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diff --git a/75531-0.txt b/75531-0.txt new file mode 100644 index 0000000..9254fcd --- /dev/null +++ b/75531-0.txt @@ -0,0 +1,484 @@ + +*** 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 *** |