Monday, December 31, 2012

Galerie des Modes, 21e Cahier, 3e Figure

Levite, with two pleats in the back, regular, stopped at the waist with a scarf that ends in tassels.  Coiffure: a straw hat trimmed with gauze en pouf, trimmed with flowers. (1779)

ROBE A LA LÉVITE.  This is again one of the noble Gowns that the desire to ban constraint all in clothes caused to be adopted: the first idea for it is due to the Outfits created for the Actresses of the Théatre Française, when it put on the Tragedy of Athalie, with the Chorus.  These Clothes, modeled on those of the Levites and the Priests, consisted of a type of Aube, with a stole which crossed it in front.  This costume was entrenched in those worn by Priests; the stole changed into a belt, and soon it became a fashionable Dress.

Such were the first Levites; they were worn first plain, without panniers or bouffantes; but with time, they were stripped of this original simplicity, such that one will have occasion to notice it thereafter.  To the notice which is found at the bottom of the Print, being sufficient to give an idea of the costume, we add only a word on the shoe, that the position of the Figure doesn't permit to be shown entirely.  It is a shoe à la Lévite; it has neither buckles, nor rosettes, and attaches with a gance, which is tied under a parement folded back over the foot, and which has the same shape and color as the sleeve parement, thus the shoe matches the Gown.

Sunday, December 30, 2012


(I did most of this entry about a month ago, so it makes reference to Things Happening and I'm just noting that they happened several weeks ago, not recently.)

At work I've moved completely into Putting Numbers On Things.  This is in two categories: Finding Things' Original Numbers, and Giving Things New Numbers.  The former is preferable, because it means you have some provenance and can prove the museum owns it, which is very important if you want to deaccession an item, but it can be pretty difficult, so I've been doing a lot of the latter.

One of the objects I gave a new number to on Friday was a bonnet quite like the Allie model in Mrs. Parker's Millinery and Mercantile.  (Quite, quite like - the milliner says it's based off one in her collection, and there's another one that's almost identical to it at the Chapman, so that's interesting.)  Since I was looking it over for any kind of number I noticed that it was in pretty bad shape, allowing you to see its inner workings, so of course I took out my camera.  And then I looked in on a couple of the other bonnets to snap some shots there as well, just because.

Galerie des Modes, 21e Cahier, 2e Figure

New Gown, called à la Longchamps, pulled up with love-knots and tassels, trimmed with sequins, and decorated with a Levite belt.  It is covered with a second gown of spotted gauze.  This Costume was invented by P. N. Sarrazin, Costumer to Nosseigneurs the Princes, Brothers of the King. (1779)

Robe à la Longchamps, so named because it appeared for the first time on the promenade of Longchamps.

That promenade is so closely linked with fashion that it will not be a digression from our subject to here give an idea of it.  We will come back later to the description of the Gown.

The Longchamps promenade renews itself every year on Wednesday, Thursday, and Friday during Holy Week.  It is placed in the avenue of the Bois de Boulogne, which runs to the Abbey of Longchamps; and so some illustrious Seigneur undertook to give it an object like one of the ancient Games of Greece and Asia, it would cede to them neither in magnificence nor in celebrity.

This promenade derives its origin from the devotion of our forefathers, who gathered in the avenue du Bois de Boulogne to make their Pilgrimage to the place called Calvary, where, during these three days in Holy Week, they would realize all the Mysteries of the Passion.

Each family, each society gathered to form these Pilgrimages: and the most zealous endeavored to distinguish themselves with singular costumes and picturesque inventions, capable of expressing the excess of piety and sadness which drove them to Calvary.

One easily conceives that the Curious hastened to see them and follow them; it was in the avenue de Longchamps that the grand assembly of Spectators was found.  This devotion wasn't long in degenerating into overindulgence: the Pilgrimage of gloomy Calvariennes was ended.  But by habit, the Public  will continue to meet in the avenue de Longchamps, where, from time to time, one would see some Zealots pass again, who braved the defenses.

It happened that the Nuns of the Abbey of Longchamps chose beautiful voices to sing the Ténebres:* this event gave a new relief to the promenade.  People spoke only of the Ténébres of Longchamps.  The most famous Opera Singers considered it an honor to develop their talent there, and the promenade became again more frequented than before.

Further disorder gives rise to new defenses.  The habit was formed, and the promenade of Longchamps became once again a pure object of amusement and pleasure.  All seem to contribute to embellishing it, to perpetuating it.  In this epoch, the season mellows, it renews itself, and it is justly on Holy Friday that it is the etiquette of the Court to drop their winter Clothes, to take spring Clothes.

Also, there is nothing more brilliant than this promenade.  There is more, as another time, to report on all the attributes of distressed piety: it is to display the most elegance, magnificence, beauty.  As soon as Lent ended the occupations of Carnaval, already the Saddlers, the Coachbuilders, the Marchandes de modes, the Seamstresses, the Costumers, the Jewelers, and in a word, all the Luxury Artisans, have orders of work for the preparations for the Longchamps promenade.

It is to the Women, above all, that it is given to make the main ornament of this promenade  Unless there were a pre-destined prize for the most beautiful, it would be impossible for them to make greater efforts to obtain it.

The Dress that the Print presents has always been imagined this year to produce, if it were possible, a contrary effect.  Four amiable Women, united by taste and sentiment, will form a project of rendering it at Longchamps, dressed in such a way to be able to, at their discretion, derobe to the piercing gazes of curiosity, both the graces of youth, and the brilliance of the most sought-after parure.  Here is the description of the costume that they have adopted, and which one could call the costume à la Metamorphosis.

Bodice with folded-back shoulders, leaving the chest all the freedom of its undulations; very short sleeves with sabot cuffs; scarf worn as a belt, defining the waist, and the center is fixed with a brooch of precious stones.

Skirt of the Gown open in front, pulled up in garlands with tassels equipped with cordelieres in love-locks; the edges trimmed with embroidery in sequins of many colors.  This trim, coming together under the scarf's brooch and running down the front of the bodice, indicates the opening.

Petticoat of matching fabric, trimmed in the same manner.

Over the whole, Gown à la Longchamps, lightly held together by a ribbon bow.  It is of striped gauze, spotted, with a hood and a fichu collar, open in front, and trimmed with a flat band border.  Hanging sleeves à pagoda, held up by a knot of diamonds; the hood à stores,** put on or down at will.

Gauze petticoat matching the Gown, placed between the bodice of the Gown and the petticoat, serving as a veil to the latter and being pulled up at will, like two awnings, pulled up by hanging tassels on each side.  (This article has been, inadvertently, transposed in the Print so that the gauze petticoat finds itself under the other petticoat: it must be beneath.)

With this adjustment, Women can enjoy the pleasures of the promenade, while losing nothing of their éclat nor running a risk to their parure.  They resemble these precious jewels that adorn curiosity cabinets, and which a light gauze protects at the time from the touch of the infected, from the burn of smoke, and from dust.

* Matins sung in the afternoon on the Wednesday, Thursday, and Friday of Holy Week.
** "awning style"

Saturday, December 29, 2012

Galerie des Modes, 21e Cahier, 1ere Figure

Young Lady riding a horse.  She is dressed en homme with a frock coat with bavaroises, and a petticoat.  Her coiffure is a black hat covered with feathers of the same color. (1779)

AMAZONIAN DRESS, worn by Women of quality. Before the Carrosses* had been imagined in France, and had multiplied to the point that we see them today, Ladies who frequented the Court were used to make their rides sometimes alone, sometimes pillion.  One can see the traces of this fashion in the last volume of Monumens de la Monarchie Française, by Benedictin Montfaucon.  This fashion was not as particular to the French Ladies.

Brantôme, in speaking of Christine of Austria, niece to Charles V, first Duchess of Lorraine, then Queen of Denmark, recounts "that she rode very well and with very good grace, and would always ride l'étrier sur l'arçon,** which she taught to the Queen Marie (of Austria), her aunt: and I say truly, that the Queen mother (Catherine de' Medici)  had taught it to her; for, previously, she would ride pillion, which certainly would show neither grace nor the beautiful gesture, as using the stirrups would."

This author adds "that this Princess never rode but on Spanish, Turkish, and Barbary horses, and handsome jennets, which went at an amble; altogether I have seen her to have for a favorite a dozen very beautiful horses, that one had to say each was more beautiful than the next."

An illustrious Sovereign, the flower of her time, and of the same family, has brought back to France this ancient costume, which is also accredited at Court.  It is the renewal of this fashion which is shown in the first Print of this book.

The friendly Squire that is presented is dressed in a Frock coat with plain revers, basques pulled back in Military style, the sleeve parements like a Bishop's mitre or in Cavalier style; the gilet à la Chartres, crossing on the side and containing the cuirass.  Kerchief en cravate.  Petticoat à la Strade, open in front; soft boots, with high heels armed with spurs.  Chignon braided in a cadogan, with two finger curls, and above this, a hat with a panache.

Young and graceful Duchesse de la Rochefoucault, is it necessary that we have to regret that this agreeable fashion cut short your life!  Your courser, frightened, threw you, and your foot, unhappily caught in one of the stirrups, has caused your loss.

Let us turn our regards from this sad spectacle, which renews our sadness, and let us form a wish that this fashion may not be more fatal to the young Deities who want to adopt it.  Maybe one should hope it will be abandoned.  An amiable Woman is a being too precious not to excite her to flee all that could furnish the occasion of shortening her days.

We end this article by observing that it is surprising that some ingenious Artist hasn't been tempted to imagine the stirrups, whose combinations would prevent accidents like that which happened to the Duchesse de Rouchefoucault, and of which Men could be as easily the victims as Women.

* a type of carriage
** probably "astride"

Friday, December 28, 2012

Finishing Up The Year!

I'm not going to tot up everything I made this year because it's kind of pathetic, but I will tell you what I got for Christmas!

- What Clothes Reveal, Linda Baumgarten: no explanation needed.

- Seventeenth-Century Women's Dress Patterns, Book I, Susan North and Jenny Tiramani: truly amazing resource that shows off how far technology's progressed.  X-ray pictures of garments that show all the layers of fabric, interlining, and boning; pages of full-color detail photos; delicately-drawn patterns of clothing and bobbin lace and construction steps.  I got an Amazon gift certificate as well - I may use it to buy book two.  I'm not sure when I'm going to get to use them (Dutch settler party at Fort Orange, maybe?), but they are FANTASTIC resources.

- Period Costume for Stage & Screen, Jean Hunnisett: I've always been a bit leery of this one because my impression based on the title was that it was about stage/movie costumes, patterned for looks rather than accuracy.  However, it's actually very basic patterns of extant clothing and underclothing, with some hints for doing things in a costumey way (eg, filling out an 1830s sleeve with tulle).  It looks especially good for bustles and such, which aren't usually patterned in books like this, and also foundations/linings for people who are good enough to be able to drape over them.

- From the Neck Up: An Illustrated Guide to Hatmaking, Denise Dreher: OH MAN.  The idea of hat-making terrifies me and yet I would really like to be able to do it as it's kind of expensive to buy them.  And bonnets!  I want to make a bonnet.  The instructions look very clear and adaptable.

I'm not planning on doing the Fortnightly challenge, as I'm terrible at sticking to a schedule or really getting anything done, but I do have definite, specific plans for what I'm going to make this coming year, and I will tell them to you in chronological order.

Galerie des Modes, 20e Cahier, 5e et 6e Figures

"Peasant" ball dress, composed of a jacket and petticoat of grey taffeta trimmed with bands of pink taffeta. (1779)

Peasant suit used for balls. (1779)

BALL AND THEATER COSTUMEIt suffices to glance at the two Prints to understand that they are intended to hang pendant. They contain the newly-adopted costume for appearing as a gallant Peasant and a young female Peasant.

The female Peasant's dress must be composted of a juste or corset edged and trimmed on all the seams with ribbons; the sleeves with a flat parement; the petticoat cut across the middle with a flat band of taffeta accompanied by two ribbons of the same color, placed in circles [around the petticoat]; half-apron of gauze, spreading over the petticoat, attached under the basques of the juste, and trimmed around the whole edge.

Hair en chien couchant with curls, where there are three reversed curls; straw hat; braided and hanging chignon ending under the hat, where it is held by a bow of ribbons en bandelette.**

The male Peasant's dress is a bombe, called "Lieursin" style, with little mancherons.  Belt, gilet, and breeches match each other: sleeves match the gilet; the parement is similar to the bombe.  Grey hat and shoes, trimmed with ribbons and rosettes.

These outfits, as simple as they are gallant, have been generally adopted by the Theater, for Balls, and for all the Parties consecrated to pleasure.

* I believe at this point that a caraco is a jacket that is either polonaise/francaise, a casaquin is a fitted jacket, and a juste is a lightly boned jacket meant to be worn without stays, but this may change as I find the terms used more in future.
** in a band around the head

1901 Corset and Combinations


I have a 7oz. white cotton twill to use to make this, probably with natural cotton twill tape for binding and channels.  Not sure yet whether I will use steels or cable ties!  Both have their charms.  I think I'll use cable ties in the mockup and see how they do.

Wedding corset, Lord & Taylor; MMA 2009.300.3361a-c
This might be the closest thing I can find to the original that Hunnisett and Waugh patterned; that one's supposed to be in the V&A but its picture is not online.

I will be using Hunnisett's pattern, as it's larger and on graph paper.  Hunnisett, intriguingly, patterned two of the very narrow pieces cut as one, and mentioned that if the artiste (Hunnisett always describes the potential wearers as artistes, which is excellent) had bust and waist measurements larger than 42 and 30 inches, the melded piece might have to be cut as two for fitting reasons.  I dance right on that line, but as I don't cross it I think I should be fine cutting it as one.

Someday I will work out how to make this lovely Bon Marché front-lacing corset, but until then, I'll stick to patterns.


I'm using the pattern for the "Ladies Combination Suit" in The Edwardian Modiste (p. 245).  Technically, this garment is described as a corset cover and drawers combined, but I find it difficult to understand how it would be worn over a chemise.  And there is also a short chemise pattern (which maybe you could fit underneath) described as "taking the place of the corset cover and short skirt", so basically everything is topsy-turvy and I'm not sure what's going on.

Combinations, ca. 1895; MMA 2009.300.2368
This is approximately five hundred times prettier than what I will produce.

Thursday, December 27, 2012

Galerie des Modes, 20e Cahier, 4e Figure

Suit of wool, trimmed with braid à la financiere with a wide braid. (1779)

FRENCH SUIT, of wool, relieved by a wide gold braid with scalloped lamella; double row of braid on the pockets and the sleeve parements, Bourgogne fashion.

Matching vest and breeches.  The braid on the vest and the garters match the braid of the suit.

It is that which is called a Choisi Suit, so called because it is correct to be worn when the Court removes to the chateau of Choisi.  This same etiquette requires it to be green.  It must be of another color when the Court goes to Marly, St. Hubert, and Muette.

Galerie des Modes, 20e Cahier, 3e Figure

Redingote en Bakmann or hooded. (1779)

BACKMANN: another type of Redingote, also called by the name of the one who first made use of this garment, destined principally to protect against the intemperacies of the air and the disagreeableness of the streets of Paris during the winter.

The Backmann offered in the Print has a collar with no seaming, forming revers, shaped like a fichu.

Batiste kerchief, knotted en cravate; hat folded up in Swiss fashion; large loup enveloping the hands to the elbow and serving as a pectoral.  The simplicity and comfort of this grand Négligé has given it an infinite number of lovers.

Tuesday, December 25, 2012

Galerie des Modes, 20e Cahier, 2e Figure

Redingote with collar and bavaroises, a little fitted for riding a horse; morning vest with bavaroises, edged with an English braid; leather breeches. (1779)

"SQUIRE" REDINGOTE.  For several winters, the fashion has been introduced among the young Lords of riding horses in Paris during the morning, and among the outfits they have adopted for these courses, the costume presented in the Print is that which is the best put on.

It is a Redingote, cut in the ordinary style, with a collar with revers made without seaming, edged en systeme and trimmed with two rows of headed buttonholes for buttons made of the fabric of the Redingote.

Vest with revers, held back by steel buttons ...  Kerchief en cravate; jockey hat; two watches; ...; gloves and whip in the hand. Lacking only the horse and zest, the Squire would be already far from here.

Monday, December 24, 2012

Galerie des Modes, 20e Cahier, 1ere Figure

Dress of Rosine in the Barber of Seville; costume invented for the theater of the City of Lyon in 1775 by P. N. Sarrazin, Costumer to Their Royal Highnesses the Princes, Brothers of the King. (1779)

Robe à la Sevilloise.  This garment is composed of a Surcoat with basques, spreading over the first petticoat or skirt of the Gown, and bordered with a plain ribbon.  The middle of the stomacher is indicated with a band à l'Espagnolette,* trimmed with precious stones.  The base of the stomacher or piece laced in place with ribbons placed as a ladder, framed in an Italian gauze border, matching the trim on the Surcoat.  Around-the-throat of lace in front, fixed in the center with a diamond, and forming a large collar or medicis in back.

Skirt of the gown en fourreau, with training tail, open in the front, trimmed with cordons of little round bells,** on the border of ribbon en serpentaux.

Undervest or coat forming the bodice, trimmed with embroidery at the lower edge, and indicating the practical opening in front.  Sprigged gauze apron, with drawstring pockets, trimmed with gauze and ribbon, destined to receive letters from her favorites.  The top of the Apron is covered by the basques of the Surcoat.

Hair en chien couchant, the two last curls making a lion's tail, held captive by a row of pearls; on the head a plain hat, with crown and brim, shaded with a branch of frivolity and a panache.

* the modern meaning is "a rotating handle for a window", but I don't know if that's relevant; espagnolette is also a type of wool like rateen or shaloon.
** possibly figurative - round trimmings that aren't actual bells

Friday, December 21, 2012

Godey's London Fashions for May, 1834: Evening and Opera Costume

EVENING AND OPERA COSTUME. - A robe of celestial blue satin, opening en tablier, over a white satin skirt, and trimmed down the fronts with white blond; five moss roses are placed along this edging, and from the three lower ones, little garlands of roses cross over the white satin.  Corsage à la pucelle, blond lace Sevigne with a rose on each shoulder, and in the centre of the bosom smaller ones, reaching thence to the point of the waist; double sabot sleeves, a rose confining the fullness.  Coiffure en cheveux, adorned with agraffes of gold, and a beautiful spiral garland.  Pearl necklace, gold ear-rings, with pearl drops.

Galerie des Modes, 19e Cahier, 5e et 6e Figures

Summer frock coat of vermicelli-patterned linen with little bands of painted linen that take the place of braid. (1779)

Polonaise of blue and white vermicelli-patterned linen, trimmed flat in bands of linen, painted in all colors on a white ground. (1779)

VERMICELLI GOWN AND SUIT.  Place these two Prints so they are looking at one another: they will offer you a little Master who addresses his Mistress, and gives her the salute of love.  Both have clothes of vermicelli-patterned Indienne, which is to say, representing the twists of woodworm tracks.  It has been borrowed from Architecture, where the vermicule ornaments are in use.  These indiennes have been extremely fashionable, and both sexes have adopted them.

The Elegant Man that the Print presents is dressed in a Frock coat with a collar called à la Saxe, with a Perse border forming a frame.  The tabs of the basques are made with vazisdas.*  Vest of white linen, with a border matching that of the frock coat.

The Woman is sufficiently described in the caption; it has only omitted to say that the bottom of the skirt were painted in country style, in a very agreeable way.  It is also necessary to give attention to her Chinese parasol, lined with white taffeta to better reflect the rays of the Sun and preserve the color of this Beauty.

* Openings in windows and doors at eye level; peepholes.  This probably refers to the treatment of the top of the slits in the coat's skirt.

Thursday, December 20, 2012

Godey's London Fashions for May, 1834: Ball Dress

It proved impossible to scan the 1834 Godey's Lady's Book I bought on eBay - the text is small and the paper isn't in good condition, so it comes out all blurry.  So I typed up the fashion text, and as there aren't any fashion plates, I thought I'd over-analyze each little bit of description so you can picture it in your head.  There is a remote chance I might try drawing the end result, but ... we'll see about that later.  (And I've found more on Google Books, so if you like this I could keep going!)  It's like a reverse version of the portrait analyses.

BALL DRESS. - The dress is of a new material, called Gaze de Constantinople, embroidered in gold.  It is made à l'Antique. The corsage perfectly tight to the bust, is a point, and cut on the bias in front; it is ornamented across the bosom with full draperies à la Sevigne, the sleeves are a double sabot, with blonde ruffles à la Louis XV.   The open skirt does not quite meet at the waist, as it is intended that the point of the corsage should be distinctly seen.  The dress is ornamented with small rosettes of gauze ribbons, from which depend three or four long coques of the same; in the centre of each rosette is a gold ornament or jewel, and the coques are formed of a much wider ribbon than the rosettes.  This dress is worn over a satin petticoat, ornamented with a deep volant or flounce of blonde, headed with a puffing of ribbon, the color of the dress; each puff is separate, and not carried on from one to the other.  On the sleeves are deep and very full jockies of blonde, and the dress is finished at the neck with a deep ruff à la Catherine de Medicis, which diminishes gradually toward the front.  The back hair is in two high coques or bows, encircled at the base with a rich bracelet, which also retains a long ostrich feather; three light puffings of gauze finish this becoming and elegant head dress.  The front hair is very much parted on the forehead, the curls falling low at the sides.  Gold necklace and earrings, white kid gloves, fan à la Valois, white satin shoes and silk stockings.

Galerie des Modes, 19e Cahier, 3e et 4e Figures

Bourgeoise at ease in a gown of striped satin, a blue satin pelisse with a large ermine border, and a white muff.  She has pattens under her shoes. (1779)

This man is dressed in an overcoat with brandenburgs of silk camlet, lined with marten; a cloth-of-gold vest with embroidered border, lined with white silk plush; breeches of velvet.  He wears pattens under his shoes. (1779)

BOURGEOIS COSTUMEAs it is amply detailed in the caption, we add only that the Man is dressed in a dressed-up Overcoat, edged and furred with squirrel, with buttonholes bearing oval buttons at each end, called à la Saxonne.  The Veste is of cloth-of-gold, with an embroidered border.

Note also the method of carrying a chapeau brisé under the arm, to keep from disarranging the hair.  This fashion has made such great progress that one has imagined hairpiece hats, or cardboard covered with black taffeta, and forming a triangle like the chapeau brisés.*

* "Broken hats", because they are made flat, to be carried under the arm and not worn.

Wednesday, December 19, 2012

Galerie des Modes, 19e Cahier, 2e Figure

Polonaise suit, a little dressed-up with a satin piqué vest with colored bavaroises, bordered with gold; keystone hat folded up in the back. (1779)

Reform Overcoat, or négligé Overcoat, edged en système with braid, with buttons and buttonholes of gold, ending in loops; sleeves with boot parements, held up with three functional buttonholes.  Vest with angular revers, of the color of the lining of the Overcoat, and allowing the lace of the jabot to be entirely free.  Hat à la Valaque,* edged en système.

While this Suit had appeared under the modest title of "Négligé", it took favor among the brilliant Youth, and was well received by all where its partisans wanted to introduce it.

* Wallachia, a region of Romania.  At the time the print was made, the region was under Russian control, but in a decade it would be invaded by the Hapsburgs.

Tuesday, December 18, 2012

Galerie des Modes, 19e Cahier, 1ere Figure

Lady of quality whose tail is carried by a young black boy.  She is coiffed with a type of pouf decorated with plumes and flowers, with a ribbon interlaced among them; the hair is girded with a barrière of pearls with a tassel.  Her gown is of plain pink taffeta, trimmed with gathered bands of blonde lace with flower garlands, interlaced with pinched ribbons.  The black boy is coiffed with a Moorish cap, decorated with pearls and panaches, with a silver collar bearing the Lady's arms.  He is dressed in a suit and vest with a blue ground, decorated with a very rich double silver braid, over a short vest with a fire-colored ground, also trimmed with braid. (1779)

 The fashion of having someone carry the skirt of the Gown, or, as it is called, the tail, is very ancient and characterizes Nobility and Grandeur.

This fashion has been singularly mistreated since the introduction of those Gowns, no less agreeable than comfortable, which were imagined several years ago and whose principal grace consists in being rétroussée.  It is that which prevents them from being accredited for long among the Ladies of quality, who must preserve the etiquette of trained Gowns in order to keep their train-bearing Valets from becoming inactive, and cannot lose the nuance that separates them from the Bourgeoises.

Such is the Woman presented in the Print.  Her dress is somewhat mitigated, as they say, because she has kept the grande Robe and only adopted the new accessories, as can be noted in reading the caption found at the bottom of the Print.

The Black boy is dressed in a toque à la Baptiste, the front emblazoned with the arms of his Mistress.  It is astonishing that this fashion of Blacks, Hussards, Heyducs, and Couriers* wearing the escutcheon of their Masters does not extend to other Liveried servants, especially those at present that take matching Suits.  It will be desired that each domestic have on the parement of their sleeves, the arms or chiffre** of his Master; that will be an honorable and polite distinction which could only produce salutary effects.

But we return to the Black boy in the Print: he is dressed in a caftan or bombé à la Chartres, equipped with a large, turn-down collar, and under this a vest and Hungarian pantalon, with marocain boots.  Pierced ears with pearl earrings; a silver circlet for a collar, in the manner of slaves.

* Hussards, light cavalry soldiers in Hungarian uniforms, Heyducs, noble Hungarian soldiers; both probably also refer to court pages
** monogram formed with intertwining letters, often seen in tapestries and architecture