Florence S. Hornblower

“ Linen and wool were most probably the chief materials used in ancient Persian costume, but there are indications that leather may have been rather extensively employed in the more tight-fitting garments.
It must not be taken that either in Assyrian or ancient Persian dress the garments fitted as smoothly and tightly as might be imagined from the sculptured and painted representations; it is true folds are sometimes indicated, but the chief concern of the artists of both styles was to show the human figure and richly decorative ornament. ”

“ These are the draped or shawl type of costume. They have many resemblances to the draping of the well-known Indian sari of modern times. Compare these with illustration of sari (p. 39) . The ingenuity displayed in the draping of these costumes can only be realized when they are actually done upon a model. It should be noted with regard to all Egyptian costumes of the more fully draped type that the entire draperies seem to radiate from one point, usually a knot at the waist, with very beautiful effect. ”

“ The splendour of the Court of Ancient Egypt, the achievements of the Egyptians in exploration, conquest, art, architecture, and science are indicated, and special stress has been laid upon the depiction of child life and its surroundings. ”

“ MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS
There is not sufficient information to form a definite picture of the women’s dress of this period and style;{79} most probably it was a simple tunic and shawl like that worn in Assyria, but an interesting fact is that we have a representation of the Queen of a Persian King who reigned in the fifth century A.D. who is wearing trousers, which, it will be remembered, are worn by Persian women of the present day. ”

“ The earliest type of costume here shown is a rather elaborate shawl drapery worn without any tunic underneath. Later comes the tunic with various fringed shawl draperies worn in addition, and some of the latest types have the tunic worn alone without the shawl draperies. The dates given for the costumes illustrated in this style have been verified at the British Museum. It should be remembered, as in the case of ancient Egyptian costume, that the dresses changed very slowly indeed, and most styles of this era were worn literally for hundreds of years. ”

“ To the Art Student, in addition to the always interesting history of costume, the development of the Art of Representation, as shown in the illustrations of these volumes, which is so strangely repeated in the personal history of every young person learning to draw, will be attractive and instructive. ”

“ Before passing from Egyptian costume, it seems interesting to compare the accompanying illustrations of an ordinary present-day draping worn by women in India. This long shawl drapery (the “sari”) presents extraordinary similarities to some of the ancient Egyptian shawls or draperies already illustrated.
The method of draping is as follows: Tie a waist cord; take the corner b and fix it to the right-hand side of waist, then pass the edge b-a across the front of waist, round the left side towards the back, and round the back of waist again to the right side ”

“ The third outstanding type of Egyptian costume may be described as the “Type of the Petticoat and Cape” (the petticoat was sometimes worn without the cape) . Now this petticoat or skirt, as shown in Plate VIII. and Fig. 11, consists of a straight cut piece of material threaded through at the waist with a narrow strip which is knotted round the figure to keep the garment in position; the cape-like shoulder drapery is an oblong piece of stuff, to drape which take the corners d and e of Fig. ”

“ Throughout the book, the illustrations are given by means of facsimiles of drawings by artists of the various centuries, so that a historic survey of the History of Figure Drawing will be included. Where the drawings of primitive artists do not clearly express the ideas intended to be conveyed, a modern drawing{vi} of the garment on a dress-stand will be used for explanation of the measured drawings of the cut-out garments. ”

“ DECORATION AND COLOURING
Though we find Egyptian costume in many instances decorated all over with woven or printed patterns, decoration in the main was confined to accessories such as the head-dress, collar, and girdle, these being often painted, embroidered, beaded, or jewelled. See various examples given. The colouring which was usually,{4} though not invariably, confined to the decorations consisted of simple schemes, variations of the hues of red, blue, green, yellow, and deep purple described on p. 66.
MATERIAL
The material used in the costumes was chiefly linen. ”

“ Fig. 2 is put on by stepping into it and pulling it up. Figs. 3 and 4 are put on over the head; the measurements given will fit a slim figure without underclothing. The origin of Fig. 2 was most probably a piece of linen of the same length as this garment but wide enough to lap about half round the figure and have a piece tucked in at the top to keep it closed. This sort of tight drapery is quite commonly worn by negresses in Africa to-day. We also find it on some ancient Egyptian wooden statuettes, the drapery being of linen while the figure only is in wood.{11}
Fig. 2 Fig. 3 Fig. 4
Fig. ”

“ Series, written primarily for young people, giving glimpses of the scenery of various countries with the life and manners of the people, now includes sixty volumes, all of which have proved exceedingly popular. ”

“ The upper edge of garment is drawn tightly round the figure just under the breasts; the portions held in each hand are then tied together in a knot. In Fig. 13 the cloak is knotted in with the skirt; this cloak is simply a rectangular piece of material. It will be noted that Figs. 13, 14, and 15 all show the popular Egyptian effect of drapery drawn tightly round the back of the limbs and falling full in front.
Fig. 14, which dates A.D. 200, shows a Roman adaptation of the same costume. The figure wears underneath a long tunic, and over this, tightening it in at the waist, an Egyptian skirt ”

“ Fig. 34 is the most usual arrangement of this type of drapery, but in looking at Plate XIII. closely it will be seen that the modern drawing (Fig. 37) is a more exact rendering. This drawing is from a draping of the same shawl as Fig. 34 is wearing, but the fold-over is somewhat deeper, the point e is tied closely to waist belt, and the drapery is rolled at waist while it is being adjusted. When worn thus, with a roll, the drapery will remain in position without the waist cord being tied over it, but it is more secure when it has been thus confined. Fig. ”

“ DETAILS OF DECORATION
{62}
Fig. 34A
Plate XIII.—A facsimile drawing, from an enamel tile, is one of the many representations of the King Assur-nasir-pal, ninth century B.C. The description of his dress will be better understood by referring to Figs. 34, 35, and 36. The King wears over his long tunic a very beautiful and dignified shawl drapery, which is fringed, recalling certain Egyptian types already illustrated, and, indeed, has points of similarity with certain Greek and Roman draperies. To drape this shawl (see Fig. 34A) fold over on the line e-f so that e-f, a-b, hangs down outside ”

“ Many beautiful painted illustrations of this girdle appendage are to be found in the British Museum; e is from a feather fan.{29}
PLATE IX
F.S.H. fec.
DETAILS OF DECORATION
{30}
Fig. 13 is an Egyptian woman’s costume dating 1450 B.C.; she is wearing two garments—namely, a skirt and cloak. This skirt, which is frequently worn alone without the cloak, as shown in Fig. 12, is cut to exactly the same width top and bottom. It is wide for the figure, and the superfluous fullness is caught up in each hand in the act of putting on. ”