THE HERITAGE
OF DRESS

BEING NOTES ON THE HISTORY
AND EVOLUTION OF CLOTHES

BY

WILFRED MARK WEBB

FELLOW OF THE LINNEAN SOCIETY OF LONDON
CURATOR OF ETON COLLEGE MUSEUM

WITH ELEVEN PLATES
AND ONE HUNDRED AND SIXTY-NINE FIGURES IN THE TEXT

LONDON
E. GRANT RICHARDS
1907

TO MY WIFE
HILDA E. WEBB

PREFACE

It would be difficult to find a subject of more universal interest than that of dress, and hosts of books have been written which deal with the attire that has been adopted at different times and by various nations or social classes. The ornamental and artistic sides of the question have also received much consideration, but the volumes that have appeared serve chiefly as works of reference. The present book aims at being of more immediate interest and usefulness; it starts with things as they are, and is really a popular contribution to the natural history of man.

On all sides the advantages of observation and the need for the nature-study method in education are being rightly urged, but there is a tendency to narrow the purview. Anything in our environment is worthy of notice, and though attention is well directed towards that which is least artificial, we should not leave man and his works altogether on one side. There is material for observation, research, and deduction, even in a bowler hat and a cut-away coat.

One of the pleasantest features in connection with the making of this book has been the kind and ready help which I have received from all sides. Here and there throughout the text the names of friends and correspondents who have given their assistance have been mentioned. To these I offer my hearty thanks, as well as to the following, who with suggestions, information, or with material for illustrations, have contributed in no small way to the interest of the book: Messrs. Fownes Brothers & Company, Mr. Allan A. Hooke, Mr. W. S. Ward, Mr. Karl, of Messrs. Nathan & Company, Messrs. Tress & Company, Messrs. Lincoln & Bennett, Mr. M. D. Hill, the Rev. A. W. Upcott, Head Master of Christ’s Hospital, Miss Clark, Miss Hodgson, the Rev. R. Ashington Bullen, Mr. Henry Miller, of the Church Association, Mr. Ravenscroft, of Messrs. Ede Sons & Ravenscroft, Mr. Paley Baildon, Mr. George Hertslet, of the Lord Chamberlain’s Office, Messrs. Wilkinson & Company, Mr. C. M. Mühlberg, Mr. W. S. Parker, of Messrs. Debenhams, Ltd., Capt. H. Trench, Major J. W. Mallet, of the Army and Navy Gazette, Mr. Basil White, of Messrs. Hawkes & Company, Mr. W. H. Jesson, Messrs. Souter & Company, Mr. William Lawrence, Mr. Heather Bigg, Dr. J. Cantlie, and the Rt. Hon. Viscountess Harberton.

A glance at the bibliography, which is given on pages 363-7, will show the principal books and papers to which reference has been made.

In connection with the illustrations, special thanks must be given to Monsieur Maurice Sand, the Editor of the Review of the University of Brussels, for his kind permission to reproduce a number of the figures used to illustrate a translation of Sir George Darwin’s article. These are Figures 14, 17, 18, 19, 21, 22, 23, 26, 27, 30, 31, 33, 46, 48, 62, 63, and 82. Acknowledgments are due to Mr. St. John Hope for Figures 86-8, to Messrs. A. & C. Black for Figures 123 and 124 and 132 and 133, and to Messrs. Prewett & Co. for Figures 111 and 112.

For the original of Plate II, I am indebted to the kindness of Captain R. Ford, of Plate III to Mr. Henry Stevens; Plate IV has been taken from a brass rubbing in Rugby School Museum, through the kind offices of Mr. J. M. Hardwich. I have to thank Mr. R. Bamber for the original of Plate VIII, which was obtained through his instrumentality. Figure B of Plate IX was kindly contributed by the Rev. A. W. Upcott, Head Master of Christ’s Hospital, and Figures B and C on Plate X were copied from Moseley’s “Voyage of the ‘Challenger,’” by the kind permission of Mr. John Murray, while Figure D is due to the courtesy of General Robley. Plate XI is reprinted from The Reliquary, by the kind permission of Messrs. Bemrose and Sons, and the source of other illustrations is acknowledged beneath them, while the classic collection of pictures which were brought together by the late Mr. F. W. Fairholt to illustrate his “Costume in England” has proved, as will be seen, of the utmost service.

In conclusion, I have much pleasure in calling attention to the time and care which Mr. W. J. Webb has expended upon the figures, which are a feature of the book; and I must mention the willing help which I have been afforded in a number of details by Miss Amy Astbury and Mr. Bernard Weaver.

WILFRED MARK WEBB.

Odstock, Hanwell,

November, 1907.

I
THE THRALL OF DRESS	PAGE
The principles of evolution applied to clothes	1
II
THE ORIGIN OF DRESS	6
III
DEVELOPMENT OF THE MODERN COAT
The ancestral shawl—Problematical buttons	15
IV
BUTTONS AS CHRONICLES
Episodes in the later history of the coat and cuffs	25
V
COLLARS AND BANDS
Nicks in coat lapels—The why and wherefore of the white shirt front	41
VI
VESTIGES IN THE HAT
How hats were evolved—Why plumes are on the left side—The growth of the busby—Helmets and cocked hats	49
VII
SHOES AND STOCKINGS
Early foot-gear—The origin of the clock—A modern imitation of tattooing—Gaily coloured garters	62
VIII
PETTICOATS AND TROUSERS
The belted plaid and kilt—Early skirts—The antiquity of trousers—Trouser stripes	72
IX
COATS OF ARMS
Signet rings—Armorial bearings—Escutcheons—Crests—Badges	83
X
GLOVES AND MITTENS
Origin of the baby’s glove—Fourchettes—The “points” on the backs of gloves	94
XI
TAGS, PINS, AND BALDRICS
Laces—The evolution and vagaries of the safety-pin—Primitive methods of carrying burdens as illustrated by muff-chains, baldrics, and yokes	100
XII
ORNAMENTS
Primitive necklaces—Finger rings—The origin of the hair comb—Buttons—Studs—Flowers—Feathers—Amulets	111
XIII
HAIR DRESSING
Head shaving—Wigs that are still worn—Roman curls and fringes	126
XIV
SPECIAL DRESSES
Fashions kept up by ceremonies—Survivals in special costume—Flowing garments	135
XV
SERVANTS’ DRESS
The prototypes of liveries—Reminiscences of George II and George III—Origin of the page-boy’s buttons—The jockey cap—Aprons	139
XVI
COCKADES
The cockade a degenerated chaperon—The varieties of the cockade—Cockade wearers	152
XVII
CHILDREN’S DRESS
Survivals in children’s dress—Special school costumes—The blue-coat boy—Public school boys—Adoption of special dress at girls’ schools	162
XVIII
WEDDING GARMENTS
The veil—Bridesmaids and bribery—Old shoes—Orange blossom	175
XIX
MOURNING
Colours associated with mourning—Widows’ weeds—Perennial mourning	181
XX
COSTUME CONNECTED WITH RELIGION
The surplice and “the cloth”—The civil origin of vestments—Fine vestments—Processional vestments, so called—Nuns’ dress—The choker	184
XXI
SUNDAY CLOTHES
The significance of Sunday clothes—The wearing of hats in church by ladies	205
XXII
ACADEMICAL DRESS
Gowns and hanging sleeves—The forerunner of the hood—The origin of the doctor’s hat—The evolution of the mortar-board	208
XXIII
LEGAL DRESS
Vestiges of the coif—Hoods and gowns—Signs of mourning	215
XXIV
STATE AND COURT ATTIRE
Coronation dress—Parliamentary robes—Mistakes in Court dress—Vestiges of the wig and of the chaperon—Court cards	221
XXV
SURVIVALS IN MILITARY UNIFORMS
Armour—Prickers for flint locks—Forage cords—Reminiscences of gallantry—Regimental badges—Courtship colours	233
XXVI
NAVAL UNIFORM
Supposed survivals—Petticoats and wide breeches	251
XXVII
THE COSTUME OF PUPPETS
Punch and Judy—Fashion dolls—Dolls in swaddling clothes—The Egyptian “shabbies”	253
XXVIII
THE CLOWN AND PAINTING THE BODY
The clown’s dress—Savage painting and survivals of it—Tattooing—Patches and false complexions—Masks	269
XXIX
STAGE COSTUMES
The harlequin, pantaloon, columbine, and acrobat	282
XXX
NIGHTDRESS
Bands on nightgowns—Nightcaps—Night attire worn in the streets	287
XXXI
THE DRESS OF ANIMALS
Natural representatives of clothes—Horse trappings—Amulets on harness—Dogs’ disguises—Fashions in the form of animals	291
XXXII
COLOUR
Importance of colour—Instinctive love of bright hues—Desirability of coloured clothes and gay scenes—Colour and complexion	305
XXXIII
PATTERNS
Ancient designs—Checks and tartans—Parti-coloured clothes—Evolution of ornamentation	311
XXXIV
IMPRESSIONS TO BE GAINED FROM DRESS
Clues from clothes—Individuality not disguised by them—Modern dress of other countries—Significance of clothes	315
XXXV
THE EFFECT OF CLOTHES UPON THE INDIVIDUAL
The origin of stays—Tight lacing no new thing—Its effects—Mr. Heather Bigg on the need for support—The ideal foot—Skull deformities—Padding	322
XXXVI
FURTHER EFFECTS OF CLOTHES ON THE INDIVIDUAL
Mental effects of different clothes—Preferences of girls for certain articles of dress—Movements that depend upon the presence or absence of clothes	339
XXXVII
THE RISE AND FALL OF FASHIONS
Reason why fashions are followed—Gay clothes seen when periods of depression are over—Condemnation of fashions by the clergy—Quakers—Sumptuary laws—The killing of fashions	343
XXXVIII
DRESS REFORM
Clothes to be avoided—Need for warmer garments—“Rational” dress for women	354
Conclusion	362
Bibliography	363
Index	369

LIST OF PLATES

PLATE	FACING PAGE
I.	Very early man in Java. Illustrating the remarks in Chapter II, pages 6 and 7 Frontispiece
II.	A woman and a witch-doctor of Central Africa, showing the part that ornaments may play even when clothing is of the scantiest. (From a photograph by Captain Ford)	9
III.	The silk vest worn by Charles I on the scaffold. Illustrating the sleeved tunic opening for a short distance down the front. (From a photograph by Mr. Henry Stevens)	18
IV.	Reproduction of a brass to John Brandon and his two wives in the Church of St. Mary, King’s Lynn. Date, 1364. On the male figure, continuous rows of buttons run from the wrist to the elbow of the under-vest. The women wear the wimple and gorget or throat cloth	38
V.	A Siamese Princess wearing trousers	81
VI.	Two Padaung women, showing the numerous metal collars which they wear round their necks	114
VII.	Methods of hairdressing, illustrated by Romano-Egyptian portrait models in the Myers Collection, Eton College Museum. (From photographs by Wilfred Mark Webb)	129
VIII.	A barge girl, showing the costume worn on the canals. (From a photograph by Wakefield Brentford)	150
IX.	Fig. A. The cap worn by the scholars of Christ’s Hospital until the middle of the nineteenth century.
	Fig. B. A scholar of Christ’s Hospital. (By the courtesy of the Rev. A. W. Upcott, M.A., Head Master of Christ’s Hospital)	167
X.	Fig. A. The head of a clown, showing the painted face, the ruff, and the Elizabethan method of doing the hair.
	Fig. B. The face of a Japanese actor (after Moseley, by the courtesy of Mr. John Murray).
	Fig. C. The painted face of a paper figure which is burned at Chinese funerals (after Moseley, by the courtesy of Mr. John Murray).
	Fig. D. The tattooed head of a Moorish chief. (By the courtesy of General Robley)	270
XI.	Wooden stay busks. These incidentally show survivals of primitive ornament. From The Reliquary, by kind permission of Messrs. Bemrose & Sons, Ltd.	326

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

The Project Gutenberg eBook of The Heritage of Dress: Being Notes on the History and Evolution of Clothes

THE HERITAGE
OF DRESS

PREFACE

CONTENTS

LIST OF PLATES

LIST OF FIGURES