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+
+*** START OF THE PROJECT GUTENBERG EBOOK 75531 ***
+
+
+
+
+
+                            [Illustration]
+
+
+
+
+                          Ladies’ Dress Shoes
+
+                                of the
+
+                          Nineteenth Century
+
+                    With Sixty-three Illustrations
+
+                                  BY
+
+                     T. WATSON GREIG OF GLENCARSE
+
+                              _Author of_
+
+                     “Ladies’ Old Fashioned Shoes”
+
+                       EDINBURGH: DAVID DOUGLAS
+
+                                 1900
+
+
+
+
+Preface.
+
+
+The sixty-three ladies’ shoes now illustrated have all belonged to and
+been worn by ladies of the 19th century. They have been most carefully
+selected to illustrate the variety and change of fashion during that
+period. The shoes can be copied in any material by any shoemaker. I beg
+to return thanks to all those who have been so kind as to give me their
+assistance in collecting them.
+
+  GLENCARSE,
+  _28th May 1900_.
+
+
+
+
+Frontispiece.
+
+This specimen of Mule or Bedroom Slipper is in green velvet, on which
+the coat of arms is embroidered in rich silk and metallic threads. The
+front is finished off with a white silk ruche, held in place with a row
+of narrow gold braid, and the lower outline softened with an edging of
+fine blonde lace. The heel is covered with royal blue satin, and the
+lining is white. The maker is Abrahams, Westbourne Grove, W.
+
+
+Plate I.
+
+We have in this illustration three fine specimens of the modern
+shoemaker’s craft. The general shape of the shoes is much the same,
+but what may be called the decoration is varied. The satisfactory use
+of the “Magpie” colours is striking, and argues the good taste of the
+worker, and the designs, though simple, give scope to great excellence
+in workmanship.
+
+The cordonnier artist has apparently considered his lines as carefully
+as the best of yacht builders. The material employed in the first two
+instances is kid, and in the other black and white velvet.
+
+[Illustration: PLATE I.]
+
+
+Plate II.
+
+Illustrates three black satin shoes. The first, without heel and
+very square toe, was, no doubt, comfortable, but decidedly unshapely
+foot-gear. The sole is thin, and there is no attempt at ornamentation,
+even to hide the elastic ankle strap. As this shoe dates back a
+considerable number of years, it serves to show the many modern
+improvements of its two companions.
+
+No. 2 has a general appearance, which at once demands admiration. The
+heel is medium, the toe pointed, and the ornament is a trefoil in old
+paste. This shoe belonged to Mrs Macandrew of Dalcross Castle, N.B.,
+who may be congratulated on its size, or, rather, want of size, and on
+the good taste which chooses a plainness of style embodying the essence
+of smartness. The Jubilee Shoe has Louis heel, and is embroidered with
+the Royal Crown and initials, V.R., with motto, “God save the Queen.”
+This shoe was designed in honour of Her Majesty’s first Jubilee, 1887.
+In 1897 a similar shoe appeared with the Crown, date, and wording,
+“Sixty Years Celebration.”
+
+[Illustration: PLATE II.]
+
+
+Plate III.
+
+Bronze stage shoe worn by the well-known actress Miss Ada Cavendish.
+Louis heel, somewhat square toe, embroidered finely with steel, and
+large brown satin-pleated bow with steel buckle.
+
+Bronze shoe No. 2 is one of the smallest in the collection, and
+belonged to Miss Marsh. It has a pointed toe, Louis heel, and plain
+little bow of brown satin ribbon.
+
+The third shoe, also in bronze, has very pointed toe, with pearl and
+gold embroidery, which also adorns the small bow, leaf-like in form.
+The side seam is stitched with silk galloon, similar to what binds the
+outside edge. The heel is Louis in style.
+
+[Illustration: PLATE III.]
+
+
+Plate IV.
+
+This elegant shoe resembles a little its immediate predecessor in Plate
+III. in the heel, bow with four small leaves, and the ribbon-covered
+side seam, and, indeed, reflects the style of the same maker, with the
+difference shown in the embroidery, which completely covers the pointed
+toe, and is of rich gold thread. Gold beads further enhance the bow.
+The kid is bronze.
+
+Bronze also No. 2, with interlaced yellow ribbon in diamond pattern.
+This design of stitched ribbon is a good idea to make a self-coloured
+shoe correspond more closely with costumes in mixed hues. The round
+ornament is gilt, and the heel an ordinary one.
+
+The next shoe is in black glacé kid, and belonged to the late Duchesse
+d’Aumâle. The toe is square, Louis heel, and the “ruched” rosette is of
+black silk, edged with puce.
+
+[Illustration: PLATE IV.]
+
+
+Plate V.
+
+No. 1.--Pink kid shoe, with round toe, ordinary heel, and lined white
+kid. The knot-bow is in pink silk ribbon, with picot edge.
+
+The late Marchioness of Ely owned the centre shoe. It is in rich pink
+satin, ornamented with round real lace rosette, and has Louis heel and
+square toe.
+
+Plain pink satin shoe--the 3rd--very neat in shape, with ordinary heel,
+and trimmed small bow of same pink satin as the shoe.
+
+[Illustration: PLATE V.]
+
+
+Plate VI.
+
+Here appears another of Miss Ada Cavendish’s shoes, worn on the stage.
+It is of bright yellow satin, trimmed silver braid, which mingles also
+with the satin in the round rosette, with mother-of-pearl centre. The
+toe is very square, this actress being slow to adopt the pointed toe
+now so much in vogue.
+
+No. 2, yellow satin shoe, has silk embroidery, studded with
+orange-tinted cabochons, and the bow of crimson silk gives an uncommon
+finish. Pointed toe and ordinary heel.
+
+The third is of plain straw-coloured satin, made uncompromisingly to
+match costume without further decoration than the bow, formed of the
+same material.
+
+[Illustration: PLATE VI.]
+
+
+Plate VII.
+
+Single strap shoe, in French grey satin, the front in a certain manner
+unattached from back, and distinguished from the same by elaborate
+floral embroidery in silk and iridescent beads, which figures also
+on the strap. A single paste stone forms central finish to this
+shoe--uncommon in shape and design.
+
+The second shoe, deeper in hue, is said to have belonged to Mrs.
+Grahame; and its central tongue, with two overlapping flaps, which call
+for a necessary buckle of paste or silver, would place its date in the
+early part of the century.
+
+The silver embroidery in thread, tiny sequins, beads, and lace is in
+admirable taste; and the whole workmanship of the shoe, which is in
+excellent preservation, is of the best order.
+
+The last shoe is of plain blue satin, with handsome decoration of gold
+tinsel embroidery, studded with oval turquoises, and supplemented with
+the brightness of crystal beads, being similar to the trimming of the
+dress.
+
+[Illustration: PLATE VII.]
+
+
+Plate VIII.
+
+This shoe--Figure 1--bears the print of its French origin in its
+essential smartness, combined with neatness and uniformity of
+colouring--namely, a deep, rich purple satin, the bow being of velvet
+in similar shade. It was worn by a member of the Rothschild family
+at the time of the Queen’s first Jubilee, and the maker, Meier of
+Paris, not only has a great monopoly in the clothing and adorning
+of fashionable feet, but is also much in request in successfully
+fulfilling stage taste and requirements in shoes.
+
+The second shoe on the page is of very small size, and is of English
+make, though owned and worn by the French Duchesse de Beauprémont. It
+is of bright blue silk, with large rosette and peculiarly shaped heel,
+being much elongated underneath towards the side seam.
+
+The next, pale blue silk shoe, is made simply to match a gown, and
+probably out of the same fabric.
+
+[Illustration: PLATE VIII.]
+
+
+Plate IX.
+
+The first shoe of this plate would be remarkable for neatness, though
+it might be thought somewhat spoilt by a squareness of toe, but it will
+be noticed the idea of squareness appears carried out otherwise in the
+cut of the shoe. The space between the principal strap and the three
+small ones crossing the foot makes an uncommon variety. The little bows
+of twilled silk (of which the shoe also is constructed) give a chic, if
+somewhat formal finish, to each band. The heel is a Louis shape.
+
+Figure 2 belonged to an Edinburgh belle of the season of 1872, and is
+of tiny dimensions, though the old fashion of ornamenting with a large
+bow deprived the wearers of these small sizes of some of the credit.
+
+The third and most elegant shoe possesses one of the highest Louis
+heels worn off the stage, and belonged to an American lady who, like
+several others, came to this country and acquired for herself the right
+to the motto first adopted by Alexander the Great--namely, “Veni, Vidi,
+Vici.”
+
+[Illustration: PLATE IX.]
+
+
+Plate X.
+
+This shoe of white silk has the novel decoration of small netted
+buttons. These buttons rest on simulated straps, the silk being merely
+cut away to show spaces of the blue lining between. The shoe has
+altogether a perfection of style which its distinguished owner, an
+autocrat in dress, always demands.
+
+No. 2 is of very small size in white satin, richly embroidered in
+crystal beads and thick silk twist. The open-work meshes, like spider
+webs, could reveal a pretty shade of stocking.
+
+The latter idea, however, is carried out to perfection by No. 3, a
+shoe which is composed entirely of strong cream silk guipure. It is
+eminently fitted for evening--especially dancing--wear, both as to
+texture and coolness. The pattern of the lace in this example adapts
+itself to the neatest and smallest of shapes. The back is kept in shape
+with satin-covered stiffening.
+
+[Illustration: PLATE X.]
+
+
+Plate XI.
+
+This shoe of Cromwellian shape hails from the stage, and boasts the
+highest heel in the collection. It is thickly embroidered in small
+crystal beads studded with cabochons, the latter also in clear crystal,
+which is a decoration difficult to beat. The wide tongue is kept in
+place by a strap, which would require a diamond or silver buckle to
+fasten it at the side, not visible in the illustration. The lining is
+of pale blue satin.
+
+No. 2 is owned by a society belle, whose beauty may be said to extend
+from “top to toe,” as the toe, or rather toes, encased in this
+foot-gear must be of the smallest and daintiest description, and
+demanding a share of the admiration granted to their lovely owner’s
+figure and face.
+
+The next shoe is a wedding shoe, looking strange to us in its old-world
+form, but the very mould of fashion in its day, which dates nearly
+forty years ago.
+
+[Illustration: PLATE XI.]
+
+
+Plate XII.
+
+A handsome shoe this of rich silver brocade, with bow of same, pointed
+toe, and substantial Louis heel. The incurved seam at back gives a
+firmer hold to heel and ankle.
+
+Miss Edna May owned the centre shoe, and it was worn by her as the
+“Belle of New York.” The embroidery in white silk and silver beads is
+faultless in design. The heel is an extremity of height, and is much
+the safer for the single ankle-strap, with its neat bow and ornament.
+
+No. 3, of plain silver kid, has elongated toe, beaded by small
+silver ornament. It is a suitable shoe for fancy dress, but has this
+drawback--together with its two companions, also much besilvered--a
+liability to tarnish.
+
+[Illustration: PLATE XII.]
+
+
+Plate XIII.
+
+This well-shaped boot stands out unique amongst the bevy of surrounding
+shoes, but its texture, shade, and workmanship are none the less
+delicate. Its owner and wearer was of exalted position, and her foreign
+birth, perhaps, inclined her to a departure from the usual style for
+evening wear.
+
+No. 2 shoe is of a shape frequently made in two shades, but looks no
+less well for its sameness of colouring in the present instance, with
+which the neat trio of steel daisies admirably harmonise, adapting it
+at once to modified mourning if desired.
+
+Last on this page is a bridesmaid’s shoe, and it could well be taken as
+a pattern of style for anyone called upon to enact that part. The bow
+of silk ribbon harmonises with the heliotrope coloured satin, of which
+this shoe and its two predecessors are made.
+
+[Illustration: PLATE XIII.]
+
+
+Plate XIV.
+
+First appears in this shoe a further idea of contrivances for firm
+wear. This is in the form of a useful elastic strap, covered with
+heliotrope satin bow to match shoe. It is a more clumsy appliance than
+the indrawn heel at the top, before described in Plate XII.
+
+The second shoe, also in heliotrope shade, but of silk, belonged to the
+Comtesse de Paris, and is decorated with real lace. It has a square toe
+and low heel.
+
+No. 3 is distinguished for its embroidery, the species of flower and
+the blending of its colours harmonising so well with the lilac colour
+of satin.
+
+[Illustration: PLATE XIV.]
+
+
+Plate XV.
+
+First, a shoe which can be certified as Imperial, and bears the French
+print of good taste in elaboration. The little border of lace all
+round the edge and also round the bow gives daintiness and lightness,
+whereas the gold embroidery gives massive richness at the same time.
+The additional knot of gold lace and tassels is peculiarly handsome and
+effective, and the rich embroidery and bead work extends even to the
+heel--an Imperial heel evidently demanding special adornment.
+
+Algiers contributes this specimen of slipper, Eastern in design and
+shape, and in its lavish covering of patterned gold.
+
+No. 3 is another case of the evening “Oxford” shoe. It is beautifully
+shaped and free from clumsiness, and the embroidery in lightness and
+effectiveness of design scores a success. The Duchess who chose and
+wore it might well be imitated in such a fashion.
+
+[Illustration: PLATE XV.]
+
+
+Plate XVI.
+
+The first shoe on this plate belonged to and was worn by Miss Christine
+Nilsson in “Lohengrin.” It is of cloth of gold, and testifies that the
+great singer does not neglect, in her superior charm of voice, the
+additional charm of dress. The gilt buttons are appropriate, and the
+crystal studs, glistening like dewdrops across the instep, are original
+in arrangement. The toe is very elongated. Otherwise the shoe is of the
+ordinary approved shape.
+
+No, 2 is gilded kid, superior to the cloth of woven gold thread from
+its untarnishable quality. The round gilt button makes a neat finish.
+The heel is rather low for smart effect.
+
+The third shoe of cloth of gold boasts a Duchess for its quondam owner,
+who, in turn, can boast that her foot could grace its tiny dimensions.
+The sole ornament of loops of braid is uncommon, in the fact that it is
+composed of bullion and not tinsel. The shoe has a Louis heel and white
+kid lining.
+
+[Illustration: PLATE XVI.]
+
+
+Plate XVII.
+
+Though simply severe in style (which the richness of material demands),
+this shoe doubtless repeats the hue and texture of the gorgeous
+sweeping folds of the costume it was made to match. The paste button
+is neat and good, and too modest in size to publish its own failure in
+competition with the jewels due to the rank and toilette of the wearer.
+The Louis heel is also velvet-covered.
+
+No. 2 shoe is a departure from the ordinary evening style. It must have
+a firmness for dancing, which is, perhaps, advantageous in some cases.
+The festooned embroidery in chain stitch and French knots is tastefully
+done in silk of darker shade, and adds to the originality of the shoe.
+Also a feature of it is that it is made all in one piece, and a line of
+stitching simulates a seam.
+
+The last is of watered silk. The inside lining is of delicate pink
+satin. The buttoned strap is a favourite style with many--sometimes
+single, sometimes multiplied, and more or less elaborate. The plain
+gilt button in this case alone figures, whilst on the toe rests a small
+bow of watered silk ribbon exact in shade.
+
+[Illustration: PLATE XVII.]
+
+
+Plate XVIII.
+
+1. Deep eau-de-nil satin shoe worn by Miss Ada Cavendish as Lady
+Teazle. Large rosette, with gilt and steel square buckle. This size of
+bow (now obsolete) admitted of an elastic insertion at the back, which,
+no doubt, added to the ease of fitting. The toe-cap is chain-stitched
+and appliqué.
+
+The next is similar in hue, but of modern shape. It is very finely
+beaded, so fine as to readily conjure up the impression of a possible
+use of seed pearl. The toe is pointed, and the heel in Louis style.
+
+No. 3 is also of a modern shape, the colour yellowish green. This shoe
+has only a Louis heel and general neatness to distinguish it.
+
+[Illustration: PLATE XVIII.]
+
+
+Plate XIX.
+
+The satin Oxford shoe again appears first on this plate. It is
+particularly small and neat indeed. Only the owner of a small foot
+could, with success, adopt this style. It is very finely embroidered in
+steel beads in a floral pattern. Louis heel, silk lace to match.
+
+No. 2.--A deep red shoe, with closely embroidered toe in gold thread.
+It has plain silk bow to match and Louis heel.
+
+Deep crimson also No. 3, with embroidery of rich gold thread picked
+out with white beads to emphasise the pattern. The rosette has rows of
+beads alternate red and gold, on every folded edge, and in the centre
+several rows. The toe is pointed; an ordinary heel.
+
+[Illustration: PLATE XIX.]
+
+
+Plate XX.
+
+The brocade of this first shoe is rich in colour and substance. The
+pattern is well manipulated, so that the effect is good. The bow is of
+the same material.
+
+The next shoe stands out in originality of style. The red and white
+satin make a vivid contrast. The piece of red attached to the vamp is
+sewn to the sole only, otherwise loose, and therefore would almost make
+necessary an ornament to fix it at the top as well and give a finish.
+
+This shoe, the third and last, belonged to Rosa Anderson, a fair
+maid of Perth, whose elopement created a great sensation in bygone
+days in the town, to whose Council her husband belonged. Let us hope
+this actual pair of shoes did not carry their fair owner away to a
+chimerical happiness from the path of duty which appeared prosaic in
+the face of flattery and attention from one whose position far exceeded
+that of the burgher’s wife.
+
+[Illustration: PLATE XX.]
+
+
+Finis.
+
+Dancing sandals worn in the ballet by Madame Cerri, made of pink
+satin with pink satin ties. The soles very small, and the padded toes
+protruding considerably beyond them.
+
+[Illustration]
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 75531 ***
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+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75531 ***</div>
+
+<div class="figcenter">
+<img src="images/cover.jpg" alt="cover">
+</div>
+
+<div class="figcenter1">
+<img src="images/fig1.jpg" alt="shoe">
+<p class="caption"></p>
+</div>
+
+
+<h1>
+Ladies’ Dress Shoes</h1>
+
+<p class="c sp large">of the</p>
+
+<p class="c big">Nineteenth Century</p>
+
+<p class="c sp large">With Sixty-three Illustrations</p>
+
+<p class="c more p4">BY</p>
+
+<p class="c sp xlarge">T. WATSON GREIG OF GLENCARSE</p>
+
+<p class="c med"><i>Author of</i></p>
+
+<p class="c less">“Ladies’ Old Fashioned Shoes”</p>
+
+<p class="c p4 sp">EDINBURGH: DAVID DOUGLAS</p>
+
+<p class="c med">1900
+</p>
+
+<hr class="full x-ebookmaker-drop">
+
+<p class="c lsp large">Preface.</p>
+
+
+<p class="n"><span class="smcap large">The</span> sixty-three ladies’ shoes now illustrated have all belonged to and been
+worn by ladies of the 19th century. They have been most carefully selected to
+illustrate the variety and change of fashion during that period. The shoes
+can be copied in any material by any shoemaker. I beg to return thanks to
+all those who have been so kind as to give me their assistance in collecting
+them.</p>
+
+<div class="pad">
+<p>
+<span class="smcap">Glencarse</span>,<br>
+<span class="more"><i>28th May 1900</i>.</span>
+</p></div>
+
+
+<p class="c lsp large p2">Frontispiece.</p>
+
+<p class="n"><span class="smcap large">This</span> specimen of Mule or Bedroom Slipper is in green velvet, on which
+the coat of arms is embroidered in rich silk and metallic threads. The front
+is finished off with a white silk ruche, held in place with a row of narrow gold
+braid, and the lower outline softened with an edging of fine blonde lace. The
+heel is covered with royal blue satin, and the lining is white. The maker is
+Abrahams, Westbourne Grove, W.</p>
+
+
+<p class="c lsp large p2">Plate I.</p>
+
+<p class="n"><span class="smcap large">We</span> have in this illustration three fine specimens of the modern shoemaker’s
+craft. The general shape of the shoes is much the same, but what may be
+called the decoration is varied. The satisfactory use of the “Magpie” colours
+is striking, and argues the good taste of the worker, and the designs, though
+simple, give scope to great excellence in workmanship.</p>
+
+<p class="n">The cordonnier artist has apparently considered his lines as carefully as
+the best of yacht builders. The material employed in the first two instances
+is kid, and in the other black and white velvet.</p>
+
+<div class="figcenter">
+<img src="images/fig2.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate i.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate II.</p>
+
+<p class="n"><span class="smcap large">Illustrates</span> three black satin shoes. The first, without heel and very square
+toe, was, no doubt, comfortable, but decidedly unshapely foot-gear. The sole
+is thin, and there is no attempt at ornamentation, even to hide the elastic
+ankle strap. As this shoe dates back a considerable number of years, it serves
+to show the many modern improvements of its two companions.</p>
+
+<p class="n">No. 2 has a general appearance, which at once demands admiration.
+The heel is medium, the toe pointed, and the ornament is a trefoil in old
+paste. This shoe belonged to Mrs Macandrew of Dalcross Castle, N.B.,
+who may be congratulated on its size, or, rather, want of size, and on the good
+taste which chooses a plainness of style embodying the essence of smartness.
+The Jubilee Shoe has Louis heel, and is embroidered with the Royal Crown
+and initials, V.R., with motto, “God save the Queen.” This shoe was
+designed in honour of Her Majesty’s first Jubilee, 1887. In 1897 a similar
+shoe appeared with the Crown, date, and wording, “Sixty Years Celebration.”</p>
+
+<div class="figcenter">
+<img src="images/fig3.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate ii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate III.</p>
+
+<p class="n"><span class="smcap large">Bronze</span> stage shoe worn by the well-known actress Miss Ada Cavendish.
+Louis heel, somewhat square toe, embroidered finely with steel, and large
+brown satin-pleated bow with steel buckle.</p>
+
+<p class="n">Bronze shoe No. 2 is one of the smallest in the collection, and belonged
+to Miss Marsh. It has a pointed toe, Louis heel, and plain little bow of
+brown satin ribbon.</p>
+
+<p class="n">The third shoe, also in bronze, has very pointed toe, with pearl and gold
+embroidery, which also adorns the small bow, leaf-like in form. The side
+seam is stitched with silk galloon, similar to what binds the outside edge.
+The heel is Louis in style.</p>
+
+<div class="figcenter">
+<img src="images/fig4.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate iii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate IV.</p>
+
+<p class="n"><span class="smcap large">This</span> elegant shoe resembles a little its immediate predecessor in Plate III. in
+the heel, bow with four small leaves, and the ribbon-covered side seam, and,
+indeed, reflects the style of the same maker, with the difference shown in the
+embroidery, which completely covers the pointed toe, and is of rich gold
+thread. Gold beads further enhance the bow. The kid is bronze.</p>
+
+<p class="n">Bronze also No. 2, with interlaced yellow ribbon in diamond pattern.
+This design of stitched ribbon is a good idea to make a self-coloured shoe
+correspond more closely with costumes in mixed hues. The round ornament
+is gilt, and the heel an ordinary one.</p>
+
+<p class="n">The next shoe is in black glacé kid, and belonged to the late Duchesse
+d’Aumâle. The toe is square, Louis heel, and the “ruched” rosette is of
+black silk, edged with puce.</p>
+
+<div class="figcenter">
+<img src="images/fig5.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate iv.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate V.</p>
+
+<p class="n">No. 1.—Pink kid shoe, with round toe, ordinary heel, and lined white kid.
+The knot-bow is in pink silk ribbon, with picot edge.</p>
+
+<p class="n">The late Marchioness of Ely owned the centre shoe. It is in rich pink
+satin, ornamented with round real lace rosette, and has Louis heel and square
+toe.</p>
+
+<p class="n">Plain pink satin shoe—the 3rd—very neat in shape, with ordinary heel,
+and trimmed small bow of same pink satin as the shoe.</p>
+
+<div class="figcenter">
+<img src="images/fig6.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate v.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate VI.</p>
+
+<p class="n"><span class="smcap large">Here</span> appears another of Miss Ada Cavendish’s shoes, worn on the stage.
+It is of bright yellow satin, trimmed silver braid, which mingles also with the
+satin in the round rosette, with mother-of-pearl centre. The toe is very square,
+this actress being slow to adopt the pointed toe now so much in vogue.</p>
+
+<p class="n">No. 2, yellow satin shoe, has silk embroidery, studded with orange-tinted
+cabochons, and the bow of crimson silk gives an uncommon finish.
+Pointed toe and ordinary heel.</p>
+
+<p class="n">The third is of plain straw-coloured satin, made uncompromisingly to
+match costume without further decoration than the bow, formed of the same
+material.</p>
+
+<div class="figcenter">
+<img src="images/fig7.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate vi.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate VII.</p>
+
+<p class="n"><span class="smcap large">Single</span> strap shoe, in French grey satin, the front in a certain manner
+unattached from back, and distinguished from the same by elaborate floral
+embroidery in silk and iridescent beads, which figures also on the strap.
+A single paste stone forms central finish to this shoe—uncommon in shape
+and design.</p>
+
+<p class="n">The second shoe, deeper in hue, is said to have belonged to Mrs.
+Grahame; and its central tongue, with two overlapping flaps, which call for
+a necessary buckle of paste or silver, would place its date in the early part of
+the century.</p>
+
+<p class="n">The silver embroidery in thread, tiny sequins, beads, and lace is in
+admirable taste; and the whole workmanship of the shoe, which is in
+excellent preservation, is of the best order.</p>
+
+<p class="n">The last shoe is of plain blue satin, with handsome decoration of gold
+tinsel embroidery, studded with oval turquoises, and supplemented with the
+brightness of crystal beads, being similar to the trimming of the dress.</p>
+
+<div class="figcenter">
+<img src="images/fig8.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate vii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate VIII.</p>
+
+<p class="n"><span class="smcap large">This</span> shoe—Figure 1—bears the print of its French origin in its essential
+smartness, combined with neatness and uniformity of colouring—namely, a
+deep, rich purple satin, the bow being of velvet in similar shade. It was worn
+by a member of the Rothschild family at the time of the Queen’s first Jubilee,
+and the maker, Meier of Paris, not only has a great monopoly in the clothing
+and adorning of fashionable feet, but is also much in request in successfully
+fulfilling stage taste and requirements in shoes.</p>
+
+<p class="n">The second shoe on the page is of very small size, and is of English
+make, though owned and worn by the French Duchesse de Beauprémont. It
+is of bright blue silk, with large rosette and peculiarly shaped heel, being much
+elongated underneath towards the side seam.</p>
+
+<p class="n">The next, pale blue silk shoe, is made simply to match a gown, and probably
+out of the same fabric.</p>
+
+<div class="figcenter">
+<img src="images/fig9.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate viii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate IX.</p>
+
+<p class="n"><span class="smcap large">The</span> first shoe of this plate would be remarkable for neatness, though it might
+be thought somewhat spoilt by a squareness of toe, but it will be noticed the
+idea of squareness appears carried out otherwise in the cut of the shoe. The
+space between the principal strap and the three small ones crossing the foot
+makes an uncommon variety. The little bows of twilled silk (of which the
+shoe also is constructed) give a chic, if somewhat formal finish, to each band.
+The heel is a Louis shape.</p>
+
+<p class="n">Figure 2 belonged to an Edinburgh belle of the season of 1872, and is
+of tiny dimensions, though the old fashion of ornamenting with a large bow
+deprived the wearers of these small sizes of some of the credit.</p>
+
+<p class="n">The third and most elegant shoe possesses one of the highest Louis heels
+worn off the stage, and belonged to an American lady who, like several others,
+came to this country and acquired for herself the right to the motto first
+adopted by Alexander the Great—namely, “Veni, Vidi, Vici.”</p>
+
+<div class="figcenter">
+<img src="images/fig10.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate ix.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate X.</p>
+
+<p class="n"><span class="smcap large">This</span> shoe of white silk has the novel decoration of small netted buttons.
+These buttons rest on simulated straps, the silk being merely cut away to show
+spaces of the blue lining between. The shoe has altogether a perfection of
+style which its distinguished owner, an autocrat in dress, always demands.</p>
+
+<p class="n">No. 2 is of very small size in white satin, richly embroidered in crystal
+beads and thick silk twist. The open-work meshes, like spider webs, could
+reveal a pretty shade of stocking.</p>
+
+<p class="n">The latter idea, however, is carried out to perfection by No. 3, a shoe
+which is composed entirely of strong cream silk guipure. It is eminently
+fitted for evening—especially dancing—wear, both as to texture and coolness.
+The pattern of the lace in this example adapts itself to the neatest and smallest
+of shapes. The back is kept in shape with satin-covered stiffening.</p>
+
+<div class="figcenter">
+<img src="images/fig11.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate x.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XI.</p>
+
+<p class="n"><span class="smcap large">This</span> shoe of Cromwellian shape hails from the stage, and boasts the highest
+heel in the collection. It is thickly embroidered in small crystal beads studded
+with cabochons, the latter also in clear crystal, which is a decoration difficult
+to beat. The wide tongue is kept in place by a strap, which would require a
+diamond or silver buckle to fasten it at the side, not visible in the illustration.
+The lining is of pale blue satin.</p>
+
+<p class="n">No. 2 is owned by a society belle, whose beauty may be said to extend
+from “top to toe,” as the toe, or rather toes, encased in this foot-gear must be
+of the smallest and daintiest description, and demanding a share of the admiration
+granted to their lovely owner’s figure and face.</p>
+
+<p class="n">The next shoe is a wedding shoe, looking strange to us in its old-world
+form, but the very mould of fashion in its day, which dates nearly forty years
+ago.</p>
+
+<div class="figcenter">
+<img src="images/fig12.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xi.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XII.</p>
+
+<p class="n"><span class="smcap large">A handsome</span> shoe this of rich silver brocade, with bow of same, pointed toe,
+and substantial Louis heel. The incurved seam at back gives a firmer hold
+to heel and ankle.</p>
+
+<p class="n">Miss Edna May owned the centre shoe, and it was worn by her as the
+“Belle of New York.” The embroidery in white silk and silver beads is
+faultless in design. The heel is an extremity of height, and is much the safer
+for the single ankle-strap, with its neat bow and ornament.</p>
+
+<p class="n">No. 3, of plain silver kid, has elongated toe, beaded by small silver
+ornament. It is a suitable shoe for fancy dress, but has this drawback—together
+with its two companions, also much besilvered—a liability to tarnish.</p>
+
+<div class="figcenter">
+<img src="images/fig13.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XIII.</p>
+
+<p class="n"><span class="smcap large">This</span> well-shaped boot stands out unique amongst the bevy of surrounding
+shoes, but its texture, shade, and workmanship are none the less delicate. Its
+owner and wearer was of exalted position, and her foreign birth, perhaps,
+inclined her to a departure from the usual style for evening wear.</p>
+
+<p class="n">No. 2 shoe is of a shape frequently made in two shades, but looks no less
+well for its sameness of colouring in the present instance, with which the neat
+trio of steel daisies admirably harmonise, adapting it at once to modified
+mourning if desired.</p>
+
+<p class="n">Last on this page is a bridesmaid’s shoe, and it could well be taken as a
+pattern of style for anyone called upon to enact that part. The bow of silk
+ribbon harmonises with the heliotrope coloured satin, of which this shoe and
+its two predecessors are made.</p>
+
+<div class="figcenter">
+<img src="images/fig14.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xiii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XIV.</p>
+
+<p class="n"><span class="smcap large">First</span> appears in this shoe a further idea of contrivances for firm wear. This
+is in the form of a useful elastic strap, covered with heliotrope satin bow to
+match shoe. It is a more clumsy appliance than the indrawn heel at the top,
+before described in Plate XII.</p>
+
+<p class="n">The second shoe, also in heliotrope shade, but of silk, belonged to the
+Comtesse de Paris, and is decorated with real lace. It has a square toe and
+low heel.</p>
+
+<p class="n">No. 3 is distinguished for its embroidery, the species of flower and the
+blending of its colours harmonising so well with the lilac colour of satin.</p>
+
+<div class="figcenter">
+<img src="images/fig15.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xiv.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XV.</p>
+
+<p class="n"><span class="smcap large">First</span>, a shoe which can be certified as Imperial, and bears the French print
+of good taste in elaboration. The little border of lace all round the edge and
+also round the bow gives daintiness and lightness, whereas the gold embroidery
+gives massive richness at the same time. The additional knot of gold lace
+and tassels is peculiarly handsome and effective, and the rich embroidery and
+bead work extends even to the heel—an Imperial heel evidently demanding
+special adornment.</p>
+
+<p class="n">Algiers contributes this specimen of slipper, Eastern in design and shape,
+and in its lavish covering of patterned gold.</p>
+
+<p class="n">No. 3 is another case of the evening “Oxford” shoe. It is beautifully
+shaped and free from clumsiness, and the embroidery in lightness and effectiveness
+of design scores a success. The Duchess who chose and wore it might
+well be imitated in such a fashion.</p>
+
+<div class="figcenter">
+<img src="images/fig16.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xv.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XVI.</p>
+
+<p class="n"><span class="smcap large">The</span> first shoe on this plate belonged to and was worn by Miss Christine
+Nilsson in “Lohengrin.” It is of cloth of gold, and testifies that the great singer
+does not neglect, in her superior charm of voice, the additional charm of dress.
+The gilt buttons are appropriate, and the crystal studs, glistening like dewdrops
+across the instep, are original in arrangement. The toe is very
+elongated. Otherwise the shoe is of the ordinary approved shape.</p>
+
+<p class="n">No, 2 is gilded kid, superior to the cloth of woven gold thread from its
+untarnishable quality. The round gilt button makes a neat finish. The
+heel is rather low for smart effect.</p>
+
+<p class="n">The third shoe of cloth of gold boasts a Duchess for its quondam owner,
+who, in turn, can boast that her foot could grace its tiny dimensions. The
+sole ornament of loops of braid is uncommon, in the fact that it is composed of
+bullion and not tinsel. The shoe has a Louis heel and white kid lining.</p>
+
+<div class="figcenter">
+<img src="images/fig17.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xvi.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XVII.</p>
+
+<p class="n"><span class="smcap large">Though</span> simply severe in style (which the richness of material demands), this
+shoe doubtless repeats the hue and texture of the gorgeous sweeping folds of
+the costume it was made to match. The paste button is neat and good, and
+too modest in size to publish its own failure in competition with the jewels due
+to the rank and toilette of the wearer. The Louis heel is also velvet-covered.</p>
+
+<p class="n">No. 2 shoe is a departure from the ordinary evening style. It must have
+a firmness for dancing, which is, perhaps, advantageous in some cases. The
+festooned embroidery in chain stitch and French knots is tastefully done in silk
+of darker shade, and adds to the originality of the shoe. Also a feature of it
+is that it is made all in one piece, and a line of stitching simulates a seam.</p>
+
+<p class="n">The last is of watered silk. The inside lining is of delicate pink satin.
+The buttoned strap is a favourite style with many—sometimes single, sometimes
+multiplied, and more or less elaborate. The plain gilt button in this case alone
+figures, whilst on the toe rests a small bow of watered silk ribbon exact in
+shade.</p>
+
+<div class="figcenter">
+<img src="images/fig18.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xvii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XVIII.</p>
+
+<p class="n"><span class="smcap large">1. Deep</span> eau-de-nil satin shoe worn by Miss Ada Cavendish as Lady Teazle.
+Large rosette, with gilt and steel square buckle. This size of bow (now
+obsolete) admitted of an elastic insertion at the back, which, no doubt, added
+to the ease of fitting. The toe-cap is chain-stitched and appliqué.</p>
+
+<p class="n">The next is similar in hue, but of modern shape. It is very finely beaded,
+so fine as to readily conjure up the impression of a possible use of seed pearl.
+The toe is pointed, and the heel in Louis style.</p>
+
+<p class="n">No. 3 is also of a modern shape, the colour yellowish green. This
+shoe has only a Louis heel and general neatness to distinguish it.</p>
+
+<div class="figcenter">
+<img src="images/fig19.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xviii.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Plate XIX.</p>
+
+<p class="n"><span class="smcap large">The</span> satin Oxford shoe again appears first on this plate. It is particularly
+small and neat indeed. Only the owner of a small foot could, with success,
+adopt this style. It is very finely embroidered in steel beads in a floral pattern.
+Louis heel, silk lace to match.</p>
+
+<p class="n">No. 2.—A deep red shoe, with closely embroidered toe in gold thread.
+It has plain silk bow to match and Louis heel.</p>
+
+<p class="n">Deep crimson also No. 3, with embroidery of rich gold thread picked out
+with white beads to emphasise the pattern. The rosette has rows of beads
+alternate red and gold, on every folded edge, and in the centre several rows.
+The toe is pointed; an ordinary heel.</p>
+
+<div class="figcenter">
+<img src="images/fig20.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xix.</span></p>
+</div>
+
+<p class="c lsp large p2">Plate XX.</p>
+
+<p class="n"><span class="smcap large">The</span> brocade of this first shoe is rich in colour and substance. The pattern
+is well manipulated, so that the effect is good. The bow is of the same
+material.</p>
+
+<p class="n">The next shoe stands out in originality of style. The red and white satin
+make a vivid contrast. The piece of red attached to the vamp is sewn to the
+sole only, otherwise loose, and therefore would almost make necessary an
+ornament to fix it at the top as well and give a finish.</p>
+
+<p class="n">This shoe, the third and last, belonged to Rosa Anderson, a fair maid
+of Perth, whose elopement created a great sensation in bygone days in the
+town, to whose Council her husband belonged. Let us hope this actual pair
+of shoes did not carry their fair owner away to a chimerical happiness from the
+path of duty which appeared prosaic in the face of flattery and attention from
+one whose position far exceeded that of the burgher’s wife.</p>
+
+<div class="figcenter">
+<img src="images/fig21.jpg" alt="shoes">
+<p class="caption"><span class="smcap">Plate xx.</span></p>
+</div>
+
+
+<p class="c lsp large p2">Finis.</p>
+
+<p class="n"><span class="smcap large">Dancing</span> sandals worn in the ballet by Madame Cerri, made of pink satin
+with pink satin ties. The soles very small, and the padded toes protruding
+considerably beyond them.</p>
+
+<div class="figcenter">
+<img src="images/fig22.jpg" alt="shoes">
+</div>
+
+
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75531 ***</div>
+</body>
+</html>
+
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
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+
+No investigation has been made concerning possible copyrights in
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #75531 (https://www.gutenberg.org/ebooks/75531)