a

Fashion & Fantasy in the Eighteenth Century

/foS Angeles County Museum of Ar~ Collection of Costumes and Textiles(,T58'5.LG'--Il'9g3

Los Angeles County Museum of Art in Association with ItrTHarry N. Abrams, Inc., Publishers, New York

R00118 46184

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Copublished by theLos AOlleles County Museum of Art5905 Wilshire BoulevardLos Angeles. California 9°°35'"dHarry N. Abrams, Inc.I 10 East 59th StreetNew York. New York I002~

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Edited by Phil Freshman Dw hDesignedb Ti .' ot yJ. Schuler, and Barbara Einzig

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« e lUono 3000h d -I ~8gram Fukia M C _ ar cover and Ill; ,000 soncover, OnBound byTalk ge aue oared paper, by Nissha Printing Co., Ltd., Japan

ar ansha Book Bindill' Co. Ltd J' ., apanlibrary of Ccng C .Los A I Cress atalogllig in Publication Data

nge cs -ounty Museum of ArtAn elegant an. .

Bibliography: p.I CoStume-Histor _ 8 h .a.F hi , Y I t century-Exhibitions.as lon-Hlslory_ IStl

3 F hi 'CenturY-Exhibitions, as Ion and art-History S· .I Maeder, Edward, II. r',-I th Century-Exhibitions,GT 8 rue.

:;, :;,.L64 1983 'ISBN 8 391 .ooq 033074°'9494

J 0- 1°9-0864_6 (Abrams)ISBN 0-87587'111_9 (pbk.] ,

E,xhibilionDates: March 8_ ju 'Ihisexhibition wasor . d nc 2,1983

ganne with the aid of a grant from the National Endowment for the Arl.\

Cowerilluslration'PQ~el(cat. no, 400)

CONTENTS

.--,-------------------,

Foreword Earl A. Powell tu 9

Preface and Acknowledgments Edward Maeder r r

The Elegant Art of Dress Edward Maeder '5

The Elegant Art of Movement Alicia M. An/laS 35

The Elegant Art of Woven Silk Natalie Rothstein 6,

The Elegant Art of Embroidery Nikki Scheuer 89

The Elegant Art of Lace Anne Ratzki-Kmaiz '07

The Elegant Art of Tapestry Anna C. Bennett "5

The Elegant Art of Fancy Dress Aileen Ribeiro 139

Catalogue

Appendix: Costume and Textile Conservation

Selected Olossar y: Eighteenth-Century Costume and Textile Terms 221

Bibliographies '49

Trustees and Supervisors

THE ELEGANT ART OF MOVEMENT

... one should alway.1 /)'ul lhe best fool [oremoscOlle skauld pteose, shine, and dazzle, whereverit is possible."

lOR[)CHt:sn:RFIELD. '752

The elegant art of eighteenth-centurymovement, an integral parr of daily living,was strongly influenced by how costumeswere cut and how they were worn, In mo-tion, these were superbly elegant; move-meru brought them to lite!

while the modern idea of movement is alairly simple one-the process of changingposition, place, or posun-e-c-the eighteenth-century concept was far more complex.For our purposes, we may consider it tohave consisted of lour calegories:

CARRJAC;l OK Ilom' POSTL'RE: standing in repuse;

\IOTln"s: (h~llging from one position to another.(hal is. walking. silting, dancing, erc.:

_'rA~"[KS: performing social rnuals:AOOKESS:bearing of (he body during conversal iOrl.

Each of these categories had precise stan-dards of performance which were subtlyrem forced by costumes. There was, how-ever, an incredible variety in the actualexecution of movement, since every eigh-teenth-century man and woman inter-preted these standards according to his orher individual social standing and person-ality. For example, although the highlyembellished French styles of movement,performed with effortless self-possession,were second nature to the upper classes,;;t times they chose to execute them per-functorily or to ignore them completely.Upper- and middle-class fops were veryIrenchified, taking all movement toextremes. The urban middle classes tendedto simplify movement, performing in astraightforward, if occasionally self·con·

ALICIA M. ANNASASSOCIATE PROFF..sSOR OF DRAMA,

SAN DIEGO STATE UNIVERSITY

scicus manner, while country middle-classmovement was often laboriously proper.Servants who imitated the movement oftheir masters too closely were criticizedseverely lor "aping their betters." Those ofall classes who were old-fashioned in theirbeliefs dung to the rigid formality of theirsevenleenth-century childhood.'10 this highly class-conscious era, move-

ment was the ulrimate status symbol. "Atcourt even, a graceful address, and an airof ease, will more distinguish a man fromthe crowd, than the richest cloaths tharmoney may purchase."! At the beginningof rhe century, elegant movement was thehallmark of the aristocracy. But as the cen-lUry progressed, the ambitious middleclasses steadily expanded their economicand political bases of power, and beganto challenge the social supremacy of thoseabove them, driving the upper classes toretreat behind an invisible social barrier ofmanners rather than wealth. Movementbecame the final rung on the eighteenth-century social ladder. It was one art whichcould not be purchased: it had to belearned-a painstaking pro(ess requiringtime and practice. There were rules forevery conceivable [ype of movemem-f romentering a room to passing someone onthe street, fighting a duel, dancing a min,uet, or drinking a cup of tea. These ruleswere gleaned from three main sources:dancing masters, etiquette books, and cos-tumes. Bythe end of the century, all threesources were being directed toward fur-

q

,"

PI.ATE 13

.Dress (sad-back closed robe; cat. no, 15)'

thering the upward mobility of the middleclasses.Upper-class standards of movement

originated in seventeenth-century Franceduring the reign of Louis XIV, Although inthe eighteenth century these-rules weresomewhat relaxed and refined, they werenevertheless continually regarded as theepitome of COurteous behavior and elegantmovement until the French Revolution.Fr he u,om t e ume they could walk, upper-classeighteenth-century boys and girls weretutored by French-trained dancing masterswho regularly visited the fashionable homesof hei ht err c arges to teach the latest bowscurtsies, and dances (fig. 4). Between visits,each child was expected to practice his les-SO.llS daily and, if necessary, in from of amirror.

Less affluent parents sent their childrento d .ancmg schools or taught them at homefrom one of the many books on conductand dance, which contained step-by-stepInstructions and often illustrations. Onesuch text Th M .r ", e an OJ 1Wanners: or PlebeianPolish'd '., was wruten In 1768 "chiefly for theUse and Benefit of Persons of Mean Birthsand Ed .ucanon, who have unaccountablyplung'd themselves into Wealth andPOwer."\!Who h "et er acquired from dancing mas-

ters condI' uct manuals, or costumes the

eegamatf 'r a movement was something ofa paradox 0 h ". n t e one hand, It dependedupon a highly I "I

romp ex and preCIse set ofrUeswh .ose execution required consider-

able bodily discipline, while, on the orber,it required an "easy" or apparently effort-less manner of performance. A childlearned very early just how much effort ittook to appear effortless, in much the sameway as does a classical ballet dancer today.At first glance, the wearing of eigh-

teenth-century costumes may not look sodifficult. But if we could be transportedback. to the world of the costumes displayedin this catalogue and exhibition, we wouldbe astonished by the many ways theseclothes would affect our normal postureand ability to move. Today's woman woulddiscover that she could not slump or bendforward without getting poked by her cor-set. Her ballooning skirt would make ithard to turn around without bumping intopeople or knocking over things. On herfirst attempt at sitting down in a chair, shewould likely miss the seat altogether!Today's man could find himself the

model of this description by Lord Chester-field, one of the century's foremost expo-nents of etiquette:

He is at a loss what to do ,",'ithhis hat, when it isnot upon his head; his cane ... is at perpetual warwith every cup of tea or coffee he drinks; destroysthem first. and then accompanies them in theirfall. His sword is formidable only to his OWIllegs, ... His clothes ... collslr

!

PLATE '4Corset (cat. no. 1~7).

PLATE 15

Corset (cat. no, IS5),

unusual aspects of the era's aesthetics wasthe conviction that if properly dressed andin sufficient command of movement, anindividual could be transformed into awork of an. "Let us imagine ourselves, as50 many living Pictures drawn by the mostexcellent Masten, exquisitely designed toafford the utmost Pleasure to the behold-en," declared Kellom Tomlinson in The Artof D

FIG·4Daniel Chodowieki (German, '726-180 I)Dana Mader TeachingCorred Movement, '770(detail)Engraving on paper3~6 1

,-

PLATE 17Shoe (cat. no. 161).

PLATE 16

Ore~5(open robe and petticoat; cat. no. 14).

--

nc.eDr~1S(open robe and petticoat, detail; cat. nO.14).

as they avoided all "affected motions ofthe he.ad, all wanton ... glances of the eyes,all ogling or winking, dimpling of the~~eeks,or p~imming of the Iips.?" Wigsere the major costume item affecting headplacement, In and out of fashion for ~thm,enand women throughout the centurywigs forced the head upright and limited' itsturns.

For carriage to be considered elegantthe shoulders and arms had to look relaxedthe upper arms curvi 'er arms curvmg gently away fromthe torso n t d ' ,. ' 0 foppmg straight down atthe SIdes Iik .I e servants or rusucs. Correctplacement of the hands was critical. Awoman lightl d hy reste t em palms up oneo~ top of the other; they were turnedshghtly' l d, n owar the body at the frontPOintof her bodice. The sleeves of thew·omen's dr . hib" . esses III t IS catalogue and exhi-

ILion may be b dh

0 serve to be carefullys aped tor . f .(fi em orce this curved-arm stance19.6- cat no 1 d ilth ba . . 4, etat )--some cup underd e ack of the elbow, while others arearted at th . .dN e mst e elbow. Long beforeapoleon it wa th 'I ' s e practice for a man to~ ace one hand (usually the right) lightlyrnto the boso f hi ,I f m 0 ISwaistcoat, which wase 1unbuttoned C'lh' ' except ror three buttons atewalst Th h hh

. . eat er and was placed undert e side tla f h 'POt e waistcoat above thesword hilt B h. ecause t e armholes of bodicesVests and 'th .' . coats were cut very high undere arm Itwa h ' II~ b' S P YSlCa y far more com-OrtalelohldhOle upper arms slightly

away f Irom 11e torso; to drop the arms

straight down at the sides made the arm-holes bind. With his coat buttoned, a mancould raise his arms up over his head andhis coat would not ride up (fig. 8). Thesesleeves actually gave him more freedom tomove in an upward direction than the coatsleeves of modern men's SUiIS.Thus, bothmen's and women's sleeves were instru-mental in supporting the elegant carriage

of the arms.The feet were always turned out. Not

only did this throw the legs into an g-curveposition, it also made an eighteenth-century gentleman "stand firm, easy, andgracefuL" 10 Encased in knee breeches,skintight stockings, and shoes with one- tothree-inch heels, he cultivated a modifiedfourth-position ballet pose, displaying to allthe world, and the ladies in particular, hiswell-developed, well-turned calves.

If a gentleman led with his calves, a lady,supponed by her corset, led with herbosom. In this stams-conscious century,corsets instantly proclaimed class distinc-tion. The more severe the cut and boningof the corset, the higher the lady's class,provided that it was worn with apparentease. It could not be laced too tightly, lest itproduce stiff posture and awkward move-ment, which were both inelegant and unen-durable. Actually, when correctly worn,the corset did most of the body displaywork for the lady; it obviously straightenedher spine. Boned high in the back, it flat-tened the shoulder blades which, in turn,rounded and forced back the shoulders,

resulting in a fashionably narrow back anduplifted or "prominent" bosom (fig. 7)·The instant a lady started to slump, a gentleprod from the corset bones reminded herto straighten up. Although from today'spoint of view nothing could be physicallymore restrictive than a corset, to the eigh-teenth-eentury lady the corset conferred adegree of social security far more satisfyingthan physical comfort. The posture of sta-tus was consciously built into the corset'sshape-no wonder it was such an essentialpart of her costume! As soon as she couldwalk, a little girl of the eighleenth centurywas put into training stays (less rigidlyboned) which disciplined her young bodyto "naturally" develop that sought-after "airof good breeding," that correct and elegantposture which was the unmistakable stampof the upper class.Corsets were by no means restricted 10

girls. Aristocratic young boys were put intosimilar training stays (although usuallywithout a front point) to mold their bodiesinto the fashionable shape and uprightcarriage expected of them as adults. Atapproximately age ten or eleven, boys dis-carded their stays, their chests by that timefashionably full and round.Children spent long hours practicing the

elegant art of carriage, assisted by suchcostume pieces as wigs, sleeves, shoes, andcorsets. Having mastered this art, they pro-ceeded to our second movement category.that of motions: walking, sitting, dancing.

\

t"I(;·1Ni

fIC, ':IDaniel Ch d . kiQ OWIC 1 (German, 17z6-18olSGrnt,/romLife, 1770 (derail) )Engraving on paper6% x 81h in.

MOTIONSThe motion of walking was so admired inthe eighteenth century that all fashionablepeople spent a portion of each day publiclypromenading in a park where, while non-chalantly strolling and conversing, theycould display themselves and observe oth-ers displaying themselves to best advantage.ISince walking began with the feel, the cos-tume item that most influenced this move-men! was the shoe. Lacking arch supportS,eighteenth-century shoes made the musclesof the feet and ankles work overrime. Thehigher the heel of the shoe, the more theweight of the body was thrown forwardonto the balls of the feet, thereby shorten-ing the stride; the narrower the heel, themore likely the ankle wOLlldwobble (plates18a,18b,18c; cal. nos. 148,152, 164)·One wasexpected to maintain the same elegant car-riage in walking as in standing stin (fig .•9): "The rate of walking should be moder-ate, neither tOOquick or too slow,One sug-gests heedlessness, the other indolence;avoid these tWOextremes." 11 A gentlemanwas urged to take smooth steps. moderatein length, with legs llIrned out. He wascautioned to keep at least tWOyards awayfrom ladies to avoid bumping their skirts ortrampling their trains. A lady also wasadvised to walk smoothly, "swimmingly,"but with steps shorter than a mao's andwithout jostling her skirts,The skirt, in fact, was the most challeng-

ing item of costume to manage in monon.Of the three tashtonabk eighteenth-cen-

wry skirt shapes-round hoop, panniers,and bustle, each of which enlarged someaspect of the lady's hips_panniers were,undoubtedly, the ultimate status symbol.Extending up to four feet on either sideof the hips, panniers caused traffic jamsin the streets. riots over seats in the play-houses, and general consternation in suchvaried locales as parks. ballrooms, car-riages. and church pews (fig. 10). Yetladies were delighted with this fashion.which not only added dignity and grace tothe figure, but set the wearer physicallyapart from the crowd, highlighting her toperfection as a work of art. To managepanniers successfully, the lady had to thinkbeforeshe moved. For example, if she foundherselfll,'alking toward a too-narrow door-way,she would have LO decide, long beforereaching it, whether 10 turn gracefully andwalk through il sideways or to collapse thesides of the panniers appropriately and,without s/oppi7!g. smoothly translate herdecision into acuon.Panniers posed challenges to those sur-

rounding the lady as well. Consider thedilemma of the gentleman accompanying alady in panniers on a promenade or danceFloor- Should he stand 'next to bel' where,in order to barely reach her hand, he wouldhave to lean at an aesthetically awkwardangle, or in front of her where her skirt'would annoyingly bump up against him, orbehind her? Usually this last was the mostsatisfactory solution for both parties (fig. 12).Lord Chesterfield believed il was easier

to stand and walk gracefully than to sitgracefully. Certainly, sitting successfully inpanniers-something of a cross betweendocking a boat and parallel parking-bearsthis Out, as does the story of Baron Karlvon Lyncker, page to the Duchess AnnaAmalie of Prussia, who "conceived the bril-liant notion of stretching the sides of hismistress's dress well out through both win-dows of the glass coach in which she wentdriving on Sundays."12 Unfortunately forus, Lyncker neglects to describe how theduchess got into and out of this conveyancewith grace.Once seated, the lady's ability to move

was regulated by her corset. She could bendsideways or backward, providing her corsetcleared the waistline at the necessarypoinu, But the length and stiffness of thecorset front often prohibited her frombending forward at the waist or from cross-ing her thighs without doing herself sen-cus damage (fig. 11). Consequently, aseated lady was most comfortable eitherperching on the edge of her chair orreclining sideways or backward, one elbowleaning on a table or furniture SUpport,in an S-curve pose. If she accidentlydropped a handkerchief or fan, she reliedall a servant or gentleman to pick it up.Short-legged ladies, reclining backward ondeep-seated chairs, often positioned acushion or footstool beneath their feet torelieve the strain on their legs.Chesterfield offered gentlemen this

advice on sitting:

Awkward ill-bred people, being ashamed, com~monty sit bolt upright ,md ~till; others 100negli-gent ... [wallow in their chairs]" .bur a man offashion makes himself easy, and appears SQ. byleaning gracefully instead of lolling supinely: andby \·arying tho~e easy alii tudes. instead of thatstiff immobility of a bashful booby. I'

A gentleman never sat on the stiffenedback skirt of his coat.Of all the motions, dancing was the most

formidable and most admired. It not onlywas a favorite leisure activity, but also pro-vided the body with exercise, and whenwell done gave a "natural. easy, and grace-ful air to all the {other] motions of yourbody"!" The most popular dance of theentire eighteenth century was the minuet.A stately, disciplined dance, it requiredexquisite timing, superb body control,intense concentration, and apparent effort-lessness. Combining complex S-curve fig-ures with improvised interludes, itdemanded of the body a firm waist andcontrolled torso together with S-curveembellishments of the arms, hands, legs,and feet. The most elaborate minuet was

. fordanced at court by one couple at a lime,as long as seven minutes. It was a dancesuperbly designed to display the elegantmotions and costumes of the performers toa highly appreciative and critical audience.From dance manuals we learn that a ladywas allowed to take hold of her skirt at thesides-but only with her forefinger andthumb. Usually, she was not supposed totouch her skirt at all. Among the tales ofdanger on the dance floor comes that of

PlATE ISaShoe (car. no, 148).

PLATEI8b

Shoe (cal. no. 152).

PLATE lS(

Shoe (cal. no. 164).

IiII

FIG. 10Daniel Chodowiecki (German, '726-1801)Women in Chunh Pows, 1770 (detail)Engraving on paper~'iIox8V. in.

5°

FJ[;. 1 IOaniel Cbodowieki (German, 1726-,801)Woman Sealed a/ Tabie, 1770 (detail)Engraving on paper3';1," x 4Vl in.

FIG. 12Daniel Chodowieki (German. 1726-18(1)Well.brou.ght-u.p YOlmg Lady, c. 1780Engraving on paper3'/'x l'hin.Los Angeles County Museum of An, Gift ofMr. and Mrs. Fred Grnnwald

,"'I

I

;;;tl/~-ta:/J/__ ....._---1

PLATE 19 Dress (open robe: car. no. 26).

53

PLATE20 Dress (open robe and penicoar: cal. no. :31)'

FIG. 13Daniel Cbodowiekl(German, '726-,8(1)ChildTffl Tho.7lAillg Thrir Falha jor Gif15, '770Engraving on paper3\"'6 x 4Y. in.

"the Duke ofCloucester's {shoe] buckle[which) became tangled in Lady BridgetLane's shoe rose in 1767. pulling the shoeoff:'15

The motions of walking. sluing. anddancing had several features in common.They each required a careful assessment ofthe physical dimensions added to the bodyby costumes: they involved a surprisingdegree of leg control to perform with"ease"; and the)' required the gemleman rogive the bdy some practical physicalassistance.

MANNERSManners. our third category of movement.were expressions of feelings throughaccepted social rituals. While seventeenth-century manners were "marked by chivalry,grave dignity. formality: the manners ofthe throne room: [eighteelllh-centurymanners] were characterized by gallantry,refinement. grace, and imimacy: the man-ners of the boudoir.rlf Manners includedsuch salutations as the bow. the curtsy, andthe kissing of the hand. Formal stationarybows and curtsies were exchanged whenentering and leil\'ing a room. beginningand ending a dance, and giving objects orreceiving them (fig. 13), Less formal mov-ing bows and curtsies were made in passingsomeone b)' barely dipping the body with-OUtstopping. These COUrtesieswere per-limned smoothly and in keeping with aperson's status. The higher the rank or thegreater the regard in which a person was

held, the deeper the bow or curtsy he or shereceived. Countless variations were possible.Two met hods of kissing the hand were

in fashion, In one, still practiced in Europetoday, the gentleman raised the back of thelady's hand to his lips. The other, noll'extinct. was an eighteenth-century form ofblowing kisses. II was the most emotionallypowerful gesture one could make, and wasusually combined with a bow or curtsy.The procedure was to bring the forefingerof the right hand ill a curved directiontoward the lips and, without touching them,to reverse the curve and extend the handoutward and down in a COntinuous flowingmotion.Elegant manners required perfect tim-

ing. expert execution, and precise knowl.edge of the slat us of the person beingcomplimented, so as to judge the degree towhich the compliment should be paid,

ADDRESS

Our final cmegory of movement is address:elegant bearing during conversation. Aswe have seen, conversation in the eigh-teenth century was a vital outlet for ideasand feelings. People engaged in both verbaland nonverbal conversations, often at thesame lime.Verbal address consisted of speaking

distillctly, gracefull}', and briefly. withoutdisplaying anger, self-consciousness, orundue excitement. While it was desirablefur the mind and speech to be agile andanimated, the body had to remain quite

still. Chesterfield cautioned his son: "Neverhold anybody by the button, or the hand,in order 10 be heard out: for if people arenot willing to hear you, you had much

I I "17 Hbetter hold your lOngue t tan t rem. egave his godson this formula for checkingthe excess of passion: "Do everything inMinuet time. speak, think. and move alwaysin that measure, equally free from thedulness of slow. or the hurry ... of quicklime,"18 And he further encouraged hisSOli with this observation: "The character-istic of a well-bred man is, to converse withhis inferiors without insolence, and withhis superiors with respect and ease. Hetalks 10 kings ... without the least concern ofmind. or awkwardness of bodv'"?One of the most fascinating aspects of

eighteenth-century address W

a lady could use it to (lin outrageously oneminute and severely reprimand a lover thenext. According to Addison, the mere flut-ter of a fan was fraught with drama."!The manipulation of accessories like the

Fan required great dexterity of the ringersand wrists. They added a rich, silent vocab-ularv to the art of conversation and wereindispensable 10 the art of flirtation.

The elegant art of eighteenth-centurymovement was sophist icared, charming,and varied. It reflected both the attitudeand the personality of the individual whoperformed it, and extended even to ridingcostume (plate 22, cal. nO'48; fig. 14). Inorder to appear "easy," ns performancerequired surprisingly intense mental con-centration and bodily discipline, parncu-larlv of the legs. For its sustained effect itrelied on the support of eighteenth-centurycostumes. whose surfaces concealed intrigu-ing potentials for movement, that subtleyet significant dimension of the behavior ofthose elegant ladies and gentlemen whopreened, glided, nourished, and flirtedover the canvas of the eighteenth-centuryworld, themselves the premier works of art.

hG.14Jail van Grevcnbroeck (Italian, 1737-1807)The Hun/Tess, c. 1780Watercolor on paperfrom Grevenbroeck's Gli Abil' de veneuani di quasiogni ela con dibgenza racwlti e diP;'lti 'lelsewloXVlII, \'01. I.

I~PLATE 21 Dres~ (gown and petticoat; cat. no. 4).

PLATE" Riding Habit (cat. no. 48).

=

NOTES

A, Petrie, The Polile ,hade",}. 8th ed.. London['7B·], p. 60.,J Levron.The Marlof MlIllllm: or Plebeian Poli!"'d.grd ed., London [1768). title 1'3ge.

3P.D.S. Chesterfield. The Lel/m 0/ Philip Df1rmuStllnhope, 4th Earl of ChtJleT/it/d. ed. B. Dcbree.LOndon. 1932, 4: '408. letter of Sept. 27, 1719 .•

•N. Waugh, CorJetJ IIlldCr;llolintJ, London. 1954.p.68.

5K. Cldr~, Civi/iJIII'Oll. New York:. '969. p. 240.

6

K. tomlinson, The Arlo/Dancing. London. '7~5,p.:\. "lomlinson notes in his irllroduction that thelext was 'Hillen wnsidcrably prior 10 publicationin 1724.

7Petrie, p. 35.

8Ibid" p. 36.

9Ibid" p- vi.

'"Ibid, p. 36.

t t

I' Rarneau, The De'ICing Maolfr. trans. C. W. Beau--'~"'nl. J, 93': reprint ed. New York [1970J, p. 4.I he ungmal French text was pl.lblislll:d in \ 7l15.

"M. 'on Boehn, Mod~Jand Mann'n, trans, J. joshua.london, '935, "01.4. Th, Eighlftllih CtRtUry. p. ,64,,,Chesterfield. 4: 1748.letteT of June \0. \751.III

'.Petrie. p. KKXi.,.J~Swann. SilO' 8UC./fJ, Northampton. 198L.

,6 Th I . II CulturalM baur-Hcinhold. Tl.t bOTrJqUt ta r~.";1/0'" "j Ill, 1ilk a'ld I/ilh ern/und. trans- M.whinaU. New "ork, '967, p. 7·

'7 8Cheslerfield.oj: 11145,h:trerofOl:t. Ig, t74·

" 6Chener field. 6: 116g11,letter of J)ec. LlI, \7 5,

~~cucrficld.~: 115L, lcucr cf May '7. 17'18.

lIO •• . 8- letler no,Addi,on. Th, SptclOiar. ctnctnoau. I ;,7·LOll.Junet7.17L1, p- 150,

"Ibid .. pr, 150-51.f Che'll:rfield• rhrol.lghol.ll 1hese notes. all dalC5 0

letters aTeOld tylc.