The source of this uncorrected OCR text may be viewed in the DjVu format at: http://fax.libs.uga.edu/GT850xC4/ or http://purl.galileo.usg.edu/ugafax/GT850xC4/ RARE BOOK COLLECTION Ti T .-in y. f.':. '"7 "y THE LIBRARIES The University of Georgia -.-.,./ t'-l, 1 • v., - ' •' ' r. >• -'.-T .- THE HISTORY OF FASHION IN FRANCE. :,j THE HISTORY OF FASHION IN FRANCE; OR, THE DRESS OF WOMEN FROM THE GALLO-ROMAN PERIOD TO THE PRESENT TIME. FROM THE FRENCH OF M, ATGUSTl CH.'LL -MEI MRS. CASHEL HOEY AND MR. JOHN LILLIE. El VA LJ VI L] 1882. J ( t t"sJ,oriBOK PRINTED BY GILBERT AND RIVINGTON, LIMITED, - ST. JOHN'S SQUARE. CONTENTS. INTRODUCTION. Various definitions of fashion—The grave side of its history—Quotations fro:n the poets—Character of Frenchwomen—The refinement of their tastes and fancies— Paris the temple of fashion—The provinces—Mdlle. Mars' yellow gown—The causes of fashion—A saying of Mme. de Girardin's—A remark of Mrs. Trollope's— The dress of actresses—Earliest theories of fashion—The Gynseceum of Amman— First appearance of the "Journal des Dames et des Modes"—Lamésangère— Other publications—An anecdote concerning dolls—Plan of the History of Fashion in France ............ CHAPTER I. THE GALLIC AND GALLO-ROMAN PERIOD. Gallic period—Woad, or the pastel—Tunics and boulgètes—"Mavors" and "Palla" .—Cleanliness of the Gallic women -The froth of beer or "kourou"—The women of Marseilles ; their marriage-portions — Gallo-Roman period — The Roman garment—The ' ' stola "—Refinement of elegance—Extravagant luxury of women— Artificial aids—A "vestiaire" or wardrobe-room of the period—Shoes—Jewels and ornaments—The amber and crystal ball—Influence of the barbarians CHAPTER II. THE MEROVINGIAN PERIOD. Modifications in female dress after the Invasion of the Franks—Customs of the latter— The Merovingians—Costumes of skins and felt ; cloaks and camlets—The coif, the veil, the skull-cap, the " guimpe," the cape—Fashionable Merovingian ladies adorn themselves with flowers—Various articles of dress—The "suint"—Young girls dress their hair without ornaments—St. Radégonde—The hair of married women . CHAPTER III. THE CARLOVINGIAN PERIOD. Reign of Charlemagne—The women of the tenth century wear two tunics—Judith's belt—A veil is obligatory—Miniatures in the Mazarin Library— Charles the Bald's Bible—Shoes—Dress of Queen Lutgarde—Dress of Rotrude and Bertha—Gisla and other kinswomen of the Emperor—The successors of Charlemagne—Cannes— Adelaide of Vermandois—The dress of widows . ... a CONTENTS. CHAPTER IV. THE CARLOVINGIAN PERIOD. Earliest times of the Carlovingian period— Variety of costume in the provinces — Fashions in the Duchy of France —French taste dating from the eleventh century — Luxury increases with each generation — The dominical — The "bliaud " — Canes of apple- wood — Women in the twelfth century — Head-dresses — "Afiche" — Serpent-tails— Pelisses — The thirteenth century — "Grèves" and veils are in fashion — The "couvre-chef" in the fourteenth century — The skirt, or " cotte- hardie," surcoat, or overall, or overskirt, cape, trained skirt, and " gauzape " — Accessories — Emblazoned gowns — Various kinds of stuffs .... 31 CHAPTER V. THE INFLUENCE OF THE CRUSADES. Severity of feminine costume — Long gowns and guimpes — Marguerite of Provence— "Fermaux" — Reappearance of splendour in dress — Eastern customs — The priests of fashion — Haberdashery and peacock-feathers — Female embroiderers — Taste for embroidery — Continual temptations— Earliest sumptuary laws — Furs — St. Louis's opinion on dress —Prohibitions by Philippe le Bel ; speech made by his wife — Crépine . ........... 39 CHAPTER VI. REIGNS OF JOHN AND OF CHARLES V. The States of Languedoc — A young French lady in the fourteenth and fifteenth centuries — Low dresses — Saying of a mercer — Damoiselles — Garnaches and garde - corps — Le Parement des dames — Social distinctions — High character is worth more than gilded belt — Precious stones — The castles and other dwellings of the Middle Ages — Splendid furniture — Humble abodes of the poor — Evening assemblies . 45 CHAPTER VII. REIGNS OF CHARLES VI. AND CHARLES VII. Taste in dress becomes purer — Heart-shaped head-coverings, the "cornette," and the "hennin " in the reign of Charles VI. — Husbands complain — Preachers denounce — Thomas Connecte declaims against the diabolic invention — Brother Richard tries to reform it — The "hennin" gains the victory — Costume of Jeanne de Bourbon — "Escoffion" — An absurd figure — Gravouère — Isabeau de Bavière — Gorgiasetés — Tripes — Splendour of the court — Agnes Sorel — "Coiffe adournée ;" diamonds ; the carcan — Walking-sticks . . . . . . . - SI CHAPTER VIII. REIGNS OF LOUIS XI., CHARLES VIII., AND LOUIS XII. Duchesses and bourgeoises under Louis XI.—"La grand'gorre," or sumptuosity— The "troussoire"—Allegorical and moral costumes—Trains—Head-dresses— "Collets rebrassés"—Wigs and false hair—Some results of the war in Italy— Italian fashions—" Sollerets " and slippers—Gorgets—Garters—JeanMarot writes against novelties—Anne of Brittany—Pins—Menot " the golden-tongued "—A Parisian in the time of Louis XIL—Coat à l'Italienne—Manufacture of stuffs . 61 CONTENTS. vu CHAPTER IX. REIGN OF FRANCIS I. The court of Francis I.— A speech of Charles V.— The king's liberality— Order of the Cordelière — Word-paintings of the fashions of the day, by Rabelais — Costumes of the seasons— Feather-fans— Sunshades— The "hoche-plis" or vertugadin— Mme. de Tressan saves her cousin's life — Satires and songs — Mdlle. de Lacépède — "Contenances" — Silk shoes with slashes — Head-dress called a "passe-filon' — Increase of love of dress — The bean- flower — Artistic head-dresses — Twists of hair called ratraprenades — Ferronières — Coaches in Paris ; their influence on the fashions . . > .......... 7* CHAPTER X. REIGN OF HENRI II. Fashions under Henri IL— The ruff— A satirical print of the time— Catherine de Médias eats soup — The Italian taste — Regulations for dress— Crimson — Who shall wear silk? — Lines on velvet, by Ronsard — Rotonde — "Collet monté" — Spring-water — Style of gowns and head-dresses — Wired sleeves— Girdles - Caps, bonnets, and hoods — The "touret de nez" — The "coffin à roupies "—Shoes — A quotation from Rabelais . . . 8l CHAPTER XI. REIGN OF FRANCIS II. The earliest queens of fashion— Mary Stuart's costumes ; her jewels — Description of bodices and sleeves of that period — Crosses — The "loup" or small mask — Coiffure "en raquette" — An anecdote concerning high heels — Regulations re specting fashion — Remark of a lady of our own day on distinctions in Jress — Exordium of the Edict of July 12, 1549— Maximum of marriage portions — The first knitted silk stockings ......... . . 89 CHAPTER XII.. REIGN OF CHARLES IX. The wars of religion — The fashions of Italy are brought across the Alps, and are welcomed in France — Effects of the expeditions into Italy — Articles from Venice and Genoa are very fashionable — A cloud of sugar-plums, and a shower of scents — Effeminate style of dress— Charles IX. and his Edicts against extravagant display — Fashion rebels against sumptuary laws — Women of high rank, bourgeoises, widows, and spinsters — Wedding dresses — Observations of a Venetian ambassador — " Corps piqué"— Drawers— Paint— Cosmetics— Breast mirrors, girdle mirrors— Court dresses — " Arcelets "........... 95 CHAPTER XIII. REIGN OF HENRI III. Opposition to the laws of King Henri III. on dress — The wife of President N —— . — How both sexes evaded the edicts— Gowns from Milan— Mixture of masculine and feminine fashions — Rage for perfumes — Recognition of rank is demanded — Costumes worn at Cognac by Marguerite de Valois in presence of the Polish ambassadors, and her costume at Blois — Brantôme's opinion — Pointed bodices, puffed-out sleeves, and "bourrelets" — Remarks on hair— Ridiculous dress of men— Poucet, the preacher — Satirical lines on Joyeuse — Witty remark of Pierre de l'Estoile— Starch used by Henri III.— Cushions ..... 103 a 2 •I-I Vili CONTENTS. CHAPTER XIV. REIGNS OF HENRI IV. AND LOUIS XIII. PAGE Universal mourning on the death of the Guises ; intolerance of showy dress— Vertugadins, "espoitrement," "corps espagnole"—Diversity of colours—The pearls, jewels, and diamonds belonging to Gabrielle d'Estrées and to the queen— Dress of Marguerite de France—Low-cut bodices—Head-dresses of hair—Various styles—Venetian slippers—Edicts of Louis XII.—Caricatures : " Pompe funebre de la Mode "—Words and fashions—Ribbons or " galants "—Dress of widows— "Demi-ceint" girdles—Gloves of all sorts—Patches—Masks ; their use—" Caclie- laid"—The Frondeuses—Mme. de Longueville . . . . 113 CHAPTER XV. REIGN OF LOUIS XIV. Louis XIV. commands—Court luxury and pleasure; disguises—The Temple jewellery —Fashion and etiquette—Successive fashions—Royal edicts—The " Tombeau du sens commun"—Dress of La Vallière—Of Mme. de Montespan—Costume of a lady of rank in 1668—The "échelles de Mme. de la Reynie"—"Transparencies" —Manufactures—Champagne, the hair-dresser—Female hair-dressers—" Hurlu berlus" and Mme. de Sévigné—Moustaches for women; patches—Palatines— Slippers ; high heels—Corsets, ; fans ; sweet lemons—Dog-muffs—Hair dressed "à la Fontanges"—English style of dressing hair—"Esther"—Steinkerks— "Crcmonas"—" Amadis" and Jansenistsleeves — Hair dressed "à l'effrontée"— Dresses of the Duchesse de Bourgogne—Mignardises . . ... 125 CHAPTER XVI. REIGN OF LOUIS XIV. (CONTINUED). Painted faces—Reply of a Turkish ambassador— Ineffectual criticism—Mme. Turcaret's "pretintailles "—Mme. Bonnet's law-suit—Brocaded materials—"Andriennes"— "Criardes" — Return of "hoops" and paniers — A sailor's leap — Actresses' paniers, and the Greek head-dress—Mme. de Létorières—D'Hèle arrives frozen at the Café Procope—Waterproofs—Finishing touches—Fans and fan-makers in the seventeenth century—What Mme. de Staël-Holstein thought of fans—Transition 143 CHAPTER XVII. REIGN OF LOUIS XV. The Regency—War is declared against paniers—The Oratorian Duguet—Opinion of the "Journal de Verdun"—Various publications against paniers—Lines by Voltaire—Whale-fishery company—Paragraph from the "Journal de Barbier"— Mmes. Jaucourt, De Seine, Delisle, Clairon, and Hus—Lines in praise of corsets— New bodices—Coloured prints are forbidden—"Perses" or "Persiennes"— Bagnolette—Adjuncts of dress : necklaces, ridicules, and poupottes—Contents of a patch-box—A sermon by Massillon—" Les mouches de Massillon," or Massillon's patches—"Filles de Mode, " or Fashion-girls—Some passing fashions—Powder remains in fashion—" Monte-au-ciel "—Simply made gowns —The first cachemire 151 CHAPTER XVIII. REIGN OF LOUIS XVI. The influence of Marie Antoinette on fashion—Letter from Maria Theresa—Léonard and Mdlle. Bertin—Various styles of head-dresses—"Pouf"—The "Journal de Paris"—Reign of Louis XVI.—Male and female hair-dressers—Plumes—Hair CONTENTS. worn low—The queen's " puce "-coloured gown ; shades of colour in dresses— Oberkampf and the Jouy prints—Expensive satins—Trimmings, their great number and importance—Gauze, blond, tulle, and ribbons—Some kinds of shoes—Venez- y.voir_The " Archduchess " ribbons—A dress worn at the opera . . 161 CHAPTER XIX. REIGN OF LOUIS XVI. (CONTINUED). Peasant dress is universal—Fashion "à la Marlborough"—Caps—Bonnets—Mdlles. Fredin and Quentin—Ruches—Low bodices ; "postiches"—Costume of Contat- Suzanne—Fashions " à la Figaro "—Literature and politics signified in dress ; the Princess de Monaco's pouf—Pouf " à la circonstance ;" the " inoculation " pouf- Thé " innocence made manifest " caraco—The "harpy " costume—Coats, cravats, and waistcoats—Sailor jackets and " pierrots "—Déshabilles ; " the lying fichu "— Etiquette in dress—Seasonable costumes—The queen's card-table—State of trade in Paris, circa 1787—" Pinceauteuses," or female colourers . 171 CHAPTER XX. THE FRENCH REPUBLIC. The year 1789—Masculine style of dress—The double dress vanishes—Caps " à la grande prêtresse," " à la pierrot," and "àia laitière—The " pouf " bonnet - Paint and powder disappear—Prediction by the Cabinet des Modes—Anonymous caps— Cap "à la Charlotte Corday"—Trinkets "à la Bastille "—Mme. de Genlis' locket—Cap " à la Bastille"—Federal uniforms—Claims to equality in dress — Reaction under the Directory—"Incroyables" and "merveilleuses"—Coiffures " à la victime" and " à la Titus"—Blond wigs and black wigs—The Hôtel Thélusson—Which is the most ridiculous ?—Mme. Tallien's costume—Epigram on bonnets "a la folle "—Reticules—Transparent dresses-Lines by Despréaux. 179 CHAPTER XXI. REIGN OF NAPOLEON I. Fashions under the Empire—Sacks—"Personnes cossues"—A saying of Napoleon's— White gowns — Valenciennes lace — Ball dresses ; walking dresses — Polish "toquets" and bonnets—Turbans—Muslins—Artificial flowers—Wenzel's manu factory; ''The Offspring of Imposture," Campenon's verses—Parisian ladies, as sketched by Horace Vernet— Stays—Cashmeres—Protest by Pus—Ternaux assists in establishing the manufacture of cashmere shawls in France—Cotton stuffs— Richard Lenoir ; importance of the Rouen manufacture—Violets during the Hundred Days—The "eighteen folds," and white silk ..... 191 CHAPTER XXII. REIGNS OF LOUIS XVIII. AND CHARLES X. Importation of foreign fashions in 1815—White dresses, white feathers, and fleurs de lys—Emigrant ladies—Russian toques—Male and female dressmakers— Ruchings—Short sleeves and long gloves—Herbault's honnets—" Chefs "—Anglo mania in 1815—Green gauze veils i spencers—The "canezou"—Lacroix, the stay-maker—Dr. Pelletan and Charles X.—Wasps—The " Ourika " fashions— The famous leg-of-mutton sleeves—Fashions "à l'Ipsiboé," "au Trocadéro," and '• à la Daine Blanche "—Blonde caps and turbans—Head-dresses—Fashions, " à la giraffe ;" " the last sigh of Jocko"—Female book-keepers ; shopwomen — The Café des Mille-Colonnes .......... x CONTENTS. CHAPTER XXIII. REIGN OF LOUIS PHILIPPE. PAGE The Revolution of July, 1830—Fashions in Louis Philippe's reign—Microscopical bonnets, called "bibis," "cabriolets"—Variety of caps—Fashions of the Middle Ages and of the Renaissance—The stage—Historic costumes—Influence of Rachel, the actress—Greek and Roman fashions—Colours—Various designations of materials—Bedouin sleeves—Bonnets and head-dresses—Pamela bonnets— Novel eccentricities—Taglioni gowns, gathered "à la Vierge," laced "à la Niobé," &c.—The " Sylvestrine "—Costumes to be worn on occasions of attempts on the king's life—Bouquets for balls ......... 205 CHAPTER XXIV. THE SECOND REPUBLIC. Tricoloured stuffs of 1848—Girondin mantles—Open gowns—Summer dresses—Kasa- wecks and their derivatives—Beaver bonnets ; velvet bonnets, and satin or crape drawn bonnets—Cloches, Cornélie, Moldavian, and Joséphine cloaks ; mantles— Isly green—Opera cloaks—Numerous styles of dressing the hair ; à la Marie Stuart, à la Valois, Lèda, Proserpine, and Ceres—Marquise parasols—Jewellery— Straw bonnets—" Orleans" and "armure"—Work reticule or bag—" Chinés"— Pagoda sleeves—Waistcoats ; brsque bodices—New and economical canezous . 213 CHAPTER XXV. REIGN OF NAPOLEON III. Ready-made mantles—Talmas, mousquetaires, and rotondes—The Second Empire; reminiscences of the reign of Napoleon I.—Marriage of Napoleon III.; dress of the new Empress ; her hair dressed by Félix Escalier ; court mantle and train— Four kinds of dress—Opera dress in 1853-4—Bodices "à la Vierge," Pompadour bodices, and Watteau bodices—Skirt trimmings—A new colour, "Théba"— Light tints—Social and theatrical celebrities—The Eugénie head-dress and Mainnier bands—End of the first period of Imperial fashions .... 221 CHAPTER XXVI. REIGN OF NAPOLEON III. (CONTINUED). Crinoline inaugurates the second era of Imperial fashions—The reign of crinoline— Starched petticoats — Whaleboned petticoats — Steel hoops — Two camps are formed, one in favour of, and one inimical to crinoline—Large collars—Marie Antoinette fichus and mantles—Exhibition of 1855—Cashmere shawls—Pure cashmeres — Indian cashmere shawls — Indian woollen shawls — "Mouzaia" shawls—Algerian burnouses—Pompadour parasols—Straight parasols—School for • fans—The fan drill—The Queen of Oude's fans—The Charlotte Corday fichu . 227 CHAPTER XXVII. REIGN OF NAPOLEON III. (CONTINUED). Sea-bathing and watering-places—Special costumes—Travelling-bags—Hoods and woollen shawls—Convenient style of dress—Kid and satin boots ; high heels— Introduction of the " several" and the " Ristori"—Expensive pocket-handkerchiefs —Waists are worn shorter— Zouave, Turkish, and Greek jackets—Bonnet fronts — Gold trimmings universally used—Tarlatane, tulle, and lace .... 233 CONTENTS. x CHAPTER XXVIII. REIGN OF NAPOLEON III. (CONTINUED). Fashions in 1860 and 1861— Jewellery — Shape of "Russian" bonnets— Nomen clature of girdles— Different styles of dressing the hair — The " Ceres " wreath— Flowers and leaves for the hair — Prohibition of green materials— Anecdotes from the Union Médicale and the Journal de la Nièvre — Cloth and silk mantles — Braid and astrakan— Four types of bonnet — Morning bonnet— Artificial flowers . . 237 CHAPTER XXIX. REIGN OF NAPOLEON III. (CONTINUED). Sunshades, en-tout-cas, metis, in 1862 — Sailors' jackets, jerseys, and pilot-jackets — Princess or demi-princess gowns; Swiss bodices ; corset or postillion belts — Lydia and Lalla Rookh jackets ; Vespertina opera cloaks — " Longchamps is no more " — Bois de Boulogne — Russian or Garibaldi bodices — Paletot vest — Empress belt — 1885 patents for inventions regarding dress are taken out in 1864 — Victoria skeleton skirts, Indian stays, train-supporters — " Titian "-coloured hair — The Peplum in 1866 — Epicycloïde steels ; aquarium earrings — Description of a court ball-dress — The fashions of Louis XV., Louis XVI., and the Empire are revived — Sedan chairs — Handkerchiefs at all prices ....... 241 CHAPTER XXX. REIGN OF NAPOLEON III. (END). Five different styles of dressing the hair in 1868 and 1869 — Petit catogan; three triple bandeaus — The hair is worn loose — Dress of the Duchess de Mouchy — Refine ments of fashion — Various journals — New shades — Crinoline is attacked ; it resists ; it succumbs — Chinese fashions . . . . 247 CHAPTER XXXI. THE THIRD REPUBLIC. The years 1870 and 1871 — The siege of Paris — General mourning — Simplicity and economy — Parisian velvet and pekin — A concert costume — A cloth costume — Alsatian bows and costumes — Soirées at' the Presidency — Marie Stuart and Michael Angelo bonnets — " Hunting stockings " — Rabagas hats — The years 1872 and 1873 — Fan parasols — "Leopold Robert" bonnets — The year 1873 — Return of luxury — "Regent" belts and "sovereign" dress-improvers — Silks — "Mode rate " costumes — The burning of the Opera House — Sale on behalf of those made orphans by the war — The ball for the Lyons weavers — Cashmere tunics — Dislike to gloves — Petticoats — Charles IX. shoes — Slippers — The year 1874 — "Page" bonnets and " Margot " hats — Hair in the Swiss style ; false hair — The ball given by the Chamber of Commerce — Green — Jet — Various costumes — Hair-dressing — " Mercury " bonnets ........ . 351 CHAPTER XXXII. FASHIONS OF THE PRESENT DAY. Dinner, casino, and ball dresses in 1875—Importation of false hair—Manufacture in France—Modification of waterproofs—" Estelle" bonnets—Tunic-aprons—Cuirass- bodices—"Montespan " sleeves—" Sant-du-lit "—Shoes of past times—" Bonne- femme" pockets—Henri III. plumes—" Inez" veils—Ribbons and flowers— Heavy style of dress—" Pouf" petticoats—Composite fashions of 1876—Armenian CONTENTS. toques—"Ophelia "bonnets; " Danichef " bonnets—Mdlle. Bettina Rothschild's wedding trousseau—A splendid parasol—Gondolier hair-nets—"Baby" sashes and " Baby " bonnets—" Fontanges " fichus—" Platitudes "—Red, as a colour— Pockets of various kinds—Majestic appendages—Princess dresses—Bouquets on the bodices—Hair dressed in the Greek style—A thousand curls—Breton style— Organ-pipe frills—Coat-bodices—Trinkets in black and silver .... 263 CHAPTER XXXIII. FASHIONS OF THE PRESENT DAY (CONTINUED). The International Exhibition of 1878—Foreign countries—Japanese fans—The little lace-makers of Péniche—Retrospective exhibition of costume in France—Con siderations sur le Vêtement des Femmes, by M. Charles Blanc—Historical Exhibition at the Trocadéro—Comprehensive glance at the curiosities of that exhibition— "The Movement" in 1879—"Merveilleuse," "Niniche," and other bonnets— Plush—Gown-stuff at a hundred francs the yard—Scarfs, casaques, and various bodices—Madras costumes—Under-clothing; chemise-corsets, morning gowns— Housewife fans ; fan-holders—Trinkets—New materials—Visites; jackets; bows; neckties—The year 1880—"Cabriolet" bonnets; "passe-montagnes"—The pilgrim costume—Satins—Favourite colours—Vests—Art buttons—Bulgarian cos tumes—Jerseys—Scented gloves—Flowers in profusion ; a bridal bouquet— Midshipman bonnets—Nordenskiold—Dust cloaks—Revolution in bonnets—Art and fashion—" Porte-veines " .......... 277 CHAPTER XXXIV. CONCLUSION THE HISTORY OF FASHION IN FRANCE. INTRODUCTION. Various definitions of fashion—The grave side of its history—Quotations from the poets— Character of Frenchwomen—The refinement of their tastes and fancies—Paris the temple of fashion—The provinces—Mile. Mars' yellow gown—The causes of fashion— A saying of Mme. de Girardin's—A remark of Mrs. Trollope's—The dress of actresses— Earliest theories of fashion—The Gynœceum of Amman—First appearance of the "Journal des Dames et des Modes "—Lamésangère—Other publications—An anecdote concerning dolls—Plan of the History of Fashion in France. FASHION is the expositor, from the standpoint of costume, of our habits and our social relations ; in a word, of everything appertaining to the charm of life. Therefore to write the history of female fashion in France is a more serious task than it might seem to be at the first glance. The levity of the subject is mastered by its moral interest. Montesquieu remarks, in his "Lettres Persanes," "A certain lady takes it into her head that she must appear at an assembly in a particular costume; from that moment fifty artisans have to go without sleep, or leisure either to eat or drink. She commands, and is obeyed more promptly than a Shah of Persia, because self- interest is the mightiest ruler upon the earth." Far from serving only as a source of frivolous talk, even when it is specially concerned with our dress and ornamentation, the subject of fashion, it has been wisely observed, has its value as a •r -r 2 THE HISTORY OF FASHION IN FRANCE. moral sign-post, and supplies the historian, the philosopher, and the novelist with a guide to the prevailing ideas of the time. Fashion, in fact, acts as a sort of thermometer of the infinitely various tastes of the day, which are influenced by many external circumstances. It is the continuous development of clothing in its thousand varying forms, in its most striking improvements, in its most graceful or most whimsical fancies. The type of dress scarcely changes within the limits of a century ; but its adjuncts and characteristics vary frequently every year. To the proverb. " Tell me your friends, and 1 will tell you who you are," might we not add, after serious reflection, " Tell me how such a person dresses, and I will tell you her character " ? Numerous poets. have defined Fashion, and for the most part petulantly and disdainfully. One of them says,— " La mode est un tyran, des mortels respecté, Digne enfant du dégoût et de la nouveauté."1 Another adds,— " Les modes sont certains usages Suivis des fous, et quelquefois des sages, Que le caprice invente et qu'approuvé l'amour." 2 A third remarks with truth, and less severity,— " Le sage n'est jamais le premier à les suivre, Ni le dernier à les quitter." a And La Bruyère asserts that " it shows as much weakness to fly from Fashion as to follow it closely." We must not limit the causes of Fashion to three only,—love of change, the influence of those with whom we live and the desire of pleasing them, and the interests of traders in the transient reign of objects of luxury, so that their place may be supplied with fresh novelties. There remains to be pointed out a fourth and nobler cause ; it is the frequently though not always successful desire to improve the art of dress, to increase its charm, and to advance its progress. 1 " Fashion is a tyrant, respected by mortals ; The fitting offspring of distaste and novelty." 2 " Fashions are certain usages, invented by caprice, and approved by love, which fools, and sometimes the wise, observe." 8 "The wise man is never the first to follow, nor the last to abandon them." 1 , INTRODUCTION. 3 We do not undertake to relate the history of fashion in male attire, albeit its variations and singularities are by no means less numerous and remarkable than those of the history of fashion for women, which in every age has proved itself both powerful and tyrannical. We must restrict ourselves to the garments worn by women in each succeeding age, and indeed we must confine ourselves to France alone, if we would achieve as complete a picture as possible of the transformations in female dress from the time of the Gauls to the day on which we shall have accomplished our task. Grace, vivacity, and, we must add, caprice, are the distinguishing characteristics of Frenchwomen. With some very few exceptions we shall find the qualities or the failings of our charming country women reproduced in their mode of dress. Be she a peasant or a dweller in cities, a working woman or a duchess, every French woman in town or country reveals herself frankly by the clothes she wears. Her innate desire to please makes her especially object to wear garments of any one particular fashion for long. She is ingenious in devising countless novel accessories to her dress, and adding to its effect. She adorns herself with embroidery, with lace, and with jewels, and, if need be, with flowers, that she may be irresistibly attractive. A Frenchwoman endeavours to supplement those gifts bestowed upon her by nature by the refinements of the toilet. She maintains that fashion is never ridiculous, because good sense is never wanting in France to curb extravagance, and good taste will ever preserve the harmonious proportions that are an inherent necessity in dress. It has been said by a woman of tact and observation, " It is perhaps allowable to be sentimental in a sky-blue bonnet, but one must not cry in a pink one." This remark as to the fitness of dress shows that Frenchwomen are properly attentive to the harmony that should exist between the moral state of a person and the garments suitable for her wear. Mme. Emile de Girardin observes acutely, "There is but one way of wearing a beautiful gown, and that is to forget it." "Go where you will," wrote (in 1835) the travelled English- B 2 4 THE HISTORY OF FASHION IN FRANCE. woman Mrs. Trollope, " and you see French fashions, but only in Paris do you see how they should be worn. ... The dome of the Invalides, the towers of Notre-Dame, the column of .the Place Vendôme, the windmills of Montmartre belong to Paris less essentially and less exclusively than the style of a bonnet, a cap, a shawl, a curl, or a glove. . . when worn by a Parisian in the city of Paris." It is therefore perfectly true to say that a history of fashion in women's dress in France has a singular likeness to a history of the French female character. There exists not a woman, according to Mme. de Genlis, who does not possess at least one secret in the art of dress, and that secret she is sure to keep to herself. In France, the classic land of fancy, the empire of Fashion has assuredly been more deeply felt than elsewhere. From time immemorial Frenchwomen have altered their fashions each succeed ing day. An eminently French poet was thinking of his country women when he composed the following lines, which sum up all that has been said on our present interesting subject :— " II est une déesse inconstante, incommode, Bizarre dans ses goûts, folle en ses ornements, Qui paraît, fuit, revient, renaît en tous les temps ; Prêtée était son père et son nom est la Mode." 4 Now, Proteus the sea-god, in order to escape from questioning upon the future, changed his shape at pleasure. It might be said that the poet we have just quoted was referring to Parisian ladies in particular ; but this would be a mistake ; for a great number of elegant women reside in the provinces, and have quite as fervent a devotion to the inconstant goddess as their Parisian sisters. In former times Fashion reserved its great effects and its utmost brilliancy for the rich only ; in the present day it pervades every rank of society, and exercises its influence even over the national costume of the peasant ; for a cotton gown will now be cut on the same pattern as a velvet one. 4 " There is a goddess, troublesome, inconstant, Strange in her tastes, in her adornments foolish ; She appears, she vanishes, she returns at all times and seasons ; Proteus was her sire, and ' Fashion ' is her name." INTRODUCTION. 5 All Frenchwomen like perpetual change in dress, and foreigners follow French fashions almost implicitly. Spanish women only, actuated by their national pride, refused for a long time to make any change in their costume, yet even they are now beginning to dress " à la Française." At present the type of feminine dress always originates in Paris, and spreads thence, throughout France, into the most distant regions of Europe, and even into Asia and America. In both those countries our fashion-books are widely circulated. " Paris," writes a contemporary author, " possesses the undisputed privilege of promulgating sumptuary laws for nations. The fashions of Paris are and will be the fashions of the world ; that of which Paris approves will endure ; that which Paris condemns must disappear. But for the good taste and the fickleness of Parisians, but for the inventive genius and manual dexterity of their artisans, mankind might be clothed indeed, but never dressed." And what of womankind ? Where is the Frenchwoman, the Englishwoman, the Italian, the German, or the Russian, who does not require her milliner to make her a bonnet on the pattern of those which emanate from a Parisian ' atelier ' ? " France," as Victor Hugo has said, "will always be in fashion in Europe." Those nations who are least in sympathy with her accept and observe her laws on elegance and e ton.' This can be proved by figures. The exportation of articles of fashion manufactured in France reaches a very high figure ; our importations of foreign goods of the same kind are, on the contrary, quite insignificant. The word " fashion " seems to convey to young people an almost absolute sense of novelty. Yet are there distinctions. There is new and new, just as, according to Molière, there are " fagots " and " fagots." That which is new to-day may be but a revival of what is old, a reminiscence of the past. The axiom, " There is nothing new under the sun," applies with special force to Fashion. What ! nothing new ? No, absolutely nothing. Who knows whether the pretty trifles, the " mouches " worn by women "at the r "TT 6 THE HISTORY OF FASHION IN FRANCE. present day, are not a reproduction or at any rate an imitation of similar adornments once worn by the Egyptians, the Greeks, the Romans, or the Gauls ? The ruffs which are so generally worn at present were in fashion in the time of Henri III. They were then an adjunct to masculine dress ; they hold their place now in a lady's wardrobe. As we study the history of the variations of Fashion in France alone, we perceive that feminine fancy describes an endless circle ; that a particular garment is readily cast aside just in proportion as it has been eagerly adopted ; that supreme, unjust, and unreasonable contempt succeeds to irresistible attraction. Fashion changes her idols at times with such rapidity, that one might exclaim with reference to female dress,— "Je n'ai fait que passer, il n'était déjà plus ! " It frequently happens that the general public will adopt any costume, however eccentric, which has been worn by a celebrated person. That which seemed hideous before the whim of a celebrity induced her to appear in it, becomes the height of fashion immediately afterwards. We may quote as an instance of this an anecdote that appears in the " Indiscrétions et Confidences " ofAudebert, a work published a few years ago. Mlle. Mars was giving some performances at Lyons, and was not a little astonished, on the day after her first appearance, to receive a morning visit from one of the principal manufacturers in that city. " Mademoiselle," said he, " I hope you will pardon the motive of my visit ; you can make my fortune." " I, monsieur ? I should be delighted, but pray tell me how ? " " By accepting this piece of velvet." So saying, he spread out on the table several yards of yellow terry velvet. Mlle. Mars began to think she was being " inter viewed " by a madman. " Mon Dieu ! " she exclaimed in an agitated voice, " what do you wish me to do with that velvet ? " " To have a gown made of it, mademoiselle. When once you INTRODUCTION. 7 have been seen in it, everybody will wear it, and my fortune will be made." " But nobody has ever worn a yellow gown." " Exactly so ; the point is to set the fashion. Do not refuse me, I implore you." " No, monsieur, I will not refuse you," replied Mlle. Mars. And she moved towards a writing-table on which lay her purse. " Mademoiselle will not affront me by offering payment. All I ask is that mademoiselle will have the goodness to give the address of my factory, which I may say stands high in reputa tion." Mlle. Mars promised, and was delighted to be rid of her visitor. On her return to Paris she saw her dressmaker, and in the course of conversation said, " By-the-bye, I must show you a piece of terry velvet that I have brought back from Lyons ; you must tell me how it can be used." " It is of beautiful quality—quite superfine. But what is to be done with it ? " cc It was given to me for a gown." " A yellow gown ! I never sent one out in my life ! " " Well, then, suppose we make the experiment." " Madame can venture on anything." A few days later, Mlle. Mars, who had gone early to the theatre, put on the yellow terry velvet gown. When her toilet was finished, she inspected herself in the glass from every point of view, and exclaimed,— "It is impossible for me to appear on the stage in such a gown ! " Vainly did the manager, vainly did her fellow-actors implore her not to ruin the performance by refusing to appear. Mile. Mars was obstinate. " She would not," she declared, " look like a canary bird." At length Talma succeeded in persuading her that her dress was in perfect taste, and eminently becoming. Convinced by his arguments, Mlle. Mars at length ventured, though with some misgiving, on the stage, where she was received with a murmur of admiration. All the ladies inspected - i- r 8 THE HISTORY OF FASHION IN FRANCE. her through their opera-glasses ; there was loud applause, and " What a charming gown ! " was uttered on all sides. The next day all Paris was ringing with Mile. Mars' yellow gown, and the week was hardly over before a similar one was to be seen in every drawing-room. Dressmakers were overwhelmed with work, and from that day yellow has held its own among the colours considered as the right thing for gowns. A few years later Mlle. Mars revisited Lyons ; the manufacturer, whose fortune she had made, gave a splendid fête in her honour, at his charming country house on the banks of the Saône. He had paid for the mansion out of the profits arising from the enormous sale of yellow terry velvet. How often since Mile. Mars' time have actresses decisively set the fashion in dress ! The Théâtre-Français, the Gymnase, and the Vaudeville have been^ as it were, exhibitions, where the feminine world has taken lessons in dress. Who does not recollect Sardou's comedy, " La Famille Benoîton," in which for several years there was a continuous show of eccentric costumes ? It must be admitted that actresses, who charm by their genius, their gestures, and their diction, confer on costume all the expres sion of which it is capable, and lend a significance all their own to the achievements of the mantua-maker. Is it enough to be brilliantly attired ? to be remarkable for eccentricities in dress ? to display costumes of the most fantastic kinds ? Certainly not. Besides these things the wearer must know how to make the very most of her attire. Fashion and coquetry are twins. It matters not how far we may look back into antiquity, among the Egyptians, the nations of the East, the Greeks, the Romans, or the inhabitants of Gaul, we shall always find these two sisters linked together, giving each other mutual help, and adapting themselves to the climate, to the peculiarities of the soil, and to the passions of the inhabitants. From earliest childhood our French girls are trained in coquetry by their own parents, innocently enough no doubt, but still such training is not without its dangers. " Louise," says a mother to her little daughter, " if you are a INTRODUCTION. 9 good child you shall wear your pretty pink frock on Sunday, or your lovely green hat, or your blue socks," &c. The little girl accordingly is " good," in order to gratify her taste for dress, and her budding love of admiration : both of these qualities will develope as her years increase. " Cast a glance on the graceful perfection, on the inimitably attractive charm which distinguishes the dress of a Frenchwoman from that of all other women on earth," says a contemporary writer, " and you will soon see a difference between mademoiselle and madame ; the very sound of their voices is not the same. The heart and the mental faculties of a young girl seem to be wrapped in slumber, or at any rate dozing, until the day comes when they are to be roused by the marriage ceremony. So long as only mademoiselle is speaking, there is in the tone, or rather in the key of her voice, something limp, monotonous, and insipid ; but let madame address you, and you will be fascinated by the charm with which rhythm, cadence, and accentuation can invest a woman's voice." As we have said, Paris and the whole of France have for a very long time inaugurated the fashions which every other nation has adopted. Yet the first journal especially devoted to fashion was not published in France. One Josse Amman, a painter, who was born at Zurich, and who died at Nuremberg, brought out, in 1586, a charming series of plates on the fashions of his day, under the title of " Gynasceum, sive Theatrum Mulierum," &c. (" The Gynasceum or Theatre of Women, in which are reproduced by engraving the female costumes of all the nations of Europe"). This work was published at Frankfort, and although it cannot be duly appreciated by women, because it is written in Latin, it must be regarded as the origin of all the Journals of Fashion which have since grown and multiplied, Under the title, " Les Modes de la Cour de France, depuis l'an 1675 jusqu'à l'année 1689," two folio volumes of coloured fashion- plates were published in Paris ; but they principally related to special costumes for the courtiers of Louis XIV. ; the " city " was treated with contempt, and admiration was reserved for fine " court- 10 THE HISTORY OF FASHION IN FRANCE. dresses." There was no periodical paper in France, relating to novelties in female dress, before the time of the Directory, in the closing years of the eighteenth century. Until then there had been no development of theories on this interesting subject. Our neighbours imitated our dress, after having visited our salons or our promenades, or they consulted some desultory drawings of costume. In June 1797, Selléque, in partnership with Mme. Clément, née Hémery, founded the " Journal des Dames et des Modes." They were joined, in the matter of engraving only, by an eccle siastic named Pierre Lamésangère, a sober and grave personage, who a few years before had been Professor of Literature and Philosophy at the College of La Flèche, and who by reason of the evil times was embarking on a career very far opposed to that of the Professor's chair. On the death of Selléque, Lamésangère carried on the journal, and made it his chief business from the year 1799. The " Journal des Dames et des Modes " was published at intervals of five days, with a pretty coloured plate of a lady in fashionable dress. On the i5th of each month there were two plates. Lamésangère himself kept the accounts, edited the magazine with as light a touch as possible, and superintended the engraving of the plates. He attended the theatres and all places of public resort in order to observe the ladies' dresses. So successful was the undertaking that Lamésangère acquired a considerable fortune. His own attire was above criticism. At his death his wardrobe contained a thousand pairs of silk stockings, two thousand pairs of shoes, six dozen blue coats, one hundred round hats, forty umbrellas, and ninety snuffboxes. Truly a well-provided wardrobe ! and greatly exceeding that of a wealthy person at the present day. The " Journal des Dames et des Modes " reigned without a rival for more than twenty years, viz. from 1797 to 1829. It forms an amusing collection of three-and-thirty volumes, and may , be consulted with profit both by philosophers and fine ladies. Some of his contemporaries used to compare Lamésangère to 11 INTRODUCTION. 11 Alexander. His empire over the world of fashion was as wide as that of Alexander. At his death his kingdom was divided, even as the possessions of the King of Macedonia were. " Le Petit Courrier des Dames," " Le Follet," " La Psyché," and a hundred other fashion-books appeared : among them we must name " La Mode," a journal published under the patronage of the Duchess de Berri, sumptuously printed, and which became a sort of arbiter of fashion in " high life." At the present day there are innumerable guide-books to "Fashion. Women are at no loss for description, history, practical details, or information concerning the business of their toilet. Intelligent minds are daily at work to invent or to perfect the numberless trifles that are either aids or snares to beauty. In addition to books, albums, and newspapers, Fashion also makes use of dolls for its propaganda. Dolls serve as models to the women of foreign nations, and for a length of time they have played their part in this important matter. In 1391, Isabeau de Bavière, the Queen of Charles VI., made a present of dolls dressed in the latest fashion to the Queen of England ; and the books of the Royal Household mention a similar gift from Anne of Brittany to the celebrated Isabella of Castile, Queen of Spain, in 1496. In the seventeenth and eighteenth centuries these gifts of dolls became very frequent. They were so highly valued, that during the terrible war of the Succession in Spain between the English and French, the Cabinets of Versailles and of St. James's granted a free pass for an alabaster doll, which, with dress and hair arranged in the newest fashion of the Court of France, conveyed our latest novelties across the Channel. Like Dandin, the judge in " Les Plaideurs," who begs Intimé the lawyer to "pass on to the deluge" so as to escape his lecture on the creation of the world, our fair readers must hope that we are not about to begin our history with the origin of our country. But while we restrict ourselves within proper limits, it is not 12 THE HISTORY OF FASHION IN FRANCE. possible to avoid speaking of the dress of the most remote ancestresses who are known to us, of the women of Gaul and Roman-Gaul. We must, for a short space, return to those far-off ages, because certain attributes of dress which existed of old have re appeared at different times, and at the very date at which we write, more than one Gallic or Gallo-Roman fashion may be recognized in the garments or the head-dresses of our country women. We therefore ask permission to dwell for a short time on the earlier centuries of our history. Then the Merovingian period will supply us with curious documentSi The Carlovingians and the early branches of the family of Capet will claim a larger share of our attention. Finally we shall dwell on the Middle Ages, and the period of the Renaissance, which were remarkable for luxury, love of wealth, and splendour of Art, and so we shall pass on to the sixteenth and seventeenth centuries, over which Fashion reigned an absolute monarch. The Revolution of 1789, the Empire, the Restoration, the Monarchy of July, the Second Empire—in a word, Contemporary History as it is called, will bring us to 1881, and the fashions of which our fair readers can judge for themselves : we have no intention of taking a place among archasologists, or arraying a multitude of historical notes before them. Moreover documents are few, and even if we wished to relate our story in full, it would not be possible, since we are bound to observe the limits of historical truth. We may, indeed, endeavour to present it in a pleasant light, but we must not change its natural expression. i ì V t CHAPTER I. THE GALLIC AND GALLO-ROMAN PERIOD. Gallic period—Woad, or the pastel—Tunics and boulgètes—"Mavors" and "Palla"— Cleanliness of the Gallic women—The froth of beer or kourou—The women of Marseilles ; their marriage-portions—Gallo-Roman period—The Roman garment—The St0ia—Refinement of elegance—Extravagant luxury of women—Artificial aids—A vestiaire or wardrobe-room of the period—Shoes—Jewels and ornaments—The amber and crystal ball—Influence of the barbarians. WE learn with horror from ancient writers that certain women of Gaul were accustomed to dye their skin with a whitish matter, procured from the leaves of the woad or pastel, a cruciform plant from which is derived a starchy substance, that may be substituted for indigo for certain purposes. Others were tattooed in almost the same manner as the savages of America. Such were our mothers in primitive Gaul, a country which differed little in extent from modern France. But time did its work, and a little later, when the inhabitants began to practise industrial arts, the costume of a Gallic woman consisted of a wide plaited tunic and of an apron fastened round the hips. She would sometimes wear as many as four tunics, one over the other, a mantle, part of which veiled her face, and a " mitre " or Phrygian cap. She made use also of pockets or of leathern bags, and of " bouls " or " boulgètes," made of network, which are still in use in Languedoc, and are called " reticules." Rich women remarkable for their beauty and elegance adorned themselves with many-coloured linen mantles, fastening with a clasp on the shoulder ; or else they were entirely unclothed to the waist, and draped themselves in a large mantle, which floated over their skirts, and was kept in its place by a clasp or fibula of gold or silver, greatly resembling the modern brooch. 14 THE HISTORY OF FASHION IN FRANCE. A veil covered the head and bosom ; when short, it was called a c mavors ;' when long, falling for instance to the feet, it bore the name of'palla.' The cleanliness of the Gallic women, which has been praised by historians, added another charm to their unrivalled natural beauty. No Gallic woman, whatever her rank, would have consented or even ventured to wear dirty, untidy, or torn garments ; nor did any one of them fail to frequent the baths which were established every where, even in the very poorest localities. The Gallo-Roman woman was admired for her fair complexion, her tall and elegant figure, and her beautiful features ; and she neglected nothing that might tend to procure her that homage. Cold bathing, unguents for the face and often for the entire body were to her a delight, a duty, and a necessity. In order to preserve the freshness of her complexion, she bathed her face in the froth of beer or kourou, dyed her eyebrows with tallow, or with a juice taken from the sea-pike, a fish found on the coast of Gaul. She made frequent use at her toilet of chalk dissolved in vinegar, a mixture injurious to health, but very efficacious as a pommade ; she coloured her cheeks with vermilion, put lime on her hair, which she covered with a net, or plaited it into narrow bands, either throwing it back or giving it the curve of a helmet. Her luxury was not limited to ornaments only, to necklaces, bracelets, rings, or waistbands of metal ; she borrowed her charms from Nature too, and, as we have seen, had little reason to complain. Bracelets, which still held their place under the Merovingians, do not seem to have been worn in the Middle Ages. In the south, on the shores of the Mediterranean, the women were strikingly beautiful. They wore a quantity of jewels, a short garment reaching only to the knees, and a gorgeously bright red apron, such as is worn by the Neapolitans to this day. At Marseilles the civilization of the Greeks had spread among the people. The young girls of the city were always dressed with elegance, and, doubtless lest drink might impair the ivory white of their complexion, custom forbade them to partake of wine ; also in order to guard against an excess of luxury, the Jaw required THE GALLIC AND GALLO-ROMAN PERIOD. 15 that the highest marriage-portion of a woman should not exceed one hundred golden crowns, nor her finest ornaments five hundred crowns. And that arbitrary law seems to have been strictly enforced. After the conquest of Gaul by Cassar, Roman civilization and Roman corruption were introduced into our country. It is difficult to resist the attractions of beautiful things, and however great may have been the hatred of their husbands towards the conquerors, the Gallic women, now become Gallo-Romans, were very ready, as may easily be imagined, to follow the example of the ladies from Italy. They declined to be beaten in the art of pleasing, as their warriors had been vanquished on the battle-field. The fair Gallo-Roman adopted the fashions of Rome. Extra vagance in dress became boundless, and dissimilarity of garments denoted various degrees of wealth. The " stola," a tunic reaching to the ground, and gathered by a girdle round the hips, while a band adjusted it to the bosom, allowed only the tips of the feet to be seen. It fell in numerous rich folds, and was as characteristic of the matron as was the " toga " of a citizen of Rome. One lady might be satisfied with a chemise, with the wide drapery of the tunic scolloped at the edge, a short apron and sandals ; while another would load herself with tunics, the upper one being sleeveless, sometimes embroidered and sometimes not, confined by a band round the waist, and by a clasp on either shoulder. A sort of mantilla veiled the entire figure. Some few ladies chose to wear garments which on account of their great breadth were called "palissades'' by Horace, the satirical poet of the Augustan age. From these the first idea of those vertugadins and crinolines, which we shall frequently be called upon to notice in the course of the present history, appears to have been derived. An elegant town lady would also adorn herself with a mantle that half covered her head, and with the " pallium," a golden tissue without either clasps or pins, thrown across the left shoulder and round the figure. Another would, like a Gallic woman, wear the Phrygian cap, which allowed her beautiful hair to be seen and i6 THE HISTORY OF FASHION IN FRANCE. admired. This was fastened back with the " vitta," a ribbon or band which only patricians had the right to use, crossed with narrow bands or confined in a net, and arranged with much skill. The hair was frequently dyed red or yellow ; or brown plaits would be concealed under the fair locks taken from some German slave, and lightly sprinkled with gold-dust. The face of a Gallo-Roman lady was resplendent in beauty, thanks to the refined arts of dress, and her complexion remained incomparably fair in spite of the lapse of years. Beneath the tunic she wore the " strophium," a sort of corset which defined the figure, and in which she could carry her letters. Ovid observes that to equalize the shoulders, if one were rather higher than the other, it was sufficient to drape lightly the lower of the two. Thus did "postiches " and padding originate. The Gallo-Roman ladysoon began to make use of the "sudarium" or pocket-handkerchief, a piece of stuff, either plain or em broidered, which she held in her hand to wipe the damp from her forehead, or to use as we use our handkerchiefs. We can imagine her leaving her gilded chariot, a sort of palanquin whose shafts were supported by a pair of horses, mules, or oxen. This was a closed carriage lined with skins and strewn with straw, and the noble lady lay within it, softly reposing on a " pulvinar," or large silken cushion scented with roses. She had adopted the manners, if not the morals of the East. She could appreciate and admire and amass rings of gold, silver ornaments for her dressing-table, for the bath-room, for travelling; mirrors, earrings of incrusted glass, rings, and necklaces. She made use of many different perfumes : scented and hygienic pomatums, essence of lilies, roses, and myrrh, unguents made from the cock and from pure spikenard. She delighted in waistbands and ribbons, in cushions, furs, and felt,—in one word, in all the luxuries that contribute to cleanliness and elegance. She had a decided taste for showy colours. , The wardrobe of a Gallic-Roman lady would consist of tissues of linen, cotton, or silk, taking the place of the modern chemise ; of a sort of boneless corset to support the bosom, of a dressing- THE GALLIC AND GALLO-ROMAN PERIOD. 17 gown, of robes of ceremony, of tunics, half tunics, and violet- coloured mantles, shaped much like a modern pelerine. A Frenchwoman of the present day has not a better assorted ward robe. On going out Gallic-Roman ladies donned a short mantle, which covered their shoulders, and a scarf for their head, the light and transparent veil of which their head-dress was composed sparkled with gold and silver spangles, mingled with narrow bands, ribbons, and beads. They left their pointed and cork-soled slippers, turned up at the toes and without heels, at home. Similar shoes may be seen to this day in the Museum at Clermont, in Auvergne. Whenever an elegant patrician lady left her home to take a drive or pay visits, she changed her shoes. Sandals took the place of the "lancia," or house-slippers. She sometimes wore the " cothurnus," a walking-boot, unrivalled, except by the light shoes called " campodes," habitually worn by the peasant women. Shoes were marks of distinction. For instance, those called " peribarides " denoted that the Gallo-Roman lady, their wearer, belonged to one of the highest families. In Gaul, as in Rome, extravagance in jewels and ornaments defied all the sumptuary laws, although the latter were as plentiful as they were useless. Gallo-Romans would not be déni t heir gold and silver ornaments. Cameos and engraved stones, emeralds, amethysts, sapphires, and the finest pearls give immense value to the necklaces, rings, bracelets, large circular earrings, and even garters, of that remote period. Garters, we beg to point out, were not used to keep up stockings, which were not worn in those times, but served to confine a sort of trouser of fine linen. Some of the Gallo-Roman ladies wore these garters or anklets on the bare leg, as they wore bracelets on the arm. Parasols, steel mirrors, fans—all these things were known to the Gallo-Roman period. Perfumers were constantly making fresh discoveries, and there were dentists who manufactured marvellous false teeth, so as " to repair the irreparable injuries of c ~ r i8 THE HISTORY OF FASHION IN FRANCE. Time." Any defects in the face were remedied by drugs of all kinds. The eyelids were stained in order to give brilliancy to the eyes. At least twenty women were in the service of each patrician lady, and the latter always devoted much time and thought to her dress. These women attired her with exceeding care ; they were admirable hair-dressers, and used pomatum profusely. One was the proud bearer of a parasol. A Roman fashion, borrowed from the Egyptians, prescribed that slaves should carry in silver or golden nets the amber and crystal balls used by their mistresses. With what grace and skill did these noble ladies twist and press the crystal balls in their fingers at a public fête, or at the circus or theatre ! They subdued by this means the excessive warmth of their hands, and secured a constant coolness. When the crystal ball became heated, it was succeeded by one of amber, which as it warmed gave forth a most delightful odour. In like manner the fan offered opportunities for the Gallo- Roman ladies to display all their grace and skill, and the fan has retained its place down to our own time, while it has found an historian in M. Blondel, who has published a very curious monograph on fans among ancient and modern peoples. The Gauls of both sexes had a patriotic love of their national costume, which they would not discard even when travelling in Asia. Nevertheless, they did not refuse to learn from their Roman conquerors, whose advanced civilization took gradual hold of our ancestors, and ended by metamorphosing them. Did they borrow something from the costumes of the Vandals, Huns, Goths, and Burgundians, from the various barbarians who appeared in succession on the soil of Gaul ? We may believe that they did, for the women who accompanied those wild invaders must have left everywhere behind them some trace of their passage. As they sat making their garments in their tents, they must have inspired the Gallo-Roman women with a wish to imitate this or that accessory of the toilet, so soon as the terror caused by the presence of the soldiery had passed away. And though some of these strangers wore only the skins of beasts, others were accus- THE GALLIC AND GALLO-ROMAN PERIOD. 19 tomed to " the purple," and to tissues from the East ; some few combined Greek elegance with Latin wealth, and were covered with valuable ornaments. The Visigoths mingled with the peoples of Southern Gaul, and the women were sufficiently civilized to be not unpleasing to the vanquished. At Toulouse, where the Gothic kings had fixed their abode, a large and splendid court, which was destined to exercise an undisputed sway during many centuries, had risen round them. The Burgundians, who had established themselves between the banks of the Lake of Geneva and the confluence of the Moselle and the Rhine, looked upon the Gallo-Romans not as subjects, but as brethren ; nor did their laws forbid marriage between themselves and the inhabitants of a conquered country. They evidently followed more or less slowly the progress of civilization in Gaul, and their manners and customs and even their dress influenced and were influenced in their turn by those of the inhabitants of the occupied country. It may be that no history of the art of Dress will ever be verified by the documents necessary for the accurate recon struction of the details of female costume from the first invasion of the barbarians until the last, that of the Franks, of which we are now about to note the most striking effects. Such lapses are to be regretted, but they could not be filled up without venturing on unfounded hypotheses or unsupported fancy. It is better to restrict ourselves to the exadt truth than to change the pen of history for that of romance. C 2 CHAPTER IL THE MEROVINGIAN PERIOD, 428 TO 752. Modifications in female dress after the Invasion of the Franks—Customs of the latter— The Merovingians—Costumes of skins and felt ; cloaks and camlets—The coif, the veil, the skull-cap, the "guimpe," the cape—Fashionable Merovingian ladies adorn them selves with flowers—Various articles of dress—The "suint "—Young girls dress their hair without ornaments—St. Radégonde—The hair of married women. THE influence of political events on costume is more decisive than is generally supposed. Cassar's conquest of Gaul had greatly modified the dress of the Gallic women. After the invasions of the barbarians, and when the Franks had snatched the most vivacious region of our country from the Romans, a material change took place in the dress of the women. Former invasions had generally been of a temporary nature, but the invasion of the Franks was of a permanent character. This rendered it highly important in regard to the moral life of the population. The Franks, like the Romans at an earlier period, made a real conquest of our countiy, in which they founded a different state of society from that which had been established by Cassar and his successors. The rough, not to say ferocious manners of the north crossed the Rhine together with the bold and indomitable warriors whose adventurous exploits have been made known to us by history, and both private and public life felt their influence. The Frankish woman, who was large and coarsely built, wore a long black gown, or a gown edged with scarlet, but her arms were bare and her bosom was uncovered. She crowned her head with flowering gorse, and would rush fully armed into the bloody fray. At times inspired, or filled with the spirit of prophecy, she -sang 22 THE HISTORY OF FASHION IN FRANCE. the deeds of father, husband, or son, or recounted the victories of the confederacy. She resembled the other Allemanni women in her dreamy creed and gentle superstitions, and she possessed quiet energy and comparative sociability which enabled her to triumph over obstacles. While holding tenaciously to many primitive customs she was not altogether averse to innovations, nor to art, industries, and southern civilization. She held her place admirably at the court of Clovis, who, as tradition informs us, liked to dispense his favours and had a taste for magnificence. No sooner were the Franks firmly established this side of the Rhine, on the northern and eastern territories, than the rusticity of the Germans began to blend with the refinements of the Latin race, and in some cases to counteract the elements of corruption in the latter. The customs of the Franks took root among the Gallo-Romans, and for a time the smaller details of dress dis-' appeared, or at least held their place with the utmost difficulty. During the first period of the Merovingian monarchy, both men and women were clothed in the skins of animals. At times both sexes would wear garments of felt, or narrow, short-sleeved silken mantles, dyed red or scarlet, or garments of a coarse material made from camels' hair and thence named camlet. Camlet was sometimes woven with a silk warp. Generally speaking, the women covered their heads with coifs, not unlike the ancient mitres that originated in Persia, or they wore a linen or cotton veil, ornamented with gold and gems, and drew the end of the right side over the left shoulder. But the Prankish women proper wore a small skull-cap called an " obbou." Any person who knocked this cap off rudely was mulcted in a heavy fine by the Salic law. Respect towards woman was enforced by Franks and Germans alike. Queen Clotilde is frequently represented as wearing a tunic, confined round the waist by a band of some precious material. Her mantle is laced together across the breast, and her hair falls in a long plait. Later than this, St. Radégonde wore a sort of " guimpe " called " sabanum," made of lawn, rudely embroidered in gold, if we may credit Fortunat the poet, who was frequently in THE MEROVINGIAN PERIOD. 23 her company. After her conversion the Queen of Clotaire I. followed the fashions of the barbarians. Six years after her marriage she withdrew from the court, in order to devote herself to religious exercises, diversified by literary pursuits. The Merovingian women were partial to many-coloured tunics, to embroideries, to flowered stuffs, and to a sort of cape known to them of old. This consisted of a piece of striped material of circular shape, with an aperture for the head, and two holes for the arms ; it covered the chest and shoulders, and was fastened by strings round the loins. They wore two belts, one above and the other below the bust. Their arms were bare, as it was the custom of dwellers on the banks of the Rhine. Sometimes—an instance is supplied by Ultrogothe, the wife of Childebert—they made use of a large mantle, a sort of chlamys, fastened at the throat or on the right shoulder by a clasp. If to this we add an " escarcelle " or purse, in which kings and queens carried coins to distribute to the poor, my readers will have an exact idea of the female dress of the time. In such costumes the fair Merovingians were wanting neither in charm, nor dignity, nor in a certain modest elegance. They probably borrowed some details of attire from the Gallo-Roman fashions and added them to their own. Bishop Fortunat, a Latin poet of that day, who was present at the wedding of Siegbert and Brunehilde, alludes to the custom his countrywomen had adopted of wreathing their hair with sweet- smelling flowers. Another bishop and historian, Gregory of Tours, who from his position was also well acquainted with the customs of the Merovingian court, speaks of silken robes, which he describes as splendid. Every wealthy woman loaded herself with jewels. They wore pearl necklaces, jacinths, diamonds, gowns with long trains, mantles, tunics, hoods, veils, and casques; earrings, bracelets, necklets, and rings; stomachers and belts of woollen, linen, or silk. Their dresses on festive occasions sparkled with gold and jewels. St. Gregory of Nazianzen rebuked them for their innumerable 24 THE HISTORY OF FASHION IN FRANCE. perfumed plaits of hair, yet they knew of one pommade only— " suint," an animal grease which proceeds from the skin of the sheep and clings to its wool. Such a perfume would be nauseous to the women of our day, but it was much liked by the Prankish women, either for its novelty, or from its efficaciousness in giving smoothness to the skin. A MS. of 660 gives the picture of a Merovingian lady wearing her hair smoothly parted on the brow and hanging down in two thick plaits, lessening in size as they fall over her shoulders. A fluted diadem of gold, placed like a crown on the head, confines the hair, and imparts to the pictured form a certain air of majesty. Young girls, with whom it was customary to wear their hair flowing loosely, were permitted no ornaments on the head. This was so general a custom that if as they grew older they remained unmarried, they were said to " wear their hair." The beautiful Radégonde, after the murder of her brother by her husband Clotaire I., received permission from the tyrant to withdraw from the world. As a mark of humility she placed on the altar her diadems, bracelets, clasps of precious gems, fringeSj and golden and purple tissues. Then she broke in twain her belt of massive gold. The sacrifice was consummated ; Radégonde belonged to God alone. She died in the odour of sanctity at the monastery of Sainte-Croix, which she had founded at Poitiers. One of the councils forbade married women to cut their hair, as a symbol of their subjection to their husbands. But this pro hibition did not cure them of their vanity ; they might still plait their hair with ribbons, and wear it parted in the middle and falling in two wide plaits, like that of Swiss peasants at the present day. Numerous statues have preserved for us this Merovingian fashion, which was not wanting in grace, while it conferred on women an appearance of severe simplicity, less majestic than that of the figure I have described in speaking of a manuscript of the seventh century. i, '-• / CHAPTER III. THE CARLOVINGIAN PEEIOD. 752 TO 987. Reign of Charlemagne—The women of the tenth century wear two tunics—Judith's belt— A veil is obligatory—Miniatures in the Mazarin Library—Charles the Bald's Bible— Shoes—Dress of Queen Lutgarde—Dress of Rötrude and Bertha—Gisla and other kinswomen of the Emperor—The successors of Charlemagne—Cannes—Adelaide of Vermandois—The dress of widows. THE reign of Charlemagne, and the passing away of the first race of our kings, to be succeeded by the second, made no essential difference as to dress. We cannot, in fact, ascribe much import ance to the German and Byzantine influences which succeeded each other at that period, but did not destroy what we may denominate the Gallo-Roman style. The most elegant dress of a woman in the tenth century consisted of two tunics of different colours, one with long, the other with short sleeves ; on the feet were boots laced up in front. Wide bands of embroidery bordered the throat, sleeves, and lower edge of the skirt. The waist-band was placed just above the hips. This belt was generally of great value, being studded with gold and jewels. The belt belonging to Judith, wife of Louis le Débonnaire, weighed three pounds. At the present day there are no waist-bands either of that weight or value. The Carlovingian women wore splendidly embroidered veils, covering the head and shoulders, and reaching almost to the ground. This lent a character of severity to the costume, which was especially aimed at by the women of that period. The veil was indispensable, being regarded as the penalty of the sin of our Mother Eve, and the hair was concealed beneath it. 26 THE HISTORY OF FASHION IN FRANCE. Among the admirable miniatures in the Mazarin Library, there is one of a queen wearing a triangular diadem, and a veil falling on either side over the shoulders. The under-tunic is black, the upper, in the style of a mantle, is violet. Both are bordered with yellow, her shoes are yellow also, and borderings and shoes alike were probably ornamented with gold. In the celebrated Bible of Charles the Bald, a most curious historical treasure, there are paintings of four women wearing the chlamys in different colours. The chlamys is always white, with sleeves of gold brocade, with one exception, when it is rose-coloured. The under-garments are bright orange, light brown, light blue, and violet, with pale blue sleeves, trimmed with strips of red embroidery on bands of a gold ground. We find that gold was used everywhere and always, and while making due allowance for the imagination of the artist, his pictures throw light on the costumes of the period. Observe that the four women all wear shoes, not boots. The historian has in general but scanty material with which to trace the dress of the princesses and ladies of the court under the Carlovingians, on account of the many wars both civil and foreign that took place between the time of Charlemagne and that of Charles the Simple, Still less do we know concerning the dress of the women of the people, for on that point history is almost silent. We learn, however, that their skirts were extremely long, and that they wore veils much resembling the veil of nuns, but thicker, and hanging more closely round the figure. Among women of noble rank the love of dress harmonized with the taste for needlework displayed by the kinswomen of Charlemagne, as recorded by the old chroniclers. They worked with their own hands on silk and wool, but this did not prevent them from loving and seeking to acquire magni ficent possessions, splendid ornaments and trimmings of excessive richness. The Empress Judith, mother of Charles the Bald, was considered to have great skill in embroidery. She gave to her THE CARLOVINGIAN PERIOD. 27 godchild, the Queen of Denmark, a gown made by herself and adorned with gold and gems. The ladies excelled in the manufacture of small articles, such as bags, scarfs, sleeves, and belts. Narrow purple bands were plaited in Queen Luitgarde's beautiful hair, and encircled her brow of dazzling fairness. Cords of gold held together her chlamys, a splendid mantle thrown over her right shoulder. A beryl, that clear and precious stone of bluish green, was set in her diadem. Her gown was of fine linen, dyed purple ; her neck sparkled with jewels. Rotrude, the eldest daughter of Charlemagne, wore a mantle with a clasp of gold and precious stones. Violet bands were plaited with her luxuriant fair hair. A golden coronet diapered with gems as beautiful as those in the clasp of her mantle encircled her brow, and gave her a truly queen-like look. Rotrude had been promised in marriage to the Emperor Con- stantine, who had heard of her beauty from beyond seas and mountains. Bertha, another of Charlemagne's daughters, who was married secretly to Angilbert, a disciple of Alcuin, and a member of the Palatine school, wore her hair confined in a golden fillet, and her head-dress was as impressive as that of her sister. Yellow-green chrysolites sparkled on the gold leaves with which her garments were embroidered. Gisla, the best known of the great Emperor's kinswomen, wore a purple striped veil, and a dress dyed with the stamens of the marsh-mallow or " mauve." Rhodaide rode on a superb horse ; a gold bodkin set with jewels fastened her flowing silken chlamys. The mantle of Théodrade was hyacinth, and trimmed with moleskin ; beads of foreign fabric shone on her beautiful throat ; on her feet she wore the Greek cothurnus, like the Byzantine women. Such are the descriptions given us by writers of the period, from whom we also learn that the Carlovingian ladies wore but one girdle, placed very low. The materials of their gowns were 28 THE HISTORY OF FASHION IN FRANCE. frequently transparent, revealing the shoulders, arms, and lower limbs, and the gowns themselves were somewhat clinging, so that the graceful undulating movement of the body was visible, as in the antique times. These transparent materials disappeared by degrees under the successors of Charlemagne, and women's dress became heavier and more ample. Long veils were worn. Under the last Carlovingians the splendour and elegance of female dress declined. Ladies began to wear extremely simple hoods and copes. They retained the habit of being delicately shod, shoes being for the most part black and embroidered in beads. Were they already aware of the important part played by shoes in the elegant appearance of a woman ? Carlovingian ladies frequently made use in their walks of a cane, ornamented at the top by a bird; the use of a stick lessening their fatigue and imparting uprightness to the figure. If we may judge by the statue of Adelaide de Vermandois, the widow of Count Geoffrey of Anjou, surnamed " Grisgonelle," who died in 987, the dress of aged women in the tenth century was somewhat as follows :—A mantle was worn over a wide-sleeved gown, under which appeared another garment, with close-fitting sleeves, buttoning at the wrist. A " guimpe " covered the upper part of the bust, encircled the throat and was joined to the veil, which, arranged in two large pads over the ears, presented a strange appearance. We may conclude by saying that the women of that period preferred a rich but severe style of dress. Tightly fitting gowns displayed the slenderness of the waist. Their ornaments, some times of inestimable value, had none of the gaudiness that afterwards disfigured the dress of the noble court ladies. Intrinsic value in jewels was much appreciated, and they were worn, according to a Byzantine fashion, fastened to the dress of which they appeared to form part. For a long time past jewels had been worn attached to the sides of the circlet or coronet, and falling over the hair as low as the shoulders. THE CARLOVINGIAN PERIOD. 29 It is noticeable that the garb of widows resembled that of our nuns. Ten centuries have scarcely changed its principal cha racteristics. We learn from the romances of chivalry that to have the insteps of the hose cut open was a sign of mourning, and that damosels and the people of their suite would make a vow as a mark of mourning to put on their garments " the wrong side out." Widows of the highest rank wore their gowns high up to the throat, and wrapped themselves in a veil. The fashion of their head-dress was an important point with Carlovingian ladies. If of noble birth they wore their hair long, falling behind the ears over the shoulders, and reaching below the waist. It was curled or waved on the forehead. Their earrings were short pendants ending in a pearl. Like the Germans, they united to a love of dress a love of cleanliness, and were accustomed to make use of the bath, either at the public establishments, or in their own villas, which were provided with every necessary for their daily wants. In these respects certain customs of the East had rather gained than lost ground, and this in spite of the prohibitions of the Catholic Church, which sought to prevent scandals, or exaggerated practices hurtful to the public health. But it would be a great mistake to imagine that baths were taken during the Carlovingian period -in splendidly decorated halls like those of the Romans ; statues, paintings, and mosaics were alike absent. The thermas of Julian on the left bank of the Seine, of which the ruins remain to this day in the Hôtel de Cluny on the Boulevards St. Michel and St. Germain, included gardens, porticoes, nay, even an immense palace, in which many kings and queens of the earliest race took up their abode, and in all probability made use of its baths. Childebert, for instance, set up his court there with Ultrogothe and his daughters. But with these exceptions no Merovingian or Carlovingian king has possessed baths of such size. It is almost certain that the great lords and ladies built no large bathing establishments in 30 THE HISTORY OF FASHION IN FRANCE. connexion with their private dwellings ; on the other hand, their toilet apparatus, plate, brushes, fine towels, and other articles were often of very great value. The bath itself was of wood, marble, or stone. The public baths served as a place of meeting, where the news of the day might be ascertained, and business and pleasure discussed. III :=> £ o b s