TEE HAN 0F EEGEE: 5: EES‘EGME‘S AFEEOMH Thesis {m- i‘he {Degree of M. A. EEECEEESM STE’E‘E UREE’ERSHY Eaflem Heiéermm 197i LI BRA R Y L Michigan State University THE MI 0! K0133. A mum's ‘22me B] A“ " 4 y Mm laid-tun AME Mfi'u" '3}!an h putt-J. mun-um at tho mutton-to to: in “an or MAS TER OF ARTS Wt of Theatre 1971 TABLE OF CONTENTS INTRODUCTIONOOOI00.00.COOOOOOOOOIOOOO0.0.0.0...00.0.00000001 CHAPTER ONE! REASEARCH.........o.........o..o...................oo.‘ SECTION ONE: A BRIEF SURVEY: THE RESTORATION pERIOD...............5 SECTION TWO: ANALYSIS OF THE PLAY AND THE PROBLEMS RELATED TO DESIGN..................oo....-....oo....oooo.o......18 Dlroctor'a Approach..................................21 Inhoront Linitationa of tho Script...................23 SECTION THREE: SUMMARY AND DESIGN APPROACH.....................ooooo25 CHAPTER Two: DESIGN...............................................27 SECTION ONE: THE VISUAL COSTUME CONBEPTION OF THE MAN 0F M0DE.....27 SECTION TWO: THE INDIVIDUAL COSTUMESOOOIOO00.000.00.00000.00.000.033 Dorimant.......o...........................o........o3“ Pluto Ono............................................3“ Plato Two............................................37 Plate Three.u.”nun"...........u..uu......u.39 Plate Fourooooooooooooooco00000000000000.0000ooooooouul Hadleyoo..c.....................................o...o43 Plato Five.....................................o...o.“4 Hrs. Loveituooouoooooonooccoo-00.00.000.0000000000000”? Plate SiXOIOoncoo-00000000000000000oooooooooooooooOOOua Plate sevenOOOOOOOOOOOOIOOOOOoo0.0000000000000000000052 Plate Eightooooooooooooococo-cocoo-coo-000.000.000.005“ Bellinda.......................................o.oooo56 Plate Nine............ooooo..........................56 Harriet WOOdVill...-............oo...ooo.............60 Plate Tana.000000000not0000000000.000000000000000000061 Plate Eleven.........................................64 Lady WOOdV1llooooooooooooooooo.oooooooooc0.00.00.00.066 Plate TWOlVBo-oono.00000000000000.0000...0.000.000.0067 Plate Thirteen...000.00000000000000.0000...-00000000070 Young Harry Bellair.................................o72 Plate Fourteen.OOOOOOOIIIOOOIIOOOOIOOOI0000000000....72 Plato Fifteenotoco0000000000...no.coo...coo-00000000075 Emiliaooooooooooo00000000000.cocoons...coo-000000000077 Plato Sixteen.......................................o73 Lady Townley......................................o..80 Plate seventeenooooooocoooaoo000000000000.0000000000081 Plato EightCCnooooooocoooo000000.0000000000000000000083 01d Harry 3.1131200000000-coo-0.000.000-coco-0090.00.85 Plate Ninet°.n000000000OOOOOOIOOOOOOOOOOOOOIOO00.0.0085 Sir Fopling FIUtteroooooooooooooocoo.00.000000000000087 Plate Twenty...o.ooo.o...........o................ooo88 Plate Twenty‘oneooooooooooosoo00.00.00.000.coco-0000091 Plate Twenty-TWOOOOOOOOIOO0.0.0.0000.00.000000.00.00.94 Plate Twenty-Threeoooooooooooo0.0.0000...00000000000097 Foggy Nanoooooooooooooooooooooooooooococo-0000000000100 Plate Twenty-Pontoon.................o............00100 Swearing Tomaooo......................o........o..oo102 Plate Twenty-F1veooloooo00000000000000.0000000000000102 are Sluirkooooooocoo0.00.0000...00.000.00.00000000000104 Plate Twenty-Sthooooooocoo-00000000000000...0000000105 Three llovenly FGIIOWBOOoooooooooocoonoooooooooooooolO? Plate Twenty-seven.000cocoooooooooooaoooooooooo00000108 The Chair Bearers......o........................oooolll Plate Twenty-Eight..........................o...o.o.112 COL‘CLUSIUI‘OIOOOO0000000.OOOOOQCOOOOOOOOOOOIOOOOO000000.00111‘ APPENDIXOOCOOOOO0.0000000000000IOOOO00.0.0000000000000000117 BIBLIOGWHYOOI...0.0.0.0....00.000000000000000...0......119 Plate Plate Plate Plate Plate Plate Plate Plato Plate Plato Plate Plate Plate Plato Plate Plate Plate Plate Plate Plate Plato Plate LIST OF FIGURES ORB! Dorimant. ACt I. ACt IV. Scene 20.0000000000035 TWO. Dorimant. ACtS I. II. III. IV. V............o38 Three! Handy, Manaervant t0 Dorimant...........o.oo40 Four: Footman to Dorimantooooooooooeooooooooooooooouz Medley........................-o........o...o45 Five: Mfg. LoveitOOOOOOooooooeoeoooeoooooooooooeooooug Six: Seven: Part, Maid t0 mrs. Loveitooooooooo000000000053 Eight: Nine: Tin: Page to MP8. Loveitooooeeoooooooooocaco9.00055 Bellindaooooooooooooooeeoooooeooooeooooo0000057 Harriet WOOdV1llooooooo0.0.0.0000.ooooeooooooo62 Eleven: Busy. maid to Harriet......................65 TWBIVOI Lady WOOdVillooo00.000000000000000:.000000068 Thirteen: Servant to Lady WOOdVilleoooooooooooooooo71 Fourteen: Young flurry Bollalr......................?3 Fifteen: Page to Young Bellair.....................76 Eniliaooooooo00000000000000.0-00000000000079 Sixteen: Seventeen: Eighteen: Nineteen: Lady Townley............................82 Butler to Lady Townley...................84 01d Harry Bellair........................86 Sir FOpllng Flutter. Act III. Scene 2 & 3..89 Slr Papllng Flutter. Act IV............92 Sir FOpling Flutter, Act v.............95 Twenty: Twenty-One: Twenty-Two: Plate Twenty-Three: Pages to Sir FOpling Flutter.........98 Plate Twenty-Four: Foggy HanooooooooooouoooooeooouosoeoolOl Plate Twenty-Five: Swearing Tomeone-cocoooooooooooooo000103 Plate Twenty-Sill Kr. Smirk...90.000.000.000...00:00.000106 Plate Twenty-Seven: Three Slovenly FQIIOWSoooooooooooooolog Plate Twenty-Eight: Chair Bearer8.......................113 1211300061210! mmotmmmmmmmmnre mmmmuamunnTudo-O. nan-u- mama-um withllcrip‘h 1b mun. m an. “Omahntumuamuumunu W'plm.nnnmumt~utummnu mmumuwmum. mutt-unclean nwwumm~wm.~m.mm. 11mm. «mm. In. In! mum . h an uncut ummmxuumoumuwm. mammemflethdau -nm.-mmmuuum:muumma ummmumtmummd.mmurw munummcwuwmw ummmmma-numuommm «Mouammumm'omn MIM‘DDW- ‘ nmuwm.wmmumm muwmtuamutumm china of am. for“. «on: not“ and out». e: um- urlu. nmummxmuuwmmm ornwuuWnnW.M«tum drunk tom to: new duh tho m: I‘ll-I. the amusemenutmmmzmcuwm :1... «tantalum “mammals; mmtmuwmmmhmuu. MMubfidfimllufiudfiI-bflu Muewpuummamm-u ,1" .1... -4. ,.T 1: ;. J... 11L}. WOW otfionorwulfllluumnumlmtum «mumWTmu. mmuumtuu “WI-hive”: Museum...“ mmwhumcuummm.mtm:- mummumm.uum Wmmwummmmm. mmnuvmuumm.‘ m uuumtummmuuwam mmnw.umnmum ”mundane-lune... mush-humu- nan-mama. Tuwmmummnm. duamuummuum mmusmumuumupw uuemmtmammmnuOO-om m. mummuammummuw wuummmumum- :T-aumnmwmmnnmwu. nun-«gamma... tutu-taunt“: 3 discussion at the design ”Incl-mum and the mall flail math-plug mommhhorthnmmmuuo ulna «mind by description: of fabrics. material... and woman: on jams-Tu. 131nm and eon-mun. “unique. the m 00:01qu with 3 Isle: discus-let: of the entire project immunisation” it"s-1t. Andmmlmuumeffium. only”. historical up". mentored 1n the march um pert-h mumvalthmohanvlnbh. chestnut-paper. anmtumaupmmtm- timomumwmmhmcm. womanly moaned fit: the historical new as new. It hmdtohmduulyuemnrmduun pm“. lino. dfimWfiuunmd-Ilm win a mainline mu: of mint. the mar elm. In mmmhmdmlyvlflfihum.m~ czmuuommmmmumtmuun. n1: Momentum”. mfinlnuuhpnmfluh hypothetical In new“. that. Ill no “not: Involved. Mater. :11 mum of t enemas: nature In. a“ nil-W. munmmmmmnamou “V“mt.mmm1wm~Mfl mmvnm.ummmuwmwm ummumw-uvm. e nemereentelmeneeppendumtmeem heel! with use genes-J. mtreetlen «emu» te he eepleyee 1:: the handle; e! the eeetme. CHAPTER ON! I RESEARCH WEN ONE: A BRIE? sum: m RESIORAIION PERIOD theeeeletwettheneetentleemeefleeeeee lulu-0e yertthepreeeetetteeieeemeneemeeteeftnutlm: enteeeeehendchrietmlt’enechuetmm the menu“ mam. the meet-eel: teedltlen. end the teen- tlenereeertlyleve: eetueether. Ween-em 11mm... mhlmlllu eel nee'eeelen «mote ee te the nine e: nee. eel new ethic».1 taunt e eta-en leuevel neuteae e1 cerietlen etuee end lte etrlet are). eeheeteeeevler. lteeeetrleeetlen'erelltreeGT-eeeeee the neeeeelt: er hie "dentin: m tutti: Ilene. the Seventeenth eentnry eee e our: ex equate tree the united te fie ”mm. semen-e. libel-thie- and much- wmammmmwMume-e te lite etne. pertleeleru men; that pee-tun er eeelety eiteeneheeeeeeeneemelm'theeeledleeettheprlel. o: theee three mean-:1“. Knee-ene- Ie the eeet 10mm“. nuc- MW £22! e: Mere. nee men: an Vere t: Peeee. 1957. fundamental to en underetendlng of the Seventeenth Century Intuit. In his book 239 flog gratgog 993g of El}. Theme H. manure defines Naturallel briefly ee 'e pelnt e1 View mu: euleeee the eepemtunl end eeeepte the ”men eetuetlu'"z mmmvtumumeummm emeeepe: e1 men-u. u eet teeth lunchtime.) In turn. auntie-It: eet up e treneeeaeeatel eerld mun: te reeeee.reeeeeeeeueptelthhteeereeeeteee. The Ieeeleeeeeeendtheeeveeteeeteeeeteumentmte tee mum gent e: flee. with e Havel et melee:- eeeLeeretleeeedteeeentrltetleeeereeeheeeeeGelnee. He“ and Gael-Ilene te the “one e1 mien ”lace. the Ween fleet-y (eel Galilee'e eeheeqeen preet e1 1t) elmneeileuttleehfledepdflrletluitneu emueieereeee’eaeetedeeit.mheeeeeemueuet mutueeeehele. ometheeuteeeeneleeeertheeeateeeftheulvem. lteuMlnlttemmu-elteetheeltmteeh enemeeeetereetien. nelqeetertueeedeteeeele- melee pruned en ettlteee e: eleptlelee nee; nee e: retleeeuetle lent. “ea te theee etteete tre- wheat were ‘hu-n. rho- 3- MW- Nee reek: Renee e Ilene. no" 1968. p. be ’m.- 7 the echiene within the Church itself (i.e.. Calvin. Luther) and in Maud the politicel dieerdere e! the eiddle or the een‘hry. The Earl of Oleander: wrote flat the civil were broke dam moral end social etendetde end promoted individue alien. for 'every one did thet which me good in hie on em.“ . Among thinking men there m e genera. suspicion of. downtime in en: tornu" This dietruet of downtime end the skepticism e1 established belie!- ere in large pert «count. eble for the cynical eit in Restoration Comedy. Perm the met influential em in toning end cedi- fyina the Restoratiee ethic wee The-1e hehbee. he use e rewrite of Ghee-lee II and we frequently et court mm; hie etc in London. since hie «Jean in thet eiw extended free 1660 te 1675. the yen: more the ’reeehtetiee e: m M. no an new that Itherege wee et leeet tailin- eithhievim itneteiththem. momma. taut friend of Etherese'e ie credited with heviu intredecee Hobbes to Cm108.6 end Dryden wee another new friend-7 30m Been-l file. ,, We w. 3’”e leek :1. ’e ”e 5M1!“ 1:. :2. We 31-h». W. m- lme .03 1e ’e lfle ’mm' p. u». m.ummum.Wm-me ~mmum-eee-hhenmuuemmnm heel-bettee‘beeetetenmterityeeemiweute leeheeeue.'eeeeeyeheeeeeeil-ieved'mhiepleeeeet Wetland-teem." Menuhin-eel!” mmemmmum'eam» Iellee‘neeeemietueenueeuetheerieete «nu—.m1q.u.m. alien-lune!” mmmmmummmm uwmumuummum wmereeeeeteueeeeleeteeee-eieeee: “lle‘eeeteee ietheenectneeemiteeeltieeuem.eefietee- utiuetuhiflmutimmeeeee.neeee.ete. Mmuhmwnm.ueeeeeee- tel-lilthehfleitieeetmmfieeeeee'h.m “Initial." mum meltieeheiiviheietefie: teem-alum manna-menu: mummwamnwm mumumgmmuW-em mmmmwmmmanmumn mpwum. “mama-mum: 'eeteey. an. r. . ._ 2.-....1 - 11 ...1- e..i “(”42 3. ' .4 Let--5: ‘ Afii‘l (“LL rm. arr .' o .1 1.4“ been". " 0 9am. thee-e. ~§WW“&EM' In“! 1.3;: m e!- 9 Wduuteneereiuteleflee." uncut-Tue. “them.neeeeeeeiieveethet-eieeetiveteeeetee teeieeeeeieeecmiaeeleeeiee. Whem “nu-hhehete‘theeetieteetieeeteee'emetitee.eee Teammmwmuwaemm mm.“ Mvmummwwmmmu mmwxmuumuum “new.“etthequiueeeeeetmmm neeeeteemuneetleediutee'aeetmtiee: nee WMflntflMel' “We! fixmmuumumm mwfiwefltiee.eedieleete~eqw Mumeeutrmt: 'eeebteeuhttheten pie-ere.“eeiteieeetieteueieeithheee(eettehrt mummmmm.uueemeueeu petitieetieeeteeenheeiqeetitee. neeueeeeeeeeee- metei-cieetheeem’etietee-emteeen- eteeieeegeeeuleeteeeehenne-eee: ”kennel «seen-mammalian” 10"Me ’e 1'4: ”menus. neeieetletlee. w. "I. 5. ”mt. cilia-t. seee r e: the end “NEW . Janeen: 1 Defleaa‘OQe’ 10 thieeeetheeeT-eeenphileeemeteeeetntheeeee'e eleeeetfriehde.eeeeeheeueeheideMtehethehe¢eet. ummmrmzuemetnomt.” nettuieueneereexpueitinhiedeeoeietienerthe mauled“). treite e: the heterel lea. ee when he picm'ee :eenceeaee'vieleetietheieleeieu: nutteeueeete their deeilee. mum». neonate”. eeeily refluxing whetthexdeeieedheteee. www.m“eetie- tied." heeleeeeeetheeee'levereereirth.eMWeeeee- (muncheeievetejeet et mum-1“ eat-eme- heeeeeeretieeeleeieel.“eeeeeiemetmtieeeie the indulgence e: and the attraction e! hie every eeeire. Itminehetteeedeuehet'bemehieveummtet theenthheeeeeetehevethemetepietu-eet the heeteeetiee libertine - ea egreeeive. «12-1er pence. ehe nee hie eureeeiveneee te eetier: hie 'neterei' meme. ' neithm'm'esmtphileeephy.uhutihiee eeehumWWeeeietreeenele. “within eereeeeielieeeeeueetheeeeeweeeietnthe gmemueetmuvmetmm un- gin." no ummlflmmw "" ”WWW 9—12 5:2!“ .Chl’“! 2e) 1%.eee finene- . he“ III. a. bee-:67. 11 in the Gheietiee ethie end ite etriueet eel-e1 cede. the 'eeeehileee’hreeeheileeh'themeeeetieceeteeethe wen-e e: eerie; thet ehileeem mauve eithie e eeeiew heeieeiiaehlmteiumteitmrieetemh eeenietieg ettiteeee ee the ieeivieeei venue eeeiety. tree- eee veeeee teeteeiet. eat-intend! Verne ehliaetiee. eee eleeeeeevereeevietee. heeeerteinleeeethieeheeee tire-ewle.thehiheetieeeeeteeeeeteeneeeteheee’eeeiu eeetheteeeieteeteetithetieeiteit. thielelteeeeea muummwuemumuum te'eeeeee.'eeeeeeteeeme.eeeeeeeeeeeeeteeeenty.en etiieheeeheeeeeeeetetheptehiuettheeeletieeehipd hetereueeet. umummumuumwm it.eeeeettheeheeeeeMeeihete-eeteteeee’tiee. emeeeiee.eeepeeer.u mmmuetmeeeeum- eee‘emtieeeiththe'ehele-e.'ehieheeeeheeeehy thetieertiee. Ieeeeiuteeeeeeeneeeithhieeieeue Tumueeuenemeeo.“ thetitiiietiee «the-netheteeeeneeeeeheiteeeeeeeieeeeetehethe 'W’leeeue. eel.eeevieeeewtheeeeeeiee.dteee ammummmuwuw ‘sfiflhme ’e 390 Wen-n. p. so. 12 peeeeeeieeetthieeeeutyteheeeeiueehevemthieee. ewunm'wuiwmmiumtm tee-emulmietieeettheeitiethe e-ediee. lietheeuefieuhter.eeeuhtheupeeted.ie eeeaeietieeee.eeeeeeie¢te“ieheeenuhtreeeeeeeee .eeelieetieeettheieeeeeeieritreveeeeeeeeeeiee." me ieechter ie mm: theee individual. eaten. iletin- m.eeeeee-eehieheheteeeteetueee'tnth'ee rue-unneeue—nummummmw “mammuuymmmmuu umuuwuuunmmwm ummummemmmw eeeiev. heeeueetthieeeeeeeemteeth.uehdthe hW‘e-tiutiueieetivitieeeeeheenetneeeee eeeieeteexpeeeeerteieeeeveetieuteeeheetheeeete-enq mammn-mmumm mumeieeeWpe‘ei—teeten. mmMuMutheetheeheiueu-eetee ens-twistitetieedeeliueeiteeu.eeeeeeteflee wwummmmuam.nu- MW.M.Mfleheeiweflfl-eeteifiem etuieheeeenlitieeeetithetieeitetheeeeteieeeec Chrietieeityiteeituehemeeeee-eeieehetuitr 1JMe ’e 9e 13 within the church. which ie “here-eat te the Libertine. mint thie intellectual beau-ma. it in well that we take e. annex-1 glehee at the actual eeciel activitiee in ehiehthepeepleereerepeeiel intereeteereenceced. Renee veee elven ever te fleecing. belle-mine. seek-right. til- lierde. eerie. oheee. floor same end an eeequeradee. The meteet epeet er the court. m. eee emetic intrigue. uiequ.eeeeheereelleeedeqeelee1-ellieeheeteeeh end mime were continent! ee property eettleuehte tether thee ee auntie miene. “wine we cheeee fer m peeterit: . eietreeeee tee eereelm . .1! The ettitede et Reeteeetiel: eeoietr teen-d “frieze eee perhepe net peculiee to it. let thepehlieityefthetettitedeeeemreeedehteeeeeeethe Intentieu'e eingle eteeterd er nullity to: heth eexeeo Thle em. eteaderdealyeeeeeteenlyteeeeeieeeeeeh heeever. “deeieslegirleeeetillrereedtetnehdeetim herdeeireeeithihtheeehflneeeteenieceiteheeeela ebtein it. theta-litreteeehereetceertudihhicheeeiev neieperttheeeeultetthechrietieeoedeetvirteemd ite ”bulletin: tee eeexeelity in the nhtieaehip hetee“ theeeaee.eeeelleeheieceeqeeheeeetehe:iteaee:~ 1%.»: leeeld. w. m net. hex-er. Straue end tom. 19 Que ee roe the W leeh of angle Villieee. heeeee nehe e! M. ill eurrounding ebeolute eonerohy end the new enphee ie upon thee ee being the ideel cover for neturelietio men pureuins hie vocetion. Cherlee hieeelt wee e nodel or were end the ere-pie or hie oourteey end cher- epreed through the upper oleeeee. leeving the art or cereeonioue grace on Englieh lite. Men hieeed eech other on neetin; end eeluted e ledy upon being introduced to her. Lediee in London received gentleeen vieitore while etill in bed. ee wee the cuetoe in Perle et the tine. There wee en invigoreting trenhneee. e eoorn of. hypocriey. in the litereture. the Theetre. end the Court.” hen outdid woeen in the extreveaence of their ettire. Hue powdered win were worn with whet wee to become. with elight verietione. etenderd eele ettire for ell euoceeding generetione up to end including the preeent: cont (jeoket) . ehirt. weietooet (veet). end breechee (pente). All een were oleen-eheven. elthouah e few prieed eeell eoueteeohee. end noet wore eworde on ell oooeeione. Their clothee were eede or velvete end eetine end were tuned with ell eenner or leoee. leoinu. breide. ribbone end trille. One hundred yerde of ribbon were deeeed to be trueel in the eerniture of e eiule eneeeble during thie period. 19Durent. win end Ariel. The Stay of Civilieetion: Voluee VIII, The 5e of Louie XIV. New York: Sieon end sohueter. 1963e De 273e 15 Wench. while somewhat subdued neat to their escorts. also powdered and.perfuned their hair end most added false curls and hairpieces to achieve the desired elaborate effects. although they did not take to wigs until some tine after 1770. The enhanced their beauty with paint. powder and.patches (as did meet gentlemen of the period) and were also given to lavish trhe on their gowns. Dresses bared the shoulders and often an incredible amount or boson if it was there to be bared. Skirts were long and began to be looped back to dis- play an undershirt during the latter half of the period. It was an “age for which life was an accepted.pageant. in curiously observed. stuff for a finished epigrae.- there ‘was form; and there was bad fern. The whole duty of Ian was to find the one and to eschew the other."20 In this “pageant.” extravagance was de rigueuer. Life. which became oereaonioue again following the restoration of the aenarchy. required elaborate equipment. Large formal seals required large numbers of formal servants to prepare and serve then. Large coaches required drivers and footnen. palaces needed butlere. maids. pages. and domestic staffs to keep thee. Ladies and and gentlemen both required personal servants to help then with their elaborate clothes and hairstyles. When Charles 11 returned to England in 1660 and the 2"Palmer. thn. The Cones! of Manners. London: 1913. 1). 91s 16 theatres formally reopened. they reapened as coterie theatres. Elizabethan audiences had kept as many as nine large popular theatres going. Restoration audiences supported two small private ones. The theatre had become distinctly an upper- class diversion and monopolies granted by Royal Patents kept it that way.21 In addition to the theatre. the nobility threw themselves into an exhausting social round of activities such as recep- tions. balls. dinner parties. luncheon engagements. horse races. and voracious bouts of private gambling as well as the myriad Court functions they were required to attend. Any new diversion was eagerly welcomed. Coffee was introduced to England from Turkey circa 1650 and the use of it to overcome drowsiness and to stimulate the wits soon spread its pOpularity. By 1700 there were 3.000 coffeehouses in London alone. Every man of any account made one or another of them his regular rendezvous. Dryden. Addi- son and Swift. and others of their profession had.meetings and seminars in coffeehouses regularly. In its constant search for distraction. its hunger for the new and unusual. and its enioyment of any and all things. the society of the Restoration is best summed up once again by Thomas Hobbes - 'senper idem.sentire idem eat so nihil 21Holland. Norman N. The First Modern Comedies. Cambridge: Harvard University Press. 1959. p. 10. 17 sentire' - always to feel the same thing is the same as to feel nothing.22 zzDurant. p. 551s SECTION TWO: ANALYSIS OF THE PLAY AND THE PROBLEMS RELATED TO DESIGN The Man of Mode or Sir ngling Flutter (1676) was the last in point of time of three plays by Sir George Etherege. the other two being The Comical Revenge (1661+) and She Wald if She Could (1668). It is a five act play of the type com- monly referred to as Comedy of Manners. but which we shall be alluding to as Comedy of wit throughout this study. For our purposes herein. we shall define Comedy of wit as that genre. peculiar to the Restoration period in England (1660- 1700). which had as its sphere the contemporary social mode of life. where wit was the ultimate weapon in a constant war between the dictates of custom (Art) and the “reasonable“ dictates of Nature. Insofar as plot is concerned. The Man of Mode is neglig- ible. There is. perforce. a story line or two upon which to mount the scenes. Dorimant has three love affairs in the works. one past. one present. and one future. and the main thread of the story traces his progress from one to the other. There is also a kind of sub-plot in the love triangle of Old Bellair. Young Bellair. and Emilia. but all this merely serves as a backdrop against which Etherege displayed some of the most engaging and unforgettable characters of the entire 19 dramatic period. Etherege's great strength. and indeed one of the salient features of comedy of Wit as a whole. is his realistic por- trayal of contemporary life. He was himself a wit and an intimate friend of many of the young rates of Charles II's Court. from which he received two ambassadorial appointments and a peerage. and a reputation as one of the faster young men about town. Thus he was aaply prepared to picture Restoration Court society upon the stage; he was in tune with it. he was of it. The Man of Mode abounds in references to the real world of England in the 1670's. In Act I. 130th refers to venereal disease. which was rampant at the time. '...the next clap he gets. he shall rot for an example...“ Medley's speeches in Act II. scene 1 are filled with allusions to contemporary card games. ballets and romantic intrigues. which filled the lives of members of society during the period. Visards (masks). drinking. play-going. and the habit of walking out to see and be seen by one's peers are all mentioned frequently in the script as co-onplace pastimes . Etherege drew his characters as well as his themes from real life and did it so well that one of the amusements of the wits of the day was assigning originals to his principal characters. Lord Rochester was popularly supposed to be the pattern for Dorimant. sir Charles Sedley for Medley. and 20 Beau Hewitt for Sir Pcpling Flutter.23 The names of these gentlemen are not as important as the fact that Etherege so truly portrayed polite society that people felt they “recog- nixed“ his characters. One of the great virtues of The Man of Mode is that “it remains so true and easy a.replica of its own world.'2“ The dramatic action of the play is simple. almost mechanical. Dorimant and his three "intrigues" are intro- duced and followed logically through to the end. There is no suspense. indeed.none is intended. We are not supposed to feel concern over any of the characters. but merely to enjoy them. As for structural unity. it is non-eaistant. The sub- plot of the Bellairs and Emilia is but loosely connected to Dorimant's story by the engagement of Young Bellair and.Har- riet. and their attitude toward their connection keeps any feeling of‘plot complication from ever forming. sir Pepling.Flutter. the ostensible hero of the play. has little to do with the dramatic action. his character host ever. is central to the theme of folly. since he is a person Macmillan Company. 1923. p. 76. 2“Macr-‘iillan. Dcugald and Howard.M. Jones. ed. Plays of the Restoration and Eighteenth Century. New York. Henry Holt and Company. 195“. p. 83e 21 of 'greatly acquired follies.‘25 He is the forerunner and prototype of the Restoration Fop. a type which flourised throughout the dramatic period. Dorimant. the central figure of the comedy. is the real man of mode. the acceptable one. and much of the humor of the play lies in the fact that he and his friends are guilty of the very affectations that they ridicule in others. particu- larly in Sir Fopling. All of Etherege's characters. however minor. are deftly drawn. true-to-life. and extremely entertaining. Therefore. in spite of the weaknesses of plot and unity. the scenes themselves are animated and thoroughly enjoyable. The dia- logue is witty. the scenes fastapaced. and the humor intel- lectual. but relieved at intervals by farce and only occasion- ally softened by sincerity. Director's Approach The purpose of this production is two-fold. its primary concern being one of entertainment. its secondary function being to present an historical interpretation of Restoration England and its society. Since we are primarily concerned with entertainment. 255therege. sir George. The Han of mode or Sir Poplin; Flutter. Act I. Dorimant. 22 emphasis will be placed on the comic possibilities of both the script and the characters. The mood must be light and lively at all times. and the pacing is extremely important as the script contains no deep emotional power or dramatic suspense to carry it over any temporary lapse in tempo or spirit. In terms of costume design. this will entail keeping the colors light and vibrant. Movements should be enhanced by the ease and flow of line and a feeling of overall grace in the design of the clothing is to be desired. In the secondary function. that of historical interpre- tation of the period. the operative word for our purposes is interpretation. We are not involved here in.putting exact replicas of rooms and dresses upon the stage. but in creating a mood. a feeling. a particular way of viewing the world that was indicative of English society during the Restoration. Thus. what is desireable here is not necessarily a slavish reproduction of the contemporary period so much as a vivid interpretation of the spirit of the times. As The Man of Mode deals most specifically in manners of dress and those social graces most closely related to it. a large part of the responsibility for a successful produc- tion will rest with the set designer and the costumer. 23 Inherent Limitations pf thp Script The play is written in five acts or eleven scenes. two of which take place in a Mail. a favorite promenade of the beau monde. This necessitates outer wear for the characters involved in those scenes. Since we are setting the season as late Spring or early Summer.26 these will. however. be kept at a minimum. The remaining.nine scenes are set indoors. mainly in drawing rooms of fashionable homes. The Man of Mode is contemporary to its first production date. which fixes the year at 1676 A.D. in the middle of the Restoration. The locale is London. England.27 Various articles of clothing are mentioned.which would preclude transferring it to another’period even though there are no chronological references contained within the scrtpt itself. All of the principal characters in the play are persons of at least moderate wealth and.presumed good taste. Foggy Nan the orange woman and Swearing Tom the shoemaker are the only two characters of lower class in the script. the rest of the minor roles being.pages or footmen to wealthy principals. There are three dances performed in the play. two by major characters and one by Sir Rapling's pages. so the 26Ibid.. Act III. Scene 2. Sir Fopling. 27Ibid.. Act III. Scene 1. Harriet. 2n costumes must allow for freedom of movement. None of these dances are boisterous and the script contains no scenes of violent or difficult action. so that freedom and grace of movement are all that is required. In Act I. Dorimant is only partially clothed upon his entrance. accomplishing the remainder of his toilette within full view of the audience. This will necessitate careful attention to the finishing details of his costumes. The in- side of both his coat and vest must be fully lined in a “reversible" manner and all clasps and fastenings must be easily workable as well as historically accurate. There are some specific references to items of apparel contained within the dialogue which will further limit the freedom of design in those particular costumes. In Act III. Scene 1. Busy pins a knot back into place on Harriet's gown. which will require inclusion of knots or bows in the design of the dress. In Scene 2 of the same act. Sir Fopling refers to the Point d'Espagne lace on Emilia's gown and all of the characters comment on the various items of Sir Fopling's attire. which must include. pantaloons or brooches. tassels. fringed gloves. a.periwig. and a coat that makes him appear longwaisted. In Act IV. Scene 1. Fopling and his pages enter in ‘visards (masks). and in Scene 2 of Act IV. Doriment has his dressing gown on.again and reference is made to Sir Foplingis Brandenburgh (a type of greatcoat). SECTION THREE: SUMMARY AND DESIGN APPROACH In Section One we have examined in some depth the philo- sophical and social background of the Restoration period in England. Special emphasis has been placed on Thomas Hobbes' philosophy of Naturalism and the Restoration's particular view of Epicureanism. Hobbes ' contention that man's purpose is a pursuit and maintenance of a state of pleasure. both physical and mental. is fundamental to our understanding of the life-style of the characters in The Man of Mode. Hobbesian concepts of the nature of man. the emphasis on empiricism rather than blind faith and the intellectual concept of Liber- tinism all combine to form the philosophy by which Doth and his friends live. We have also seen that the Restoration gentleman prised wit. or the stimulation and exercise of the mind. above the stimulation of the body. The successful operation of this Restoration gentleman. armed with wit and bent upon the gratification of his desires. within a society still governed for the most part by Christian ethics is the theme of The Man of Mode. indeed of all of the comedies of this period.28 28See Thomas H. Fujimura's The Restoration Comedy of wit for an indepth discussion of this proposition. 26 The problem that then arises from this research is es- sentially to design a set of costumes that will parallel and and enhance the purpose and theme of the play and provide the proper focus for the individual scenes and characters within the play. We now. however. have a direction in which to go with the design scheme. Our purpose will be to isolate and identify the two groups involved in the struggle; the Christian ethic society. and the Libertines attempting to function within it. Special attention must be paid to the presentation of the Libertine. It is all too easy to view him as an immoral being bent solely upon fleshly pursuits. but Etherege has intended him to be simply a naturalistic man. motivated by his instincts. attempt- ing to implement his philosophy of life within a system which is unfortunately opposed to it. The success of the play depends on the presentation of Dorimant as a likeable indivi- dual. superior to the other characters in the play in terms of wit and charm. in order that one may enjoy the situations in which he outwits them and admire the grace and facility with which he does it. Chapter Two will deal with the specific methods by which we intend to visualise the intellectual theme of Th; man of 'gggp. In Section One. we will discuss the character relation- ships. the grouping,of individuals and their relationship to the theme of the play. In Section Two we will see the costumes together with a detailed description of their corponente. CHAPTER TWO: DESIGN SECTION ONE: THE VISUAL COSTUKE CONCEPTION OF THE MAN OF MODE As we have previously mentioned in Chapter One. Section Two. there are few demands inherent in the playscript itself to limit the designer. but those few that are indicated are important ones and serve as a starting point for the design scheme. All of the characters in The Man of Mode. with the exceptions of Foggy Nan. Swearing Tom and the servants. are persons of the upper class. The action takes place in.London. England in the late Spring or early Summer. and the two scenes in the mail will require some outer clothing for the characters involved in them. Because of the time limits of the play only one costume per character‘will be necessary. The action takes place on one day and the following morning. but the action is continuous so that very few characters would have a logical opportunity to change their apparel. The single exception to this is Sir Fopling Flutter. who makes three entrances separated by ample time spans. and for the furtherance of the plot has been assigned a new costume for each appearance. With these considerations in mind. the most important 28 task is to group the individuals according to their relation- ship to the theme. This involves setting up the two opposing factions. the Libertine (Dorimant) and his companions and the group which represents the Christian ethic. The first group consists of Dorimant. Medley. and the women involved romantically with Dorimant: mrs. Loveit. Bellinda. and Harriet Woodvill. The second. or Christian ethic group. is composed of Lady Woodvill. Old Harry Bellair. Lady Townley. Emilia. and Young Harry Bellair. who though he is attendant on Dorimant socially. is still rooted firmly in the Christian ethic and serves merely to make Dorimant seem the more acceptable to society..29 It was decided to differentiate between these two groups by means of color. As we are concerned with the Restoration Libertine as an intellectual movement and since our primary purpose is one of entertainment. it is essential to our pro- duction that Dorimant and his friends be likeable. Although Etherege shows us Dorimant's faults as well as his qualities. he clearly intends Dorimant to be superior to the other gentlemen in the play. Thus we chose to place Dorimant and his ccterie in warm sun colors and the Christian ethic group in cool blue shades. The image is one of the sun shining through a summer rain. always in danger of being obscured by 29Etherege. Act One. Scene 1. p. 169. Dorimant. 29 the rainclouds. but ever seeking the breaks in those clouds to shine through. Four characters remain which at first glance do not belong to either group. Foggy Nan. Swearing Tom. Mr. Smirk. and Sir Fopling Flutter. Foggy Nan is. as her name implies. grossly fat and bloated. Her occupation is orange—woman. and fruit was a euphemism for sexual intercourse during the period. Since references are also made to her capacity for spirits and her activities as a procuress. she would seem to embody all of the fleshly appetites which the Libertine is engaged in sat- isfying. Thus she is designed as a part of that group. Swearing Tom. the shoemaker. unlike Nan. is concerned with the justification of his actions and life-style. while he readily admits to his faults. his air is a self-righteous one of mock Christian humility. His association with the world of business and situation as a married man who takes his pleasures outside of the conjugal relationship. combine with his other qualities to make him as representative of the Christian ethic group as Nan is of the Libertine. Accordingly. he has been allied with the former. Mr. Smirk. the minister. is a religious hypocrite. His position requires a combination of black and white. but since he is masquerading in a sense. he will be tied in with the Libertine group by minor details of trim. 30 Sir F0pling Flutter is a very special case. Although he is not the protagonist of the play it bears his name. Professing to be a Libertine. in reality he belongs to neither group. Instead he carries all of the foibles of the Libertine to their furthest extreme without any of the underlying philosOphy or attendant wit and polish to justify them. It was decided to make him a group of his own and green was chosen for him since it would be complimentary to the sun colors of Dorimant‘s group while remaining separate from it. The play was written in 1676. and first performed in the same year. There seems no valid reason for changing the period of the play and so the costumes will be in the style of that era. A few modifications have been made in the basic silhouette of the period. dictated mainly by the designer's personal tastes and preferences. Ken's clothing of the period consisted of a shirt. knee- breeches. a vest (optional). and coat. Long stockings. shoes with buckles or bows. Jebots. large full wigs and hats com- pleted the ensemble. The main characteristics of the silhou- ette were the fullness of the breaches combined with the narrowness of the cost. which fell straight from the ehouldere to a.point just above the knee. The vest was of the same length as the coat. It was felt that the narrow line of the coat did not compliment the fullness of the breeohee and wigs of the period and that the total look was somewhat disjointed. 31 It was therefore determined to widen the coatskirts slightly and hip the waist somewhat in order to give more grace and flow to the costume as a whole. Female costume was characterized by the shape of the corset which gave a long narrow look to the bodice. which dipped slightly at the waist and had a high rounded neckline that left the shoulders and much of the bosom bare. Sleeves ended above the elbow and the sleeves of the chemise were seen below them. Skirts were narrow. floor-length. and the overskirt was looped back into a kind of bustle effect. Ladies wore caps at all times. The designer finds the narrow- ness of the silhouette combined with the style of horizontal trimming flattering to very few figure types. Accordingly. it was decided to move the period of the women's costumes forward to circa 1690. which would allow the skirts to widen slightly and make it possible to ignore. for the most part. the large rows of horizontal trim and embroidery which was an integral feature of the gowns of the 1680's. We have now formulated the major decisions for our de- sign scheme. We have separated the characters into two groups in.relationship to the theme and assigned a basic color scheme of orange and blue to accomplish this visually. It has been decided to widen the silhouettes of the period slightly to give more share to the stage picture. In the next section we will deal with the characters individually and their 32 relationships to each other and we will see the renderings of the costumes themselves. SECTION TWO: THE INDIVIDUAL COSTUMES The last step in the process of designing theatrical costtmes is the actual designing of the costumes themselves. We have seen in previous sections how the designer first must consider the script and the historical background. then make some general decisions as to period. color schemes and general groupings before getting down to the individual costumes them- selves. We have now reached that point in the process. and the following renderings will hopefully fulfill the needs of these which we have already discussed as well as the require- ments of the individual characters. which will be discussed along with the clothing descriptions found with each rendering. When a ploy contains as many characters as does The 913 of Mode. no perfect means of grouping the renderings is pos- sible. but they have been arranged as closely as possible to correspond with the flow of the these. They are presented in groups. with Dorimant. Medly. and the ladies of Dcriaant's interest coming first. followed by the Christian ethic contin- gent. Servants will always appear i-ediately following their employers in order to prevent the necessity for turning back and forth as much as possible. 34 Dorimant He is a bachelor. age 25-30. a man of breeding. good looks. polish and wit. He has money. but not a fortune. as he is interested in Harriet's money. He is dressed in the height of fashion. but uses his imagination.30 therefore must have some touches of originality about him. As the central character in the play he must stand out from the others and his costumes must provide focus for his scenes and be a pivotal point for the color schemes both for his own group and for the entire play. As the play cpens he is discovered.partially dressed and wearing a gown and slippers.31 For dispatch in dressing on- stage he has been dressed in all but his coat and shoes under the dressing gown. glate one The rendering shows Dorimant at his entrance in Act One. Scene 1. The same costume is also worn in Act Four. scene 2. He wears petticoat breeches32 of white satin with a gold 3°;b1d.. p. 168. 31;b1d.. p. 159. 32Waugh. Norah. The Cut of Men's Clothes 1609-;2 9. Theatre Arts Books. New York. New'rcrk. 1964. Pattern.p. 58. (lmit flounces). lists Ole: 081.“. 35 “:13“: 1'. m as 36 pinstripe. which end in one and one-half inch bands below the knee. The vest33 is of the same material and has wristlength fitted sleeves and buttons at the center front from neck to hem with self covered buttons. Both the vest and breeches are faced with.muslin and the vest is then lined with white taf- feta. The shirt3“ is made of white marquisette and the long full sleeves end in two-inch35 ruffles at the wrist. The jabot is constructed separately from.the shirt and consists of a two-inch neckband to which is attached a three-tiered flounce of the marquisette trimmed with wedge-shaped tabs of gold.metallic grosgrain ribbon measuring one and one-half inches across the bottom edge and tapering slightly as they disappear under the flounces. The tabs are double-thicknesses of ribbon interfaced stoutly to give them body. The Jebot is trimmed at the throat with yellow’mcire ribbon and rosettes of the same yellow decorate the brown shoes which are fum- nished Dorimant by the shoemaker. His sash is of orange and red striped silk which is pre- draped and sewn to an.interfaced orange taffeta lining. It 331bid. Pattern.p. 59. (Substitute long fitted sleeves). 3‘91 . Pattern p. 82. (All of the men's shirts will be constructed from this pattern.) 35This and all subsequent measurements are given under the assumption that the actor or actress is of standard size and‘physical build. The measurements are given as a guide only. and the overall proportions of the costume elements as shown in the renderings are to be observed at all times. 37 fastens on the side with hooks and eyes. The fringe is black two-inch all; and is sewn to the bottom of the lining before the silk is draped over it. Dorimant's dressing gown is of pale blue raw silk upon *which the design has been painted with fabric paint. If it is possible to find a fabric in a.print which approximates the one shown. a substitution would be permissible. The im- portant characteristics of the gown are the boldness and unconventionality of the print. Its purpose is to give the effect of a.man who is very sure. both of himself and of his fashion sense. A man who is unafraid to try something differ- ent. The gown is a.full floorlength one with long tube sleeves which turn back in deep cuffs to show the yellow taffeta lining. The front edges are straight and may be fastened with purple frog closings if desired. white tights. purple mules with red silk cord trim and a very full dark brown wig complete the ensemble. ate Two The second.plate shows Dorimant after he has completed his toilette onstage in the first act and as he appears throughout the rest of the play. The only new items of apparel are his shoes. which are brown leather trimmed with m Mt We “a t. 1!. :u. “g 'e 39 rosettes of yellow moire ribbon. and his coat.36 which is constructed of a gold and copper metallic37 brocade. The coat is knee-length. slightly fitted at the waist. and buttons from neck to hem with self-covered buttons. The buttonholes need not be practical as the coat is worn open. Instead of the usual cuffs on the three-quarter-length bell sleeves. a repeat of the jabot motif is used. This time however. there are only two tiers of flounces trimmed with the same gold tab ribbons. a large cluster of the tabs is positioned on the right shoulder of the coat and at the side of both legbands of the petticoat breeches. The cost must be interfaced to reinforce the brocade. which is very thin and delicate. It is lined in copper taffeta. Two or three rings of moderate sise complete the costume. [late Three Handy is Dorimant's valet. and is dressed in livery. He wears black leather shoes with silver buckles and white 36Ibid.~ Pattern p. 60. (Omit cuffs.) (Substitute bell sleeves.) 37m was felt that the metallic fabric would give a cold itter a earance one s and thus oint u the hard gathleséggsspgf Dorimant'rg'ersonality.p p Piste Three: seedy. leeservemt to Desi-ems. 41 tights. His breeches38 are of dark orange-grey hOpsacking and have a single black silk tassel affixed to the bottom of the outside seam on each leg. His vest. cut from the same pattern as Dorimant's. is of the same material as his breeches. sleeve- less. and buttons from neck to hem with self-covered buttons. It is lined with brown taffeta. as is the coat. His coat is made of dark brown-green denim cut from Dorimant's pattern with less fullness at the sides of the coatskirts. A single black silk tassel marks the waistline on each side seam and is attached with a black silk button. His shirt is of white medium weight cotton with long full sleeves that end in two-inch ruffles at the wrist. The Jabot is a plain rectangle of the white cotton tied at the throat like an ascot. Mandy's wig is medium brown. parted on the side and gathered into a.pigtail at the nape with a large black grosgrain bow. {late Four Dorimant's footman is also dressed in livery. his #0 breeches39 and coat are made of the same denim as handy's 38waugh. Pattern p. 61. (Add six inches to the width of each Is at the hem. Gather the hem to elastic and.pull above the es.) 39Use Randy's pattern. “OUse Dorimant's vest pattern and omit the sleeves. Three-quarter-length bell sleeves are substituted. rectum te buimeee. Diets tear: coat. Three brass buttons decorate the waist front of his breeches and matching brass buttons form the fastenings of the coat. Again the buttonholes need not be practical since the coat is worn open. The three-quarter-length bell sleeves of the coat have no cuffs and are decorated with a row of the brass buttons instead. The entire coat is lined in brown taffeta. His shirt is constructed of white broadcloth and the full sleeves are gathered to one-half-inch black grosgrain ribbons which tie at the wrist. A short. black square cut wig. brown riding boots and a brown felt tricorne hat complete his costume. His clothing should look used and not quite clean. Medley medley is Dorimant's closest friend. and like Dorimant. is a Libertine. Unlike Dorimant however. medley is not en- gaged in an affair of any kind within the play. but confines his activities mainly to gossip. the pursuit and spread of it.“1 he is considered to be a person of impeccable taste and is. one presumes. a man of comfortable financial circumstances. Since it was feared that a modern audience might tend nlfitherege. Act Two. Scene 1. Lady Townley and Emilia. an to confuse the somewhat feminine delicacy of the Restoration fop with homosexuality. it was decided to have Kedley por- trayed as a homosexual to provide a comparison for Sir Fopling Flutter. As Dorimant's closest crony. the strongest of the sun colors. red. was given to him. The various shades of red combined in the one costume are intended to show a highly saphisticated color sense and a knowledge and command of fash- ion. The reds are trimmed in metallic golds. white and black. The gold is obviously a tie-in with Dorimant and the black and white are intended to give him an ascetic aura. which will be reinforced in Act Five when the cleric is introduced. flats Five medley wears black leather shoes with very high red heels and white tongue linings. They are trimmed with small silver buckles. His white stockings are worn outside of the breeches and gartered below the knee with one-inch scarlet ribbons. his dark red linen petticoat breeches“2 lace up the front and are gartered on the left thigh with turquoise taffeta. His shirt is made of white voile and the full sleeves and in nzwaugh. Pattern p. 58. (Omit flounces and substitute legbands.) rises live: bdley. Q6 three-inch ruffles trimmed with a narrow band of white cotton lace attached by one-quarter-inch white satin ribbon. The matching jabot is trimmed with four inches of white cotton lace which is also attached with the narrow white satin ribbon. The jabot is attached to a wide bow of black taffeta which has been interfaced for stiffness and the entire jabot. bow and all is attached to a two-inch neckband of white voile over two layers of white taffeta. medley's coat“3 is constructed out of light weight red wool. It is interfaced throughout and lined in red taffeta. The metallic gold trimming fabric is reinforced with muslin and laid over cotton padding. It is then sewn together in horizontal lines two inches apart giving it a quilted look. This trim is applied in four-inch widths to both sides of the center front closing and both sides of the vents at the sides of the coat as shown in the rendering. It also decorates the six-inch cuffs of the three-quarter-length fitted sleeves. The black trim accenting the gold quilting on the center fronts and cuffs of the coat is velvet finished to a two-inch width. The coat fastens at center front from neck to waist with large gold buttons and loops. his wig is pure white and he wears a large hat of black industrial weight felt reinforced with backram. It is trimmed “Baaugh. Pattern p. 59. (Cut the back coatskirt as wide as the front one.) “7 with red coq feathers. he carries a black cane with a round gold knob and his gloves are of white kid with two-inch gold fringe decorating the six-inch cuffs. It is intended that medley be heavily made up and he is shown wearing green eyeshadow. false eyelashes. rouge. lip- stick and a round patch on his left cheekbone. Of the women in Dorimant's life we meet three in the plays Mrs. Loveit. Bellinda. and Harriet woodvill. These ladies differ markedly in their abilities to control their emotions and Operate successfully in the double world of the Libertine. The order in which Dorimant becomes involved with them forms a progression in terms of control from least to most. This progression has been translated into hue and color in our design scheme. the ladies costumes vary from deep rose to pale rose with yellow to pale yellow and white. Thus we have a progression which changes both in color and in the color values. mrSs L0v31t The first of these women to make our acquaintance is Mrs. Loveit. She is a woman of intense passions. the inten- sity of those passions and her inability either to curb or disguise them being the subject of not a few snide remarks #8 in the play.“ She is also extremely vain and worried about the fading of her beauty. indeed her first scene is begun with mirror in hand. As the lady of least control. she is costumed in deep rose and charcoal grey. Plate Six hrs. Loveit's undergarments consist of nose tights. rose- colored shoes with square toes. high square heels and a high vamp to the instep. a petticoat of rose taffeta lined with muslin that is ruffled from the waist to the hem in four-inch tiers. These ruffles are doubly lined with nylon net in order to add stiffness. over her petticoat she wears a full. gathered floor- length skirt of dusty rose satin. her bodice of bright rose taffeta overlaid with charcoal grey chiffon is built directly on the corsetns which is constructed of heavy guage muslin and feather boning with another layer of the muslin covering the boning.46 The short puffed sleeves are of the same taffeta nuEtherege. not One. medley. 45Waugh. Norah. Corsets and Crinolines. Theatre arts Books. New‘lork. New York: 1954. Pattern p. 38. “6All of the women's corsets are to be constructed in this manner and from the same pattern. The only alteration is the ommission of the center front point on the waistline for those designs which feature rounded waists. 69 m“ “I! he Mi‘e 50 and chiffon as the bodice and attached to the bottoms of the sleeves are two sets of ribbons: the first set are short black satin tabs constructed like those on Dorimant's coat and are to be two inches long after attachment; the under set are of bright rose satin and are constructed of two layers with a stiff interfacing and finished to a one-inch width. They reach to well below the elbow and are attached there to a two-inch wide double ruffle of grey silk organza edged with narrow black lace. This ruffle is elasticized so that it can be pushed up to just below the elbow. causing the interfaced ribbons to bell slightly rather than hang limply. Gathered to the deep vee waist of the bodice is a.satching overskirt. The overskirt of taffeta and chiffon faced with four layers of nylon organza. is cut one-half the length of the skirt and gathered at the bottom edge to a rose taffeta lining that has been cut one-third the length of the skirt. The overskirt is then tacked by hand into three tiered puffs from the front edges to Just in front of where the side sea-s would normally occur. in the manner shown on the rendering. These puffs are trimmed with three large (approximately three inches across the bottom) black satin tabs per tier. The finished overskirt is then gathered to the bodice. The bodice is finished with a two-inch ruffle of the grey organza trimmed with narrow black lace which encircles the neckline and continues in a double row down the center 51 front of the bodice gradually tapering down to the point at the center of the waist. A white fabric flower with rose edged petals is sewn to the center front of the neckline where the ruffles begin to cascade. The bodice has a center back closing of a double nature. The corset is fastened with a metal jacket zipper and the bodice has a mock separate closing which laces up the back. A finished placket of the bodice material is left free at each side of the back Opening. These plackets are then pierced at regular matching intervals with metal eyelets which blend with the color of the gown. barrow silk cording is then threaded through the eyelets and the placket laces up like a shoe. It is important to lace the gown from the waist up to insure smoothness and fit. The laces are then tucked inside the neckline at the tep. All of the women's bodices will be fastened in this manner. hrs. Loveit's hair is pulled straight back from her fore- head high onto the crown of her head and curls lightly at the ear level all the way around her head. She wears a mob-cap of white lawn back on the crown which is edged with a two- inch double ruffle of the grey organza trimmed with black lace. Two one-half-inch rose satin ribbons are attached to the cap with flowers matching the one on her bodice. one over each ear. Hrs. Loveit is heavily painted and patched. wears long false eyelashes and carries a pink and black lace fan. her 52 mirror is an important prOp and has been designed to compli- ment her costume. In the Mail scene. she wears a floor-length full gathered cape of grey silk organza (not shown). The cape features an eight-inch gathered ruffle edged with narrow black lace at the hem and a full draped hood with a two-inch ruffle trimmed with lace framing the face. Long black gloves are worn with the cape. {late Seven Pert is Mrs. Loveit's personal maid. She wears black shoes with wide square toes and low heels. white tights. a plain muslin petticoat and over it a striped A-line skirt of black and salmon sailcloth. her bodice. of salmon muslin with a small black and white floral print. is built directly on the corset. what appears to be her chemise in the front is an insert of white organdy gathered over white taffeta. The dark red ribbon lacing ending in a bow at the pointed waist is mock also. her white organdy sleeves are very full and end in a self-ruffle just below the elbow. The bodice is trimmed at the shoulders with one-inch black satin ribbon to which are attached dark red ribbon tabs of the same width. They are two and one-half inches long after attachment. and are reinforced with interfacing for stiffness. Piece levee: 53 Mt. In“ t. he W‘te 54 Pert also has an overskirt of the bodice material which is out one-half the length of the skirt and gathered at the bottom to a black taffeta lining out six inches shorter than the overskirt. The sides are then hand-tucked to resemble the rendering and the overskirt is gathered to the waist of the bodice. which fastens at the back in the manner previously described. her hair is pulled up under her white organdy mob-cap which has a two-inch ruffle and is trimmed with four one-inch red satin ribbon tabs across the back. She adds a rectangular black knit shawl to her costume for the mail scene. Elate Eight hrs. Loveit's page wears black shoes with silver buckles. white tights. and his breeches. cut from nandy's pattern. are made of maroon faille and fasten above the knee with bright red silk cord. his vest. also cut from Randy's pattern. is of matching faille lined with red taffeta. and closes down the front with self-covered buttons. The full white dacron and cotton sleeves are attached directly to the vest and are trimmed with six vertical rows of one-inch pink satin ribbon centered on the outside of the sleeve extending from the ame- scye to the wrist. The sleeves end in three-inch self ruffles and are tied at the wrist with red silk cords. his jabot is 55 Piste light: has to Ilse. Loveit. 56 a plain rectangle of the sleeve material tied like an ascot. The wig is black. parted low on one side and worn over one shoulder. Be inda The second of Dorimant's ladies to greet us is Bellinda. She is much younger than Mrs. Loveit and relatively inexper- ienced in the arts of intrigue. She is a pleasant stylish woman who can never quite make up her mind as to what she wants to do. She and fire. Loveit are close friends. and while Bellinda is in much better control of her emotions in public than her friend. she does have occasional lapses of decorum.~7 To reinforce her relationship with.ars. Loveit and also to establish her lack of control. she will be in pink. However. in order to place her on the control scale we have established her as being more in possession of herself than hrs. Loveit. she will be lightened in tone by adding yellow to her color scheme. {Late Nine Bellinda's undergarments consist of pale pink tights. pink shoes with square toes. high heels and a high instep and u7Etherege. act Five. Scene 1. 57 Hess lies: Iellisle. 58 a petticoat of medium pink taffeta constructed in the same manner as that previously described for hrs. Loveit. Because of the round waist line. her gown is constructed in one piece. It consists of a round necked bodice built on the corset of bright pink taffeta overlaid with yellow silk organza and has three vertical tucks down the center front from.neck to waist. The two outside tucks should angle out from the waist slightly to add to the slimming effect of the corset line. Placing the tucks in the fabric (using the two layers as one) prior to cutting the bodice makes it unneces- sary to alter the pattern to accomodate them. They should be three inches apart at the neckline and taper to one and one- half inches apart at the waist. Both sets of sleeves are set into the bodice. The inner sleeves are of white lawn. full and are gathered to elastic just below the elbow and then worn pushed up to an inch or so above it. They end in double tapered ruffles. The first ruffle tapers from two inches in width at the inside seam to four inches at the outside. The second ruffle measures three inches on the inside and six on the outside. One-half inch rose satin ribbons cover the elastic and tie in a square knot with three inches of the ribbon left free. The outer sleeves are short and made of the same organza over taffeta as the bodice. They have three vertical tucks running from the arm- scye to the hem. using the shoulder seam as s centering.point. 59 They are parallel and one inch apart. The outer sleeves are finished with swags of medium pink taffeta which loOps up at the point where the tucks meet the hem. The hem of the sleeve should be cut up at that point.48 with a gold button. The underskirt is of the bright pink taffeta overlaid This point is then.accented with yellow organza cut in gores and gathered slightly to the waistband. It is trimmed with one-inch satin ribbon. of the same rose shade as the sleeve ties. that runs in a vertical line down the center front of the skirt until it makes a right angle with a horizontal row of the ribbon sewn twelve inches up from the hem. The overskirt is circular and matches the skirt. It is cut one-fourth the length of the skirt and rounded at the center front up to the waist as shown on the rendering. A medium pink taffeta swag is attached to the hem which tapers from three inches wide at the waist to eighteen inches at center back. The floor-length central 100p is attached to the overskirt at the back and covered with three tiers of eight- inoh taffeta ruffles. as is shown in the rendering. All of the swags and ruffles should be lined with the yellow organza to give the appearance of one overskirt which has been looped to the back. The waist is trimmed with a two-inch rose satin uBSee the rendering. 60 ribbon. Bellinda's dress is finished with a falling ruffle of white lawn that tapers from two inches at the center back to three inches at the front. The ruffle should not begin to taper until it is in front of the sleeves and should step two inches short of center front on either side. The resulting space is filled with a four-inch figure eight gold pin set with two red stones. her hair is parted in the center and combed close to her head. widens out in curls over the ears and has two long love- locks which fall over one shoulder. her cap is two layers of white lawn ruffling radiating from an off-center point. The under layer should be slightly longer than the upper and the point is covered with a cluster of rose satin ribbon. It is worn with the short side to the front. For the mail scene. Bellinda wears a very pale pink crystalette hood tied with rose satin ribbons. a triangular shawl of chints in a green and white print edged with a four- inch box pleated ruffle of green polished cotton. and carries a small brown velvet muff. Harriet woodvil; harriet Noodvill is Dorimant's third. and presumably final. romance. She is young. beautiful. and "vastly 61 rich.'u9 In addition. she is sophisticated. witty. and more than a match for Dorimant at playing the double role demanded by society. harriet is Mrs. Loveit's exact apposite in terms of control. She is dressed in shades of yellow trimmed with orange to complete the rose to yellow continuum and also to establish her relationship with Dorimant who is dressed in gold. Plate Ten Harriet‘s bodice. built on the corset.50 is of white crystalette over yellow taffeta. The deep center vee of the waistline is accentuated by the seven.rows of one-half-inch orange silk moire ribbon which follow the lines of the corset. Each ribbon is edged on both sides with narrow white lace. The elbow-length sleeves are of the same layers of fabric as the bodice. They are narrow straight sleeves and end in a pleated ruffle four and one-half inches in length which are stitched to the sleeve at a line three-fourths of an inch from the top of the ruffle. The stitching is then covered with a row of one-half-inch orange moire ribbon edged with lace. The inner sleeves are of sheerest white organza ugEtherege. not One. SOUse the same pattern and method of construction as for the others. :1... tea: Insist emu. 63 gathered to string elastic below the elbow. leaving two-inch self ruffles. Several tangerine satin double knots of one- fourth inch ribbon are tacked to the elastic as trim. The underskirt is full and made of the white crystalette over yellow taffeta. A thirteen and one-half inch ruffle of pleated crystalette trims the hem and orange ribbon and lace hide the stitching line one and one-half inches from the tap of the ruffle. A full floor-length panel of light orange tissue silk is gathered to the bodice at the back over the underskirt. This panel should step just short of the side seams of the dress. The overskirt is hip length and of the same materials as the underskirt. It is set smoothly at the waist and decorated with swags of the tissue silk which meet at the center back at a point fourteen inches down from the waist. Attached to the overskirt beneath the swags is a full ruffle of the orange tissue silk finished to a length of twelve inches. The gown is finished with a two-inch standing gathered ruffle of white organsa trimmed with narrow white lace at the neckline. Set in with the ruffle at two and one-half inch intervals are interfaced double tab ribbons of tangerine satin. They are three-sights of an inch wide and one inch long. A single row of the one-half inch orange moire ribbon trimmed with lace bands the neckline. The gown laces up the back opening in the prescribed manner. 64 harriet's petticoat is of white taffeta constructed in the same manner as Bellinda's and she wears white tights and white shoes. her hair is dressed in curls close to her head and she wears two lovelocks over her shoulder. The cap is of white crystalette cut in two semicircles with a nine-inch radius. These semicircles are trimmed with a one-inch ruffle along the curve and then gathered along the straight edge to a width of two inches. The two halves are joined together with a large tangerine satin how. The bow is placed at the crown of the head and the two gathered sections are pinned down over either ear. as befits her wealth. harriet wears pearl drop earrings. two pearl bracelets. a single strand necklace of oval amber beads separated by round geld ones. and several large single pearls in her hair. her the mail scene. harriet adds a large triangular white lace shawl to her eoetume. {late Elgven harriet's maid. Busy. is dressed in medium brown and yellow. She sears black low-heeled shoes with square toes and black tights. her petticoat is of medium weight muslin and A-line in shape. over this she wears a light yellow A- line skirt ef heavy slubbed cotton. her bodice. again built directly on the corset. is of brown. black and yellow striped rises lies-s: Iss7. said as Isrsiet. 66 denim. The sleeves are straight and step above the elbow where they are trimmed with two-inch ruffles of white polished cotton. A band of one-half-inch black cotton braid covers the seam. The round neckline receives the same treatment with a two-inch ruffle of polished cotton and a row of the black braid. Her overskirt. of the striped denim. is cut three-fourths the length of her skirt and gathered in three rows of puffs to a black taffeta lining cut one-half the length of the skirt. The overskirt is gathered to the waist of the bodice and the waist is trimmed with a one-inch strip of black cotton braid. Busy's apron. of white polished cotton. features a hangp ing pocket and is sewn directly to the bodice. her mob-cap is also of the polished cotton and is trimmed with a three- inch ruffle of the same fabric. Around her neck she wears a one-inch black satin ribbon edged with one-half-inch polished cotton ruffles. for the mail scene Busy wears an elbow length circular cape of brown cotton lined with black taffeta. It has black cotton braid trim at the circular hem and neck and fastens with a brass button and black loop at the throat. Lag! woodvill Lady Woodvill. Harriet's mother. is an admirer of all things past and finds little in the present world of the play 67 to her liking. particularly the fondness of the men for women younger than herself.51 Because she is both related to Mar- riet. who is of the Libertine group. and at the same time a member herself of the Christian ethic contingent. her colors are set as grey with a touch of blue in it trimmed with yellow. plate Twelve Lady woodvill's undergarments consist of grey tights. grey shoes and a grey taffeta petticoat lined with muslin. It is layered with four-inch ruffles double-lined with nylon net for stiffness. Over this she wears a bell skirt of grey peau de sole which is appliqued in antique gold lame down the center front. The designs are to be raised and this can be accomplished by padding under the designs with layers of cotton quilting. her bodice of grey peau de sole is built on her corset. The neckline of both the corset and bodies must be cut out so that her shoulders are left bars. The center front panel of the bodies is overlaid with gold metallic lace and one-half- inch yellow satin ribbons. Her straight sleeves end in three- ineh cuffs of heavy white lace over white taffeta. a four- inch collar of the lace over taffeta encircles the neckline. 513therege. act Four. Scene 1. 68 Piste Delve: my lesewili. 69 her undersleeves are of white lawn and are full and gathered to elastic below the elbow. They have a three-inch self ruffle. Her overskirt of the grey peau is attached in deep pleats to the bodice and is slightly longer than floor-length at the back. giving it a train effect. The overskirt is trimmed with three horizontal bands of the gold metallic lace and one-half- inch yellow satin ribbons. The band at the hem is twelve inches in width. the middle band eight inches and the upper one measures four inches. The placement of these bands depends upon the length of the skirt and will have to be determined on the actress. The distance between the rows is intended to graduate toward the hem. just as the rows themselves become wider. Two vertical rows of the lace and ribbon trim are placed on the front edges of the overskirt. These rows should taper from a width of six inches at the waist to ten inches at the hem. One-half-inch.yellow ribbon trims the waist. Lady woodvill's hair is dressed high in tight sausage curls and she wears a white lace over taffeta fontange to which is attached a black satin veil. The veil has two separate panels at the sides which fall forward over each shoulder. her bodies is trimmed with a large pendant breech of red stones and she wears a large red ring. Elbow-length white gloves complete her costume. For the Mail scene she wears a black satin pelisse that 70 is ruffled in three-inch tiers from neck to hem. The hem reaches to just below the waist at center front and tapers to a point three-fourths the length of the skirt at center back. A black silk tassel hangs from the point in back. The round hood is also completely ruffled in one and one-half- inch widths. The pelisse ties with two long blamk silk cords furnished with tassels. It is not pictured. Plate Thirteeg Lady doodvill‘s footman wears brown shoes. cream-colored tights. a cream colored percale ghirt with long full sleeves ending in one and one-half-inch self ruffles. and a plain rec- tangular jabet of the percale. His breeches. cut from handy's pattern are made of dark gold sailcloth and are gathered to elastic below the knee. The waist is trimmed with three black cloth-cogered buttons. his coat-52 is of the same geld sailcloth lined with dark brown taffeta. buttons from neck to has with black cloth but- tons and is trimmed down shoulder seams. side seams and the outside center of the three-quarter length bell sleeves with black silk cording. A black silk tassel is attached to the cording at the hem of each sleeve. Szwaugh. The Out of Men's Clothes 1600-1200. Pattern p. 59. (Cmit sleeves and subst tute three-quarter length bell sleeves.) 71 Plate T hirteen. Servant t 0 Lady U oodvill 72 His wig is black. parted in the center and combed close to his head into a black faille bow and black broadcloth wig- bag. His hat is small and circular with a four-inch brim and is made of black industrial felt over buckram. The band is a black silk cord with two tassels. Young harry Bellair Young hellair is handsome. well-dressed and charming. but not overly bright.53 while he professes to be a Libertine and fancies himself as a compatriot of Dorimant and medley. he is firmly enreoted in the Christian ethic tradition and cannot conceive of going against the dectates of society. Since he is in love with Emilia. he will marry her. but at the same time he will not consider giving up his inheritance for her. It is indicative of his character that Emilia. his fiancee. is precisely the kind of woman with when his father (who. like Lady deedvill. is a relic of a past age) can and does become infatuated. Plate Fourteen As the central figure in the Christian ethic group Young Bellair is dressed in blue. His breeches. out less 5uztherege. Act One. 73 flats Issrtees: town lorry Ielieir. 74 fully than Dorimant's. but from the same pattern. are construc- ted of midnight blue upholstery damask and end in plain bands below the knee. with them he wears pale beige tights and navy blue shoes with yellow grosgrain rossetee. his vest5n which fastens with small geld buttons from neck to hem is of the upholstery damask also and is lined with dark blue taffeta. His cream colored lawn shirt-sleeves are full and end in a double falling ruffle ever the hand. The top layer is two inches in width and the bottom layer measures three inches. One—quarter-inch yellow satin ribbon ties trim the wrists and the sleeves are set directly into the vest. Bellair's coat. cut from the vest pattern. of royal blue monk's cloth is the same length as his vest and lined with blue and yellow striped taffeta. Because of the softness of the monk's cloth. the entire coat is interlined. including the sleeves. The fitted sleeves end just above the elbow in four- inch straight cuffs which are trimmed with three and one-half inches of white lace over white taffeta. leaving one-half-inch of the blue menk's cloth at the upper edge. Three-inch wide gold tapestry fringe is sewn around the inside of the sleeve in such a manner as to hang down when the cuff is turned up. This same tapestry fringe decorates the hem of the coat. adding three inches to the length of the garment as compared su‘Naugh. Pattern p e 59 e 75 to the vest. Bellair's jabot is of white lace which is knotted at the neck. Pour half bows of one-inch yellow grosgrain ribbon are attached to either side of the knot from the back and the jabot is then sewn to a two-inch neckband of white lace over white taffeta. a one-quarter-inch wide blue satin ribbon is sewn to the jabot three inches from the hem. A rosette of the one-inch grosgrain ribbon is attached to the left shoulder of the coat and a matching rosette hangs from the handle of his dress sword. The sword is mounted on a baldrick of black satin ever industrial weight felt. It is trimmed with white satin one-inch ribbon and three-inch gold fringe on both edges. Large red jewels are sewn down the center of the bald- rick and pearls are scattered among them. ‘late fifteen bellair's page is dressed in brown low-heeled shoes. beige tights and full breeches of dark brown duck cut from Randy's pattern. They end in bands below the knee and are decorated with bows of turquoise silk cording at the sides of the leg. His shirt is of beige cotton and has full sleeves which tie at the wrists with turquoise cords and end in one-inch self ruffles. The Jabot is a plain rectangle knotted at the 76 flees sun... has be teen ballets. 77 threat. The page's coat55 is of tan cotton twill and is decorated with vertical stripes made of pale blue faille on which a black tracery design has been painted. The stripes are edged with yellow silk cording and sewn directly onto the coat fabric. The coat is lined with pale yellow taffeta and is worn hanging open. his wig is brown. parted at the center and gathered into a short pigtail with a turquoise grosgrain bow. he carries a small round cap of dark brown duck. Emilia Lmilia is a discreet young lady of excellent character and deportment whose infrequent bursts of youthful gaity do not save her from a certain dullness. As Bellair's intended she wears blue to reinforce that relationship. but Dorimant has also been interested in her and intends to approach her again after her marriage. Apparently he feels that her con- cern is more for her virginity than for her virtue. In order to place her as a possible conquest for Dorimant. pink has been added to her color scheme. but in order to save her from a china doll look. she will be in Trussian blue and salmon pink. 55Bellair's pattern is altered only by cutting all seams straight. 78 Plate sixteen Emilia wears navy shoes. dark blue stockings and a full navy blue taffeta petticoat ruffled like Hrs. Loveit's. over this she wears a full skirt of blue and grey striped upholstery satin. A waving design of silver has been painted over it. Her bodice is of flowered salmon upholstery chints set in two-inch pleats beginning at the center front with a four- inch box pleat and constructed on the corset. again. the pleating is done before the bodies is cut out. The short bell sleeves are pleated also and end above the elbow in midnight blue satin-backed crepe cuffs two inches wide. The crepe is used shiny side out and the cuffs are interfaced. The under sleeves. of white faggoted cotton. are full and gathered to elastic below the elbow. They end in two-inch ruffles edged with narrow white lace and are trimmed with one-half-inch green-bronze satin ribbon. Emilia's overskirt is of the flowered chintz cut in gores and set smoothly to the round waistline of the bodice. The overskirt is lined with midnight blue taffeta and edged with swags of the midnight blue crepe again used shiny side out. Two wedge-shaped panels of the crepe. edged with three- inch gold tapestry fringe. are gathered to the center of the swag. giving the effect of a tied back skirt.56 sésee the rendering. 1’ Put. “Item” “I“. 80 The waistline is banded with one-half-inch bronze satin ribbon as is the neckline which is finished with a one and one-half-inch ruffle of scalIOped white lace. The gown laces at the back in the prescribed manner. She wears a large geld pin with three pendant pearl dspps on the center front of her bodice and pearl drOp ear- rings. ner hair is worn parted in the center and combed into curls over her ears. Two lovelocks are secured at the nape of her neck with a small dark blue satin bow. Lady Twwnley Lady Townley is Young Bellair's aunt and his and Emilia's sponsor and confidante. As her name implies. she is sophis- ticated and socially prominant. but she has a warmth about her and is possessed of an insatiable taste for gossip. Her position as social leader of the Christian ethic set neces- sitates her wearing the darker hues of their group. but her sympathy with the Libertines shows in the red tint of her purple. While her gown is not of the contemporary design of Harriet‘s er Bellinda's. it is much more modish than Lady Wocdvill's or even Emilia's. The desired effect is one of lushness and sophistication that would be soft and feminine at the same time. 81 Plate Seventeen Lady Townley's undergarments consist of maroon shoes. tights. and a maroon taffeta petticoat made in the same ruf- fled style as the others. her petticoat is worn over a padded hip roll three inches in diameter which tapers in the front to permit the bodies to lie flat over the stomach. Over this petticoat is worn a full gathered skirt of eggplant satin. her overdress is made of eggplant and egg- shell striped upholstery damask with a narrow gold stripe.57 The bodice is built directly over the corset and the large puffed sleeves end at the elbow with a three-inch ruffle of eggshell cremepuff. The sleeves are caught into two tiers with small cornflowers. The flowers also decorate the seam of the ruffle. The skirt of the overdress is full. gathered. and split at the center front. It is pulled to the sides and gathered into three tiers by hand. Larger cornflowers are placed be- tween the tiers at sixteen-inch intervals. again. as with Lady Woodvill's gown. the tiers should graduate. with the last flounce being one-third the length of the entire skirt. The waist is trimmed with gold edged cernflower blue moire ribbon 57If this fabric cannot be found. it is easily made by constructing the stripes of the fabric of the skirt overlaid with black lace and edged with narrow gold ribbon. 82 mete Seventeen: Ledy famiey. 83 as is the neckline. A two and one-half-inch falling ruffle of eggshell cremepuff encircles the neckline and three-inch graduated ruffles of cornflower blue chiffon edged with gold ribbon cascade down the front of the bodice. The gown laces at center back. Lady Twwnley's white wig is pulled straight back from the forehead into a high pompadour. Her cap. of eggshell cremepuff. has a two-inch ruffle and covers her entire head from crown to nape. It is trimmed at the back with a blue moire bow. Two lovelocks curl down over one shoulder from under the cap. She wears ruby earrings. a gold and ruby lavalliere on a thin gold chain. and a ruby ring. Wee Lady Townley's butler wears black shoes. white tights and a white satin shirt. The long sleeves end in one-inch ruffles and the Jabot is a rectangle of the satin tied like an ascot. His narrow breeches58 are of plum velvet and tie above the knee with black satin ties. his coat59 is of dull rose. purple and green print upholstery cotton. It has long fitted sleeves which end in five-inch black satin cuffs. A 58waugh. Pattern p. 61. 59Eb1de . De 59o Piece lighten: butler to Lady rmiey. 85 one-inch band of purple satin trims the cuffs and two-inch wide vertical bands of the purple satin trim the front edges of the coat. The coat is lined in violet taffeta. A single black satin tassel marks the waist at each side seam and two white satin tassels hang from the waist of the breeches. his wig is light brown and combed straight back into a black satin bow and black broadcloth wigbag. Old harry Bellair Old Harry is loung Bellair's father and. like Lady wood- vill. distinctly the product of the previous era. He admires all of the old-fashioned virtues. especially obedience in sons. In his super-annuated passion for Emilia. he makes a fool of himself as the doddering roue he really is. ‘ {late Nineteen Old Bellair wears black shoes with silver buckles. beige tights and light brown no-wale corduroy breeches (nandy's pattern) which are gathered to elastic below the kneee. his beige shirt is made of crepe with a plain jabot. full sleeves and three-inch ruffles at the wrist. his coat60 is of dark 6022$29o P- 59. (All seams are cut straight.) rm. lieeteee: old leery Ieneir. 8? turquoise wool lined with pale aqua taffeta. The elbow-length fitted sleeves are decorated with two-inch black satin bands edged with silver cord. Rosettes of silver cord are placed in the center of the band at two-inch intervals. ihe same satin and cording trim decorates the front edges of the coat. Bellair's wig is grey and hangs straight to the shoulders. falling in haphazard bangs over the forehead. he carries a blackthorn cane. Sir FOpling Flutter Lately returned from the Continent. sir EOpling is the foil for Dorimant. Ostensibly the man of mode. sir kopling mistakes the trappings and ceremony of society for character and intellect. his main concern is his appearance and the impression he makes on peOple. he is constantly engaged in a game of one-upmanship with all of the men he comes into contact with. Since he really belongs to neither of the groups he has been costumed in green. his fondness for clothes necessitates more than one costume for him and so he has been designated a different costume for each of his three entrances. 88 agate Twenty FOpling's first entrance is made in chartreuse. Since this is his first social call in London after his return from France. he would presumably be dressed in all of his outrageous finery. In order to set his style as more ornate than the prevailing mode. it was decided to move him back to circa 1665 when the style was much more lavish and cluttered. FOpling's shoes are of white leather and have large fan- shaped tongues which are edged with white box-pleated linen. The shoes are trimmed with large chartreuse satin streamered bows. his white tights are gartered at the left knee with a satin bow. 61 his petticoat breeches are made of olive green velvet and come to just above the knee. The flounces are of char- treuse satin lined with black taffeta and edged with one-half- inch gold ribbon. Three gold tassels hang from the waist in front.62 The shirt is of white silk organza over white taffeta and has large puffed sleeves which end in starched ruffles at the wrist. The sleeves are gathered below the elbow and again at the wrist with one-quarter-inch olive satin ribbon trimmed 6112$2p0'Pv 580 62Aeide from Fopling. the only persons wear teeeele are servants and Lady woodvill. a comment on the ' atest fash- ion free France.“ me- My: “8 70,1“ '1“. M! In. I... I 0‘ 3. 90 with tiny gold buttons and tassels at three-inch intervals. The tassels are omitted on the wrist. FOpling's coat63 is of chartreuse satin. interfaced. and lined with olive green taffeta. The short fitted sleeves end in organza over nylon net ruffles. The bottom ruffle is four inches in width and the top one is one and one-half inches wide. The front seam of the sleeve is decorated with box- pleated white linen trim with a one-quarter-inch olive velvet ribbon running down the center. Two-inch wide bands of olive velvet encircle the bottom of the sleeve itself. Small gold buttons are centered on the band at one and one-half-inch intervals. The same pleated linen and velvet trim edges the front of the coat on both sides and medium sized gold buttons accent the waist at the sides. three buttons on each side. his jabot is of white organza over taffeta and is trimmed with a four-inch band of white lace at the ends. The Lace is attached with one-quarter-inch gold ribbon and another row of the ribbon forms the hem. Two gold tassels on white silk cord tie the jabot on and hang down underneath it so that the tassels show beneath the Jabot. his wig is black. long. and very full. Two lovelocks are caught with chartreuse streamered bows. one over each shoulder. The hat has a wide upturned bowl-like brim and is made of 63Waugh. p. 60. (Omit pockets and take two inches off of the center front edges.) 91 industrial felt covered with chartreuse satin. A two-inch band of olive velvet studded with gold buttons two inches apart edges the brim over a single row of box-pleated linen three-quarters of an inch wide. Large ostrich feathers of both white and black cascade over each side of the hat. Sir FOpling is heavily made up and wears a black velvet heart-shaped patch to the right of his mouth and false eye- lashes. he carries a tall thin black cane that has two gold cords with tassels hanging from the gold metal band. {late Twenty-One fopling is masked on his second entrance to Lady Townley‘e. he has been to Court and is dressed for the evening. his shoes and stockings are the same as for the first costume. but the chartreuse bows have been replaced with gold ribbon rosettes. The breeches6u are constructed of dark green taffeta overlaid with white lace. interfaced. and lined with muslin. They are banded below the knee with one-inch gold ribbon and have two-inch ruffles of white lace. strips of the white lace three inches wide are pleated horizontally at one- inch intervals and affixed to the side seams of the breeches. The coat. cut from.the same pattern as his first one. is éulbide . Pe 21+e Piece twenty-One: Ii: l'eplin Ilutter. Act IV. 93 of the same taffeta and lace, heavily interfaced and lined with the green taffeta again. Strips of the pleated lace edge both sides of the center front closing. the front dart positions and the back dart positions. A four-inch ruffle of the lace trims the hem of the coat. The short sleeves are disigned in the same manner as those of the first coat. The ruffles are made of the white lace stiffened with two layers of nylon net and the seam is trimmed with a two-inch strip of the pleated lace. The band at the hem is a two-inch width of forest green velvet with gold stitched embroidery. An epaulet of gathered white lace covers each shoulder of the coat. The coat fastens up the front with hooks and dyes. fopling's Brandenburgh is of dark green velvet. cut in a circular pattern. with long bell sleeves. The coat is lined with white lace and a six-inch ruffle of the lace trims the knee length hem of the coat. the bottoms of the sleeves. and forms the round collar. The Brandenburgh ties with dark green satin ribbons set in pairs eight inches apart down the front and has a logg green silk cord attached to the left side at the throat on the inside and another on the inside of of the right armscye enabling the coat to be worn as it is shown in the rendering. The two chartreuse bows are eeneved from the wig for this scene. and the hat. of the same pattern as the previous 9# one. is of dark green velvet over industrial felt and buckram. trimmed with two-inch wide pleated lace in the manner shown. dhite ostrich feathers are piled on the left side and spill out over the right. Fopling's mask is of celastic painted white and shellaced and has black eyebrows painted on it and false eyelashes af- fixed to it. a gold streamered bow is attached to the mask. his cane is white and trimmed with a gold bow. glate Twenty-Two sir rcpling's costumes are intended to progressively out- do one another in outrageousness. It was felt that to design a suit more elaborate than the one shown in Plate Twenty-One would defeat itself by being so busy that it would detract from any scenes in progress. Accordingly. it was determined to costume Sir Fopling for a specific activity for his last entrance. During the dialogue Sir Fopling mentions that he has no time for women because he is currently engaged in de- signing a ballet.65 therefore he wears a ballet costume. The green. white and gold of his color scheme is continued. but the white and gold are moved into the primary positions and the green used more sparingly to point up the similarities 65Etherege. act Five. mu twenty-lees lit up“. flutter. he: V. I 90 between Lir f0pling and Dorimant. In act rive. all of Lori- mant's intrigues threaten to come out in the Open and betray him. fiuch of his dilemma is caused by his surrender to the satisfaction of superficial needs motivated by personal pride. qualities that IOpIing is a symbol of. IOpling. then. ends up in the white and gold in which Lorimant started off. rein- forcing the aspect of horimant's character which is being revealed in the scene. he is shown wearing white tights and white satin balloon breeches66 which are gathered to the muslin lining above the knee. a large single gold tassel dangles from the outer seam and a chartreuse crepe cummerbund is draped around his waist trimmed with gold tassels four inches apart. The cummerbund is constructed in the same manner as barimant's. EOpling's shirt is made of pale yellow silk acetate with a metallic gold pinstripe lined in muslin. It has short bell sleeves and the under sleeves are of white organdy. soth pairs of sleeves are set in as one. The shirt has a standing band collar of white leatherette one and one-half inches wide with a one-half-inch ruffle of white organdy. It is trimmed with half pearls glued on one inch apart. Over this he wears a floor-length circular cape of the same dark green velvet as his brandenburgh. It is lined with 66daugh. p. 59. (Omit flounces.) 97 white taffeta and is permanently fastened to two three-inch wide strips of the white leatherette trimmed with pearls which cross on the breast and hook to a leather belt worn under the cummerbund. The leatherette bands are stitched together where they cross and a large oval gold medallion trimmed with pearls covers the stitching. a matching medallion is placed in the front center of the white satin turban he wears. Two black ostrich feathers rise over the turban from left to right. It is suggested that Fopling have at least two wigs so that the turban can be attached directly to the wig. White leatherette mules on chartreuse chopines complete his outfit. They are trimmed with pearls also. {late Twenty-Three Fopling's pages are dressed in his colors and in order to avoid having them look like a chorus line. two basic fabrice and one silhouette have been used. but the trimmings are all handled differently. All of the breeches are of the Young Bellair pattern and ‘ gather to elastic above the knee. They all wear brown ehoee. white tights and white muslin shirts with two-inch ruffles at the wrist and plain rectangular jabote. All of their coats are cut from Young Belleir's pattern. have three-quarter length bell sleeves. end are lined with buff taffeta. The 98 tiete testy-threes knee to lie Iepliq flutter. 99 variations are as follows from left to right on the rendering. Page number one wears breeches of medium green sailcloth and his coat is made of olive green wool. Gold cording is sewn into all of the coat seams. along both fronts and edging both his pockets. he wears a long powder blue taffeta sash tied like a baldrick and the ends of the sash are trimmed with two-inch black silk fringe. his shoes are trimmed in blue as shown. Page number two has a coat and breeches of green-brown sailcloth. he wears a yellow taffeta sash tied on his left arm above the elbow and wears rosettes of yellow grosgrain ribbon on his shoes. his hat is of brown industrial felt over buckram and is trimmed with white feathers. Page number three wears breeches of olive green wool and a green sailcloth coat with brass buttons down the front. The buttonholes need not be practical as the coat is worn open. he has a cluster of orange grosgrain ribbon on his left shoulder and at the outside of the right knee attached to his breeches. hosettes of the same orange ribbon trim his shoes. The fourth page is wearing a dark green wool coat and green-brown sailcloth breeches. Two-inch bands of brown leatherette are set on the sleeves four inches above the hem- line and gold buttons are attached to them every one and one- half inches. he wears a three-inch brown leatherette belt with larger gold buttons set at two-inch intervals. The belt 100 laces together at the center back with a leather thong. his shoes are trimmed with three gold buttons. All of the pages wear shoulder length wigs parted on the right side and may wear hats similar to that shown on the sesond man. man's character has already been discussed in Chapter iwo, Section One. and need not be gone into here. It is important to note that this costume has been designed for a very heavy woman with large breasts and extremely large hips and stomach. It is probable that any woman would have to be padded at the hips and belly in order to approximate the renp daring. but if the actress playing Foggy Nan does not have the other assets pictured, a new costume should be designed in the same color scheme. Plate Twenty-hour han's dress is built on her corset which is cut extremely low at the neck and high at the waist. It is of dull red hopsacking with a bright gold polka dot print. The full skirt is gathered onto the round waistline and is hemmed two inches off the floor. Her extremely short sleeves are cut in 101 Piste testy-tees: I.” In. 102 one with the bodice and seamed at the shoulders. ihe under- sleeves are of bright pink yum-yum and gathered to elastic, ending in one-inch ruffles. The bodice in trimmed with a one-inch ruffle of the yum-yum and a bright rose satin bow marks the cleavage. the apron, of bright gold cotton is sewn directly onto the dress. She wears black soft low-heeled shoes, black tights, and a plain muslin petticoat. Her mob—cap is of gold cotton trimmed with a rose satin how. her black lace mitts have a one-quarter-inch rose satin ribbon threaded through them at the wrists. swearing Tom hom's character has also been gone into elsewhere. but it must be noted that as he is the Opposing symbol to nan. he must be her physical Opposite also. his clothes have been designed in vertical lines to accentuate this. Elate Twenty-five 6? Tom's breeches are constructed of charcoal grey jersey. his shirt. of light grey muslin. has a long rectangular jabot 67Ibide. p. 61s 103 Piste martin: sweat. tee. 10“ tied like an ascot and then knotted two-thirds of the way down as shown. his sleeves are worn rolled up. His coat. of dark blue wool with a black pinstripe. is cut from Old Bellair's pattern and lined with black taffeta. The elbow-length sleeves end in three-inch charcoal wool jersey cuffs. his shoes are black and low-heeled. his tights are pearl grey. and his wig is black. parted in the center and styled in waves to the papa of his neck. he wears a small pince-nez and carries a round black hat of industrial felt over buckram banded with a black silk cord knotted with two- inch ends left over to which are affixed silk tassels. hr, Smirk Smirk is the chaplain called in to perform the marriage in not Five. Because of the adverse remarks about the clergy in the first act of the play. he is costumed as the antithesis of Christian piety. he is portrayed as a glutton, overfond of spirits. and a subarite. and is intended to be played with a suggestion of lewdness. he is designed as a Catholic prist in disguise; the private priest of a very wealthy woman who provides him with all of the "amenities." During this period all sinisters were Protestant ones. or pretended to be. therefore Smirk is dressed mainly in black 105 and white. It is in his choice of fabrics and his use of red in places where it is almost hidden that he gives himself away. It will be noted that Smirk and Medley are in the same color combinations reversed. The tie between them is inten- tional as both are private sybarites masquerading as ascetics. Plate Twenty-Six Smirk wears regulation black shoes with silver buckles. and white tights. his garters. however. are of two-inch red satin ribbon worn below the knee. His breeches (handy's pattern) are of black wool broad- cloth and gather to the black taffeta lining just above the knees. The coat. cut on Old Bellair's pattern. is of matching wool broadcloth and has elbow-length sleeves with three-inch black satin cuffs lined in scarlet taffeta. The cost should come nowhere near to meeting over his stomach and is lined in black taffeta. Smirk's vest is of gunmetal grey silk faille with a raised velvet pinstripe. and is cut from the same pattern as the coat. but must button over his more than ample belly. The vest buttons down the center front with.ssall Jet buttons set in pairs as shown. The vest should pull over the stomach and not quite meet over the largest circumference as is shown ‘ in the rendering. The sleeves of the vest are of the same 10‘ If. M. note testy-us: 10? fabric and are long and fitted to the wrist where they end in black satin split cuffs three inches wide lined in the scarlet taffeta. His shirt is of white voile and the full sleeves end in three-inch falling ruffles. The jabot is of voile also. with a three-inch horizontally gathered band built on white taffeta and a two layer closely gathered rectangular falling ascot of voile. Smirk's wig is pure white and combed back smoothly from the forehead to ear level where it falls into shoulder-length ringlets. His low-crowned round brim hat is of the finest black velvet over industrial felt and buckram. he wears two large rings. one on each hand. and carries a Bible. His rosary hangs negligently out of a low horizontal slash pocket on his vest. Smirk should be highly colored and gross of flesh. giving the impression of impending gout or apOplexy. Three Slovegly Fellows These three gentlemen wander through the hail scene and are held up to ridicule by Papling and hrs. Loveit as being odious fellows of great affectaticn. Since Fcpling and hrs. Loveit are the two most affected peeple in the play. it is a moot point Just how slovenly these three fellows are. Fcpling 108 and Loveit speak of having seen these fellows before and so it is presumed that they all frequent the same places and that these gentlemen are of a social position not far below that of the principals. They are. accordingly. well dressed and for comic variety should be cast by physical type. Ilate Twenty-Seven The first gentleman is tall and thin and has been dressed in close-fitting garments of a vertical stripe to accentuate thiSe he wears black shoes with red heels. long tongues and oblong silver buckles. his tights are lavender and his fitted 68 are made of maroon wool jersey. his white shirt breeches of cotton percale has full sleeves ending in two-inch ruffles and a matching Jabot that reaches to the waist when tied. his coat69 is of maroon satin with black vertical stripes and bright red satin polka dots placed four inches apart in every other maroon stripe. It is lined with red taffeta. his wig is red. parted in the center and falls straight to below the shoulders. his hat is of black industrial felt over buckram with a tall Puritan stovepipe crown and a narrow 681bide. p. 61s 691bid.. p. 59. . 0 a .‘ .‘J lists testy-levee: 10’ rises liewesly relics . 110 brim cocked up in the front. It is banded in three-inch dark red faille. he wears a monocle on a narrow black cord attached to the waist of his breeches. and a round black patch sits alongside his nose. Gentleman number two is short and plump. he wears mus- tard shoes with wide violet taffeta bows. yellow tights and a yellow shirt made of muslin. The long sleeves end in one- inch ruffles and the rectangular jabot knots at the throat. his breeches7O are of dark violet suedecloth and trimmed with four gold buttons on the front sailor fashion. his coat71 is of matching suedecloth lined with yellow taffeta. It buttons down the front with the same gold buttons that trim the pants. The buttonholes need not be practical as the coat is worn cpen. his wig is dark blond and falls untidily to his shoulders in curls. The hat is of mustard felt over buckram and sports a few dark red feathers. Gentleman number three is a pretty fellow dressed in black shoes with powder blue satin ribbon rosettes. pink tights. and close-fitting breeches72 of pink brocade. They end in plain bands below the knee. his vest73 is of matching 7O 71 Use the same pattern as that for Eopling's pages. Naugh. p. 60. 7?;2;g.. p. 61. 73l2$§30 P0 59. 111 pink brocade and buttons to the waist with self covered but- tons. his coat?“ is of pale lavender upholstery damask lined in pink taffeta. It has an interlining of muslin. The coat has long fitted sleeves and is trimmed with rosettes of the powder blue ribbon at the waist on the sideseams. his jabot is of white muslin and decorated with powder blue rib— bons at the throat. Sleeve ruffles of the muslin may be attached directly to the coat sleeves and should be two and one-half inches wide. his wig is black. curly and pulled into a large fluffy ponytail over the left shoulder with a black satin ribbon. his large hat is of pearl grey felt over buckram and decorated about the low crown with six rosettes of the powder blue rib- bon. he is heavily painted. wears false eyelashes. and an entire coach and four of black velvet race across his cheek. The Chai;_3earers hellinda is borne by litter from Dorimant's apartments following her assignation with him. It is carried by men of the street. 7nIb1ds. p. 60s 112 Ilate Twenty-Eight Since these men make their living on their feet, pre- sumably they would Spend money for their shoes. doth wear serviceable black ones with low heels. 75 of The bearer on the left wears dark green breeches denim tied with black cording at the waist. his shirt is of grey patched cotton and is worn cpen at the throat. The vest is of rancid brown leather. All of these garments are ragged. dirty. and sweat-stained. his short brown hair is bound in dirty rags. The other bearer has bound his feet in dirty rags inside his shoes. and wears ragged burlap pants cut on the same pattern as his friend's. which are lined in muslin and tied with rope. his jacket76 is of dark brown hopsacking lined with black cotton. he has lOOped a red flannel scarf about his throat. his hair is shoulder-length and matted and his clothing should also be dirty and ragged. 75pm” p. 6i. 76ibide. Po 59s 113 Piste Twenty-light: their leesese. CON CLUS ION The design process has now been completed and the costumes must stand for themselves. No matter how thorough the research and documentation have been. despite the validity of the play analysis. identification of theme. and character breakdown. in the final reckoning the costume design scheme stands alone. If the costumes fail to evoke the desired subconscious re- sponses from the audience. they are a failure. The ultimate success of failure of a design scheme is in other hmsds than that of the designer. but certain measures are assilsble to him to insure its validity. There is no one solution to the problem of designing successful costumes for a theatrical production. there are as many design schemes possible as there are designers and directors. and each de- signer is motivated to some extent by his or her own testes. but those tastes must be tempered by the individual demands of each production. The specific demands of this production as seen by the designer have been outlined in the preceding chapters and hopefully translated into meaningful visual form. As with any theoretical problem. this one has the limits- tion of never having been constructed and seen on the stage. There are oftentimes mistakes in interpretation. color funding. 115 or fabric selection that are discovered in the buying or building processes and can be rectified at that time. These faults do not always show up in the renderings. again. seeing your costumes rendered on isolated sheets of paper is not the same thing as seeing them moving about on the actors. and combinations that seemed to work on paper do not always work onstage; some combinations become too blatant. others not obvious enough. he design scheme can be fully Judged as being successful or not until it is seen performing the function for which it was formulated. The values of a theoretical study lie in the Opportunities for intensive research into an historical period, the chance to design with no financial restrictions (an Opportunity that may never be encountered in actuality) and without having to compromise with the director on your design scheme. and prac- tice in rendering techniques and the application of sound deo sign principles. This particular study was most valuable for the author in the research into the Restoration ethic of Libertinism and its application to Restoration comedy. The theories of Dale Underwood and Thomas M. Fujimura concerning the relationship of the Libertine to the rest of Restoration society result in a change of character for the comedies of the period from a superficial view of them as merely Comedy of Manners depicting the surface behavior of a certain stratum of society to one 116 of a group of plays written in order to display the philoso- phies and motivations of the natural man in Opposition to a society Operating under a false set Of rules and values. The discovery of these theories was invaluable to the designer in develOping a design scheme to successfully visualize the theme and purpose of The man Of mode. APPENDIX Certain general rules of construction are to be followed in the execution of the costumes for this play. All patterns are to be cut out of unbleached medium weight muslin and sewn together. The first fitting for the actor will be of this pattern. Any adjustments are to be made on the actor and then the muslin pattern is to be taken apart and the adjusted pieces used as the pattern to cut the actual fabrics of the costume out with. The muslin pattern is then used as a backing for the fabric unless it is otherwise di- rected. All seam allowances are the standard five-sights of an inch and all of the measurements given in the text are finished ones. Seam allowances will have to be added to determine the cutting measurements. All of the women's bodices will be built directly on the corsets. therefore the corset pattern is used to cut out the bodices. A sixpinch section at the center front of the waist- line of all women's skirts is to be left ungathered to accomo- date the corset waistline and give the shirts the straight look at the front characteristic of the period. Only the sources of period patterns needed are given in the text. All other garments are to be cut out using modern 118 patterns available at any local fabric store. The fabrics used in these costumes are the Optimum materials for their individual purposes. but many Of them are prohibitively eXpensive. Substitutions are allowable. but all Of the characteristics of the fabric substituted should coincide with the desired one. Aside from the Obvious one of color; weight, draping quality or stiffness. finish (whether dull or bright) and texture must be taken into account as they are carefully balanced against each other not only within an individual costume. but among the different characters as an integral part of the design scheme of the play. BIBLIOGRAPHY Ashley. Maurics. Eggland in the Seventeenth Century. loo:- 121 . Baltimore: Penguin Books. 1963. s Qife in Stuart England. New York: 6. Ps Putnam's Sons. 196“. Aubrey. Jenn. Brief LivesI Chiefly of ContemporariesI Set 2235 by John Aubrey. Between the fears 1662 and $62 . Andrew Clark. ed. Oxford: 1898. Burnet. Bishop. History of His Own Time. London: 1818. Burnet. Gilbert. Some Passages Of the Life and Death of the Right Honourable John Earl of Rochesteg. London: 1680. Clarendon. Edward Hyde. The Life of Edward Earl of Olarendgg. 01f0rd! 1759s Continia mills. Fashion. New York: Odyssey Press. Inc.. 19 5. Dobree. Bonamy. Restoration Comegy. Oxford: 1924. Durant. will and.Ariel. The Sto f Civ isation Volume VIII. The Age of Lou s XIV. New Yer a S mon an Sc uster. 1963. Edwards. Ralph and L. G. G. Ramsey eds. The Connoisseur's Complete Eeriod Guides. Tudor to Early Victorian. New York: Bonanza Books. 1968. Etherege. Sir George. “The Man of Mode or Sir Fopling Flutter.‘ Restoration 1 s. Brice Harris. ed. New York: Random House. Inc.. IEES. Fujimura. Thomas H. The Restoration Comedy Of wit. New’Xork. 38111.8 and NOblC. fii0e p I968e Harris. Brice. ed. Restoration.Playg. New forks Random house Inc.. 1951. Haueer. Arnold. The Social History of Art. Vol. 3. New York: Random House Inc.. 1951. Hobbesé Thomas. The Egglish Works of Thomas Hobbeg. London: 1 39. ' Holland. Norman N. The First modern Comedies. Cambridge: Harvard University Press. 1959. Krutch. Joseph wood. Comedy and Conscience After the Restora- tion. New York: Columbia University Press. 1949. Lynch. kathleen m. The Social Mode of Restoration Comedy. New York: 1926. aacmillan. Dougald and Howard M. JOnes. eds. Elgys of the Restoration and Eifsteenth Century. New York: Henry 0 an ompany. . Nettleton. George Henry. F ish Drama of the Restggation and Bi teenth Centur oi . ew or n e Macmillan Company. 1923. Palmer. John. The Comedy of Manners. London: 1913. Payne. Blanche. History of Costumg. New York: Harper and R0". 19650 Pevsner. Nikolaus. An Outline of Euroaean Architechture. Baltimore: Penguin Books. Ific.. k953. Pres. Mario. An Illustrated Histo of ish . New‘forlu George Bras er. . Tapie. Victor-L. The Age of Grandeur. New York: Frederick As Praeger. Inc.. s Trevelyan. G. M. History of Egg;and. Vol. 11. Garden City: Doubleday and O.. . Underwood. Dale. Ethere e and the Seventeenth Centur C of Manners. New Waugh. Norah. Corsets and Crinolines. New York: Theatre Arts Books. 19 . . The Out of Men's Clothes 1600-120 . New York: Theatre Kits 50053. I955. . The Out of Women's Clothes 1600-1220. New York: Theatre lifts Bofis. 9 . Wilson. John Harold. A Rake and His Times. New York: Farrar. Straus and Young. 1954. ”'TITifitimiujlflifl'ufil 1mm fillfliflljnflj; W