LIST OF FIGURES

FIG. PAGE

1. Drawing of a woman engraved by a cave man 9

2. Sketch showing the development of the tunic. In this stage it has no arms 17

3. Diagram showing the way in which a sleeved tunic is derived from the shawl 18

4. A smock frock 19

5. Jacket of a woman, made in one piece. Bronze stage of culture (after Worsaae) 19

6. Man’s dress showing buttons on the right side 20

7. Woman’s dress showing buttons on the left side 21

8. Diagram showing how a man does up a button. First stage 23

9. Diagram showing how a man does up a button. Second stage 23

10. Diagram showing how a woman does up a button. First stage 23

11. Diagram showing how a woman does up a button. Second stage 23

12. The buttons on the back of a policeman’s great-coat 26

13. The buttons that close the slit up the back of an ulster 27

14. A back view of a seventeenth-century coat showing the buttons and buttonholes 28

15. The tab and buttons on the back of a soldier’s great-coat which make a temporary waist 29

16. The buttons and tab on a tramway driver’s coat 31

17. An eighteenth-century coat with side buttons and tab 31

18. Side tabs and buttons at the back (after Racinet) 31

19. A coat worn at the end of the seventeenth century (after H. Bonnart) 32

20. A modern coat with side pockets 32

21. A footman’s coat, modern, with vestigial pocket flaps 33

22. Coat skirts buttoned back (after Hogarth) 33

23. A coat with the skirts buttoned back and showing the lining 34

24. A dress coat with skirts cut away 34

25. A modern coat cuff with buttons 35

26. Turned-back cuff, end of seventeenth century (after Bonnart) 35

27. A coat sleeve (after Hogarth) with horizontal row of buttons 36

28. Sleeve of a coat of the seventeenth century, reputed to have been worn by Charles I 36

29. The turned-back cuff of an overcoat, modern 37

30. A sleeve with vertical buttons and a turned-back cuff as well (from a uniform, after Hogarth) 37

31. The uniform of a coastguard officer of 1775 (after Racinet) 39

32. The nicks in the coat and waistcoat 41

33. A stage when the nick was useful (Lucien Bonaparte, after Paul Lacroix) 42

34. The “toothpick” on a dress coat 43

35. Modern bands 45

36. A blue-coat boy’s bands 45

37. A chorister of Jesus College, Cambridge, showing the collar worn until recently. (From a photograph, by the courtesy of Mr. H. Austin Wheaton) 45

38. A stage in the reduction of bands (portrait of Jan Steen from the Illustrated Magazine of Art) 46

39. Full-sized bands (portrait of John Pym from the Illustrated Magazine of Art) 46

40. A modern bandbox, now used for hats 47

41. Bands that survive at the present day 47

42. The turban of a Jewish priest (after Kitto) compared with the dome of the Mosque of Omar 50

43. A Siamese head-dress and a Pra Pang or votive spire (after P. A. Thompson) 51

44. A Gothic spire (St. Stephens, Caen) compared with the hennin (the latter after Fairholt) 51

45. Band with streamers fastening on the head-dress of an Egyptian woman. From a figure of the Sixth Dynasty, 3500 B.C. 52

46. A lady’s head-dress confined with a fillet, fourteenth century (after Viollet le Duc) 52

47. A sailor hat with band and streamers 53

48. A twelfth-century head-dress with streamers, from a MS. (after Viollet le Duc) 53

49. A modern Scotch cap with streamers 54

50. A mitre of the See of Durham showing the strings (after Millington) 54

51. Small vestigial bow of ribbon in a modern hat 55

52. A hat with the remains of lacing 55

53. A hunting hat with complete lacing inside 56

54. A disc of leather 57

55. The disc perforated and the lace inserted 57

56. The lace tightened to form a crown 57

57. The ends of the lace tied as a bow inside 57

58. A bow fastened to the lining of a lady’s hat 58

59. Plumes on the left side 58

60. The red Hungarian cap, which was the forerunner of the busby 59

61. A busby (of the Hon. Artillery Company) in which the cap is a vestige only 59

62. A fireman’s helmet (of the ancient Greek type) 60

63. Buttons so arranged that the broad brim of a hat can be fastened to the crown, thus forming a temporary “cock” (Hudibras, after Hogarth) 60

64. A modern boot decorated with perforations made in the leather 63

65. An ornamented Roman shoe, of two thicknesses 63

66. A Roman shoe of open-work leather 63

67. A hide shoe of pre-Roman type from Ireland (after Fairholt) 64

68. The original top boot with the upper part temporarily turned down 65

69. The modern top boot in which the upper part can no longer be turned up 66

70. Puttees 66

71. Leg bandages of a royal personage at the end of the tenth century (after Fairholt) 67

72. A stocking with clocks 68

73. An embroidered stocking showing the further evolution of the clock (date 1900) 69

74. An open-work stocking of 1905 69

75. A shawl used as a kilt by a chieftain of Denmark in the bronze stage of culture (after Worsaae) 73

76. A simple dress in the form of a petticoat from an Egyptian figure of the Sixth Dynasty (3500 B.C.), from the Myers collection in Eton College Museum 74

77. A Korean servant (after Hough) 75

78. A short kilt 76

79. A barbarian soldier wearing characteristic trousers (from a diptych of St. Paul, after Marriott) 78

80. A Saxon military man wearing wide trousers (from the Harleian MS., No. 603, after Fairholt) 79

81. A peasant woman of Champéry wearing trousers 80

82. A German Hussar of 1808 81

83. The crest on a modern signet ring 85

84. Sir Geoffrey Loutterell and the ladies of his family, showing the extent to which armorial bearings were worn in the middle of the fourteenth century. From a psalter, made for Sir Geoffrey (after Fairholt) 85

85. The crest and surcoat of Henry, first Duke of Lancaster, A.D. 1347. From the brass to Sir Hugh Hasting at Elsyng, Norfolk (after Charles Boutell) 86

86. The helmet and crest of the Black Prince. From “Vetusta Monumenta” (after St. John Hope) 88

87. The shield of the Black Prince. From “Vetusta Monumenta” (after St. John Hope) 89

88. The surcoat or jupon of the Black Prince. From “Vetusta Monumenta” (after St. John Hope) 89

89. The postilion of a Lord Mayor of London, wearing a crest upon his cap, and a coat of arms upon his sleeve (copied by permission from a plate published by the John Williamson Co., Ltd.) 92

90. A baby’s glove without separate fingers 95

91. The back of a woollen glove showing the three vestiges known as “points” 96

92. A modern kid glove showing the fourchettes or pieces between the fingers, which form three pointed V’s 97

93. Queen Elizabeth’s coronation glove, showing the stitching carried down on to the back. (From a photograph by the courtesy of Messrs. Fownes Brothers and Co.) 97

94. The glove of Anne, Queen Consort of James I, showing the embroidery on the fingers, which is the ancestor of the modern “points.” (From a photograph, by the courtesy of Messrs. Fownes Brothers and Co.) 99

95. A silk lace with simple metal tags 101

96. Ornamental metal tags on a velvet neck ribbon 101

97. A simple safety-pin 102

98. An Etruscan brooch or fibula, resembling a safety-pin. (In the collection of Major W. J. Myers in Eton College Museum) 103

99. The safety-pin in the waistband 103

100. The safety-pin grown larger and used for fastening on a hat 104

101. A muff-chain 105

102. A hawker, illustrating the primitive way of carrying a burden 107

103. A courier-bag supported by a baldric 107

104. An ornamental baldric of the early fifteenth century. (Royal MS. 15, D. 5, after Fairholt) 108

105. A lady’s dress, showing the part which is called a yoke, and recalls a primitive method of carrying burdens 109

106. A loom comb found in the Glastonbury lake dwellings (after Boyd Dawkins) 118

107. A modern comb for the hair 118

108. Two studs of bronze, seen from above and from the side, later Bronze Age (after Worsaae) 119

109. The “flash” of five black ribbons on the collar of the Welsh Fusiliers. A survival from the days of the pigtail 134

110. The modern groom, showing the belt to which ladies clung when riding on a pillion 140

111. A footman in plush breeches and with powdered hair. His “pouter” coat dates from the reign of George III. By the courtesy of Messrs. F. T. Prewett and Co. 141

112. A sheriff’s coachman with the full-skirted coat of the time of George II. By the courtesy of Messrs. Prewett and Co. 142

113. The wig-bag (a survival of the bag-wig) now seen on the back of the collar of the Lord Mayor’s coachman 143

114. A modern page-boy’s livery 145

115. The Dutch skeleton dress, fashionable for boys in 1826 145

116. The cockade known as the “large treble,” representing a survival of the chaperon 152

117. A “treble cockade” covered with black cloth for mourning. The concentric circles would appear to represent the twisted liripipe of the chaperon 154

118. Treble cockade used by Chelsea pensioners 155

119. The Regent cockade 155

120. Royal cockade for state occasions 155

121. Ordinary Royal cockade 155

122. Two stages in the evolution of the chaperon. Combined hood and cape 156

123. Enlargement of the peak of the hood to form the liripipe. (After Calthrop, by kind permission of Messrs. A. and C. Black) 156

124. Further development of the chaperon. Cape and liripipe made into a head-dress that can be altered at will 157

125. A chaperon ready made up, in order to save trouble. (After Calthrop, by kind permission of Messrs. A. and C. Black) 157

126. Dress worn by the girls at Coombe Hill School, Westerham. It is a modification of the Dervish Djibah 172

127. Dress worn by the girls at the Croft School, Betley, when at work 173

128. St. Gregory the Great with his father Gordianus, who was a senator, on his right, and his mother Sylvia on his left. This shows the similarity between ecclesiastical and civil costume in early times. From an authentic picture (after Marriott) 188

129. A priest in the vestments now worn at the celebration of the Eucharist 194

130. The coat of arms of Thomas à Becket, showing an archbishop’s pall 198

131. The head-dress of a nun showing the veil and breast-cloth derived from the wimple, the cap which represents the chin-cloth, together with the frontal and the hood 203

132. The head-dress of a lady of the time of Henry II. The wimple is shown covering the chin and head-bands (after Calthrop) 203

133. The chin-band and forehead strap after the wimple has been removed (after Calthrop) 203

134. Hanging sleeve of the fifteenth century 209

135. The hanging sleeve of a Chancellor of Oxford University 211

136. A college cap or trencher 214

137. Cranmer’s hat, illustrating a stage in the evolution of a mortar-board (after Fairholt) 214

138. The hat of a bishop of the Stuart Period showing a stage at which the stiffening now seen in the mortar-board was becoming necessary (after Fairholt) 214

139. The wig of a modern judge 216

140. The vestige of the coif from the wig of a serjeant-at-law 217

141. A barrister’s gown showing the vestigial hood and its streamer. The buttons and braid which once temporarily looped up the sleeves now fix it permanently 219

142. A Yeoman of the Guard of the present reign 224

143. The wig-bag or “flash” from a Court suit, showing the rosette held away and displaying the black silk bag. At the lower corners of the latter loops are seen, which are probably the remains of those through which a ribbon was passed, which went round the neck and fastened on the breast by a brooch 229

144. The hood from the mantle of a Knight of the Garter, showing the survival of the chaperon and its liripipe 230

145. Relic of chain mail on the shoulder of an Imperial Yeoman 233

146. Chain mail illustrated by the brass of Sir Richard de Trumpington, A.D. 1289 234

147. A reversion in military equipment. One of Cromwell’s Ironsides (1679), from a print. A Cavalryman sketched at Aldershot in 1901. Copied, by permission, from the Daily Mail 237

148. The prickers on the shoulder-belt of a Hussar, which survive from the time of flint-lock muskets 239

149. The Oscan Pulicinella of 1731, without a long nose. The dress is very similar to that figured in 1630 (after Riccoboni) 256

150. The Calabrian Giangurgolo of 1731, with the long nose. The dress is very similar to that figured in 1630 (after Riccoboni) 257

151. An ancient bronze statuette with the face and features of Punch (after Ficorroni) 258

152. A fourteenth-century puppet-show (from the MS. of the “Roman d’Alexandre”) 259

153. Punch, from the Punch and Judy Show, showing the ruff and other details of Elizabethan costume 263

154. Judy, from the Punch and Judy Show, with ruff, mob cap, and apron 263

155. The Beadle, from the Punch and Judy Show 264

156. The Doctor, from the Punch and Judy Show, with wig and white tie 264

157. A clown, showing a survival of an Elizabethan costume 270

158. The dress of a modern harlequin 284

159. A pantaloon, showing an Elizabethan costume of which Venetian breeches form part 285

160. The bands that survive on a lady’s nightdress 289

161. A woman’s nightcap, still worn in Wiltshire 289

162. A man’s nightcap, from Oxfordshire 290

163. An English horse amulet in the form of a crescent. The flat places near the tips of the horns are evidence that the form is derived from two boars’ tusks 294

164. An English horse amulet showing both the heart and the sun 296

165. The cowry-shell ornaments on the head of an officer’s charger of the 10th Hussars. The pendant recalls that on mules in Palestine 298

166. Cowry shells on an Eastern mule, hanging like the pendant of the 10th Hussars 299

167. Cowry shells on the head-stall of a camel from Palestine 299

168. A Merveilleuse (after A. Robida) 345

169. A modern family, consisting of the average-sized mother, the taller daughter, and the puny boy (from a drawing by Miss Audrey Watson in “Physical Efficiency,” by Dr. Cantlie, by kind permission of Messrs. Putnam’s Sons) 357