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| rendering of artistic work that connects things |
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| Multicolored diamond pattern in woolen socks and sweaters. Is the name of the clan whose tartan is imitated by this pattern. |
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| A wide cloth band worn around the waist to imitate the same item worn by spanish and latin american men as a first waist sash. The term comes from the hindu word kamarband |
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| Sandal woven of leather or raffia strips; used by the Mexican Indians. |
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| Originally a long coat-like garment worn by both sexes in the levant and adopted as a rove by the members of the mohammedan priesthood. The variation introduced in the 1960s, more like the egyptian wobe, consisted of a great square of material front back reaching from wrist to wrist and sewn on the shoulders and sides to make a great flowing gown to be worn unbelted. |
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| A style intermittently seen in the late 1960s and early 1970s in which very tight fitting short shorts were worn by women with tights and boots or even just the bare leg showing form the boos tops (often vinyl) to the crotch. |
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| A Mohammedan, fitted tunic with a low standing collar instead of lapels worn by east indian men of the punjab and kashmir. Introduced into London and Paris styles for men in the 1960s and made of all manner of fabrics from velvet to brocade, from wool to cotton to silk. The name comes from Prime Minister Nehru of India who popularized the style in the 1950s |
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| The trade name of a nonmetallic overlapping fastener of two strips of fabric faced with tiny nylon hoks which when pressed togethor hold fast. To undo, the strips are simply pulled apart. The closing was invented by georges de mestral of switzerland and was first used in the early 1960s. |
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| A petticoat, corded and lined with horsehair and finished with a braid of straw at the hem (crin being the word for horsehair). First appeared in the early 1840s. |
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| A collapsible top hat for evening wear named for its inventor, was fitted with a spring so that the hat could be folded flat and carried under the arm. |
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| Jeweled shirt fasteners for formal and semiformal wear in fold, pearls, or cut stones. They were used to fasten collars and shirts and first appeared in the 1840s. |
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| An ornamental, washable covering use to protect chair backs from the oil (macassar) used on men's hair. |
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| Originally a short military jacket of knit worsted designed and worn by the earl of Cardigan, a British general during the Crimean War. Trimmed in fur braid, and buttons. Later the name for a knit sweater jacket of hip length. |
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| A scarf tied in a knot with horizontal ends, then crossed diagonally. The whole usually held in place with a jeweled stickpin. |
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| A man's hard straw hat coated with shellac from india that became popular for summer outings and sporting events in the 1870s. The english wore it boating (hence the name). Standard summer wear in America from June to September. |
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| A fitted dress overcoat of fabric usually in a herring bone pattern wither single or double breasted with a velvet collar. |
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| A jacket with box pleats or straps of the same material passing over the belt and extending from the shoulder to hem front and back; usually worn for sport occasions. |
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| Possibly originated fromt he portuguese "barocco" which means misshapen. irregular or ugly Architecture became heavy and oer run with detail |
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| Using wood veneer inlays of different types of wood different grain or stained wood in a background veneer for the purpose of furniture decoration. |
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| Making a pattern out of solid or veneered pieces of wood. |
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| An ornamental panel in the form of a scroll or a shet of paper with curling edges, usually bearing an inscription and sometimes ornately framed |
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| The method of decorating furniture by imitating the oriental paint and lacquer methods. |
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| A curvelinear projection at the bottom third of a chest |
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| A scroll and leaf pattern with the stems rising from a root or other motif branching in spiral forms. It is usually designed for a vertical panel and the sides resemble each other. |
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| Fanciful decorative devices, consisting of fields of small generally bizarre, cared or painted images of human, animals, or plants. Popular in Renaissance, Baroque and Rococo furniture and architecture |
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| The long cloth or velvet coat which became a fashion for women about 1812. It was high-waisted, at first knee length, and later dropped to 9 or 10 inches above the hem of the dress. By the end of the decade the coat was full length and edged with wide bands of fur. |
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| A very short jacket worn by women with the empire dress. |
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| A group of young dandies who went to extremes in their dress, right after the french revolution. Their coars, which sloped away in fornt from the waist when buttoned, had a high, turned down collar and very wide lapels and were usually worn open. Sometimes the coar had bulky pleats across the back, giving the ugly effect of a hump. The incroyables strove for careless, wrinkled appearance. with this coat was worn a waistcoat of contrasting colored satin and a very full, sheer white cambric (very fine thin linen) cravat. The cravat or neckcloth was loosely wound around the neck several times, often over padded cushions so that it rose up over the chin with ends tied in front. |
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| The female counter part of the incroyables. They wore diaphonus gowns with very low-cut short tight bodices. A sheer lingerie muffler resembling the masculine neckcloth was often added and worn in the same fashion. The women either went bareheaded or wore a bonnet with a very large brim at the front rising high off the forehead - an exaggerated version of the english jockey hat. |
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| A small drawstring purse, used in lieu of pockets since none existed.Calash |
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| A cage covering huge hairdos and therefore very large. Had reed or whalebone hoops which could be raised or lowered by a ribbon like the hood of a carriage. |
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| A rosette or similar ornament worn on the side of the hat. |
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| Piece of light weight, almost tranparent fabric, worn as a shoulder scarf with the different styles of gowns. It was bunched above the small tight waist. |
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| Large cap with soft, full crown and wide brim which almost hid the face. Usually trimmed with ribbon bands and ruffles. |
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| A woman's fur-trimmed, capelike wrap, with armholes and a broad collar. |
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| A man's double breasted, long coat with turned down collar and two or three shoulder capes; English origin. |
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| Is either flat or gathered and may be lace, lace trimmed, or a solid fabric |
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| A short flared, gathered, or pleated strip of fabric attached at the waist of a dublet. |
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| The large cuff can be worn up on the thigh or turned down and filled with bootlace. |
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| A flat pleated in collar on a neckband at the center front of the neck |
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| A gathered-in fall of lace or fabric is another popular neck accessory. is usually worn over a wide bowtie at the chin. |
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| Full open bottomed pants similar to modern day culottes |
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| Which were aprons of exquisite workmanship, matching lingerie accessories, such as sheet lingerie cuffs and collar. |
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| A long neckcloth looped at the neck and twisted to tuck in midway down the front of the coat. |
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| carried by baroque gentleman |
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| Bowknots of graduated size on the stomacher. |
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| Women carry these in most social situations. The new look created during this period is to pull the overskirt to the side or cnterack creating a bustle effect and a 2 to 3 inch train. |
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| From rocaille (referring to grottoes, rockeries, and rustic things and coquille (cockleshell)) |
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| A large cabinet, originally used to store armor |
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| An easy, upholstered chair with closed arms. |
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| Marquetry patterns in tortoise shell, silver, silver, and gold; introduced by Andre Charles Boulle and used as furniture enrichment in the 17th century. |
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| A cylinder front desk or roll top desk. |
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| Litterally a "goat's leap" used to describe legs curving outward from the seat and inward toward the foot. |
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| Literally "a long chair" a bergere or armchair with the seat extended. |
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| French interpretation of chinese decorative ornament |
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| A chest of drawers on legs that first became important in france during the rococo period |
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| Upholstered arm chair. The area below the arm is open. |
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| A large full length mirror that swings from vertical posts. |
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| Small tables that evolved for special purposes such as taking tea or hot chocolate. Usually had a marble or stone top. |
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| a painting of real objects that creates illusion of depth that fools the eye |
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| is the us of light and shade to produce depth. stage lighting progressed form the conventional placement of chandeliers over the acting area toward more atmospheric effects in both the chiaroscuro of the scene painting and the actual illumination of the stage. |
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| The over mantel that combined woodwork, mirror, and painting; a large mirror above a console was placed on the wall directly opposite the mantel to increase the illumination by an infinite number of reflectios on the candlelight. |
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| Standard 3 cornered hat worn by gentleman of the period. |
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| fantastic arrangements of mandarins, pagodas, parasols, monkeys, ladders, and foliage. known for their use of chinese of or monkey motifs |
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| The male fasions in england during this period were known as regency styles and were set by the dandy beau brummel, who prided himself on the spotless linen two-point collar that now rose above the carefully wrapped neckcloth, or stock. Frills decorated the shirt front and sleeves; waistcoats were usually double breasted and showed below the buttoned coat front and coats had a high-rolled collar, sleeves; waistcoats were usually double breasted and showed below the buttoned coat front; and coats had a high-rolled collar, sleeves slightly gathered at the shoulder edge, and long, claw hammer tails. |
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| in feminine fashion it was only worn on formal occasions and then gradually disappeaed in favor of various drapings of the overskrt over padding at the waist. |
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| Hair styles; hair dressed away from the face. The back was arranged in twists or curls, and loose tendarils or long ringlets were often allowed to hang down the back or over the shoulder |
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| Hall of mirrors at Versailles |
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| Essay by Thomas Jefferson, in which he insists that the study of history was at the heart of education |
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| A two toned oxford with an ornamental stripe of leather across the instep. |
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| Short coverings for the ankles and instep, usually made of felt and buttoned on the outside. |
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| Ornate French furniture decoration of gilded bronze. |
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| Is the formal female gown of the period of Louis XIV. The overskirt was loopd back and held by ribbons bows. The looped up folds were often bunched in back over an underskirt of taffeta; the looped up outer skirt of brocaded silk ended in a train, the length of which was determined by the lady's social position. |
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| A concealing string of black taffeta , satin, or velvet which tied the back hair of the cadogan wig. The ribbon, probably the forerunner of the black tie, was tied to the qig in a box at the back with the ends brought the ribbon. |
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| Members of a London club who dressed in extreme fashions. The costume consisted of a bob-tailed coat anda foot high wig topped by a small tricorne hat. |
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