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reece.--Rome.--Gothic Europe.--Europe of the Renaissance,--seventeenth, eighteenth and nineteenth century through Mid-Victorian period.--Cord tied about waist origin of costumes for women and men

XV THE STORY OF PERIOD COSTUMES 172

A RÉSUMÉ.

Woman as seen in Egyptian sculpture-relief; on Greek vase; in Gothic stained glass; carved stone; tapestry; stucco; and painting of the Renaissance; eighteenth and nineteenth century portraits.--Art throughout the ages reflects woman in every rôle; as companion, ruler, slave, saint, plaything, teacher, and voluntary worker.--Evolution of outline of woman's costume, including change in neck; shoulder; evolution of sleeve; girdle; hair; head-dress; waist line; petticoat.--Gradual disappearance of long, flowing lines characteristic of Greek and Gothic periods.--Demoralisation of Nature's shoulder and hip-line culminates in the Velasquez edition of Spanish fashion and the Marie Antoinette extravaganzas

XVI DEVELOPMENT OF GOTHIC

>PLATE VIII Example of a Perfect Mantel, Ornaments and Mirror.

PLATE IX Dining-room in Country House, Showing Modern Painted Furniture.

PLATE X Dining-room Furniture, Italian Renaissance, Antique.

PLATE XI Corner of Dining-room in New York Apartment, Showing Section of Italian Refectory Table and Italian Chairs, both Antique and Renaissance in Style.

PLATE XII An Italian Louis XVI Salon in a New York Apartment.

PLATE XIII Another Side of the Same Italian Louis XVI Salon.

PLATE XIV A Narrow Hall Where Effect of Width is Attained by Use of Tapestry with Vista.

PLATE XV Venetian Glass, Antique and Modern.

PLATE XVI Corner of a Room in a Small Empire Suite.

PLATE XVII An Example of Perfect Balance and Beauty in Mantel Arrangement.

PLATE XVIII Corner of a Drawing-room, Furniture Showing Directoire Influence.

PLATE XIX Entrance Hall in New York Duplex Apartment. Italian Furniture.

PLATE XX Combination of Studio and Living-room in Ne

reece.--Rome.--Gothic Europe.--Europe of the Renaissance,--seventeenth, eighteenth and nineteenth century through Mid-Victorian period.--Cord tied about waist origin of costumes for women and men

XV THE STORY OF PERIOD COSTUMES 172

A RÉSUMÉ.

Woman as seen in Egyptian sculpture-relief; on Greek vase; in Gothic stained glass; carved stone; tapestry; stucco; and painting of the Renaissance; eighteenth and nineteenth century portraits.--Art throughout the ages reflects woman in every rôle; as companion, ruler, slave, saint, plaything, teacher, and voluntary worker.--Evolution of outline of woman's costume, including change in neck; shoulder; evolution of sleeve; girdle; hair; head-dress; waist line; petticoat.--Gradual disappearance of long, flowing lines characteristic of Greek and Gothic periods.--Demoralisation of Nature's shoulder and hip-line culminates in the Velasquez edition of Spanish fashion and the Marie Antoinette extravaganzas

XVI DEVELOPMENT OF GOTHIC

>PLATE VIII Example of a Perfect Mantel, Ornaments and Mirror.

PLATE IX Dining-room in Country House, Showing Modern Painted Furniture.

PLATE X Dining-room Furniture, Italian Renaissance, Antique.

PLATE XI Corner of Dining-room in New York Apartment, Showing Section of Italian Refectory Table and Italian Chairs, both Antique and Renaissance in Style.

PLATE XII An Italian Louis XVI Salon in a New York Apartment.

PLATE XIII Another Side of the Same Italian Louis XVI Salon.

PLATE XIV A Narrow Hall Where Effect of Width is Attained by Use of Tapestry with Vista.

PLATE XV Venetian Glass, Antique and Modern.

PLATE XVI Corner of a Room in a Small Empire Suite.

PLATE XVII An Example of Perfect Balance and Beauty in Mantel Arrangement.

PLATE XVIII Corner of a Drawing-room, Furniture Showing Directoire Influence.

PLATE XIX Entrance Hall in New York Duplex Apartment. Italian Furniture.

PLATE XX Combination of Studio and Living-room in Ne