A Most Beguiling Accomplishment

PLATE III. It represents another bed in Preacher's Pulpit  shape, à la d'Artois , seen in profile. The Wood, the curtains, the panaches  are the same. In place of the iron Curves, there are rising columns which support the dome. The Cap is surmounted by a vase. The Cornice, together with the headboard, is sculpted in another fashion. The background of the headboard is grey, with a medallion in the middle, in the shape of a cartouche, decorated by sculpture, surrounded by a garland to which is attached a ribbon which supports a basket of flowers. Fans could choose between the two Beds, which are of the newest taste. The Curtains, Draperies, Testers can be made not-only in mottled  gros de Florence , but in French or Indian damask, in satin, lampas, and taffeta of all sorts of colors. The wood of the bed, the headboards, the columns, the cornice of the Preacher's Pulpit  Bed, could be made also in beech wood, but walnut is preferred as the most proper

January 15, 1786 PLATE II. It represents a Bed in Preacher's Pulpit  shape, seen from the front. Of all the Furnishings of a chamber, the Bed is the one which decorates it further; also one must, at all times, to give it the most comfortable and agreeable form, to surround it with the richest and most brilliantly-colored stuff, to lavish it with gold, silk, and embroidery. It is a throne, that in the homes of different ancient and modern Nations, has been raised, with pomp, to Hymen and Love. They are applauded sometimes; the only need of rest, more easy to satisfy, had not been found. The Voluptué  seems to have presided at the forming of those of today. They are found for all tastes. The most fashionable are à la Polonaise, à la Duchesse, with Columns, with two Headboards à la Romaine , à la d'Artois , and Preacher's Pulpit . Description . The base of the Bed is a fixable  base. The plastered  Sections, that is to say, that there are mortises taken in t

January 15, 1786  FIRST PLATE. Woman in Robe à la Turque . In the Orient, where one enjoys a sweet climate, pure air, a cloudless sky, men wear long garments, which have fullness and nobility. An almost continual winter, a bitter and dry cold, permit the same practice in some Inhabitants of the North, like the Poles and the Russians, who once displayed an oriental luxury. In the temperate Zones to the contrary, where the atmosphere is nearly always humid, the City cobbles covered with mud, the men, to protect them from impropriety, wear short and narrow coats; but women are above the inconveniences of the climate and the intemperacy of the seasons. Frenchwomen, principally in the capital, which is the center of taste, know how to imitate and appropriate even the Costumes of all the Nations. The  robes Françaises  have been succeeded by the  Polonaises , the  Polonaises  by the  Lévites , the  Lévites  by the  robes à l'Anglaise  and  à la Turque .  In this latter fash

January 1, 1786  PLATE III. It represents a Cabinet pendulum clock, accompanied by two Candlesticks, the whole of porcelaine de la Reine .* This Clock has the shape of a vase dotted with flowers, in which movement is contained. From the top of the vase blooms a bouquet. At the bottom of the vase are two seated children, of matte  ormolu, holding a garland. The pedestal is also of porcelain dotted with flowers. The two Candlesticks which accompany the Clock are two truncated columns, of porcelain, on their base. The barrel is surmounted by a little porcelain vase, trimmed with matte  ormolu. This Clock is found at the shop of M. Grancher, at the Little Dunkirk. ** --- The newest and most tasteful jewels. Rings in the form of ancient pyramids, engraved with Hebrew hieroglyphs. Sleeve buttons, idem. Gold watch keys, containing a stamp with two sides. Candy boxes, tobacco boxes, étuis , watches, and gold chains enameled with peacock tails . Idem , in faux en

January 1, 1786 PLATE II. It represents a Man in an Overcoat . Hat à l'Androsmane . Overcoat  of wool, bottle  colored. Buttons of mother of pearl. Gilet of black silk fabric, dotted with green flowers; buttonholes embroidered in white silk scallops. Breeches of sulfur -colored wool. Buttons of white metal. White stockings striped with blue. Shoes with slightly squared  toes. Oval silver buckles. In the hand a cane  of Bamboo . Overcoats. They are still worn in scarlet with a collar of black velvet. In blue wool, with smooth  buttons of mohair in the same color. In striped wool, sky blue, grey, or green ground, with a black stripe across. Redingotes. The lightest and warmest are those in the shape of pelisses, descending to the heels. They are of grey, puce, or any other color taffeta, padded and quilted. They are also made in padded and quilted camlet, with a taffeta lining. Gilets . Of long silk plush, flesh-colored, canary's-tail , blue,

FIRST PLATE. It represents a Woman in Ball dress. Hat surmounted with a Pouf  of Italian gauze, trimmed with a pink ribbon and a garland of laurel leaves. The earrings are pearl Rings. Kerchief of Italian gauze. Corset à l'Anglaise , of pink English taffeta. On each sleeve, a bow of dark green ribbon. These sleeves are blue taffeta, and end in an amadis  of white taffeta, trimmed with gauze. In the hand, a mask of black card, with beard  of pink taffeta. Petticoat of blue taffeta, trimmed, at the bottom, with a pink ribbon. Shoes of silk drugget, sulfur-colored, trimmed with a black ribbon, à la Jeannette . The freshest colors of the Déshabillés called Pierrots. 1st. Caraco  of puce  satin, edged all around with white fox fur, or white angora  rabbit fur. Petticoat of puce satin. 2nd. Caraco  of canary's-tail  satin with violet spots. Matching petticoat. 3rd. Caraco  of violet satin. The split  parement , en amadis , of dark green satin, closing

PLATE III. It represents a Woman coiffed in a cap à la Laitiere , trimmed with a dark green ribbon. Accommodage  with two curls, the chignon underneath . Earrings, as plaquettes . Plain kerchief, of Italian gauze. Fourreau  with collar, à l'Anglaise , of the color King's eye , edged with white ribbon à la Jannette . The Fourreau  is tied in front with a dark green ribbon. Gloves of the color soft sulfur , or canary's tail . Apron of plain muslin, with three pleats. Pink  shoes. --- Choice Jewelry. Earrings, and necklaces in gold pearls, lined and cut with facets , bestoned  and polished in a stone-mill. Idem . Bracelets, Purse drawstrings, Pins, Gold watch chains, cut and bestoned  the same way. Note. Decorations like these are never made in steel; they have the greatest effect in gold. Men's Buckles, with a double row of gold pearls, interlaced with silver brilliants. Watch cords, in silk, with buckles and a large gold key, or a seal à la

No. 1 It represents a Bust of a man, coiffed with an ordinary Wig, with three straight  curls en marron .*   Squared  top, in little curls .  The hair in a queue. No. 2 It represents a Bust of a Magistrate, coiffed with an ordinary squared  Wig, with curls en marron .  Top squared  in little curls . No. 3 It represents a Bust of a Man, coiffed with a Wig without a ribbon , having, for body , only a type of fashionable filet .  Top squared  in vergettes ** in front, and in a hérisson  in the back.   Dressing  with two curls, one on the other. No. 4 It represents a Bust of a Man, coiffed in a Wig without fabric, up-to-date . Squared  top in front, with a simple natural crinkle . Three curls at the bottom, one above, losing itself in the hérisson . The back hair, in a tied-up braid. One finds Wigs like these four that we just described, at the shop of M. ADAM DEFFAUX, Master Wigmaker, rue de la Vielle Draperie, near the Palais, in Paris . The talents of M. Deffaux a

December 15, 1785 It represents a Women in a Pierrot . Cap en Pouf , trimmed with a garland of roses; and a dark green ribbon. Ordinary coiffure with two curls, chignon on top . Trimmed kerchief, of Italian gauze. Violet caraco , edged with white; the stomacher  matching, with a bow of dark green ribbon. Apple-green petticoat, trimmed with two white ribbons. Chinese sabots , carmelite  color, trimmed with white ribbons, à la Jeannette .

At the top of the Plate, on the left, a Bust of a Woman. Gauze cap, à la Jannette .* Kerchief of Italian gauze, à la Henri IV , knotted with a pink ribbon. Gown of dark green satin. The earrings are plaquettes . On the right, another Bust of a Woman. Cane hat, à la Marlborough , surmounted by two white plumes and a violet one; trimmed with blue ribbons. Kerchief of Italian gauze, à la Henri IV . Gown of pink satin. At the bottom of the Plate, on the left, a Bust of a Woman. Cap à la Figaro , of Italian gauze, surmounted by two plumes, one white, and the other violet.  In the middle of the cap, a barrière  of black velvet, trimmed with white pearls.  Two pearl tassels hanging on the left side. The earrings are plain hoops . Gauze kerchief, plain. Gown of blue satin, tied with a dark violet ribbon edged with white. On the right, another Bust of a Woman. Cane hat, with a high crown, edged with a dark violet ribbon, and trimmed with two bows of dark violet ribbon edg

[This was typed months ago, but somehow it never got posted. Oops!] Once again, with the help of Lauren of Wearing History , I bring you a something a bit more modern: a discussion of hairstyles from Le Miroir des Modes , 1908. The Greek style has invaded the domain of evening and at-home city toilettes; but it still makes its influence felt on the coiffure, so well that those of the evening overall have become low, with full, waved bandeaux, the Greek knot or chignon rolled softly on the nape. This new type of coiffure necessarily calls for new ornament, thus we see the bandalettes, the ribbon ties, the gold and silver braids, the crowns or foliage complete the classical aspect of our elegant women. To be more fitting in profile and in the whole shape the chignon is placed higher or lower; but the front and sides of the coiffure remain vague, and forming a light halo around the face. For any type of coiffure the hair is generally divided in three parts: the back is attac

You've likely already heard about it, but if you haven't: you should know that Kendra Van Cleave's book, 18th Century Hair & Wig Styling , is available for pre-order through Indiegogo! Probably the best advertising is the American Duchess's fabulous test-wig - check it out, it looks amazing, so you know that book's good. The detailed table of contents is also available for previewing, so you can really see what you're getting: 22 women's styles and three men's, as well as a whole lot of general techniques. Right now, Kendra's still about $4,000 away from her goal. Fortunately the book will still go to print even if the goal isn't met, but she'll have to cut a style, some history, or page quality, so let's get to it! I am absolutely terrible at hair - really, I can make a very good bun, but that is the limit - so I'm very excited to improve my game. I'm also (somewhat selfishly) happy to see how well the community is

It represents a Woman in full Dress. Puffed  cap of gauze, à la Figaro , surmounted by two white plumes supported by a garland of flowers. A kerchief à la Henri IV . Pelisse of white satin, edged with marten's tail. Gown of blue satin. Petticoat of white satin. White muff of Angora goat. White shoes.

It presents two Women's Busts.  The first is coiffed à l'Ingénue .  A straw hat, whose edge is trimmed with a violet ribbon.  The crown is high, à l'Anglaise , trimmed with violet gauze.  A pearl pin on the front.  A bow or cockade on the back, whose edges, about two or three inches long, are hanging.  On the hat, on the left, is a tuft of four white plumes, surmounted by a large violet plume called the Follette .  On the neck, a cord in the form of a necklace, at the end of which hangs a medallion. The earrings are large trembling rings . Trimmed linen kerchief. Blue satin fourreau . The second woman is coiffed en Hérisson  with hooks. A cap à la Paresseuse , of Italian gauze. A bouquet of flowers on the right side on top of a Toupet à temperament . On the neck, a simple ribbon necklace. Earrings en Mirza . Linen kerchief, trimmed. Fourreau  of green satin. The Articles described in this Book were found at the Palais Royal .