Image unavailable: Fig. 30Fig. 30
Fig. 31: The point to be noted in this figure is the arrangement of a fringe drapery which goes once round the waist, is thrown over one shoulder, and hangs down the back.
Image unavailable: Fig. 31Fig. 31
Fig. 32: This man, in hunting dress, ninth centuryB.C., has a small scarf, fringed only at the ends, wrapped tightly round the limbs, reaching to the knee.
Image unavailable: Fig. 32Fig. 32
Fig. 33: This woman, a captive of Sennacherib who reigned in eighth and seventh centuriesB.C., wears a long tunic, and over it a long shawl fringed at the two ends and measuring 50” × 80”. To drape this shawl, place one corner under the left arm-pit and draw it across the back under the right arm-pit, wrapping it once round the body; draw it across the back and up over right shoulder. A corner of the fringed end will hang down in front of the right shoulder.
Image unavailable: Fig. 33Fig. 33
Plate XII.shows a number of characteristic Assyrian ornaments.
a, The sacred tree.
b, c, d, e, f, Repeating patterns on costumes.
g, h, i, j, k, l, Borders on costumes.
m, One of the many rosettes much used in Assyrian decorations.
These should be compared with the decorated costumes shown in the plates; they would be either woven or embroidered.
PLATE XIIImage unavailable: PLATE XII F.S.H. fec. DETAILS OF DECORATIONF.S.H. fec.DETAILS OF DECORATION
Image unavailable: Fig. 34AFig. 34A
Plate XIII.—A facsimile drawing, from an enamel tile, is one of the many representations of the King Assur-nasir-pal, ninth centuryB.C.The description of his dress will be better understood by referring to Figs.34,35, and36. The King wears over his long tunic a very beautiful and dignified shawl drapery, which is fringed, recalling certain Egyptian types already illustrated, and, indeed, has points of similarity with certain Greek and Roman draperies. To drape this shawl (seeFig. 34A) fold over on the line e-f so that e-f, a-b, hangs down outside; then attach the cord e-g as illustrated, and hold g at right side of waist in front, throwing the rest of the shawl backwards over the right shoulder. Draw the edge e-f round the back of neck, and form a
PLATE XIIIImage unavailable: PLATE XIII M.G.H. del. F.S.H. pinx. KING ASSUR-NASIR-PALM.G.H. del.F.S.H. pinx.KING ASSUR-NASIR-PAL
sling over the left arm, as shown. To complete the draping, continue to pass the edge e-f round the waist towards the right, passing under the right elbow, then on round the back and left side until it reaches about 6 inches in front of left side of waist; now fold the remainder of drapery underneath, as shown in the drawings, and tie a cord round waist to keep all firmly in position; knot the end of the cord e-g to this waist cord.Fig. 35shows the back view, andFig. 36shows the drapery thrown off the left shoulder to give freedom to both arms, Figs.34and35only giving freedom to the right arm. If the cord e-g is pulled down so that e touches the waist, then both shoulders will be covered by the drapery.Fig. 34is the most usual arrangement of this type of drapery, but in looking atPlate XIII.closely it will be seen that the modern drawing (Fig. 37) is a more exact rendering. This drawing is from a draping of the same shawl asFig. 34is wearing, but the fold-over is somewhat deeper, the point e is tied closely to waist belt, and the drapery is rolled at waist while it is being adjusted. When worn thus, with a roll, the drapery will remain in position without the waist cord being tied over it, but it is more secure when it has been thus confined.Fig. 38is still another variety of this type of draping, and is taken from a small statue of Assur-nasir-pal in the British Museum; there we have two shawls, one square and one semicircular (see Figs.38Aand38B). To arrange this drapery, take the square shawl and fold outwards about 20 inches, as at e-f. Tie a waist cord on the tunic, and tuck the corner
Image unavailable: Fig. 34
f deeply into it at left side of waist cord; then draw tightly round the figure in front and round again across the back of waist till the left side is reached again. Now double about 6 inches of the shawl inwards, and tuck again into waist cord. Take the semicircular shawl g-h, and attach the cord to another waist cord, throw backwards over the right shoulder, and arrange a sling over the left arm as before in Figs.34and37. The corner h of the shawl shows in front about 8 inches below the waist towards the left. Tie the second waist cord tightly over this shawl to keep in position.
NOTE ON THE COLOURING OF ANCIENT ASSYRIANAND PERSIAN COSTUMES
Though we do not possess the actual specimens of these costumes, still we can infer from the lavish ornament, and, from references in the Hebrew Old Testament writings, that rich colouring prevailed. The dyes were probably similar to those of ancient Egypt, and this table will suggest the particular hue of each colour:
All these colours could be used as embroideries on a white or natural coloured ground of linen, the embroideries being of wool. In other cases the whole garment might be coloured throughout.
Image unavailable: Fig. 37Fig. 37Fig. 38Image unavailable: Fig. 38Fig. 38AFig. 38B
Fig. 39is the tunic of King Assur-bani-pal, seventh centuryB.C.It will be noticed that it is cut very much in the same manner as the Egyptian tunic; the neck opening, which is a slit large enough to admit the head, does not show in the drawing, but three buttons on either side of neck will be seen. A row of fringe decorates the bottom, and the whole is richly embroidered; over this tunic were worn the wide and narrow belts.
Image unavailable: Fig. 39Fig. 39
Plate XIV.is the Queen of Assur-bani-pal, seventh centuryB.C.She wears a similar tunic to the King, but the sleeves reach half-way down the lower arm; her shawl, which is fringed all round, would measure 50” × 130”. It is wrapped once round the lower limbs, and so covers the bottom of her tunic; it is then wound round the upper part of her body in similar fashion to that of the woman onp. 59, save that it goes in the opposite direction.
PLATE XIVImage unavailable: PLATE XIV M.G.H. del. F.S.H. pinx. QUEEN OF ASSUR-BANI-PALM.G.H. del.F.S.H. pinx.QUEEN OF ASSUR-BANI-PAL
Plate XV.shows further details of Assyrian decoration; attention may be particularly drawn to the varied forms of the tassels.
a, b, c, Bracelets.
d, e, f, Ear-rings.
g, h, i, j, Tassels from costumes and harness on horses.
k, Winged globe.
l, Palm tree.
m, Lappet of a King’s tiara.
n, Bronze vessel.
o, Sword handle.
PLATE XVImage unavailable: PLATE XV F.S.H. fec. DETAILS OF DECORATIONF.S.H. fec.DETAILS OF DECORATION
GENERAL DESCRIPTIONOFANCIENT PERSIAN COSTUMEALSO INCLUDING TWO EXAMPLES FROM CAPTIVE NATIONS
Thegarments illustrated in this style are of four types; of these, three have already appeared in the two previous styles—namely, the type of thetunic, the type of therobe, and the type of theshawlor drapery. In ancient Persian costume we come for the first time to type five: thecoat. We may refer here also for the first time to the wearing of trousers, for these are usually shown worn with the coats in ancient Persian costume, and a diagram is given on p. 86 showing one of the earliest known methods of cutting these garments.
Ancient Persian decoration was so exceedingly similar to ancient Assyrian that it does not seem necessary to illustrate it. We do not find, however, that ancient Persian garments were ornamented to anything like the same extent as ancient Assyrian; the frequent fringes ofthe ancient Assyrian costumes were not nearly so lavishly employed in the ancient Persian style.
Linen and wool were most probably the chief materials used in ancient Persian costume, but there are indications that leather may have been rather extensively employed in the more tight-fitting garments.
It must not be taken that either in Assyrian or ancient Persian dress the garments fitted as smoothly and tightly as might be imagined from the sculptured and painted representations; it is true folds are sometimes indicated, but the chief concern of the artists of both styles was to show the human figure and richly decorative ornament.
The illustrations here given of ancient Persian costumes date about the sixth and fifth centuriesB.C.with two of neighbouring nations dating eighth centuryB.C.and sixth and fifth centuriesB.C.respectively.
There is not sufficient information to form a definite picture of the women’s dress of this period and style;most probably it was a simple tunic and shawl like that worn in Assyria, but an interesting fact is that we have a representation of the Queen of a Persian King who reigned in the fifth centuryA.D.who is wearing trousers, which, it will be remembered, are worn by Persian women of the present day. In this connection it may be noted that the history of costume, as developed through the use of woven materials, presents a much more simple aspect than the history of those styles bearing evidences of having been first cut from leather. A moment’s reflection will make it clear that in the case of woven stuffs the most economical system of cutting, and indeed the most obvious, for the primitive dress fashioner, was based on the rectangle. On the other hand, the fashioner of leather garments would naturally try to fit the human body with, as it were, a second skin, hence trousers and tight-fitting jackets may appear in very early civilizations.
For list of authorities see Ancient Assyrian Costume.
For list of authorities see Ancient Assyrian Costume.
Plate XVI.is a representation of Darius, King of Persia, sixth and fifth centuriesB.C.; he is wearing the Median “Robe of Honour.” It will be seen from the plan (Fig. 40A) that this robe is sewn up each side, leaving a space of 20 inches on either side for the hands. Like the Egyptian robe, the material required is twice the height of the figure, the material is doubled, a neck-hole cut, and the garment is pulled on over the head. The Persian or Median method of wearing the garment is unique: a girdle is tightly bound round the waist, and then the robe is pulled up at either side over the girdle so as to produce the very elegant effect shown inPlate XVI.andFig. 40, which is a modern drawing of the front view ofPlate XVI., the result giving great freedom to the arms. The King seems to have two robes of the same cut, one under the other.
Image unavailable: Fig. 40AFig. 40AFig. 40
PLATE XVIImage unavailable: PLATE XVI M.G.H. del. F.S.H. pinx. DARIUS, KING OF PERSIAM.G.H. del.F.S.H. pinx.DARIUS, KING OF PERSIA
Image unavailable: Fig. 41AFig. 41A
To arrange the drapery, dating sixth to fifth centuriesB.C., onFig. 41, take the corner b ofFig. 41Ain the left hand, letting the rest of the drapery fall down the back, draw the edge b-a across the back, then under the right arm-pit across the chest, and throw the corner a upwards and over the left shoulder; a will hang down the back. It will be noted that this garment is weighted at the corners; this keeps it in position.
Fig. 42is a modern drawing showing the garment in front view.
Image unavailable: Fig. 42Fig. 42Fig. 41
Image unavailable: Fig. 43AFig. 43A
Fig. 43, dating eighth centuryB.C., is wearing cloak (seeFig. 43A) partly fringed. It is worn much in the same manner asFig. 41, but inFig. 43the corner a is thrown backwards over the left shoulder, and the edge a-b is passed across the chest and under the right arm-pit, then drawn across the back, and the corner b falls down in front of the left shoulder.
This costume is not Persian, but that of some nation to the east of Persia in northern Asia Minor. The wearing of boots with upturned toes as here shown seems to have extended from Persia across northern Asia Minor to the Mediterranean even as far west as Italy.
Fig. 44is a modern drawing showing the garment in front view.
Image unavailable: Fig. 44Fig. 44Fig. 43
Fig. 45is wearing a short-sleeved coat over a tunic. The edging shown is probably uncut fringe; in reality it would not fit the figure neatly, as the ancient artist has indicated, but would hang rather loosely.
Fig. 45Ashows the method of cutting.
Image unavailable: Fig. 45AFig. 45A
The costume is considered to be that of a Jewish captive of the Persian conqueror and dates sixth to fifth centuriesB.C.
Image unavailable: Fig. 45Fig. 45
Fig. 46, which dates sixth to fifth centuriesB.C., is wearing over a tunic and trousers (seeFig. 46B) an overcoat with a set-in sleeve (see Fig. 46B), turned-over collar and cuffs, and tied in front with ribbons. The plan (Fig. 46A) shows one of the earliest known methods of setting in the sleeve; the collar in this plan is represented turned forward and lying flat.
The tunic worn by this figure, under his long overcoat, and also the trousers would most probably be of leather.
Image unavailable: Fig. 46AFig. 46AFig. 46B
Image unavailable: Fig. 46Fig. 46
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