. Bulletin - United States National Museum. Science. later series by J. de St. Igny, especially in Lc Jardin de la Noblesse, and to Jacques Callot's La jXoblesse,-* which depict military and court dress with less carica- ture than most of this master's work. Among the engravings of Abraham Bosse, there is a series (fig. 11) relating to the sumptuary law of 1633 by which Louis XIII, at the instigation of Cardinal Richelieu, tried to curb the extravagance and simplify the dress of the ladies and gentlemen of his court. This series is worth mentioning as a record of the dress at this period, but
. Bulletin - United States National Museum. Science. later series by J. de St. Igny, especially in Lc Jardin de la Noblesse, and to Jacques Callot's La jXoblesse,-* which depict military and court dress with less carica- ture than most of this master's work. Among the engravings of Abraham Bosse, there is a series (fig. 11) relating to the sumptuary law of 1633 by which Louis XIII, at the instigation of Cardinal Richelieu, tried to curb the extravagance and simplify the dress of the ladies and gentlemen of his court. This series is worth mentioning as a record of the dress at this period, but neither these engravings nor the better known "Galerie du Palais" (fig. 12) are, strictly speaking, fashion plates which provide information for dressmakers or wearers of ; In England, the engravings were of a rather different style. Dutch prints of allegorical subjects were in vogue, and there are innumerable sets of prints of the seven Ages of mankind, the five senses, the four seasons, the continents, and the liberal arts, typified by real and imaginary figures in all styles of dress. Jean Barra's figure "Seeing" (fig. 13), with her looking glass and perspective glass, accompanied by the farsighted eagle, is illustrated here mainly because of its explanatory quatrain mentioning ^ Not until the early 1640s can reliable engravings of English fashions be found. Most of Wenceslas Hollar's 1639 series, "Ornatus Muliebris Anglicanus, or, the severall habits of English women from the Nobilitie to the Country woman, as they are in these times," is slightly suspect as being imaginary or at best idealized, though the lady in waiting (Hollar's no. 23) and the countr>- woman (Hollar's no. 26) walking on her iron-ring pattens may be portraits. Hollar's "Theatrum Mulierum or Aula Veneris" of 1644 has a much stronger claim to represent the fashions of London, although some of the European women may be in the traditional clot
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Keywords: ., bookauthorun, bookcentury1800, bookdecade1870, booksubjectscience
