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Mono-Ultra Series B E2 Repair Manual

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Manitou MT620 MT523 MLT523 Turbo Mono-Ultra Series B E2 Repair Manual

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Mono-Ultra Series B E2 TeleHandlersManitou MLT523 Turbo Series B E2
TeleHandlersManitou MLT523 Turbo Mono-Ultra Series B E2
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and sculptor. The creations of their invention are modelled
upon the true principles of proportion and beauty, and in their
works a small waist and foot are always accompanied by a
slender form. In the mind of the poet and novelist the same
associations may take place: when a writer describes the
slender waist or small foot, he probably sees mentally the
whole slender figure. The small waist is a proportionate part
of the figure of his creation. But there is this difference
between the painter and sculptor, and the novelist. The works
of the first two address themselves to the eye, and every part
of the form is present to the spectator; consequently, as
regards form, nothing is left to the imagination. With respect
to the poet and novelist, their creations are almost entirely
mental ones; their descriptions touch upon a few striking
points only, and are seldom so full as to fill up the entire
form: much is, therefore, necessarily left to the imagination of
the reader. Now, the fashion in which the reader will supply
the details left undetermined by the poet and novelist, and fill
up their scanty and shadowy outlines, depends entirely upon
his knowledge of form; consequently, if this be small, the
images which arise in the mind of the reader from the perusal
of works of genius are confused and imperfect, and the
proportions of one class of forms are assigned to, or mingled
with, those of others, without the slightest regard to truth
and nature. When we say, therefore, that writers leave much
to the imagination, it may too frequently be understood, to
the ignorance of the reader; for the imaginations of those
acquainted with form and proportion, who generally
constitute the minority, always create well-proportioned ideal
forms; while the ideal productions of the uneducated,
whether expressed by the pencil, the chisel, or the pen, are
always ill proportioned and defective.
The most efficient method of putting an end to the practice
of tight lacing will be, not merely to point out its
unhealthiness, and even dangerous consequences, because
these, though imminent, are uncertain,—every lady who
resorts to the practice hoping that she, individually, may
escape the penalty,—but to prove that the practice, so far
from adding to the beauty of the figure, actually deteriorates
it. This is an effect, not doubtful, like the former case, but an
actual and positive fact; and, therefore, it supplies a good and
sufficient reason, and one which the most obtuse intellect can
comprehend, for avoiding the practice. Young ladies will
sometimes, it is said, run the risk of ill health for the sake of
the interest that in some cases attaches to “delicate health;”
but is there any one who would like to be told that, by tight
lacing, she makes her figure not only deformed, but positively
ugly? This, however, is the plain unvarnished truth; and, by
asserting it, we are striking at the root of the evil. The
remedy is easy: give to every young lady a general
knowledge of form, and of the principles of beauty as applied
to the human frame, and when these are better understood,
and acted on, tight lacing will die a natural death.
The study of form, on scientific principles, has hitherto
been limited entirely to men; and if some women have
attained this knowledge, it has been by their own unassisted
efforts; that is to say, without the advantages which men
derive from lectures and academical studies. In this, as in
other acquirements, the pursuit of knowledge, as regards
women, is always attended with difficulties. While fully
concurring in the propriety of having separate schools for
male and female students, we do think that a knowledge of
form may be communicated to all persons, and that a young
woman will not make the worse wife, or mother, for
understanding the economy of the human frame, and for
having acquired the power of appreciating its beauties. We
fear that there are still some persons whose minds are so
contracted as to think that, not only studies of this nature,
but even the contemplation of undraped statuary, are
derogatory to the delicacy and purity of the female mind; but
we are satisfied that the thinking part of the community will
approve the course we recommend. Dr. Southwood Smith,
who is so honorably distinguished by his endeavors to
promote the sanatory condition of the people, strenuously
advocates the necessity of giving to all women a knowledge
of the structure and functions of the body, with a view to the
proper discharge of their duties as mothers. He remarks
(Preface to “Philosophy of Health”) on this subject, “I look
upon that notion of delicacy which would exclude women
from knowledge calculated in an extraordinary degree to
open, exalt, and purify their minds, and to fit them for the
performance of their duties, as alike degrading to those to
whom it affects to show respect, and debasing to the mind
that entertains it.”
At the present time, the knowledge of what constitutes true
beauty of form is, perhaps, best acquired by the
contemplation of good pictures and sculpture. This may not
be in the power of every body; casts, however, may be
frequently obtained from the best statues; and many of the
finest works of painting are rendered familiar to us by
engravings. The Art Journal has done much in diffusing a
taste for art, by the engravings it contains from statues, and
from the fine works of English art in the “Vernon Gallery.”
Engravings, however, can of course represent a statue in one
point of view only; but casts are now so cheap as to be within
the reach of all persons. Small models of the “Greek Slave”
are not unfrequently offered by the Italian image venders for
one shilling; and although these are not sharp enough to
draw from, the form is sufficiently correct to study the general
proportions of the figure; and as this figure is more upright
than statues usually are, it may be found exceedingly useful
for the above purpose. One of these casts, or, if possible, a
sharper and better cast of a female figure, should be found
on the toilette of every young lady who is desirous of
obtaining a knowledge of the proportions and beauties of the
figure.
We believe it will always be found that the beauty of a
figure depends not only upon the symmetry of the parts
individually, but upon the harmony and proportion of each
part to the rest. The varieties of the human form have been
classed under the general heads of the broad, the
proportionate, and the slender.
The first betokens strength; and what beauty soever, of a
peculiar kind, it may display in the figure of the Hercules, it is
not adapted to set off the charms of the female sex. If,
however, each individual part bears a proportionate relation
to the whole, the figure will not be without its attraction. It is
only when the proportions of two or three of the classes are
united in one individual, that the figure becomes ungraceful
and remarkable. The athletic—if the term may be applied to
females—form of the country girl would appear ridiculous
with the small waist, and the white and taper fingers, and
small feet of the individuals who come under the
denomination of slender forms. The tall and delicate figure
would lose its beauty if united to the large and broad hands
which pertain to the stronger type. A small waist and foot are
as great a blemish to an individual of the broad variety as a
large waist and foot are to the slender. “There is a harmony,”
says Dr. Wampen, “between all the parts in each kind of form,
but each integral is only suited to its own kind of form. True
beauty consists not only in the harmony of the elements, but
in their being suitable to the kind of form.” Were this
fundamental truth but thoroughly understood, small waists
and small feet would be at a discount. When they are
recognized as small, they have ceased to be beautiful,
because they are disproportionate. Where every part of a
figure is perfectly proportioned to the rest, no single parts
appear either large or small.
 The ill effects of the stays in a sanatory point of view have
been frequently pointed out, and we hope are now
understood. It will, therefore, be unnecessary to enlarge on
this head. We have asserted that stays are detrimental to
beauty of form; we shall now endeavor to show in what
particulars.

Pl. 4.

The natural form of the part of the trunk which forms the
waist is not absolutely cylindrical, but is flattened considerably
in front and back, so that the breadth is much greater from
side to side than from front to back. This was undoubtedly
contrived for wise purposes; yet fashion, with its usual
caprice, has interfered with nature, and by promulgating the
pernicious error that a rounded form of the waist is more
beautiful than the flattened form adopted by nature, has
endeavored to effect this change by means of the stays,
which force the lower ribs closer together, and so produce the
desired form. Nothing can be more ungraceful than the
sudden diminution in the size of the waist occasioned by the
compression of the ribs, as compared with the gently
undulating line of nature; yet, we are sorry to say, nothing is
more common. A glance at the cuts, Figs. 43, 44, 45, 46,
from the work of Sommæring, will explain our meaning more
clearly than words. Fig. 43 represents the natural waist of the
Venus of antiquity; Fig. 45, that of a lady of the modern
period. The diagrams 44 and 46 show the structure of the
ribs of each.
It will be seen that, by the pressure of the stays, the arch
formed by the lower ribs is entirely closed, and the waist
becomes four or five inches smaller than it was intended by
nature. Is it any wonder that persons so deformed should
have bad health, or that they should produce unhealthy
offspring? Is it any wonder that so many young mothers
should have to lament the loss of their first born? We have
frequently traced tight lacing in connection with this sad
event, and we cannot help looking upon it as cause and
effect.
By way of further illustration, we refer our readers to some
of the numerous engravings from statues in the Art Journal,
which, though very beautiful, are not distinguished by small
waists. We may mention, as examples, Bailey's “Graces;”
Marshall's “Dancing Girl Reposing;” “The Toilet,” by Wickman;
“The Bavaria,” by Schwanthaler; and “The Psyche,” by Theed.
There is another effect produced by tight lacing, which is
too ungraceful in its results to be overlooked, namely, that a
pressure on one part is frequently, from the elasticity of the
figure, compensated by an enlargement in another part. It
has been frequently urged by inconsiderate persons, that,
where there is a tendency to corpulency, stays are necessary
to limit exuberant growth, and confine the form within the
limits of gentility. We believe that this is entirely a mistake,
and that, if the waist be compressed, greater fulness will be
perceptible both above and below, just as, when one ties a
string tight round the middle of a pillow, it is rendered fuller
at each end. With reference to the waist, as to every thing
else, the juste milieu is literally the thing to be desired.
It has been already observed, that a small waist is beautiful
only when it is accompanied by a slender and small figure;
but, as the part of the trunk, immediately beneath the arms,
is filled with powerful muscles, these, when developed by
exercise, impart a breadth to this part of the figure which, by
comparison, causes the waist to appear small. A familiar
example of this, in the male figure, presents itself in the
Hercules, the waist of which appears disproportionately small;
yet it is really of the normal size, its apparent smallness being
occasioned by the prodigious development of the muscles of
the upper part of the body.
The true way of diminishing the apparent size of the waist,
is, as we have remarked above, by increasing the power of
the muscles of the upper part of the frame. This can only be
done by exercise; and as the habits of society, as now
constituted, preclude the employment of young ladies in
household duties, they are obliged to find a substitute for this
healthy exertion in calisthenics. There was a time when even
the queens of Spain did not disdain to employ their royal
hands in making sausages; and to such perfection was this
culinary accomplishment carried at one period, that it is upon
record that the Emperor Charles V., after his retirement from
the cares and dignities of the empire, longed for sausages “of
the kind which Queen Juaña, now in glory, used to pride
herself in making in the Flemish fashion.” (See Mr. Stirling's
“Cloister Life of Charles V.”) This is really like going back to
the old times, when—

“The Queen of Hearts, she made some tarts.”

In England, some fifty years ago, the young ladies of the

ancient city of Norwich were not considered to have
completed their education, until they had spent some months
under the tuition of the first confectioner in the city, in
learning to make cakes and pastry—an art which they
afterwards continued when they possessed houses of their
own. This wholesome discipline of beating eggs and whipping
creams, kneading biscuits and gingerbread, was calculated to
preserve their health, and afford sufficient exercise to the
muscles of the arms and shoulders, without having recourse
to artificial modes of exertion.
It does not appear that the ancients set the same value
upon a small waist as the moderns; for, in their draped female
figures, the whole circuit of the waist is seldom visible, some
folds of the drapery being suffered to fall over a part, thus
leaving its exact extent to the imagination. The same remark
is applicable to the great Italian painters, who seldom marked
the whole contour of the waist, unless when painting
portraits, in which case the costume was of course observed.
It was not so, however, with the shoulders, the true width
of which was always seen; and how voluminous soever the
folds of the drapery around the body, it was never arranged
so as to add to the width of the shoulders. Narrow shoulders
and broad hips are esteemed beauties in the female figure,
while in the male figure the broad shoulders and narrow hips
are most admired.
 Pl. 5.

The costume of the modern Greeks is frequently very

graceful, (Fig. 47, peasant from the environs of Athens,) and
it adapts itself well to the figure, the movements of which it
does not restrain. The prevailing characteristics of the
costume are a long robe, reaching to the ground, with full
sleeves, very wide at the bands. This dress is frequently
embroidered with a graceful pattern round the skirt and
sleeves. Over it is worn a pelisse, which reaches only to the
knees, and is open in front; either without any sleeves, or
with tight ones, finishing at the elbows; beneath which are
seen the full sleeves of the long robe. The drapery over the
bust is full, and is sometimes confined at the waist by a belt;
at others it is suffered to hang loosely until it meets the
broad, sash-like girdle which encircles the hips, and which
hangs so loosely that the hands are rested in its folds as in a
pocket.
The drapery generally terminates at the throat, under a
necklace of coins or jewels. The most usual form of head-
dress is a veil so voluminous as to cover the head and
shoulders; one end of the veil is frequently thrown over the
shoulder, or gathered into a knot behind. The shoes,
apparently worn only for walking, consist generally of a very
thick sole, with a cap over the toes.
One glance at the graceful figures in the plates is sufficient
to show how unnecessary stays are to the beauty of the
figure. Fig. 48, Shepherdess of Arcadia.
The modern Greek costumes which we have selected for
our illustrations, from the beautiful work of M. de Stackelberg,
(“Costumes et Peuples de la Grèce Moderne,” published at
Rome, 1825,) suggest several points for consideration, and
some for our imitation. The dress is long and flowing, and
high in the neck. It does not add to the width of the
shoulders; it conceals the exact size of the waist by the loose
pelisse, which is open in front; it falls in a graceful and
flowing line from the arm-pits, narrowing a little at the waist,
and spreading gently over the hips, when the skirt falls by its
own weight into large folds, instead of curving suddenly from
an unnaturally small waist over a hideous bustle, and
increasing in size downward to the hem of the dress, like a
bell, as in the present English costume.
Figs. 42 and 49 are selected from the “Illustrated London
News.” (Volume for 1851, July to December, pp. 20 and 117.)
The one represents out-door costume, the other in-door.
Many such are scattered through the pages of our amusing
and valuable contemporary. For the out-door costume we beg
to refer our readers to the large woodcut in the same volume,
(pp. 424, 425.) If a traveller from a distant country,
unacquainted with the English and French fashions, were to
contemplate this cut, he would be puzzled to account for the
remarkable shape of the ladies, who all, more or less,
resemble the figure we have selected for our illustration; and,
if he is any thing of a naturalist, he will set them down in his
own mind as belonging to a new species of the genus homo.
Looking at this and other prints of the day, we should think
that the artists intended to convey a satire on the ladies'
dress, if we did not frequently meet with such figures in real
life.
The lady in the evening dress (Fig. 49) is from a large
woodcut in the same journal representing a ball. This
costume, with much pretension to elegance, exhibits most of
the faults of the modern style of dress. It combines the
indecently low dress, with the pinched waist, and the hoop
petticoat. In the figure of the woman of Mitylene, (Fig. 50,)
the true form and width of the shoulders are apparent, and
the form of the bust is indicated, but not exposed, through
the loosely fitting drapery which covers it. In the figure of the
Athenian peasant, (Fig. 47,). the loose drapery over the bust
is confined at the waist by a broad band, while the hips are
encircled by the sash-like girdle in which the figure rests her
hands. The skirt of the pelisse appears double, and the short
sleeve, embroidered at the edge, shows the full sleeve of the
under drapery, also richly embroidered. In the second figure
from the environs of Athens, (Fig. 51,) we observe that the
skirt of the pelisse, instead of being set on in gathers or
plaits, as our dresses are, is “gored,” or sloped away at the
top, where it unites almost imperceptibly with the body,
giving rise to undulating lines, instead of sudden transitions
and curves. In the cut of the Arcadian peasant, (Fig. 48,) the
pelisse is shortened almost to a spencer, or côte hardie, and it
wants the graceful flow of the longer skirt, for which the
closely fitting embroidered apron is no compensation. This
figure is useful in showing that tight bodies may be fitted to
the figure without stays. The heavy rolled girdle on the hips is
no improvement. The dress of the Algerine woman, (Fig. 53,)
copied from the “Illustrated London News,” bears a strong
resemblance to the Greek costume, and is very graceful. It is
not deformed either by the pinched waist or the stays. In the
tenth century, the French costume (Fig. 52) somewhat
resembled that of the modern Greeks; the former, however,
had not the short pelisse, but, in its place, the ladies wore a
long veil, which covered the head, and reached nearly to the
feet.
The Greek and Oriental costume has always been a favorite
with painters: the “Vernon Gallery” furnishes us with two
illustrations; and the excellent engravings of these subjects in
the Art Journal enable us to compare the costumes of the two
figures while at a distance from the originals. The graceful
figure of “The Greek Girl,” (engraved in the Art Journal for
1850,) painted by Sir Charles Eastlake, is not compressed by
stays, but is easy and natural. The white under-drapery is
confined at the waist, which is short, by a broad girdle, which
appears to encircle it more than once, and adds to the
apparent length of the waist; the open jacket, without a
collar, falls gracefully from the shoulders, and conceals the
limits of the waist; every thing is easy, natural, and graceful.
M. De Stackelberg's beautiful figure of the “Archon's Wife”
(Fig. 54) shows the district whence Sir C. Eastlake drew his
model. There is the same flowing hair,—from which hang
carnations, as in the picture in the “Vernon Gallery,”—the
same cap, the same necklace. But in the baron's figure, we
find the waist encircled with a broad band, six or seven
inches in width, while the lady rests her hand on the sash-like
girdle, which falls round the hips.
Turn we now to Pickersgill's “Syrian Maid,” (engraved in the
Art Journal for 1850:) here, we see, the artist has taken a
painter's license, and represented the fair Oriental in stays,
which, we believe, are happily unknown in the East. How stiff
and constrained does this figure appear, after looking at Sir C.
Eastlake's beautiful “Greek Girl;” how unnatural the form of
the chest! The limits of the waist are not visible, it is true, in
the “Syrian Maid,” but the shadow is so arranged, that the
rounded form, to which we have before alluded, and which
fashion deems necessary, is plainly perceptible; and an
impression is made that the waist is small and pinched.
We could mention some cases in which the girdle is omitted
altogether, without any detriment to the gracefulness of the
figure. Such dresses, however, though illustrative of the
principle, are not adapted to the costume of real life. In
sculpture, however, they frequently occur. We may mention
Gibson's statue of her majesty, the female figure in
M'Dougall's “Triumph of Love,” and “Penelope,” by Wyatt,
which are engraved in the Art Journal, (the first in the year
1846, the others in 1849.) But the drapery of statues can,
however, scarcely be taken as a precedent for that of the
living subject, and although we mention that the girdle is
sometimes dispensed with, we are far from advocating this in
practice; nay, we consider the sash or girdle is indispensable;
all that we stipulate for is, that it should not be so tight as to
compress the figure, or impede circulation.
In concluding our remarks on this subject, we would
observe, that the best means of improving the figure are to
secure freedom of motion by the use of light and roomy
clothing, and to strengthen the muscles by exercise. We may
also observe, that singing is not only beneficial to the lungs,
but that it strengthens the muscles, and increases the size of
the chest, and, consequently, makes the waist appear smaller.
Singing, and other suitable exercises in which both arms are
used equally, will improve the figure more than all the
backboards in the world.
 CHAPTER III.
THE HEAD.
HERE is no part of the body which has been more
exposed to the vicissitudes of fashion than the
head, both as regards its natural covering of hair,
and the artificial covering of caps and bonnets. At
one time, we read of sprinkling the hair with gold dust; at
another time, the bright brown hair, of the color of the horse-
chestnut, so common in Italian pictures, was the fashion. This
color, as well as that beautiful light golden tint sometimes
seen in Italian pictures of the same period, was frequently the
result of art, and receipts for producing both tints are still to
be found in old books of “secreti.” Both these were in their
turn discarded, and after a time the real color of the hair was
lost in powder and pomatum. The improving taste of the
present generation is, perhaps, nowhere more conspicuous
than in permitting us to preserve the natural color of the hair,
and to wear our own, whether it be black, brown, or gray.
There is also a marked improvement in the more natural way
in which the hair has been arranged during the last thirty
years. We allude, particularly, to its being suffered to retain
the direction intended by nature, instead of being combed
upright, and turned over a cushion a foot or two in height.
These head-dresses, emphatically called, from their French
origin, têtes, were built or plastered up only once a month: it
is easy to imagine what a state they must have been in
during the latter part of the time. Madame D'Oberkirch gives,
in her Memoirs, an amusing description of a novel head-dress
of this kind. We transcribe it for the amusement of our
readers.
“This blessed 6th of June she awakened me at the earliest
dawn. I was to get my hair dressed, and make a grand
toilette, in order to go to Versailles, whither the queen had
invited the Countess du Nord, for whose amusement a
comedy was to be performed. These Court toilettes are
never-ending, and this road from Paris to Versailles very
fatiguing, especially where one is in continual fear of rumpling
her petticoats and flounces. I tried that day, for the first time,
a new fashion—one, too, which was not a little gênante. I
wore in my hair little flat bottles, shaped to the curvature of
the head; into these a little water was poured, for the
purpose of preserving the freshness of the natural flowers
worn in the hair, and of which the stems were immersed in
the liquid. This did not always succeed, but when it did, the
effect was charming. Nothing could be more lovely than the
floral wreath crowning the snowy pyramid of powdered hair!”
Few of our readers, we reckon, are inclined to participate in
the admiration of the baroness, so fancifully expressed, for
this singular head-dress.
We do not presume to enter into the question whether
short curls are more becoming than long ones, or whether
bands are preferable to curls of any kind; because, as the hair
of some persons curls naturally, while that of others is quite
straight, we consider that this is one of the points which must
be decided accordingly as one style or the other is found to
be most suitable to the individual. The principle in the
arrangement of the hair round the forehead should be to
preserve or assist the oval form of the face: as this differs in
different individuals, the treatment should be adapted
accordingly.
 The arrangement of the long hair at the back of the head is
a matter of taste; as it interferes but little with the
countenance, it may be referred to the dictates of fashion;
although in this, as in every thing else, simplicity in the
arrangement, and grace in the direction of the lines, are the
chief points to be considered. One of the most elegant head-
dresses we remember to have seen, is that worn by the
peasants of the Milanese and Ticinese. They have almost
uniformly glossy, black hair, which is carried round the back of
the head in a wide braid, in which are placed, at regular
intervals, long silver pins, with large heads, which produce
the effect of a coronet, and contrast well with the dark color
of the hair.

Pl. 6.
 The examples afforded by modern sculpture are not very
instructive, inasmuch as the features selected by the sculptors
are almost exclusively Greek, whereas the variety in nature is
infinite. With the Greek features has also been adopted the
antique style of arranging the hair, which is beautifully simple;
that is to say, it is parted in the front, and falling down
towards each temple, while the long ends rolled lightly back
from the face so as to show the line which separates the hair
from the forehead, or rather where it seems, as it were, to
blend with the flesh tints—an arrangement which assists in
preserving the oval contour of the face, are passed over the
top of the ear, and looped into the fillet which binds the head.
The very becoming arrangement of the hair in the engraving,
from a portrait by Parmegianino, (Fig. 55,) is an adaptation of
the antique style, and is remarkable for its simplicity and
grace. Not less graceful, although more ornamental, is the
arrangement of the hair in the beautiful figure called “Titian's
Daughter.” Fig. 56. In both these instances, we observe the
line—if line it may be called—where the color of the hair
blends so harmoniously with the delicate tints of the
forehead. The same arrangement of the hair round the face
may be traced in the pictures by Murillo, and other great
masters.
Sir Joshua Reynolds has frequently evinced consummate
skill in the arrangement of the hair, so as to show the line
which divides it from the forehead. For some interesting
remarks on this subject, we refer our readers to an “Essay on
Dress,” republished by Mr. Murray from the “Quarterly
Review.” Nothing can be more graceful than Sir Joshua's
mode of disposing of the hair when he was able to follow the
dictates of his own good taste; and he deserves great credit
for the skill with which he frequently treated the enormous
head-dresses which in his time disfigured the heads of our
countrywomen. The charming figure of Lady Harrington
(Fig. 57) would have been perfect without the superstructure
on her beautiful head. How stiff is the head-dress of the next
figure, (Fig. 58,) also, after Sir Joshua, when compared with
the preceding.
The graceful Spanish mantilla, to which we can only allude,
is too elegant to be overlooked: the modification of it, which
of late years has been introduced into this country, is to be
considered rather as an ornament than as a head-covering. It
has been recently superseded by the long bows of ribbon
worn at the back of the head—a costume borrowed from the
Roman peasants. Fig. 59. The fashion for young people to
cover the hair with a silken net, which, some centuries ago,
was prevalent both in England and in France, has been again
revived. Some of the more recent of these nets are very
elegant in form.
The hats and bonnets have, during the last few years, been
so moderate in size, and generally so graceful in form, that
we will not criticize them more particularly. It will be sufficient
to observe that, let the brim be what shape it will, the crown
should be nearly of the form and size of the head. If this
principle were always kept in view, as it should be, we should
never again see the monster hats and bonnets which, some
years ago, and even in the memory of persons now living,
caricatured the lovely forms of our countrywomen.
 C H A P T E R I V.
THE DRESS.
E shall consider the dress, by which we mean,
simply, the upper garment worn within doors, as
consisting of three parts—the sleeve, the body,
and the skirt.
The sleeve has changed its form as frequently as any part
of our habiliments: sometimes it reached to the wrist,
sometimes to a short distance below the shoulder. Sometimes
it was tight to the arm; sometimes it fell in voluminous folds
to the hands; now it was widest at the top, then widest at the
bottom. To large sleeves themselves there is no objection, in
a pictorial point of view, provided that their point of junction
with the shoulder is so conspicuous that they do not add to
the apparent width of the body in this part. The lines of the
sleeves should be flowing; and they are much more graceful
when they are widest in the lower part, especially when so
open as to display to advantage the beautiful form of the
wrist and fore-arm. In this way, they partake of the pyramid,
while the inelegant gigot sleeve, which for so long a period
enjoyed the favor of the ladies, presents the form of a cone
reverted, and is obviously out of place in the human figure.
When the large sleeve, supported by canes or whalebones,
forms a continuous line with the shoulder, it gives an
unnatural width to this part of the figure—an effect that is
increased by the large collar which conceals the point where
the sleeve meets the dress. Examples of the large, open
sleeve, in its extreme character, may be studied with most
advantage in the portraits of Vandyck. Fig. 60, Lady Lucy
Percy, after Vandyck. The effect of these sleeves is frequently
improved by their being lined with a different color, and
sometimes by contrasting the rich silk of the outer sleeve with
the thin gauze or lace which forms the immediate covering of
the arm. The figures in the plates will show the comparative
gracefulness of two kinds of large sleeves, namely, that which
is widest at the top, and that which is widest below. If the
outline of the central figure of our more modern group,
(Fig. 61,)—consisting of three figures, which is copied from a
French work,—were filled up with black, a person ignorant of
the fashion might, from the great width of the shoulders,
have mistaken it for the Farnese Hercules in petticoats.
The large sleeves, tight in the upper part, and enlarging
gradually to the wrist, which are worn by the modern Greeks,
are extremely graceful. When these are confined below the
elbow, which is sometimes done for convenience, they
resemble somewhat the elbow sleeves with wide ruffles which
were so common in the time of Sir Joshua Reynolds. Sleeves
like those now worn in Greece were fashionable in France in
the tenth century, and again about the beginning of the
sixteenth century. They were also worn by Jeanne d'Albret,
the mother of Henry IV., and are seen in Fig. 41.
A very elegant sleeve, fitting nearly close at the shoulder,
and becoming very full and long till it falls in graceful folds
almost to the feet, prevailed in England during the time of
Henry V. and VI. Fig. 62, copied from a manuscript of the
time of Henry V., now preserved in the British Museum. On
the authority of Professor Heideloff, it is said to have existed
also in Flanders in the thirteenth and fourteenth centuries,
and in France in the fifteenth century. In the examples of
continental costume, the tout ensemble is graceful, and