the shoulders, and often down the side,by large pins. - The Paenula
A cloak of cloth copied from the Greek peasants. It was in common use among all classes, both men and women, as a travelling or rain cloak, and was an important garment with the peasantry. In colour it was dark, and in shape a semicircle with the straight edges fastened down the centre-front, converting it into a bell or funnel. Alternatively, the edges were sewn together down the front; but in either case it fitted close round the figure. A hole was left for the head, which was usually encircled with a hood. - Colobium
Shape. This garment varied in width across the shoulders. The greater the distance between the neck-hole and the edge of the top corner (see A B), the more the upper arm was hidden. This has the misleading effect of a sleeve to the elbow. The Romans had a great aversion to anything in the nature of a close arm covering, so the fashion of wearing long shaped separate sleeves, set by Alexander the Great, was not followed at Rome, as it was considered unmanly; besides, such sleeves were worn by foreigners and barbarians, so naturally this mode was distasteful to the patriotic intolerance of a Roman citizen. The Greek " kolobus," called by the Romans the "colobium." Another name for this garment was the "tunica". When more than one was worn, the under ones were called the "tunica interior" or "subucula." A long tunica was called "tunica talaris." - Cow Parts
1 Chuck 2 Ribs 3 Loin 4 Rump 5 Round 6 Hind Shank 7 Flank 8 Navel End 9 Clod 10 Fore Shank 11 Brisket. - Lady Cook
Lady Cook - Henry Wadsworth Longfellow
Henry Wadsworth Longfellow - An Egyptian Woman
An Egyptian Woman - Lilies
Three women in a boat picking lilies - A
A - N
N - N
N - St. Antony's Lean Persecutor
St. Antony's Lean Persecutor - Burning of Incense
The conventional Egyptian representation of the burning of incense and the pouring of libations - Representation of the ancient Mexican Worship of the Sun
The image of the sun is held up by a man in front of his face; two men blow conch-shell trumpets; another pair burn incense, and a third pair make blood-offerings by piercing their ears. - A Chinese Dragon
A Chinese Dragon - Dragon from the Ishtar Gate of Babylon
Dragon from the Ishtar Gate of Babylon - Babylonian Weather God
Babylonian Weather God - Reproduction of a Picture in the Maya Codex Troano representing the Rain-god Chac treading upon the Serpent's head
Reproduction of a Picture in the Maya Codex Troano I reproduce here a remarkable drawing from the Codex Troano, in which this god, whom the Maya people called Chac, is shown pouring the rain out of a water-jar (just as the deities of Babylonia and India are often represented), and putting his foot upon the head of a serpent, who is preventing the rain from reaching the earth. Here we find depicted with childlike simplicity and directness the Vedic conception of Indra overcoming the demon Vritra. Stempell describes this scene as "the elephant-headed god B standing upon the head of a serpent"; while Seler, who claims that god B is a tortoise, explains it as the serpent forming a footstool for the rain-god. - Another representation of the Elephant-headed Rain god
Another representation of the Elephant-headed Rain god. He is holding thunderbolts, conventionalised in a hand-like form. The Serpent is converted into a sac, holding up the rain-waters. - Joseph let down into the pit
Joseph let down into the pit Genesis 37:23 - Joseph made known to his brethren
Joseph made known to his brethren Genesis 45:2 - Joseph sold to the Ishmaelites
Joseph sold to the Ishmaelites Genesis 37:27 - Joseph's Coat brought to Jacob
Joseph's Coat brought to Jacob Genesis 37:33 - Joseph's Dream
Joseph's Dream Genesis 37:5-7 - Meeting of Joseph and his father
Meeting of Joseph and his father Genesis 46:29 - Simeon bound as a surety
Simeon bound as a surety Genesis 42:24 - The Brothers bowing down before Joseph
The Brothers bowing down before Joseph Genesis 42:6 - The Cup is found in Benjamin's sack
The Cup is found in Benjamin's sack Genesis 44:12 - Benjamin is introduced to Joseph
Benjamin is introduced to Joseph Genesis 43:16 - The King's gifts to Joseph
The King's gifts to Joseph Genesis 41:42 - Jacob gives the coat to Joseph
Jacob gives the coat to Joseph Genesis 37:3 - Joseph bewails his fathers death
Joseph bewails his fathers death Genesis 50:1 - Joseph cast into Prison
Joseph cast into Prison Genesis 39:20 - Joseph interprets Pharaoh's Dream
Joseph interprets Pharaoh's Dream Genesis 41:25 - Joseph interprets the Dreams of the Butler and Baker
Joseph interprets the Dreams of the Butler and Baker Genesis 40:12 - Feet
Feet - Hand
Right Hand - Spring Bonnets
The peculiar trait of the hats of the present season is the great quantity of mixed materials, as crape, silk, lace, flowers, and ribbon, on one very small structure. Great taste is to be exercised in mingling these judiciously—ornamenting, not overloading; in the first place, selecting a good model as to shape and style. No. 1 we have chosen for its simplicity. It is composed of three rows of pink crape or silk, drawn in a puffing, with a blonde edging rather wide on each. The crown is entirely of lace, and there is a fall of the same on the cape. A knot of pink satin bows, to the right, is all the decoration of the exterior. A full cap of blonde, with one or two pink bows, carelessly disposed, inside the brim. No. 2 shows the extreme of the shallow brim, and two-thirds of the wearer's head at the same time. It is, notwithstanding, a neat and modest-looking dress bonnet of pomona green silk, the crown piece, which is in full flutings, extending almost to the edge of the brim. This is crossed by a band of the same with bound edges (old style). The front is a very full double ruche of blonde, between the two green silk cordings. A full cap of the same fills the space between the face and the brim, with a spray of flowers set very high to the right. No. 3.—A more elaborate hat of straw-colored silk and white guipure lace. It has a small plume on the left, and has a full spray of bridal roses inside the brim. No. 4 shows the disposition of lace and bow at the back of a crown, a great point in the millinery of the present season; a stiff crown will ruin a graceful brim. - Letters
Letters - The latest French fashions
Evangeline and Annoinette EVANGELINE.—Silk embroidered, and trimmed with two rows of guipure lace—one row of lace round the yoke, and one about ten inches from the bottom, each row headed with a narrow quilling of ribbon, which also goes down the front and round the neck. On the yoke and between the rows of lace there is handsome embroidery. ANTOINETTE. An entirely new pattern.—The mantilla is entirely formed of rows of lace or pinked silk on a silk or thin foundation. - Godeys Fashion - 1854
Godeys Fashion - 1854 - Parisian Fashions
MARQUISE and NAVAILLES SHAWL-MANTELET. MARQUISE.—Silk Pelisse. The body is close; it is trimmed with three rows of goffered ribbons disposed in arcades, and terminated at each point by loops of ribbons one over the other. A row of ribbons runs round the bottom of the body, which has also a lace trimming that falls over the opening of the sleeve. The skirt falls in flutes; it has three rows of ribbons and a lace flounce. NAVAILLES.—Shawl-Mantelet, of taffetas trimmed with lace, fringe, and silk ribbons having velvet stripes. It opens like a shawl in front, and comes high behind. A lace of two inches in width turns down on the neck as far as the bow on the breast; a point falls behind like a little shawl, and is bordered with a ribbon sewed on flat, and a lace of about five inches, besides a fringe; in front this lace forms a bertha. The lower part of the garment, sewed on under the point, is rounded, and hangs in flutes behind. It is bordered with the same ribbon, accompanied by the same, and fringe. The ends in front are pointed. - Practical Dress Instructor
Headdress of the Lady on the Right.—Hair in bandeaux à la Niobe; torsade of pearls. Moire dress, low body, with progressive revers opening over a modestie of embroidered muslin edged with lace; short open sleeves à la Watteau; undersleeves of embroidered muslin; half-long gloves; bracelets of pearls, or more often worn different, according to choice. The other Figure (Lady seated).—Cap of tulle trimmed with lace and ribbon. Low body, with revers open to waist; loose bell-shaped sleeves, edged with a bouillonne; two skirts trimmed with the same; modestie of embroidered muslin, edged with point de Venise; black velvet bracelets, half-long gloves, and Venetian fan. - Preparing For Church
Preparing For Church - Spring Fashions
LACE MANTILLA and TABLET MANTILLA LACE MANTILLA.—This mantilla has three capes—the first is in depth twenty-three inches, the second eighteen inches, and the third fourteen inches, with lace edging to match. The collar is six inches in depth, with a bow of ribbon behind. TABLET MANTILLA.—Material. Watered or plain silk. It is made with a yoke, and falls low on the shoulders. For trimming, it is cut in turrets, trimmed with narrow braid and netted fringe sewed underneath. - Spring Fashions 1854
Spring Fashions 1854 - The Albuera
This mantilla is one of great beauty. It is made of blue glacé silk, but can be in any choice color. Lavender and lustrous pearl and mode colors look especially well, as also the greens, in this garment. Its chief peculiarity consists in its square front and its fitting so as to just cut the edge of the shoulder. It is fastened at the top by a bow; the back falls with an easy fulness; it is embroidered. - The Grand Lama
MM. Gabet and Huc were impressed with the striking similarity between the Lamanesque worship and Catholicism. The cross, the mitre, the dalmatica, the cape, which the Grand Lamas wear on their journeys, or when they are performing some ceremony out of the temple; the service with double choirs, the psalmody, the exorcisms, the censer, suspended from five chains; the benedictions given by the Lamas by extending the right hand over the head of the faithful; the chaplet, ecclesiastical celibacy, spiritual retirement, the worship of the saints, the fasts, the processions, the litanies, the holy water, all these are analogous in the two modes of worship. Monasteries were founded by Tsong-Kaba, and they now contain a very large number of Lamas. The principal one is situated about three leagues from Lha-Ssa. It contains eight thousand Lamas, who devote the greater portion of their lives to study. The monastery of Hounboum is situated at the Lamanesque Mecca—the foot of the mountain where Tsong-Kaba was born.