Of authorities for English costume the next could also be selected as particularly useful: J. C. Bruce, The Bayeux Tapestry Elucidated (London, 1856), with 17 plates; F. W. Fairholt, Costume in England to the tip of the 18th Century (2nd ed., ib., 1860); William Fowler, Examples of Medieval Art (1796-1829), 116 plates; Froissart’s Chronicles, translated by T. Johnes (4 vols., 1844), 72 plates and plenty of woodcuts; R. N. Humphrey, Illuminated Books of the Middle Ages (ib., 1849); Facsimiles of Original Drawings by Holbein, in the collection of His Majesty, for Portraits of Persons of the Court of Henry VIII., engraved by F. Bartolozzi, &c. British Costume (third ed., Bohn, 1874), and Cyclopaedia of Costume (2 vols., 1876-1877); Henry Shaw, Dresses and Decorations of the Middle Ages (2 vols., 1840-1843), 94 plates and lots of woodcuts; Joseph Strutt, engraver, Dress and Habits of the People of England (2 vols., 1796-1799), and Regal and Ecclesiastical Antiquities of Great Britain, new edition with notes by J. R. Planché (1842), 153 plates; Westwood, Miniatures of Anglo-Saxon and Irish Manuscripts (1868), 54 plates; C. A. Stothard, The Monumental Effigies of Great Britain (1817-1832; ed. Berlin. The tendency in the modern democratic communities of Anglo-Saxon race has been to dispense with official costumes.
Besides works on costume generally, there are a big number devoted specially to national or “folk” costumes. London, 1874), Military and Religious Life in the Middle Ages and the Renaissance (London, 1874), and The 18th Century, its Institutions, Customs, Costumes (London, 1875-1876); L. M. Lanté, Galerie française de femmes célèbres, atlas (Paris, 1841), 70 plates; Malliot et Martin, Recherches sur les costumes, les mœurs, les usages religieux, civils et militaires des anciens peuples (three vols., Paris, 1809), 228 plates; Pauly, Description ethnographique des peuples (St Petersburg, 1862); Pauquet Frères, Modes et costumes historiques et étrangers (2 vols., Paris, 1873), 196 plates; Auguste Racinet, Le Costume historique, in two types, large and small (Paris, 1876, another ed. Paris, 1885), and Handbuch der deutschen Tracht (1898); Bonnard et Mercuri, Costumes historiques des XIIᵉ, XIIIᵉ, XIVᵉ et XVᵉ siècles (2 vols., Paris, 1867), 200 plates; Burgmair, Triomphe de l’empereur Maximilien I. (Vienna, 1796), 135 plates; Chapuy, Le Moyen Âge pittoresque (2 vols., 1837), 180 plates; Chevignard et Duplessis, Costumes historiques des XVIᵉ, XVIIᵉ et XVIIIᵉ siècles (2 vols., Paris, 1867), a hundred and fifty plates; du Sommerard, Les Arts au moyen âge (10 vols., Paris, 1838-1848), 510 plates; Duflos, Recueil d’estampes, représentant les grades, les rangs, et les dignités, suivant le costume de toutes les nations existantes (Paris, 1779-1780), 240 plates; España artistica y monumental (3 vols., Paris, 1842-1859), 145 plates; Fabri, Raccolta di varii vestimenti ed arti del regno di Napoli (Naples, 1773), 27 plates; Jaquemin, Iconographie méthodique du costume du Vᵉ au XIXᵉ siècle (Paris), 200 plates; Lacombe, Galerie de Florence et du palais Pitti (four vols., Paris, 1789-1807), 192 plates; Paul Lacroix, Manners, Customs and Dress in the course of the Middle Ages and the Renaissance, Eng.
Nantes, 1854), with glorious coloured lithographs of costumes by Hyppolite Lalaine; E. H. T. Pingret, Galerie royale de costumes (Paris, undated), beautiful lithographs of costumes, principally Italian with some Spanish and Swiss, lithographed from paintings by Pingret by varied artists; Edward Harding, Costume of the Russian Empire (London, 1811), with 70 hand-colored plates, including costumes of lots of the semi-barbaric tribes of central Asia; for Turkish costume in the 18th century see Recueil de cent estampes représentant différentes nations du Levant, engraved by Le Hay (Paris, 1714); for Greek costume at the time of the War of Independence see Baron O. M. von Stackelberg, Costumes et usages des peuples de la Grèce moderne (Rome, 1825), with 30 beautiful plates. 1825), 177 colored plates of female costumes, primarily French, some Spanish, German, &c.; A. Hård, Swedish Costumes (Stockholm, 1858), 10 colored plates; Félix Benoist, La Normandie illustrée (2 vols. Typically, nonetheless (apart from robes, which are a lot older in their origin), official costumes in Europe, or in countries of European origin, are based mostly on the fashions of the 18th and early 19th centuries. Thus in Rubens’s well-known image of St Ambrose repelling Theodosius from the door of his cathedral, the bishop is vested within the mitre and cope which solely got here into vogue centuries later, whereas the emperor wears a military costume modelled on that of Roman imperators of an earlier day.
That is as true of the official costume of the previous as of the present; as may be illustrated from historical Rome, where the toga, as soon as the general costume of Roman citizens, within the 3rd and 4th centuries was the official gown of senators and officials (see also below Vestments). The principle, which tends to assert itself also in the autonomous “British dominions beyond the seas,” isn’t the results of that native dislike of “dressing up” which characterizes many Englishmen of the upper and center lessons; for modern democracy shares to the total the taste of past ages for official or quasi-official finery, as is proved by the costumes and insignia of the multitudinous fashionable orders, Knights Templars, Foresters, Oddfellows and the like. For Indian costumes see India: Costume; for Chinese see China; &c. See additionally Robes; for military costume see Uniforms; for ecclesiastical costume see Vestments and subsidiary articles.