“Aren’t there a couple of young men in there with Clara?”
“No, only one. There isn’t a sound.”
by G. D. LESLIE, R.A.
(From “Academy Notes,” 1893.)
“Tiresome Dog,” by E. K. Johnson.
From the painting by R.W. MacBeth, A.R.A.
This careful drawing, from the painting by Mr. Boughton, in the Royal Academy, reproduced by the Dawson process, is interesting for variety of treatment and indication of textures in pen and ink. It is like the picture, but it has also the individuality of the draughtsman, as in line engraving.
Size of drawing about 6½ x 3½ in
Young lady checking hair in mirror
Lady standing in black dress
Sad young lady
Utensils for Canning Fruit
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.
Spring Fashions 1854
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.
Preparing For Church
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.
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.
Godeys Fashion - 1854
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.
Three women in a boat picking lilies
An Egyptian Woman
The two vertical lines are exactly the same length—measure them and see. Short lines turned back at either end make one seem short; extended lines make the other seem longer.
These two illusions are almost duplicated in the dresses above. As a result one woman looks shorter and heavier, the other taller and slenderer than she really is.
These unbroken parallel vertical lines give the definite impression of height. This principle, used in the design of the dress above, lends it a pleasing slender appearance because no other lines interfere with the straight line effect.
Here, also, are two vertical parallel lines. They are straight—test them—but the other lines radiating from the center, make them appear “bowed.” In the dress above a similar design makes the wearer appear stouter and heavier than she really is.
These two diamond-shaped figures are exactly the same size. The crosswise line makes one seem wider, the vertical line makes the other seem narrower.
Now note how these same principles used in the dresses above effect the apparent size and weight of those wearing them, making one seem much stouter than the other.
The middle lines in the two small diagrams are the same length. But on the left, shorter accompanying lines seem to shorten the one between. On the right longer accompanying lines seem to lengthen the one between.
Now see how the woman in the other picture has unknowingly emphasized her stoutness while the one in this picure has properly gained a slender effect by using trimming in accordance with the principles of these optical illusions.
The oblique line in the figure is made to seem longer and more graceful than the dress below by the parallel vertical lines of embroidery which intersect it and so emphasize its appearance of length and grace.
When styles call for plaits, plaits may be used, but not in widening flares as shown here, rather in slenderizing length lines as shown below
Hats and shoes in these two pictures also illustrate incorrect and correct choice. The wide hat and prominent straps below emphasize width and weight; the neat hat and cross-strap slippers here help to slenderize
These two pictures illustrate improper and proper choice of fabrics for a stout figure. Above, the large-figured material adds size, the fur trim shortens, the round beads shorten the neck. All conspire to emphasize weight.
Here a small all-over pattern minimizes size, the plaits and tassels lengthen, the necklace adds a slenderizing touch. The appearance as a whole is graceful and youthful.
Would you believe that the pattern of these two dresses is exactly the same? This illustrates how you can vary a dress once you find the foundation lines that are becoming to you. One pattern can suffice for both a tailored and an afternoon dress, as you see both effects are pleasing in their slenderness.
These two examples show how even a hat with drooping brim, if not too wide, can be worn by the stout person if trimming is adeptly used to direct the vision upward and lend an illusion of height.
Here trimming is used on two entirely different types of hats to give in each case added height to the figure and help in attaining a slenderizing appearance.
Left—Hats with medium brims and high trimming are often becoming, especially if wide enough to avoid the pyramid effect.
Right—High built trimming and delicate veils are advantageous where a double chin is the handicap.
Note the diagonal line in the small diagram of the figure below. It is actually straight, but the vertical lines which break it give it a “going-down-steps” appearance. This principle is used in the dress below—the two vertical panels of trimming break the line of the tunic and give the whole figure a more slender appearance than in the figure above.