The dress of the men of the middle and higher classes consists of the following articles.
First, a pair of full drawers of linen or cotton, tied round the body by a running string or band, the ends of which are embroidered with coloured silks, though concealed by the outer dress. The drawers descend a little below the knees, or to the ankles; but many of the Arabs will not wear long drawers, because prohibited by the Prophet.
Next is worn a shirt, with very full sleeves, reaching to the wrist; it is made of linen, of a loose, open texture, or of cotton stuff, or of muslin or silk, or of a mixture of silk and cotton, in stripes, but all white. Over this, in winter, or in cool weather, most persons wear a “sudeyree,” which is a short vest of cloth, or of striped coloured silk and cotton, without sleeves. Over the shirt and sudeyree, or the former alone, is worn a long vest of striped silk and cotton (called “kaftán,” or more commonly “kuftán”), descending to the ankles, with long sleeves extending a few inches beyond the fingers’ ends, but divided from a point a little above the wrist, or about the middle of the fore-arm; so that the hand is generally exposed, though it may be concealed by the sleeve when necessary, for it is customary to cover the hands in the presence of a person of high rank. Round this vest is wound the girdle, which is a coloured shawl, or a long piece of white figured muslin. The ordinary outer robe is a long cloth coat, of any colour (called by the Turks “jubbeh,” but by the Egyptians “gibbeh”), the sleeves of which reach not quite to the wrist.Some persons also wear a “beneesh,” or “benish,” which is a robe of cloth, with long sleeves, like those of the kuftán, but more ample
These dining-rooms are small apartments, neatly partitioned off and graded in sizes to suit parties of from two to twenty. That these are liberally patronized may be inferred from the merry bursts of laughter that are occasionally heard pealing through the carpeted halls as the busy waiters go scurrying to and fro with their piles of well filled dishes. It has been said that it is from the sale of wines that the proprietors are enabled to maintain these private-dining-rooms, consequently it is the proper caper to wash down the very reasonably priced dinner with a bottle or so of one’s favorite style of grape juice if the person can afford it, and if you can’t, why, you have no business there.
Aside from the show itself, which is always interesting, there is the pleasant, happy-go-lucky spirit that always pervades great crowds bent on an evening’s fun. The peanut and lemonade venders ply their calling briskly, and come in for the usual share of “guying” that such merchants always excite. In hot weather the out-door spectacles detract from the attendance at the theatres, people preferring to secure their entertainment in the open air if possible.
Man registering to stay in a Chicago hotel
..most Chicago hackmen are imbued with a praiseworthy desire to earn all they can, and are none too conscientious in their ambitions to acquire riches rapidly, there is a very easy manner in which to avoid disputes, namely: make your bargain with your Jehu before you enter his vehicle.
The Author, while sufficiently modest to keep his identity a secret, makes bold to assert that no person who scans the pages of this book will be able, after he has done so, to lay claim to ignorance of the means whereby to procure entertainment or solace for such hours of idleness as he may find on his hands during his stay in this city.
Satellites of the Tiger
On the water
The Auditorium, Richelieu, and Leland Cafes, together with29 Devine’s wine-room on the other side of Jackson Street, and Colonel John Harvey’s “Wayside Inn” in the alley, form a sort of circuit or beat, which these “rapid” young men (i.e. the “bloods”) travel at all times, including such hours as the sale of cheering beverages is forbidden by city ordinance. Of these, Harvey’s is perhaps the most unique resort, though if one cannot find his friends in one of the places named after midnight he is tolerably certain to encounter them in one of the others.
At the Stage Entrance
Men lined up at the stage entrance to a theatre
Man and woman eating in restaurant
I remember one morning, just after breakfast, I heard singing, as of a dozen or more men coming toward our lodge. I started to run out to see what it was, but my mothers cried, “Do not go. It is the Black Mouths.” My mothers, I thought, looked rather scared. We were still speaking, when I heard the tramp of feet. The door lifted, and the Black Mouths came in.
They looked very terrible, all painted with the lower half of the face black. Many, but not all, had the upper half of the face red. Some had eagles’ feathers in their hair, and all wore robes or blankets. Some carried guns. Others had sticks about as long as my arm. With these sticks they beat any woman who would not help in the clean-up.
With professional oarsmen, who for years have rowed far more than they have done anything else, and who have no especial care for their looks, or spur to develop harmoniously, the defects rowing leaves stand out most glaringly. The man in the figure is one of the most distinguished student-oarsmen America ever produced.
The figure represents one of the swiftest and most skilful professional scullers of the country to-day.
First R.A. (who hates to be interrupted in his hobby but is doing his best to be polite).—“Done any work to-day?”
Second R.A.—“No, confound it. That stupid ass Brown came to the studio and talked all the afternoon,—couldn’t do a stroke of work. What do you do when some idiot comes and interrupts your work?”
First R.A.—“Oh, I go on weeding.”
“Do you want a Muddle. Sir.”
Fat Party (after a war of words).—“If you come down our court to-morrer and bring a bit o’ fat with yer, I’ll bloomin’ well eat yer.”
CHARLES M. GERE.
(From his painting in the New Gallery, 1893.)
A seated man reading a book
Among the earliest innovations after the Restoration to which the Japanese people took kindly was the clipping of their queues. In the old days men had little queues on the top of their heads. For this purpose they shaved the crown and gathering the hair around, tied it at the top with a piece of paper string; then, they bent the queue and bringing it down forward over the forehead, fastened it with the ends of the same string so that the queue was tied tightly to the first knot. The end of the queue was cut straight. Fashion often changed in the making of the queue, though its general form remained unaltered. The bend, for instance, between the two knots might vary in size and shape, and the queue itself in length and thickness, its girth being regulated by the extent of the tonsure at the crown. Or the hair might be full or tight at the sides and the back. The front was usually shaved. In short, there was a wide scope for taste in the dressing of the queue.
These queues were untied and remade every second or third day, and the head was shaved at the same time. Hair-dressing was therefore a troublesome business, especially as one had generally to get assistance for it. Consequently, when the cropping of the hair came into vogue, people eagerly adopted it as it saved them time and expense. At first they cut the hair long, letting it half hide the ears and come down to the neck behind; but it became shorter by degrees until now the fashion is to crop it to about a quarter of an inch, presenting a head which is appropriately known as “chestnut-bur.”
When a visitor calls, even the cushion is brought from the anteroom for him to sit on, and then a small cup of tea set before him and a brazier if it is cold and if warm, a tabako-bon. The cushion is round or square; that for summer is made of matting, hide, or a thin wadding of cotton in a cover of hempen cloth, while for winter use the wadding is much thicker and the cover is silk or cotton. It is about sixteen inches at the side if square. The brazier is of various shapes and makes. It may be a wooden box with an earthenware case inside or with a false bottom of copper, or it may be a glazed earthenware case alone; the wooden box may be plain with two holes for handles, or it may be elaborately latticed; and sometimes a brazier is made of the trunk of a tree cut with the outside rough-hewn or only barked and highly polished. The tabako-bon, or “tobacco-tray,” is a small open square or oblong box of sandal-wood or other hard wood, which holds a small china or metal pan, three-quarters full of ashes, with a few tiny pieces of live charcoal in the middle to light a pipe with, and beside it a small bamboo tube with a knot at the bottom for receiving tobacco-ashes.
A New Zealander with moko (tattoo)
John Montgomery Ward of the New York Base-Ball Club
The next point is to acquire a correct position in the "box," and an easy, yet deceptive, style of delivery. The position is, to a great extent, prescribed by the rules, and so much of it as is not can be learned by observing the different pitchers. The position which seems most natural should be chosen. The ball should be held in exactly the same way, no matter what kind of curve is to be pitched. Being obliged by rule to keep the ball before the body, in sight of the umpire, any difference in the manlier of holding it will be quickly noticed by a clever batter, and if for a particular curve it is always held in a certain way, he will be forewarned of the kind of ball to expect.
Some batters pay no attention to these little indications; but the majority are looking for them all the time, and once they detect any peculiarities, they will be able to face the pitcher with much greater confidence. The correct manner of holding the ball for every kind of delivery is between the thumb and the first and middle fingers, as shown in the accompanying cut of Clarkson.
In fielding ground hits the short-stop should observe the general principles for such plays. He should, if possible, get directly and squarely in front of every hit, making his feet, legs, and body assist in stopping the ball, in case it gets through his hands.
If the ball comes on a "short bound," he should not push the hands forward to meet it, hut, having reached forward, "give" with the ball by drawing back the hands in the direction the ball should bound. In this way if the ball does not strike the hands fairly, its force will at least be deadened so that it will fall to the ground within reach of the player; whereas, if he pushes his hands forward and the ball does not strike fairly, it will be driven too far away.
By far the most difficult catch on a ball field is that of a ball hit high to the in-field, because of the great "twist" to the ball. The slightest failure to get the ball fairly in the hands will result in a miss, and yet this is always greeted by derisive howls from certain among the spectators. There are various styles of catching these hits, but the position of the hands shown in the accompanying cut is believed to be the best.
The hands should be reached well up to meet the ball and then brought down easily in the line of its course. If the hands and arms are held stiff, the ball will rebound from them as though it had struck a stone. The use of a glove on one hand may be found helpful in counteracting the effect of the twist. The short-stop is expected to try for all such hits falling in his own position, and also all falling back of the third baseman and in short left-field.
The accompanying cut of Ewing is an excellent representation of a batter, in the act of hitting. He not only swings the bat with the arms, but pushes it with the weight of the shoulders. The position is a picture of strength.
In hitting at a high ball the bat should be swung overhand, in an almost perpendicular plane, and so, also, for a low ball, the batter should stand erect and cut underhand. If the bat is swung in a horizontal plane the least miscalculation in the height of the ball will be fatal. If it strikes above or below the centre line of the bat, it will be driven either up into the air or down to the ground. Whereas, if the bat is swung perpendicularly, the same mistake will only cause it to strike a little farther up or down on the bat, but still on the centre line, and if it misses the centre line it will be thrown off toward first or third, instead of up or down.
In catching a high ball the hands should be held in the position shown in the following cut of Bushong, the fingers all pointing upward.
Some players catch with the fingers pointing toward the ball, but such men are continually being hurt. A slight foul-tip diverts the course of the ball just enough to carry it against the ends of the fingers, and on account of their position the necessary result is a break or dislocation. But with the hands held as in this cut there is a "give" to the fingers and the chances of injury are much reduced. For a low ball the hands should be held so that the fingers point downward, and for a waist ball, by crouching slightly it may be taken in the same manner as a high ball.
Young Gentleman Louis XIII period - 1625 - 1640
The Incroyable of the Revolution Period - 1795
"Incroyable" (incredible) was the sobriquet given to the fops or dandies of the later Revolutionary period. Here is the description of one of these remarkably dressed personages as given by the French writer, Honore de Balzac:
The costume of his unknown presented an exact picture of the fashion which at that time called forth the caricatures of the Incroyables.
Imagine a person muffled in a coat so short in front that there showed beneath five or six inches of the waistcoat and with skirts so long behind that they resembled a codfish tail, a term then commonly employed to designate them. An immense cravat formed round his neck such innumerable folds that the little head emerging from a labyrinth of muslin almost justified Captain Merle's kitchen simile. [Merle had described the Incroyable as looking "like a duck with its head
protruding from a game pie."] The stranger wore tight breeches and boots a la Suwarrow; a huge white and blue cameo was stuck, as a pin, in his shirt. Two watch chains hung in parallel festoons at his waist, and his hair, hanging in corkscrew curls on each side of the face, almost
hid his forehead. Finally, as a last touch of decoration, the collars of his shirt and his coat rose so high that his head presented the appearance of a bouquet in its paper wrappings. If there be
added to these insignificant details, which formed a mass of disparities with no ensemble, the absurd contrast of his yellow breeches, his red waistcoat, his cinnamon brown coat, a faithful portrait will be given of the height of fashion at which dandies aimed at the beginning of the Consulate Preposterous as the costume was, it seemed to have been invented as a sort of touchstone of elegance to show that nothing can be too absurd for fashion to hallow it.
Morning costume of Dandy of the early Revolutionary period - 1791
Men's street costume Late Revolution and early Empire
Louis XIV Period - about 1670
Later Louis XIV Period 1700 - 1715
Henry IV or early Stuart Period
Gentleman of the early Louis XV Period
Evening dress of Directoire and early first Empire 1798 - 1804
Court Dress 1550 - Tudor or Francis I
Costume of Manservant - reign of Louis XIII
Citizens Dress of 1545
Noble of the Tudor or Louis XI Period
Citizen of Early tudor or Louis XI Period
Young Gentleman of the 14th Century
Nobleman of the 13th Century
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
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.
Ainu clothing is generally made of elm bark, and that worn by men and women is much alike. The bark is stripped from the tree in spring, when it is full of sap. It is soaked in water to separate the inner and outer bark. Fibres are secured from the inner bark, which can be woven like thread into cloth. The men’s garments of this fibre cloth are adorned with patterns embroidered with colored threads; those of women are generally plain.
Two men in Top hats
A young man and his mother walking to church
Lady sitting by the side of a man in bed