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Sold by Mes Boone, Lublishers and Booksellers. 26. New Lond Street.

MATHEMATICAL INSTRUCTION

CONSTRUCTING MODELS

DRAPING THE HUMAN FIGURE.

HENRY WAMPEN, PHD.

PROFESSOR OF MATHEMATICS,

SECOND EDITION, WITH ADDITIONS AND IMPROVEMENTS,

Hondo : Sonp By Messrs. BOONE, Pusiisuers anp BOOKSELLERS.

29, NEW BOND STRERT.

1863.

PREFACE.

THE present work upon mathematical instruction in constructing models for draping the human figure, is designed for all who are engaged in any manner with its external form either in shaping or adapting some article to it——in a sanatory point of view as gymnastics &c.—or for those who have merely a mercantile aim; but it is especially designed for persons occupied in the fine arts and the industrial arts, zesthetically studying the draping or clothing of the human figure ; and lastly, in the industrial sphere it is most particularly designed for that which is carried on by order; because in draping or clothing the human figure the esthetical prineiple can only be fully and carefully developed, and presented in an external and visible form by the hand of a master in the fine arts, or by the hand of a master in an order industry. The sculptor, the painter, and the master tailor, are all in this point of view, if guided mentally by the esthetical principle, equally artists. It may be borne in mind that a lay figure of wood, or, more preferable, a subject chosen as a lay figure in a painter's or sculptor’s studio, is only for the one or the other of these artists, as the customer is in the model room of the artist who shapes and forms according to order in his industrial branch of occupation, models for clothing as required for the garments or drapery becoming to the figure of that customer. The esthetical principle, or the idea of the beautiful in the minds of all the three artists conceptively flows or operates in the work of each, differing only in the material employed, but as drapery the same in kind. This esthetical principle, if flowing equally high in the different pieces of art, whether giving drapery in painting, drapery in sculpture, or drapery on the living figure, makes the masters and their works in this respect stand on an equally high pedestal.

In comparing a draped with a nude figure, it will appearthat one beautiful in form and a

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beautifully draped is far more enchanting than the nude of the same form, if only the artist has had regard so to drape the slender figure that when placed by the side of the nude they shall appear identical in their kinds of form. Or perhaps that it appears more beautiful, lies in the cause that a beautiful form beautifully draped, besides conveying modesty and innocence, as it always does in being nude, removes our mind from the otherwise too great distinctness of its being animal, and makes the intellectual and moral being more prominently brought out. If this is the case, then a figure beautiful as a nude would be equally so when draped ; dismissing these additions, and permitting the mind to dwell purely on form, it may be true, especially when it is remembered that all drapery or clothing can be beautiful only when it is thought of in connection with the figure, and shaped and arranged suitably to its form. Drapery, disconnected, or independent of the figure is a mere mass. Such a mass shaped with the chance of finding a figure which it may become or not is void of the esthetical principle altogether, and in this sense, the beautiful is completely nought. In respect to those fascinating charms which flow from the sentimental positions or actions, they are naturally the same in both figures—the beautiful nude, or that nude beautifully draped.

Considering the difficulty of dressing beautifully every kind of form presented by the human figure, we must dismiss from our minds all mercantile fashions, or look upon them as they mostly are, unnatural and monstrous, overloaded, shapeless masses, or sometimes in the opposite, scanty, poor, and distorted attempts. Such phenomena in dress in the mercantile world are merely its deep shadows falling on the figures of the vulgar and blind followers of the cry “ Fashion,” which although heartily avoided and disliked by persons of sound mind and appreciators of the beautiful in the form of dress, serve to make the truly naturally beautiful forms more distinct ; similarly as vice revealed through the language and actions of one man, makes us comprehend and appreciate virtue conveyed by another.

A comparison of forms will bring us to a perception of the beautiful ; but the conception of the beautiful according to the esthetical principle, or to bring it to a visible representation according to the laws of that principle, can only be conveyed by science; but more of this hereafter. The difficulty, especially in modern drapery, appears to have been always great when the naturally beautiful was looked for. Watch, in a course of twenty years, different sculptors and painters in their studios, and for the same period different master tailors in the model room of an order firm with their customers. Read at last all the literary works to be procured, given to the world by thinking and reflecting men in the fine arts, and the industrial art of draping or clothing the human figure, then it will become clear how all have striven, and are striving, to get hold of some guide, some general rule to help them in the multitude of particular cases coming to their hand—cases in which they must and will infuse that which alone makes the

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drapery becoming to the figure. Science again steps in, and with its laws presents itself to the industrious and reflecting mind, and yet the best only embrace and apply it in composing and designing according to those scientific ideas, as if the generality of men were satisfied to idle on in a dim or half-consciousness, guessing in their work. Alive to this difficulty, Sir J. Reynolds says “ the “ art of disposing of the foldings of drapery makes a very considerable part of the painter’s study ;” further he says, “ it requires the nicest judgment to dispose the drapery so that the folds shall “ have an easy communication and gracefully follow each other with such natural negligence as “ to look like the effect of chance, and at the same time show the figure under it to the utmost “ advantage.” Also Carl Marotti affirmed “ the disposition of the drapery is a more difficult art “ than even that of drawing the human figure ;” that “a student may be more easily taught the “ latter than the former, as the rules of drapery cannot be so well ascertained as those for “ delineating a correct form of the human body.” Similar allusions may be brought forward in great numbers, shewing that the art is not one to be slighted. After all then from what has been said, does it not appear that the masters of the fine arts, the masters of the industrial arts, and the scientific men keep themselves too confined and each isolated in his own sphere? If one thinks himself too good or too bad for others, at least he may for his own enlightenment make himself acquainted with their works. Was it then not more true, vital, and genial, as was recorded in Lanzi’s and Vasari’s writings, that the students of the fine arts associated with those of the industrial arts—and most likely both with scientific men—so that every maker even of useful articles came to be termed an artist? And further, may it not be the true road to every art if the early years of the artist were to be employed in the study of science, to gather knowledge and ideas clear and extensive as possible; and after an earnest pursuit of this course to step into their respectively chosen arts? The student would be now as then certainly elevated by it, from the very fact that his productions would stand in their external shapes as evidence of the minds through which they flowed. The difficulty which is admitted in the disposition of drapery, appears to lie in the deficiency of knowledge in that branch of art or science the nearest allied to it. The difficulty is even more keenly felt by an artist in the industrial branch than in the fine arts; if the figure makes a change in the attitude, and the garment gets displaced, it ceases to be becoming, and the artist drops his head wishing that living figure would keep at rest and never move to shame him; to get any recommendation through it is out of the question, it is well if only none is lost by it. Wherein then lies that difficulty, when in modern drapery at least, of which we are all eye-witnesses, there is so great an anxiety to make it truly correct, beautiful, and becoming to the figure? May not such difficulty be in the form which the drapery must necessarily receive before it is adjusted to the figure? Not only must the shape or form be given to it corresponding to the kind of form of the figure for which it is meant, but also it must be suitable in size, neither too large nor too small, nor yet the size exactly equal to the figure ; after these data have been correctly settled from which the garment is to be shaped then only is to be looked for the disposition (commonly termed hanging or falling to the figure in motion) of the folds in the drapery, that they may be correctly and beautifully obtained. Here then we

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need the definite proportions and rules of combination by which the model for the drapery shall be shaped, not only for one, but for every kind of human form. It appears then great attention should be given that the size and kind of form in the drapery should be first correct to each kind of form in the figure, before the disposition of the folding and falling of the drapery can be so. If these primary parts are perfect in the model for it, all folds visible only in the movement and voluntary action of the figure are really naturally beautiful. But to be able to construct these models for drapery, according to the definite proportions of the different kinds of form, and their abnormal as well as their normal positions brings us again to the threshold of science; how can it be done without having a profound knowledge of those sciences connected with the art?

In respect to the scientific art in draping the human figure and that of draping it without guide, merely guessing, dimly and blindly feeling ; and further, that works and instruction of a scientific nature are at present preferred before instruction and works void of science, need not be further argued upon, at least in this Preface. F irst, the work before us has stood the severest test, and received a testimonial of the highest kind. Secondly, since 1851 it is universally, specially and individually acknowledged by the most enlightened in every branch of occupation and rank, not only in England, but in whole Europe, America, &c. &c. and that not by words alone but by acts, oozing out from the discussions and the actual comparison of works as a bril- liant and pervading truth, that science blended with art and art based upon science can only give perfection, not alone in that which is produced, but in the same time will develop a mental and moral life in him who produced ; because in seeing the true and the beautiful, it must be that the good is perceived in them. If such is then admitted as true of all branches of occupation, it may be safely affirmed to be so of this, of which the work in hand treats, and indeed as has been mentioned, already acknowledged. If complete harmony in the industrial world shall be main- tained—and industry is the first principle natural to man—then not the smallest branch of it must be neglected or left behind other branches which are advancing and developing to perfection. But the endeavour to place the industrial arts in every branch upon such an elevation, to blend them with the fine arts, so far as utility admits, and to unite them with science and to base them upon it is not quite so new as it may appear to some; then in every age and in all countries, in each branch of industry single sparks of this endeavour emanated or beamed from the mental hori- zon of reflecting and meditating men of science, and the scientifically practical men, although they presented themselves so rarely open and public until their numbers augmented, and the industrial university under the name of the World’s Exhibition, guided by a master mind, became a centre or focus for a luminary of such a united mental brightness in the industrial sphere as to assume the character of an absolutely new movement. From this point now, all who will progress, start, and every one does in his special branch the best; and his works must ultimately prove upon what standard he raises himself, through his own application and industry.

——— as ee = Se

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The question, what sciences are kindred to the art of constructing the models for draping the human figure may be answered in the order in which they ought to be studied for practical application. External anatomy may be mentioned first, and it will soon become clear that this should form the commencement of the course of studies for our purpose. NDistinctness and clearness in our perception and conception of form are the first requirements in every shaping and constructive art. And so in this. If we see a human figure sufficiently distant as not to distinguish if such is a male or female form, we perceive on its nearer approach, and say— as the case may be—a man. If this man comes still nearer we determine his kind of form. If we take this form nude, we become still more clear and distinct in our decision upon his form. If we take away the muscles, and see but the skeleton, the whole machinery of that form is laid open to our sight and our understanding. ‘Those geometrical points (termed in art, points of the figure) which in designing and constructing we stand so much in need of, as the acromion of the scapula, the seventh vertebral point, the fovea axilaris, the scapula point (of the lower angle of the scapula), the sacral and the ilial points, the os pubis, and the patella, they all become distinct as to their locality ; and even so with the height of the parts of the figure ; as the height of the chest, the pelvis, the thigh, &c. &c. all becoming perfectly distinct. Obscurity has now vanished from the mind and it cannot again sink in darkness. Let now the skeleton be again enclosed in its muscles and skin. See that most wonderful nude. Drape it and let it move. What student could now otherwise see the human form than transparently and distinctly ? Then as to appli- cation ; a figure presents itself to be draped or clothed, the student will soon detect the form of that figure; he knows for instance, from his acquaintance with anatomy, if the acromion of the scapula is out of its normal position, then of necessity that its base and the lower angle are out of it also. Having a knowledge of the difference between the normal and the abnormal he can vary the normally constructed model accordingly, and proceed similarly with all other cases.

The next science in order would be a limited amount of mathematics. It must be evident to every one that having to do with shaping and forming a material, either similar, approaching to similarity, or similar and equal to a given form and size, it becomes necessary to define that quantitative material in certain proportions, at least in the correctness of the primary outline of its form and proper size, suitable and becoming to that given form. The method of doing so must therefore be mathematical in the art of constructing models for draping or clothing the human figure. The proceeding in its commencement, that of measuring correctly, is so evidently mathematical, that it needs not to be mentioned otherwise. The mathematical axioms define forms, and make our conceptions of them indisputably clear. The laws of variation of elements in a complexion or system of them, &c., are too valuable to be dispensed with. Those great and difficult problems of mathematics, applied to some high and critical point in a certain art or science are not desired to be studied here ; they are the simple and primary elements of mathe- matics, which are beautiful and applicable as they are universal; those we recommend, and

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believe it necessary for every one to become acquainted with. Then these true treasures, if men were only true to themselves and to other men, would be easily accessible as they are easily learned. It may not be amiss to mention here that what is mathematical in an art or science is not (as some believe) mathematics. Mathematics is a science, and of necessity true through all the forms of its entire sphere. But every other science or art which is mathematical (not mathematics) may present, notwithstanding that it may be mathematically investigated, errors and even absurdities, although such, so far as relates to mathematics, gives results quite correct. The errors in an art or science, mathematical in method do not arise from mathematics, but they arise from the deficiency of the applicant in that art or science to which he has applied them. Mathematics in these cases are only the handmaid not the master. But if such errors and false results can occur in an art or science investigated with the aid of so true an assistant as this, how many more errors, false forms, untruths, and erroneous conclusions would appear if the method of proceeding were altogether without mathematics, resting on mere guessing or

blind belief.

The third science in order would be Anthropometry, which is that one treating mathema- tically of the proportions of every kind of form of the human figure, form in position as well as form in dimension ; exposing the laws which are developing each in their kinds of form the integral or geometrical parts as they are of necessity true and beautiful in our conception connected with or in nature. This science reveals in the same time that it mathematically defines in all its parts to the student the esthetical principle also. As Anatomy has already enlightened the mind upon the human form, so much more must the science of Anthropometry, with far greater extension and precision, mingled with a higher degree of the distinctly beautiful , in kind, as science only can present it to the mental eye, analogous to art presenting it to the physical eye. As to its practical application, the entire groundwork of the models in this work rests upon this science. Without the definite proportions founded on it, being taken for our guide to bring truth and beauty in the models for the drapery, we should not be designers and composers in constructing them, but mere guessers or bunglers in the art, and ignorantly term ourselves talented, taking our mere physical energy for genius.

Much has often been said of system. Now every one knows that system in nature is the order in which parts or elements are connected of necessity according to laws naturally and uninterruptedly operating together. Hence systems in arts and science are methods of conveying and explaining truths and proceedings in such order as to be worthy of the term. Still works written with the view of practical facility in their application sometimes deviate from such a completely strict order, but only so far as that the solidity of the imstruction is not thereby lessened. Be it remembered that solid and accurate instruction and learning are different to

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practising them, though theory and practice can perfectly agree. The scientific method of this work will soon become apparent to the student, and it will be seen by the initiated whether it deserves the elevated term, system. But in a practical view or application, the system before us of constructing models is not to systematise merely a few points, lines, and parts into a model, expecting then that the figure shall come and fit itself to that, but the system here in hand is to construct a model according to any kind of form of any human figure which may happen to present uself, to be draped or clothed in whatever style and costume chosen, and that in the same time becoming and suiting.

From all that has been said it appears evident that modelling for draping the human figure properly and correctly viewed is an art, and in its fundamental principles in the same time a science; it will be, as it is, not only sought for the mere material usefulness, but also for enlightenment and pleasure to the mind, especially in cultivating a taste for the beautiful in the choicest of forms. Perhaps it may here be mentioned that the groundwork in the models presented contains fundamental and general rules, which are unfettered and free from any style or costume, although presenting in their application the special European modern costume, as being in our time the most suitable and general among most nations. And especially for this reason ; the artist, being well versed in the contents of this work, has means in his possession which will serve him in every country, at any period, modern or ancient, in which he may be obliged to place himself, and his calling shall lead him to the art of designing and composing for draping the human figure. But whoever will gain, and when gained, keep the elevation of master in his art in the true sense of the word, let him not believe he can relax in the science or in the practice of it; the deficiency in any art whatever which we may pursue has always its origin in the deficiency of knowledge in the natural science kindred to that art. Let every one suspect himself of human weakness and shun the easy method of bungling and living upon the wrongs inflicted upon others who must receive such bungling products as if they were really perfect. Such is human weakness, and unless incited to learning and application by some self-supporting or foreign energy, men live rather in ignorance and unskilled ; they sink beneath the proper standard which they ought to maintain, and that not only in the art which they are presumed to pursue, but with such debasement they sink in their very being as enlightened and morally free agents.

In conclusion we may say that it is sufficiently clear from the whole Preface, by itself, without an especial aim to establish it that the true and the beautiful are presented in the industrial principle; and that as it is proved from mental philosophy, according to the mental laws, we cannot avoid seeing goodness in the true and the beautiful. We will therefore endeavour unceasingly to let such be exemplified in the qualities of our productions, combining

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pleasure with utility, that we may derive gratification from seeing that our works impart it to others, and so while the good reveals itself in the true and the beautiful it may become a living moral in our actions, and not sink into the degrading unartist-like corruption which creates and forms but for the purpose of sale, and not for quality or use. If I do not go beyond my limits in the advocacy of moral truth, then surely as time and space are universal and never can be annihilated, being presented everywhere that matter assumes a tangible and visible form in the combination of these elements, there will always spring up being as a goodness which will annihilate the bad; and the wrong doer and idler will feel, or those nearest to him the sting of painful suffermg. Individuals, Firms, Towns and even States, when corrupt shall sink before the

self-establishing everlasting good. In ignorance we scorn this, the wise and good will see, learn and gain.

HENRY WAMPEN.

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CONTENTS,

Preface, On Mensuration,

MODELS FOR DRESS AND FROCK, NORMAL IN DIMENSION.

A. according to the proportionate form,

B. ss y broad or Herculean form, C. op as slender or Mercurial form, .

ABNORMAL IN DIMENSION. A. Explanation, B. Construction, ; 9 a) 10 2 th, BS

b Wee Wy hs IDES C. (<2, Ws lo > i, 1D

C. Placing of the parts of the Model, D. Sleeve and Skirt,

ON VARIATION. A.-according to position, 5 es style, CN ee ee mixed variation, CONSTRUCTION— Continued. Models for Vest, 4, » Lunics, Trousers, : on », for a proportionate figure, a 55 » Slender figure, . a Ss », broad figure, Style,

MODELS FOR HABITS.

Measure, r

Proportionate form,

Broad form,

Slender ,,

Sleeve, :

Skirt, . : : :

Models for over Habits, . é _ » 9 over garments falling to the figure, a », loose garments,

Breeches,

Gaiters, .

Appendix,

Paragraph

44

58

62

75

81

101]

Page i 1

ON MENSURATION.

INCH MEASURE.

_ 4 1—The measure which is necessary to our purpose consists of a tape half an inch broad, and from seventy-two to eighty inches long, oil painted and marked in inches, numbered 1, 2, 3, &e., &e. Leather, parchment, or even paper is sometimes taken for such a measure. The old masters used measures without being marked in inches, and in measuring made signs (hieroglyphics) on them. Each one had hievoglyphics after his own choice, whick could not be understood by anyone but himself. This obliged them to have as many measures as they had persons to measure. But as we in the present time adopt the inch measure, it is merely needful to write down the number of inches as the result of a measurement of the person; and it will be seen that this is a much more easy method than the former, as well as more convenient to keep a few numbers in a book for the purpose, than to be encumbered with a quantity of loose measures.

It is quite immaterial whether the measure, with which the size is taken, is English, German, or French, if only it is observed that the quantity taken corresponds with the proportion measure according to which the model shall be constructed. But before going farther with the explanation of it, we will treat upon measuring and the proportion measure; but so much may be noticed here, that in measuring we choose the English inch measure; and to have the correct English inch at hand, it is given in fig. 5, plate I., marked upon a right angle,

MEASURING.

oll From every kind of form of the human body, and for every kind of drapery belonging to it, measures must always be taken in one and the same manner, which should be so often repeated, that in every case the result obtained by measuring the same person should be precisely the same, however often it may be done, This is the proof of certainty, which is only to be obtained by repetition ; and before such certainty is obtained, the quantities taken cannot be looked upon as correct. The measures to be obtained are partly fixed, and partly changeable. The fixed are those taken from the body of the person,

those are termed changeable taken from the drapery ; both of which in the following will be treated more definitely.

THE MEASURE FOR DRESS, FROCK, JACKET, AND UNIFORM, &c.

‘I 8.——The person to be measured stands in an upright position, we then place the inch measure on the bone of the neck (7th vertebrie), as exactly as it can be ascertained through the clothes (drapery) keep the measure fixed in this locality, and lead it down to the greatest depression above the sacrum, which would be the natural length of the back of the human body. Keep the measure here fixed algo, and carry it down to the heel of the boot, or sole of the foot, behind in the middle of the heel (tarsus). At the same time when the measure is so placed, we take the length of waist that it is intended the drapery shall have, and also the length of the skirt. The length from the bone of the neck to the natural back length is termed the natural waist length ; and the length of waist intended for the drapery is termed style waist length ; that of the skirt is termed skirt length ; and lastly, that from the bone of the neck to the sole of the foot is the ground length. When circumstances require the entire height of the human body, it can most easily be taken by placing the person against the wall, and marking the height with

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2)

pencil, afterwards measuring it with an inch measure. This is termed the height. The fixed measures from these are: the natural waist length, the ground length, and the height. ‘The changeable measures are: the style waist length, and the skirt length. ;

Further, the person being measured extends the right arm in a straight line with the back, forming a right angle with the lower part of the thorax, and at the same time holding the fore arm to the upper arm also in a right angle. With the arm in this position, place the measure in the middle of the back and carry it to the elbow; keep it here fixed, and lead it to the length intended for the sleeve. That length, from the middle of the back to the elbow, is termed elbow length; and the other is termed sleeve length. The former is a fixed measure, and the latter changeable. The circumference of the arm, as well as the width of sleeve, may be taken; but these measures may be dispensed with.

Lastly, place the measure, without shifting it, over the vest, exactly under the arm round the body, at the greatest dimension of the thorax. The measure so obtained we term in Anthropometry thoracial circum- ference ; in common it is termed breast measure (denoted by the sign 0). Next place the measure in the lower region of the thorax, in its greatest depression, and consequently in its smallest dimension, round the body, which obtained quantity is termed ilial circumference; in common, size of the waist (denoted by the sign U). Both these are fixed measures. For a vest, the breast. measure and the size of waist are taken in the manner just described; and it may be mentioned in the same time that the length of a vest is found by placing the inch measure on the bone of the neck, fixing it in that locality, and thence leading it down in front to the desired length; the same is done if a jacket length is required. Should the measure be for an uniform, the circumference of the neck must also be taken. The measures for over clothing are obtained as here described for dress and frock, but the breast measure for a cloak is taken

over the frock.

Wl 4 The measure for trousers is taken in the following manner; place the inch measure exactly above the hip (ilium), in the waist (ilial depression), on the side of the body; keep it fixed here, and lead it down to the side of the knee, and from hence on the outside to the sole of the foot. This measure is termed side length; that to the knee, knee height, Next place the measure close to the trunk inside the leg, keep it here also fixed, and carry it again down to below the knee (tibial indentation); from thence lead it down to the sole of the foot, keeping it all the time on the inner side; this ig the leg length, and a fixed measure, as are all the others. Those which may be taken according to circumstances, as for instance for a knee trousers, é&c., are changeable measures.

The breast measure (0), as well as the size of the waist (U), are taken for trousers as above described for dress and frock. If the size of the thigh is taken, the measure must be placed exactly close to the trunk round the thigh; the size of the knee must be taken round it in the middle of the patella; that below the knee through the tibial indentation.

A form or order in which measures are taken is as follows :—

Natural waist length . 164 in. Elbow . 20in. Side length for Style waist length. . 18 ,, Sleeve . 81 .,, Trousers. 41 in. Skartilencth.Gnkey ten OS tee! Oe 01k Se leg length . 31 ,, Ground length. . . 56. ,, Wiis Nas) 5 CG 1 WAGs,

Or entire height, 64 in. = feet din. Vest length, 23 in,

PROPORTION MEASURE.

1 5 When we have to do with length measures in the construction of models, they are mostly used entire, but the circumference is, on the contrary, always taken in half; for example, when the entire circumference is equal to 86 in., take 18in. and say, O18 in., proceeding thus with all the other circum- ferential magnitudes, as U=15 in., which here means the half size of the waist. Although we receive the magnitudes from the human body, by measuring, in inches, however many inches the breast measure (O), or the ground length (expressed by G) may be, still we do not take the O and G in inches, but in their concrete quantities, and divide O as well as G into a certain and definite number of parts.

_ See fig. 1, pl. I., the A’B’ here represents O, and is divided as it has been in Anthropometry ; viz., A'B =19 units (abbreviated w from unit), go thata B’=u,ab =6u,bc=6 u, and A’c=6 1; also A'B! =u + 6u + 6u+6u—19u. As nowab=6u, and as 0 is 8 u distant from a in the direction of b,

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and also as a B/=u, so is 0 B=38u+u=4u. CO’ D’ represented thoracical circumference in Anthro- pometry, m which also, the proportion measure, it is needful to observe is A’ B’=C’ D’, that A’ B’=19 u, and C’ D’ also contains 19 w; consequently an unit (u) in A’ B’ is equal to an unit (u) in C’ D’; farther, that o D’=o B’, and C’ o=A’ o.

But from this the proportion measure, by which the model is constructed, differs. For which sce fig. 1, pl. I, A B. This measure is only divided in 18 units (u); viz., A c=6 u, ¢ b=6 uw, and b B=6 u; and also A B=8 - 6 u=18 wu.

This division is made in the following manner: divide A B in three parts, A c,c b, and b B; divide A ¢ again in three parts, Ae, ¢ d, and de; lastly halve A ein f, and take A f as an unit (uw). The ois marked 3 u distant from B towards 6. The distance from A to o is here as in Anthropometry termed normal. But by this proportion measure, according to which the models are constructed, A o is termed the normal size of the waist.

q 6.——On a comparison of the two proportion measures, that is A B with A’ B’, it will be found they are equal to each other, A B=A’B’; then AB as well as A’ B’ are taken singly, equal to the thoracial circumference, namely, A B=O' D’, in which it is also A’ B=C’ D’. But the unit (wu) in AB, differs from the unit (w) in A’ B’, because A B=18 wu, and A’ B’—19 u, according to the foregoing. As A’ B’is divided into a greater number of parts than A B, so necessarily u in A’ B’ is smaller than u in A B.

In the construction of a model from the proportion measure A B (as will be shown when we have advanced so far), it is found that the breast measure (O) is equal to 0 D. Now C E=A B=18 w, and EH D=u, namely, E D=A f, consequently it is C E+E D=18 u+u=19 u As C D=CE+ED, sois also C D=19 u. Now19> 18, and w—u, therefore 19 u > 18 u, and with thsCD>AB. It is also o D=4 u, o E=o B=S u, and E D=x, consequently is 0 D=o E+E D=3 u+tu=—4 u.

As now according to the foregoing there are the same number of u in O’ D’ as there are u in C D, and as further 0 D > OC’ D’, so it follows also that the u in the breast measure C D is larger than that in the thoracial magnitude CO’ D’ (u>w’), and also that 4 win C D are larger than 4 w’ in O’ D’, and with this oD>oD.

The difference between the proportion measures A B and A’ B’, and the difference between the results C D and C’ D’ must be particularly observed; first, because they are a part of the links between Anthro- pometry and the construction of models; secondly, A’ B’ as well as A B has been given equally large from one and the same human body, and it is especially intended to divide A B into a lesser number of parts than A’ B’, so as to obtain CO D larger than O’ D’ with an equal number of units (u) on purpose that the form of the model shall be obtained equal to the form of the body; only the model, in its superficial contents, is in the same time larger than the superficial contents of the body ; for it is known by experience that wher a physical surface, however thin, is placed round a convex or round body, it is taken up in quantity, and would be too small if constructed no larger than the mathematical surface of the body.

FURTHER EXPLANATION OF THE PROPORTION MEASURE.

q 7. In the foregoing paragraph sufficient has been said to make it perfectly clear, that the following proportion measures for practical purposes are correctly founded.

From Anthropometry we learn that there are three kinds of form of the human body, regarding their height to their tharacial circumference: namely, proportionate, broad, and slender forms; even so we have now to consider three different kinds of proportion measures, through which the forms of the body are known and by which models are constructed corresponding to those forms.

To make a proportion measure we take + of a given ground length, however many inches the } part may consist of, and marking that quantity off upon a tape or strip of parchment or paper, see fig. 2 in which A H=+ of the ground length; or, if the entire height of the human body is given, then is A H ==+ of the height, as, according to Anthropometry, 4 of the height is always equal to + of the ground length. Now halve A H in I, halve again A I in K, and, lastly, halve A IX in L. ‘This quantity A L take as an unit and term it h, that it may be understood it is an unit from the height, or from the ground length, which is the same. Now carry on the strip the thoracial circumference (breast measure O), see A B, fig. 2. Divide A B in three equal parts, AD, DO, and C B; divide again A D in three equal parts

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AF, F E, and E D; lastly halve AF inG. Now take the quantity A Gas an unit and term it b, to denote that such quantity is derived from the breadth or circumference of the human body; hence h and b each denote a quantity of different kinds.

The uuits are found in the next two figures 3 and 4, in the same manner as the units h and 6 in fig. 2, and, therefore, it would be only unnecessary repetition to describe them here, The fractional parts of the unit h and b are marked as follows: 3b, 3b, 20; or ih, 3h, 2h; or, when the smaller of the two quantities is described with k, as + k, 4 kh, 3h.

COMPARISON OF THE UNIT h WITH THE UNIT 8.

@ S.—If we compare the two units and b, so must it be true of them what is invariably true of two quantities: namely, according to the primary mathematical axiom, two quantities, h and 6, are equal to one another or not equal. Although both quantities, 4 and b, as height and breadth are not of the same kind, still, taken as lines, they are both of the same kind and can as such be compared.

To commence with fig. 2. On comparing h with b it will be found that h is equal to b (abbreviated h=b), and the ratio of these two quantities, h to 6 is as 1 to 1 (abbreviated h: 6=1: 1), which means to say, h is to 6 in the ratio of equality; by which it may be known that the human body, whence this measure is taken, having such qualities in its units h and 0, is a proportionate body: namely, in its height to its thoracial circumference.

Second. On comparing h with 0 in fig. 4 it will be found that h is smaller than 6 (abbreviated h <b), which means h is im ratio to 6 as 1 to 1 plus difference (abbreviated h : b=1:1+d), or his to 6 in the ratio of inequality, and in the same time in the ratio of minority. From these qualities of the units of a measure it may be known, that the human body, from which it is taken, is a broad form with respect to its height to the thoracial circumference.

Third and lastly. Comparing h with 6, see fig. 8, it will be seen that h is larger than b (h > 6), which means hh is to 6 as 1 to 1 minus difference (abbreviated h : b=1 : 1—d), as we say h is to 6 in the ratio of inequality, and especially in the ratio of majority (iis always placed the first and 6 the second in order). From this quality of and 0 in the measure, it may be known again that the body, from which it is taken, is a slender form.

TO FIND THE NORMAL SIZE OF THE WAIST.

@ 9.——In fig. 2, as explained in paragraph 8, the h—0, and in this instance it is needful only to use the quantity b, leaving h unobserved, although it is immaterial which of them is chosen in the present case. On this measure A B (abbreviated O), to find the normal size of the waist (abbreviated N), carry from B towards A the 8 0; so that o B is equal to 3 0 (abbreviated o B=3 0); the A o gives the normal size of waist (N). ‘The whole expression abbreviated is O—3 J—=N.

Tn fig. 3 the case is somewhat different. To find the normal size of the waist it is necessary here to take b, not h; and again, it iso B equal to 8 0, and with it A o, equal to the normal size of the waist (N). The whole expression abbreviated stands O—3 J=N. j

Fig. 4 presents another difference. To find the normal size of the waist in this case, we must necessarily carry from B out 8 h on the measure, so that o B—3h; and be particularly careful to take h and not 6. Ao is here also the normal size of the waist (N). The abbreviated expression is O— 3 hA=N.

To find a general expression for this locus 0, we say: set off the smaller of the two h and 0, which smaller shall be termed &; then the following expression may be chosen, namely, O—3 k=N. This also may be given in different words: deduct from the breast measure (O) three of the smaller quantity, namely, of h and b (k); and the difference is the normal size of the waist (N). }

To find a locus of degree (I) on the measure fig. 4, make I B equal to the third part of o B, which is I B=}0B; and proceed in the same manner with the foregoing two measures, fig. 2 and 3, to find the locus of degree.

It cannot be completely proved in this place, as it would lead us too far, why the smaller of the two quantities h and 6 must always be taken to obtain N, or the locus 0, but it must be looked for in Anthropometry.

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COMPARISON OF THE NORMAL WITH THE REAL SIZE OF THE WAIST.

q 10. The size of the waist which is given by taking the measure is termed itg real size {abbreviated R), that it may be distinguished from the normal or ideal size (N). These two quantities R and N are originally by themselves positive (+) quantities. By making a comparison in fig. 4 of the real size of waist (R) with the normal size A o (N), it will be found that R = N, and consequently R — N == 0; for this reason the normal locus is suitably marked with 0, which indicates that the quantity goes up and leaves no difference. From this quality of R and N we know that the human body, from which the real size of the waist (R) is taken, is normal in its waist to its breast measure. In this case it is often termed proportionate, but it can only be said in a confined sense, and, scrutinized, the expression can apply no further than to fig. 2.

On a comparison of ’R with N, see fig. 4, it will be found itis’R < N, and, therefore, will be ’‘R — N — — D (namely, the smaller ‘R deducted from the larger — N gives — D), and from this difference — D it is found that the human body, from which the real size of the waist (‘R) was obtained, is abnormal and especially negative (—) to its breast measure.

Lastly. Comparing R’ with N we find that R’ > N, and, therefore, R’ — N = + D, which means the smaller — N deducted from the larger R’ gives + D, and by which it may be known that the human body, from which this measure is taken, is abnormal in its waist size to its breast measure, and especially positive +. Compare, also, R” with N; itis the same kind as B,, only that R” is different in degree, meaning that R" is larger than R’. The difference between o andI we denote with D t, which read positive difference of the first increase; and the difference from I, however large or small R” may be, passing [is denoted with D%, as shown in fig. 4, and a body of this measurement 1s said to have a positive differenee of the second increase, commonly termed an abdominal body. Remark: the sign of quality + may be put above and following D when required by circumstances, instead of before it. For instance: instead of + Dit may be written thus, D+; and so with —D, it may be placed thus, D-.

It is in the same time to be observed, that the quantity N is always unalterable, and, consequently, the locus 0 is fixed; but opposite to this the quantities R, ‘R, R’ and R” are actually only one quantity, which is larger or smaller through its fluctuation ; for which reason its alterable conditions are denoted by accents. R is also a fluctuating quantity, and therefore the differences D-, D *, and D +, are alterable or fluctuating quantities.

What has been giving in this paragraph of N and B applies to the two other figures 2 and 8, and therefore not necessary to be repeated here.

PROPORTION MEASURES OF REAL SIZE.

Siecle There is presented in pl. I. an entire series of ready-prepared proportion measures of the real size, commencing from the small size, 103 inches, up to the large size, 25 inches in the breast measure. They are given in a finished state that they may be ready at hand for immediate application, particularly in cases where there is scarcely time to construct the model. They can be very easily copied upon parchment, leather, tape, or even paper, according to convenience. ‘hese measures are made in the same manner as already described, only that the units are marked out in full up to 12, which in the description of them is not done.

In the row A are found all the breast measures; the row B gives the ground lengths; the row C denotes the entire heights of the human body, and the sizes of these measures are giving im inches ; lastly, in the row D the whole height of the body is given, but expressed by its number of feet.

For example, when found by measurement that the breast measure is given equal to 18, look for the number 18 in the row A, and take that proportion measure for the breast measure on which the number falls. Next look for the ground length, which falls in the row B, and may be, for instance, 56 inches. The proportion measure containing that number is to be taken for the ground length. To make this more distinctly understood it is necessary to remind that only one-seventh of the ground length is marked on these measures, which one-seventh is here on the proportion measure crossed on a line at No. 8; further, that these eight units are the seventh part of the ground length is quite clear, as 7 times 8 are 56, Such is the case with all the rest of the measures; the ground length will always be ascertained by multiplication, if we take the number of units in inches, and multiply the number of inches by 7. That the eight units in

6

the proportion measure 18 exactly agree with eight inches is because, in this case, one unit of the proportion measure is equal to one inch ; but this is the only instance in which they correspond, not being the case with any others.

If it should happen that a given measurement is not obtained by an English measure, or if it is merely taken with a plain tape, and the different sizes marked with symbols, it is simply to lay the given measure on the proportion measures until the one is found which exactly agrees with that of the required size.

q 12. In those cases where it occurs that the breast measure and ground length are on one and the same measure as, for instance, when the former is 18, and the latter 56, then we say that the human body from which such is taken is a proportionate form.

Should it happen that the proportion measure on which the breast measure falls is larger than that on which is found the ground length, then we say that body from which it was taken is a broad form; for instance, where the ground length is 56, and the breast measure may be 21 inches.

On the contrary, shouid it occur that the proportion measure containing the breast measure is smaller than that containing the ground length, as, for instance, the former should happen to be 18 and the latter 63 inches, it may be known that the body whence it was taken is of a slender form.

4] 13.——The signs 0 and I in the proportion measure have been found in a manner similar to that described in the foregoing figures 2, 8, and 4. It remains to be remarked that those bodies are seldom proportionate when the breast measure runs as high as 21, 22, 28, &c. inches. For this reason all bodies which measure beyond 18 are treated in locating o and I as if they were broad forms; and in degree as they exceed that measurement more decidedly so; and there would be no sensible incorrectness if it should happen that a large size is taken from a proportionate form,

Lastly, in denoting the size of the waist on the proportion measure contaiming the breast measure belonging to it, it will mmediately be discerned whether the size of waist meets 0, or does not reach or passes beyond it. Should it not reach, it will be D-, and should it pass, it will be Df, or Dé in a similar

manner to that presented in fig. 4. Fractional parts of the units, as the measure shows, are denoted thus: 4, 3, 3.

_ Gf 14.——Fig. 6 on pl. I. represents an instrument (protractor) with which angles are measured. As, for instance, the angle of a dress skirt is equal to 107°; but with its assistance every other angle required can be constructed.

ON CONSTRUCTION.

MODELS FOR DRESS AND FROCK. A, ACCORDING TO THE FORM OF THE FIGURE, h=b, 0; NORMAL FORM IN DIMENSION.

¢ Gods. To construct a model for this form, h—=6 and 0, which has been mentioned in paragraphs 8, 9, and 10, under Mensuration, the following must be observed. This form of the figure, according to which these models are constructed, is normal in dimension, because hR=0, and the real size of the waist (R) is equal to the normal size, (N) hence the difference between both is 0; the position of the figure is not alluded to in the construction, but it is erect, and consequently normal.

In the construction of a model, we take a proportion measure, of a size at liberty, which is made to the above form (see paragraph 7, Mensuration); for instance, such as that at fig. 1, pl. 2; or take a measure from a definite size, supposing one to be given of 18 inches breast measure, 56 ground length, and 15 the real size of the waist, as described in paragraph 11, Mensuration.

Fig. 1, pl. 2, exhibits a measure, A B where h=b, and the real size of the waist (R) is equal to A o, which means it is equal to the normal size of the waist (N). The model on pl. 2, is constructed after this measure. The quantity AC = of the ground length, the same as mentioned in paragraph 7, Mensuration.

‘| 16.——The Models are constructed by placing their co-ordinates under right angles, and making them as large as the proportion numbers denote, which are given with them; for exanple, in fig. 2, pl. 2, it is seen that A B=13, B C=7, and C D=8; to continue A E—3, B F=72, and C G=4}.

These co-ordinates A B, B F, &c. &c. in the back are taken as a whole in their connection with each other, termed ground form, on the correctness of which mainly depends again the fit of the model to the figure. The other form A K I H L D in the back is termed style form, and to a certain extent is not necessarily of such precise conditions as the ground form; and it is to a certain degree free drawn, if only in producing it the form of the human figure is kept constantly in view, so—namely, that one part of the style form suits to the other, as, for instance, A K to 1 H to D L; and still farther, that such parts are also suitable to the figure and to the kind of drapery; for in this consists the artistical arrangement of the model to the figure, through which taste in it is generated.

What has been said of the hind part, fig. 2, applies in general to the forepart of the model fig. 8, also. The co-ordinates A G, A B, B C, B F, &c., are here again placed under right angles, and defined through their proportion numbers, A B33, B C=51; but C D is equal to C D of the back, and E I is equal also to C Dof the back. Farther, A G=23, B F = 73, 6 E=9, &c., as is seen by a reference to the numbers. [t must be particularly observed that C E I is equal to a right angle, and that K E H also must be taken equal to a right angle in the construction. The I H=1} defines the position of the E H.

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q 17. The observations made upon the figure in pl. 2, are applicable also to pl. 8, only fwith the exception that the style form is here altered; that in pl. 2 is short in the length of the waist, while this on pl. 8 islong. In the long waist, fig. 2, pl. 3, it would look very unsuitable were A B to be taken as small as the corresponding part on the back, with the short waist, fig. 2, pl. 2. For this reason, the suitability of one part to the other in the style form must be observed here, and therefore the two models lon g and short in the waist present a good example on comparing the one with the other.

One part remains especially to be observed in these two styles, namely—the indentations. In fig. 3, pl. 2, the indentation is given L M=23; but opposite to this, in fig. 8, pl. 8, L M=—18, and notwith. standing this difference, either of the models go with equal closeness to the figure. That it is correct must become quite clear, when it is remembered that a straight line drawn from M to N will be equal to the curved line N I H O, in fig. 3, pl. 2, and in the same time brought in mind that these two lines have one and the same place on the human body.

The letters h and b, units of the proportion measure do not accompany the proportion numbers in these models, because it is not necessary that they should be distinguished from one another here, as they are equal.

In fig. 2, pl. 2, the normal length of the waist, the style length, and the natural or real length D, all fall in one point ; but in fig. 2, pl. 8, the style length of the waist falls deeper, namely, on CO.

1B, ACCORDING TO THE FORM OF THE FIGURE, he b, 0; NORMAL FORM IN DIMENSION.

q 18. This form, h <b, and 0, is that which occurs in the second case, paragraph 8, in Mensuration, by comparing the unit h with the unit b; and farther in paragraph 10, by comparing the real size of the waist (R) with the normal size (N).

The fig. 1, pl. 5, shews a proportion measure of this property, where 6, in the breast measure A B, is larger than h in A ©, (remember in paragraph 7, in Mensuration, that A C+ of the ground length), namely—that h <b and the real size of the waist R—A o, and is equal to the normal size of the waist N; according to this measure the models on pl. 4, and pl. 5 are constructed.

The construction of models in the broad form is proceeded with in the same manner as in the proportionate form, but with this difference; first, all lengths in the model must be taken from the units of the height measure of the figure, A OC, fig. 1, pl. 5. Again, remember A C=# ground length, paragraph 7, Mensuration. Second, that all breadths in the model must be taken from the units of the breast. measure of the figure, A B, fig. 1. To distinguish the two quantities, h and 8, it is necessary in this instance to give the h with the proportion number when % must be used; and hence b accompanies the proportion number for the same reason.

It must be especially observed that here the indentations A B and O D (fig. 2, pl. 4), and also A B and C D (fig. 8, pl. 5), must be taken from h and not from b. Particular stress is laid upon this, because the indentations appear to be breadths of the figure ; but they are neither breadth nor height, and must therefore always be taken from the smaller of the two quantities h and b, which in this case is h. It has already been observed in the division Mensuration, that the cause of this proceeding is explained in Anthropometry; but those who have not made this science a study must take its correctness for granted. Tt may, however, be remarked that the figure of a man of broad form does not in proportion fall in (carry so much indentation), in the iliac region, as the figure of a proportionate person. It must be observed that the proportion numbers do not alter with the differences of form, as the models of proportionate and broad forms show on a comparison of them, because the alteration ensues by itself through the units of the proportion measure, see Mensuration. If it is intended to construct a model of a broad form from a ready prepared proportion measure pl. 1, then it is of that kind, as treated of in the second case, paragraph

9

twelve in Mensuration. But then in the construction of this model two of those measures are used; the lengths and indentations are taken from the smaller one, which is here the ground length, and the breadths from the larger one, which in this case is the breast measure; for instance, suppose the ground length to be 56 inches, and the breast measure 21 inches, and the real size of the waist to agree with the normal size of the waist in this breast measure.

{| 19.—The style form in the broad model is obtained in a manner similiar to that in the proportion model; it is, however, to be observed, that on the hind part the breadth of the style form is obtained by adding the half of the difference of the two quantities 62h and 6%b to the smaller quantity 62h, as shown in fig. 1, pl. 4, and fig. 2, pl. 5. The mathematical expression for the above is this: The breadth

of the hind part A B= 62h + (ee) That number is taken which is at the time demanded by

the proportionate form in the breadth of the back, being at present 6% (see the proportionate model). It must become clear that it is perfectly correct to reduce 626 in the back part of a broad form, when it is considered that a man of broad figure has already too much in breadth to appear beautiful, and for this reason art may lend its aid to avoid any appearance of being too heavy or too broad, when it can be done suitably and without any injury to the fit.

The normal length of waist, C, in fig. 1, pl. 4, and C, in fig. 2, pl. 5, is arrived at in a similar manner to the breadth of the back in the style form. Here also is the half difference of the two quantities, 8 h and 8 b, added to the smaller quantity 8h, to obtain D C; and hence it is 8h + ——) =iDC, Ibn fig. 1, pl. 4, again lies the natural or real length of the waist, and the style length of waist, with the normal length of waist in one pot, which means to say these three quantities are all of the same length. Opposite to this in fig. 2, pl. 5, the style waist length E lies deeper than the other two lengths, which lie in this case also in C; meaning that the style length of the waist is larger than the normal length, and also larger than the real or natural length of waist.

C, ACCORDING To THE FORM OF THE FIGURE, h > b, 0; NORMAL FORM IN DIMENSION.

WT 20. This form, h > b, and o, is that obtained in the third case of paragraphs eight and ten, in Mensuration, by comparing their relative quantities, and fig. 1, pl. 7, represents a proportion measure of this property. On this figure A B is the breast measure, and B C —+4 ground length; and farther the same figure shows that the unit h in B C is larger than the unit b in A B, meaning that h > 6; and also that the real size of the waist R, (see E F), is equal to A o, indicating that R is equal to the normal size of the waist (N); for which reason o is marked in AB at D. Lastly, according to this measure the models in pl. 6 and pl. 7 are constructed.

Tt is again in the construction of models of this slender form, as with the foregoing given in paragraph sixteen, with the difference, first, that in fig. 1, pl. 6, the quantity A M is equal to 130 plus O A. This 0 A is at least equal to +, but it must be taken larger according to circumstances, depending on the height of the figure in the axilla; sometimes O A=}, at others equal to. But however large this quantity, O A, may be, whether it is 1b, 3b, or 3b, or even more, F G in figure 2 must be the same quan- tity also, namely O AGF; and hence invariably F H=83}6+GF. And farther, as in this case, OA—}b, so also G@ F =}, therefore it is here also that A M120, and H F —3}0.

Second, the normal length of the waist, G, fig. 1, pl. 6, is found when half of the difference between the two quantities, 8 h and 8 }, is added to the larger quantity 8h; viz. the mormal length of the waist

CG=8h+ —— In this model the real length of the waist again agrees with the style length,

and the normal length, so that all three become equal, and fall upon the point G. Opposite to this it will be seen that the style waist length D, fig. 2, pl. 7, falls deeper than the normal waist length B; for which reason this form is termed a long-waisted form in style.

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Third, the indentations I K, B C, fig. 2, pl. 6, and I K, F G, fig. 8, pi. 7, must be taken from the smaller of the two units h and b, which, in this case is b. It is repeated here as requiring particular observation, that in none of the figures are the indentations either height or breadth; and in the construc- tion of the models, they must always be taken from the smallest quantity, whether it may be h or b. All the other quantities, in models of a slender form, are to be taken from D, as seen in fig. 2, pl. 6, where b is given with the proportion number. The proportion numbers are, for the greatest part, not written out with the model, on pl. 7, because this model is of the same form as that on pl. 6. ‘The two models are only distinguished from each other in this particular, the one on pl. 7 being of a long waisted style, and that on pl. 6, is a short waisted style. The styles have been already under consideration in paragraph 17, in the proportionate form, and therefore do not require any further description in this place.

q 21. As now Anthropometry comprehends three different kinds of form in the human figure, namely, in the height of the figure to its thoracial circumference, and, therefore, according to dimension ; even so have we here also under the divisions A, B, and C, three different forms of models, taking their length in relation to breadth, also according to dimension, namely the forms, h—=b,0; h<b,0; and h>b, 0; all three of which are constructed conformably to a normal, or erect position of the figure, which was alluded to in paragraph 15, as being tacitly included in the forms. ‘hese three forms are, therefore, termed normal forms of models in dimension and position; there are no other kinds in exist- ence ; all deviations from them must be abnormal in dimension, or in position, or abnormal in both dimen- sion and position, which will be fully considered at a suitable time.

It may now be readily seen that the normal forms are those especially requiring exactness, before the construction of any other, or the abnormal can be attempted; for they are the starting points in the movement towards scientific thinking in systematic order in the construction of all succeeding forms.

In Anthropometry it can fairly be observed that there are forms in the human figure under the class h <b, and also under that of h > 6 which can be abnormal in these dimensions. But as the human figure in this respect, namely in the whole height to the thoracial circumference, is very rarely so far abnormal as to render it necessary that it should be taken into consideration in constructing models for the arrangement of drapery, this abnormality becomes here of no moment, and it is thought better to leave such in Anthropometry, where it is a purely scientific question, for detecting laws of formation in living nature, and especially those relating to the human figure. So, the abnormal form in dimension, the size of the waist to the thoracial circumference, is only to be taken into consideration, when abnormal form in dimension is spoken of, which will be next treated upon.

1]

MODELS FOR DRESS AND FROCK ;

ACCORDING TO THE FORM OF THE FIGURE, ABNORMAL IN DIMENSION.

A, EXPLANATION.

q_ 22.——The form of the human figure, if abnormal in dimension, is known through the differences D~; Dy; and Dj on the measure, see paragraph 10 mensuration. Hence, if we have a measure showing according to paragraph 8 that h= 6, and in the same time in paragraph 10, that a positive difference D? exists of the first degree, or in other words a first increase; then we have the form:

(== 08 DSF, according to which the model to the human figure can be constructed, which agreeing with the form of the figure is termed a proportionate and abdominal model of the first degree. But if, according to the two paragraphs 8 and 10 in mensuration, we have h =}, and in the same time the positive difference D% of the second degree, or in other words a second increase, then the form is:

ea, ID. IDE and according to the model which is to be constructed, agreeing with the form of the figure, is termed a proportionate and abdominal model of the second degree. It must here be observed that when a second

‘positive difference Dj; occurs, while there is already a first positive difference, D+, the construction must

not alone be with Dz, but D{ and D}# taken together constitute the form as given above.

Lastly, if the measure shows that the form of the figure has a negative difference D~, in the size of the waist, and is determined through h = b, and D-, then the construction form is: 04D after which the model is to be constructed, and which, according to the form of the figure is termed a pro- portionate and negative model.

{| 23.——These three cases of the variable differences, D+, Dj+, D-, which, have been considered in the preceding paragraph are presented not only in the proportionate form 4=—=b, of the human figure, but they also occur in the broad form, hk < b, and in the slender form i > 6. Hence there are still the following construction forms ;

indy 1 ea), IDR kay 1D) AD)are thal e (iy, 1D second, h > 6, Dt; h>b, Dt, Dh; and h>b, D-. according to which models can be constructed.

These include all the cases which can occur in the size of the waist of the figure, and in the construc- tion of models are termed abnormal in dimension.

It is not necessary to give examples through constructed models of these cases of the differences in the three forms h = b,h < b, andh>b; but it will be sufficient to exemplify them through models, on one of these forms only. As the form h < }, may be always taken as an example with more advantage than either of the other two forms, if we show the cases of the differences of the abnormal forms, so this form h < bis especially chosen through which to give examples of the differences in the models, and the student will find no difficulty in laying down the two remaining forms for himself.

B, constTRUcTION.

q 24.——The measures which fix the units belonging to the form in construction need not again here be fully described, having been already given in the article on mensuration, but still they accompany each model. PI. 8, fig. 1 shows one of these measures, and the construction form from it is as follows ;

a) h<b, Dt, and which after the form of the human figure is termed broad and abdominal of the first degree. The construction of the models according to the form, h < 6, has also been treated of in paragraph 18, and

12

there only remains D¥ to explain. We may farther, as in paragraph 18, take the proportion measure in its ground length equal to 56 inches, and in the same time the breast measure 21 inches. In this manner we must take the real size of the waist (R) which is not larger in size than C I, as the breast measure C D shows, but which must be larger than C 0 on the same measure, as shown by CD. The difference of the real size of the waist A BR, and the normal size of the waist C o—=N, is here F G—=Dt.

Now we take # Dt, of the whole difference D+, and add that quantity to the front of the forepart of the model, (fig. 3) in the size of the waist, so namely that F G=#? D4; the remaining + D } add behind in the size of the waist, so that C B= Dt, as is sufficienty shown by the figure 3. We proceed in a similar manner with fig 5, hence no farther explanation is required. his is a model of the same kind of form as fig. 3, with the exception that it is long in the style of the waist, already treated of in paragraph 17.

Pl. 9, fig. 1 shows another of these measures, according to which the construction form is as follows: b) Ib by 1D BID) and after which the model on pl. 9 is constructed, and agreeing with the form of the human figure, is termed broad and abdominal of the second degree. As this model in respect to the form h < b, is the same as that on pl. 8, there is here also but D+ and D# to be considered. The measure also, fig. 1, pl. 9 is the same as that on pl. 8, with the exception only that in fig. 1, pl. 9, the difference is H G—=D t, of the second degree, which was not the case in the other measure,

To add the difference D + and D % correctly to the normal size of the waist on the model we proceed as follows: when the construction of the model, fig. 8, pl. 9, is brought so far as the line D B, then put the real size of the waist A B (fig. 1) on the breast measure C D to mark the extent of the difference H G=D}; then take 4 D # and make A B= 3 D& (fig. 3), and in the same time add in front to the normal size of the waist ? D+, and 4 D¥# to it; sonamely LM+ MN—2 D+ +iD%, and make LO—LN; now draw D C, and erect upon it in D under a right angle the line E D, and finish the construction EF G, and EH. Lastly, make H G—z D {and we have completed the construction of the model. Fig. 5 is proceeded with in the same manner, with the exception that here M P—MO, andP Q=4#h; because a long style form is in proportion shorter in the front than a short style form; as the drapery otherwise assumes in the front on the figure a heavy and dropping appearance, and ill becomes the figure, especially if it is positively abnormal.

Pl. 10, fig. 1, shows a third measure giving a construction form as follows: c) li SO; 1 and according to which the model on pl. 10 is constructed, and which after the form of the human figure is termed a broad and negative model in form. As this model is again in respect to its form, h < 6, the same as those in the two other preceding plates, we have but D~ to dispose of, and also the measure is the same as in the two preceding cases, with the exception that here is a negative difference F G—=D-, whereas the difference in the two former measures was positive.

To deduct this difference, D-, correctly from the normal size of the waist in the models, we proceed as follows: When we have come so far with the construction of models, fig. 3, pl. 10, as to reach the point A, then first place the real size of the waist A B=R (fig. 1) on the breast measure © D, to observe how large the difference, F G==D-, is, and then make (fig. 3,) A © = 7 D-; further draw DC and erect upon it in D the line D E under a right angle; draw EHI; make 1K=4D-, finish EK, and make lastly LM= ;D_-. Fig. 5 is proceeded with in exactly the same manner as explained in fig. 3, and therefore for this reason nothing farther is to be remarked, than that the model is of a long style form, which has been already treated upon.

q 25. It is perhaps superfluous to give a second example of the negative difference ; but it is better to present one more, than one less than sufficient. Thus fig. 1, pl. 11, shows a measure according to which the construction form is as follows:

(RES oy IO, after which the model on pl. 11 is constructed and is termed, according to the form of the figure, slender and negative. As this model in respect to the form h > 6, in {| 20 is treated upon, we have here to place D—-

i eee

13

as above. ‘The measure also fig. 1, pl. 11, in respect to the size of the waist is the same as that just treated of in @ 24 under c.) therefore in this model all farther explanation is unnecessary, and to represent the measure and model on the plate is quite sufficient.

The construction of those models which are not given is also equally easy ; namely, those according to the construction forms 4 > b, Dt; and h > 6, Dt, Dt, in @ 23, second case; and farther those under €] 22,h—=b, Dt; h=b, D{, D&; and h=b,D-, according to which the student can easily construct the models himself.

It may lastly be observed that when we term models slender, broad, or proportionate, and no difference occurs in the size of the waist, that such are normal in the size of the waist, and in this the difference is 0 ; and farther if a model is simply termed slender, broad or proportionate, it is always considering its length in relation to its breast measure; similarly as in Anthropometry the height of the human figure is only in relation to its thoracial circumference, when termed slender, broad, or proportionate. In general, all that which is true of the external form of the human figure, must also be true of the form of the models.

C, PLACING OF THE PARTS OF THE MODELS.

q 26.——After we have constructed, according to {| 16, the hind part of the model, and proceeded so far with the forepart as instructed in (| 16 and 17; then we place the hind part (fig. 2, pl. 12,) with its acromial point A in the acromial point A of the forepart, so that the levator line A O of the back part falls in the levator line A B of the forepart, and the levator vertex, O, is fixed. Now draw the parabolic line MOD, and in the same time another line MCD, so that CO=+ unit (uw). The parabolic line M O D is exactly the form of the human figure on the superficies in the collumial section, if the surface lies in a plane; but as something is always worn round the neck, as a cravat, the collumial line M CD of the model must be larger than the same line MOD in nature; hence the reason of this alteration. In this position of the hind part to the forepart, the style line E finds its place by itself, and there needs only the shoulder line F of the forepart to be so drawn, that both lines on E and F, in the middle of their

lengths, lie so far asunder as + unit, uniting at the ends, as the figure shows. fo) 2 A 2 to) b=)

Second, place the scapula point G of the back part in the scapula point G of the side part, so that the two scapula lines M G and GI lie ina straight line MGI; afterwards draw the line HI A, and the line H K; and make K L = 23, if the style is short, but if long only 12 as directed before, in {| 17.

Third, in figure 3 keep the hind part fixed in the scapula point G, and move it round this fixed point G, with the point K of the back part in the point L of the side part. Holding the parts of the model fixed in this position, draw first the side line N i M K, remove the back part, and then draw the side line Hi o0 PY of the side part, draw g/m, and the required object is attained.

Particular attention must be given that the back part in 07 N must not be too contracted in joining with the side partoz H. And also, (fig. 2) HI is to be held rather easy on the sleeve, and I A to be held tight; but A P must again be held easy. ‘The style line also EP of the back must be held slightly easy, and the shoulder line F P of the forepart somewhat tight; the collumial line M C D in the direction of C held tight, and the collar part here kept easy. The facing also must in this place be rather large: because the human figure is here trom the axilla to the neck, in the levator vertex, concave; but towards the front in the sternal end, the forepart must be kept a little easy to the collar part. In general by placing together the parts of the model, it is similar to placing together the surfaces which are developed from geometrical bodies, and which surfaces by being joined are always according to the nature of the convexity and conca- vity of the bodily form, and according to the nature of the lines or curves in the surface.

q 27. ‘What little is to be said of the construction of the collar part of the model may stand suitably in this place, On plate 5, figure 4 presents the collar part, the proportion numbers of which accompany the ground lines, (co-ordinates); hence there is no difficulty in the construction of this part. But it must be correctly understood, that the angles C E F, and H EG, are always right angles, the position of which is fixed to one another through the acute angle G EF. The surface of the collar part,

14

where the angle G E F lies, becomes larger than it would be were the two right angles placed by the side of each other in a straight line. This must be so, because the surface in A KE and E H is laid over, and further, that the end A is bent towards the end H, when the finished dress is placed on the human figure, thus producing a double curvature of the collar part, hence making such position of the angles necessary. This rule applies to the three kinds of collar parts presented on the remaining plates.

As in practical application, the lappel part joins to the collar part of the model, a few words are to be said which may follow here. On plates 6 and 7 are two lappel parts, one being given to each forepart of the model. There is drawn, in this part, a dotted straight line, which is made the length of the forepart in the front, measured straight, without the skirt, if a frock, and if a dress, as long as the forepart, including the skirt strap. The side of the lappel joining to the forepart must be straight as the dotted line, or only very slightly convex, as the full drawn line running by the dotted line shows. The curvature on the forepart must be held so easily to the lappel part, that both, in putting together, come in a straight line.

D, SLEEVE AND SKIRT PARTS.

q 28.——The construction of a skirt part of the model is always the same, whether the model belongs to a proportionate, broad, or slender human figure, or whether normal or abnormal in dimension, or normal or abnormal in position; the difference of the skirt part being only that of costume, as for instance, whether it is for dress or frock. On plate 12, figure 5 are two ordinates, A B, and B D, under an angle A BD=107, which is the ground work of every dress skirt part. Farther, B E=% or $ unit of the measure, figure 1; C H=q 1m n (see also figure 3); C D= 14, which is added to C E for ease on the hip. The D o=1 fixes the position of the curve o E, and the line E A is drawn by free hand. Those lines above D, and below o are drawn only in cases, where as much as they lie higher or lower than 0, are again, in the front of the forepart of the model, to be deducted from or added. The dress skirt of the model on plates 3, 4, 6, and 7, are always so constructed, and need no further explanation.

It is with the frock skirt part exactly as with the foregoing, and one example will suffice for every case. Plate 12, figure 4, shows a frock skirt part. Draw a straight line P C, and make K L equal to the breadth of the lappel; farther, make K B=} real size of waist (R), take a point, E, D, or C, in the line K C, as high as the quantity that the skirt surface is intended to be more or less full. Now draw the curve, say K F, out from the point C, and make F B=BK. But the curve, F L, from the B towards L, must be drawn by free hand, rather more straight than the circle gives it, otherwise the skirt part in the front would fall too full on the figure. Next place the side part of the model on the skirt part, and draw O F with the side line running with it in one direction. This proceeding is a precedent for other cases, when the curves K H and K I are drawn out from E, or from D, or from other points in K C which may be chosen,

There is another mode of drawing the skirt curve, but which is not so generally applicable as that just described and which is only of practical use when a small quantity is required in the skirt surface. This is to make A K=q 1m n (figure 3), and then take the point F out from the point A as high as the quantity that the surface of the skirt is to be. But this rule requires to be limited, and we can, correctly speaking, only say: make A F=8 high, not more, although it may be less. Next draw the curve F K out by free hand. With the line O F we proceed just as in the first method. In the manner last described, all frock skirt parts in the foregoing -plates 2 and 8 are constructed, hence it is not necessary to repeat the explanation.

29. The sleeve parts of the model somewhat differ from each other in their construction, accor- ding as the model belongs to a broad, or either of the two other forms of the human figure. Plate 6, figure 4, shows a sleeve part belonging to the slender and proportionate model; it is the same in each of these two forms, with the exception that the elbow length of the slender form is in proportion larger than that for the proportionate form ; but such is always determined by the measurement. It is, therefore, principally to be observed to fix the following proportions, namely, A C—10, or A C= 10}, as the sleeve part shows on plate 2; or when the human figure is round in the back, then make A C= 103, or even 10%. In the slender form all these units must invariably be taken from b, and never from h. In the proportionate form, naturally, 4 is not to be distinguished from 6b, because in this case h==b, as already is known. When the

15

point A (figure 4, plate 6) is fixed, then draw a perpendicular A E upon A C in A, and as C B is equal to the style breadth of the hind part, carry from B, out towards E, the half arm-hole circumference (¢ axillar line circumference), so that B E=+ of the axillar circumference. Farther, take the half B E in F, erect in F, upon B £, a line F G, and make F G=iBF. Out from the point G, as a centre, draw with the distance G B a curve, B H E, go inwards at D as much as 1}, and finish the sleeve part as the figure shows.

Should the sleeve part belong to a broad model, the course of proceeding is generally the same as that just described, with the difference that the quantities are taken partly from / and partly from 6, as seen by the figure 5, in plate 5. It is necessary to avoid confusion with the two points D and B; because by the previously named sleeve parts they (D and B) fall together in one. To be quite clear in this matter, it is only needful to consider that always A D+ D C= A C, wherever the point B of the back part may lie.

We have now considered all the parts, which, when put together, constitute a model of dress or frock. We have besides considered, all kinds of forms of dress and frock, according to the different kinds of forms in the human figure, in respect to dimension ; consequently the construction is accomplished which was determined in the commencement.

17

ON VARIATION.

MODELS FOR DRESS AND FROCK.

A, ACCORDING TO THE FORM OF THE FIGURE IN RESPECT TO POSITION.

gq 30. The variations of models are of two kinds, the first is made according to the position which the human figure has; the second according to the style of the costume which clothes the figure. The variation of style in the costume is considered in the article on style, but here we will first treat of the variation of the models according to position. And just as the construction of models in their dimension form was only made according to the dimension form of the human figure, so the variation of the models is always with regard to its position. And as farther the positions in all dimension forms are the same, so it is the same thing whether the one or the other kind of dimension form is chosen on which to give examples of the variations of the models. Hence such may be done on that form of model which originated under the construction form, h—=bo, and therefore, the reason of the measure, fig. 1, pl. 18. But it must be remembered that the dimension form of the model, under the preceding division on construc- tion, must still be constructed according to a certain position, which is according to the normal position of the human figure, as already in @ 15 has been described. Such a model of normal position, is that which lies between the inclined and the straight model, see fig. 3, pl. 13.

When a model which lies in a normal position is varied, it must be done according to the abnormal position of the human figure, such varied forms being shown in the straight and inclined models in fig. 3; then where the position is normal, the position difference is equal to, 0 (do), that is, there is no difference existing. But where there is an abnormal position there must always necessarily be a difference between that, and a normal position; something at least, however large or small it may be, for instance, da, d y, &e. &c,, where d # as well as dy present an increase of a quantity, and —d x, and — dy the decrease of that quantity: dis no quantity, but merely a sign placed before the quantities x y, &c., to remind that these quantities are differences ; and the stroke (—) is a sign to denote in the same time that the quantity —dy is opposite to dy, as DB, BC, on A Bin fig. 2 show, where A B denotes y, and instead of dd, dy is substi- tuted. Consequently in the same manner as dimension differences exist, so also position differences exist ; and these latter are actually the elements through which we vary the model as will soon be shown. But before going so far the following is still to be observed :

When the human figure is small in the back, it may be supposed that the forepart of the model must be inclined, and deviating from that forepart in a normal position (see fig. 3, pl. 18), so namely that the surface contents of the model in the back become less than such in the normal position of the model; and farther that the levator vertex, V, approaches nearer the scapula point (scapula vertex) F, than these points lie to one another in the normal position ; also that its altitude in this case, is less, and at the same time the altitude of the infra spinatal point O is less, than in the normal position (R); compare the levator vertex, V of the inclined, with that of the normal model, which lies in the middle of the two vertices V and V’. Through this variation the diagonal V EF, as well as the surface of the model in its contents, become less than the diagonal and surface contents when in the normal position. In the reverse: when the human figure is large in the back, the forepart of the model must be straight, deviating from the forepart in its

18

normal position, as fig. 8 shows; so, namely, that the surface contents of the model in the back, becomes larger to it than when such was in its normal position; and farther, that the levator vertex, V’ is farther removed from the scapula vertex, F, than these vertices in their normal position lie to each other; also that its altitude is larger as well as the altitude of the infra spinatal point N, than when these points held their normal position, (R); so namely that in this case, if the diagonal V’ E F is drawn, it is larger than it would be through the vertex in a normal position ; and hence also the surface contents of the straight model is larger than that of the normal.

It must farther be considered that in these variations the cireumferences of the three models remain equal to, although their form as well as surface contents are different from each other; for as much as one part of the figure becomes less, just so much the other wins, and the entire in its circumference remains equal to itself: because there is no variation in dimension, but merely in position conditioned. With this short introduction to the variation of the models it will be found very easy to undertake them.

4|_ 31.— When now the human figure is larger in the back through its position, than it would be normally, the model constructed to the normal position must be varied, so namely that it harmonizes with the abnormal position of the figure, large in the back. But being large in the back is not a simple, but a complex condition consisting of shoulder forward, back long, and thoraw inclined forward on the pelvis in the iliac region. Hence we have to observe the three following differences: namely the BC = d i in the shoulder (the acromial difference), which the scapula spine line A B on the back part fig. 5 shows; farther the sines (scapula differences) F G = 1, and F H =} in the angles GEF, and FE, fig. 3; orif we do not use the differences G F and F H, the hind part in the normal position F K may remain, and only the indentation line MI is made as much as I K =} larger, and afterwards the infra spinatal point N placed as much as ¢ higher and more forward, than the normal line P Q lies. But the most correct method is to put the scapula vertex F of the back part in the scapula vertex G of the forepart, to find the point N; and to find the point K, to put the scapula vertex F of the back part on the scapula vertex H of the forepart, and in this position of the back part to make the indentation only as great as its normal quantity shows in the article on Construction. Lastly, as large as 1K is on the side part behind, must be S T in the front on the forepart, and in the same degree that the side part in the iliac region K becomes smaller in breadth, and greater in length, the forepart also becomes larger in breadth in the front, and less in the length, as § T= 1K shows.

The pointed lines X Y and X Z% on the shoulder fig. 3, are identical with the A D and A C of the back part, when the acromial point D, and C, in the acromial point X of the forepart is so placed, that the levator lines D L and C L, fig. 2, lie in the levator line X V of the forepart.

As the angle G E H is always equal to the angle b Ka, so are the openings GH and ba also equal to each other, if the legs are of equal length, as GE = Ea, and H E= Ed; hence it is clear that the quan- tity of the sines GF and F H always influence the length ba of the breast part, which is worthy to be observed, so as not to fall into the error that it is indifferent whether the sines GF and FH are less or more in quantity, but well to consider, that they must have a fixed ratio to other differences.

That a scapula difference is only equal to 4, when an acromial difference equals } need not surprise ; the cause being that E F is only half as large as EV, and also only half as large as FI. A still further explication of the nature of the variable physical quantities comes under Anthropometry, which subject, treated in the abstract, belongs to pure mathematics.

q| 32.——But when, opposite to this, the human figure in an abnormal position is smaller in the back than when in its normal position, the proceeding in the variation of the model is the same as above. There is in this case as in the former the same number of differences, namely those which arise from the shoulder back, back short, thorax inclined backward, on the pelvis in the iliac region, only with the exception that these differences are opposite to the quality of the foregoing. For instance (fig. 6) the scapula line AB shows the acromial difference BD —=—d4 ; for A B here decreases, in the same manner as in the above case fig. 5, the A B increased } unit. Farther there are also the sines FG and FH of the angles GEF and F EH to be observed (fig. 3), when the back part is placed to obtain the infra spinatal point O, which

19

is done by placing the scapula vertex F of the back part in the scapula vertex H of the side part; and to obtain the infra spinatal point L place the scapula vertex F of the back part in the scapula vertex G of the side part, and make the indentation quantity as large as that taken in the normal position of the parts. But if we leave unobserved these scapula differences, G F = d4, and F H — d}, and proceed less exact, the back part may be left in its normal position, as F E shows, and only the small portion RO—=+# lying below the line P Q be taken away, and in the same time take the indentation quantity M I as much as LI = } smaller. It is now quite clear that the scapula line W F of the back part must always be in a straight line with the scapula line of the side part, whatever may be the position of this line FE, namely as GE, or as HE. The forepart will here again be disposed of as before ; namely, in the same degree that the side part in the iliac region becomes larger in breadth and smaller in length, so will also the forepart in the front be smaller in breadth, and larger in length, as TU = LI shows. It is important to observe that although the acromial differences are always double as large as the scapula differences (and hence is d} and d4), in both these cases of variation, the altitudinal differences in the vertex V of the levator scapula, and the infra spinatal point R, remain equal to each other.

33,.——Comparing, lastly, the two cases large and small in the back, with each other, it is seen through the foregoing proceeding that in the first case F E is in effect cut up for the insertion of the wedge G EH; opposite to this, that in the second case, as if the wedge G EH were taken out, and GE and H & joined in a line. As now such putting in and taking outis of no practical avail in constructing a model, the variation as instructed, must be adhered to. But the entire quantity that the back is shortened or lengthened does not lie in the scapula region alone, as the half lies in the iliac region, on account of the backward or forward inclined position of the thorax upon the pelvis; hence the shortening in the one case, and the lengthening in the other, of the side part of the model in L,I, K, in the same time that such was done in the scapula vertex (see fig 3). On the hind part the entire shortening or entire lengthening of the back is always taken from, or added to, the normal back length, as G C is taken off in fig. 6, and DG added in fig. 5. The differences GC and DG (figs. 5 and 6) are easily found, by placing the natural back length on the normal back length (see for instance fig. 2). Here is KG the normal back length, and K I as well as K Hf the natural back length, hence IG is a difference in the iliac region, when the human figure lies backward in the thorax, and G TH] is a difference when the thorax lies forward upon the pelvis. The same with the figures 5 and 6. In figure 4 in the back part there is nothing to be observed, because the normal, is equal to the natural or real back length. Farther, through the variation above described in the scapula vertex, or otherwise through the variation of the infra spinatal points (side points of the side part) the back part regulates itself, so namely, in length to the side part, that this half shortening, as well as half lengthening, falls, or is carried to the scapula region G H.

Farther, although the style part of the back is, in the form of a varied model to be taken at liberty, still for greater distinction it is to be recommended to the commencer, to keep so far to the original form of the model in its normal position, as the heights of the two points of the back part between the parallels A B and C D show (fig. 4), and hence the parallels are drawn in all the back parts. The breadths also E F—= 6% of the style form of the back part are always drawn first, after which add, as the variation requires 6% + df, or deduct, as 63--d7z. As an example, fig. 6 is small in the back, and fig. 5 large, as figures 2 and 3 make more clear. But whether the style form of the back part is altered or not, it is immaterial to the fit, when only the ground work is correctly varied according to the differences above described; still taste requires the correction of the style form.

As the student will now by himself be able to construct the cases in fig. 3 separately, in a similar manner as figure 2 is separately constructed in figures 4, 5 and 6, he may proceed to the remaining cases of variations.

q| 34.—The normal form of the models in pl. 14 is constructed to the accompanying measure, fig. 1, which calls for no extended explanation in this place; but the variations are especially to be observed. Those of the models in figures 2 and 3, are made according to the condition, that first, the human figure is high, and second, that it is low in the axilla. First, when the human figure is high in the axilla, we take, as in fig. 2, the normal quantity A B larger than itis; that is, allow it to increase as much as the quantity AC, or according to that degree which the human figure more or less may require. For instance, as the

20

increase A C = } unit of the proportion measure, fig. 1. But as much as A C is an increase of A B, must D E be increased also, namely that D F—=AC. Now F L must be drawn, and also the style form C GH corresponding to the new ground work. Next in fig. 8 increase the normal quantity A B, so that the increase, A C of this quantity equals A Cof fig 2 ; then draw in the same time HG. Ifeach acromion L and G, and the levator lines H G and L F of the two figures are placed in one another, as described in the article on placing, €] 26, the position of the acromial line EK F, in fig. 8, comes by itself. Second, if the human figure is low in the axilla, fig. 2, the normal quantity A B decreases, say, as much as A [= 3} unit, but in the same time D E must just so much decrease, that D K—= ATI; draw in the same time K L, and also the style form I M H, to harmonise with the new ground form K L. Now let in fig. 3, the normal A B just as much decrease, that A I= A I of the figure 2; draw D G; place the acromion points L and G, and the levator line K Land D G one in another, according to the rule given in the article on placing, so results by itself the position of the collumial line K B.

q 85.——Among human figures there are forms, which although straight in the upper part of the thorax, lie more forward in the lower part in relation to the upper, than they do in the normal form. ‘The best way to vary a model of this form, as fig. 3 shows, is, to vary the normal side line in the abnormal L M, and afterwards for this deduction from the side part to add as much in the forepart in the front, as seen in OP. ‘The model may also in the same time in the side, be drawn as Q R and QS show. This quantity may be taken larger, according as the human figure from side to side in the iliac region and hips is more or less large. It often occurs that the human figure is very large from side to side, and in the same time very small from the back to the front. Should there be a case that the figure is both very projecting in the scapula region L, and in the iliac region RS, and the rules for the variation as above described not be observed, most certainly the other parts of the model, through such a form of the figure will be disarranged. But with the observation of these rules, not only will the fit, as well as comfort be attained, but also taste in the drapery of the figure. Then, should the model in M be too large, and too small in L and §, not har- monising with the form of the figure, there will be a fold in the drapery from § to L, which will destroy all the beauty of the figure, because the fold prominently shows its fault.

| 86.——When the head of the human figure is inclined forward, the model is to be varied, as fig. 4 shows; namely, take the normal A B as much as B C — } unit larger, and draw the collumial line C V D through the vertex V. The point H must not be taken off from the shoulder, which is sometimes erro- neously done, but remain unaltered as it results from the variation: because the C V is already smaller than its corresponding normal B V. Also the entire length C V D to the entire length of the normal B V E remains equal; as the condition of the variation is according to the position, and not according to the magnitude of the collumial line.

In the case of the head being inclined backward, the variation of the normal B V E is made as F V G shows. Also here the varied F V G of the normal B V E remains equal to itself in the entire, although the parts vary just as before, namely that F V here becomes larger, and V G smaller, and for the same reason, that the position only, and not the quantity of the collumial line is varied.

q 37.——On fig. 4it is shown in the same time how the model varies when the hips lie higher, and when they lie lower in the human figure than their normal place admits. If the former, draw the line I K through the normal point L, parallel with the line M N, and take the point I as much higher above L, as the difference, I L, between the normal and the abnormal position of the hips requires. The difference I L is certainly more than 4, but at most 3 of the smaller unit of the proportion measure. It is similar when the hips lie lower than their normal position in the human figure admits. In this case the point K is the place on the model which is determined through the difference L K =}. In the first instance when the hips lie high, draw the line O I; in the second, where they lie low, draw O K, and the normal place L of the model is varied according to the given condition. Just as we proceeded with the side part behind, so we must proceed in the front with the front part, in P,asQ R and S R on fig. 5 show. Lastly it is by itself plain, that after these points are determined, the curve from behind to the front out of I and K (fig 4) must be drawn concentrical with the normal curve LN P. This variation is especially observed, so that the parts of the models in the iliac region shall remain in their normal ratio to each other, and that the harmony of the model with the human figure may be insured.

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If in some particular costume the model shall be made longer in the front, and remain unaltered behind, or the reverse, longer behind, and unaltered in the front, independent of the form of the human figure in respect to the hips being high or low, then the skirt part undergoes a variation according to that of the model in the body part; with this exception the skirt part remains unvaried, through all the varia- tions of the body part. But this is treated of in the style part on costume.

4] 38.——When the human figure is high in the shoulder (acromion), keep the hind part fixed in the vertex V, and let jt move round this point out of the position V A, into that of B V, so namely that the difference A B= 4, and the shoulder surface takes the position CD E. Now draw EF nearly 1 higher than the normal E H lies, and the condition is completed as shown in fig. 5.

When the shoulder (acromion) lies low (fig. 5) hold also the back part fixed in the vertex V, and cause it to move in this point V, out of the normal position A V, in the abnormal position IV, just as much as the difference, A I —} is large, and the position of the shoulder surface K L. N is obtained; but also in the same time the normal E H G must bealtered in the abnormal M H N, as the difference E N = x determines ; and that also the difference G M — , and the height of the point G so much sinks, that the point M lies ¢ lower than the point G. This altitudinal difference of + must not be regarded as an insigni- ficant element: because such belongs to the uniformity of the varied model. Lastly, the normal O G must be altered in the abnormal M P, and as much as the difference PO —+ determines. It may also by this variation be brought in mind, that it is not the magnitude of the axillar line, but its position only which should be varied according to the position of the shoulder, hence showing this proceeding to be correct.

The student will now be able to construct all these cases separately. And it is believed he can, un- assisted, treat complex ones also. As for example where the construction of a model falls under the condition: high in the axilla as figures 2 and 8 present, and in the same time low in the shoulder (acro- mion). This is a very material case, and to construct a correct and beautiful model of this kind, would prove that the student besides being an artist, is a man of scientific knowledge.

B, THE FORM OF THE MODELS IN RESPECT TO STYLE.

q 39.——In this article it is intended to consider the human figure normal in form, which shall be, in this especial example, in the same time proportionate, and remain unalterably fixed in form, during any variations that the style form of the model may undergo. It is now the question how a model is to be varied so that it shall be fitting, as well as tasteful to the figure. But before proceeding to this variation, we must remain a moment to consider one or two points, which will serve to lead us to the undertaking :

Namely, when a measure is taken from the human figure, both behind and in the front, from the vertex of the levator scapula, beginning longitudinally and perpendicularly upon the thoracial line (places which are known from the Anatomy, Introductory to Anthropometry) then it is found that these two lengths in a figure perfectly straight or upright (normal in position) are equal to one another. If these two lengths (quantities) are also taken with the units of the proportion measure of a proportionate figure, each of the two quantities, posterior as well as anterior, equals 8} units. These quantities now determine the height (altitude) of the vertex of the levator scapula; and hence such must also be true of the models. But this is better illustrated by the model fig. 1, pl. 15; namely, AB is the levator line, which is inter- sected by the collumial line C V D in the vertex V.

Now place the hind part with its vertebral vertex, in the vertex V of the forepart, so that the back line V E of the back part, lies parallel with the ground line D F of the forepart, and that in the same time the infra spinatal point H of the back part is turned towards the infra spinatal point G of the side part : thus we see'that VI of the hind part, equals VI of the forepart, and the vertex V is the altitude of both quantities. Farther, according to Mensuration, V I = 83, hence also is the altitude V equal to 8k. And lastly, the hind part V I stands in relation to the forepart VI as 8} to 84, equal 1 to 1 (abbreviated, VI: VI=8: 8 —1:1). As now the point G lies equally high with the point H, and we prolong GH perpendicularly upon V I in K, then is KI = HL; therefore we need only to compare the quantity

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V K of the hind part with V K of the forepart, when the position to one another of the infra spinatal point G, with the vertex V shall be examined. Under these circumstances the altitude is normal in quantity, and the altitudinal difference is equal do.

40.——If it is now intended to vary a model upon the consideration of style, the posterior and anterior altitudes of the vertex, with which we are now sufficiently acquainted, not only remain unvaried in their ratio, but also they remain unvaried in quantity, by the alteration. See fig. 2, for an example of the normal shoulder style varied into a straight shoulder style. The hind part belonging to this shoulder is not to be varied. To obtain through variation a straight style of the shoulder, when in the same time the axillar line, and also the collumial line become smaller than the corresponding normal lines, it is only necessary to decrease the normal vertex line G B, and thus there is B D = d4; in the same time decrease the normal clavicular line A H, and then we have the difference A C—d+4; draw CD. Place now the hind part as usual, but with its acromial point in the varied acromial point C of the forepart, and the straight shoulder is obtained, deviating from the normal shoulder, according to the amount of the acromial difference, and vertexial difference. Remember that the two differences are equal to one another, which is always the case in this variation.

The proceeding is the same but in an opposite direction, when the oblique style of the shoulder is required ; namely, the normal BG, as well as the normal A H increases, and the difference B E = di, is equal to the difference A F =d}. The maximum of each of these differences is commonly only } unit, and the minimum always more than do, that is more than nothing. The altitude is unaltered in both of the variations, as O L, and MI, and especially the line P Q, which goes through the three vertices, show.

But now as was required in the straight style, the axillar line IC K, and the collumial line L, H, have become smaller, and in the oblique style these lines M F N and O H larger than the corresponding normal lines, so is the knowledge of such variation of great practical use; for through the receding and forward position of the shoulder, we can not only find the proper quantities of these lines, but also the different and suitable diagonal lines L K and OK. It must be by itself evident that, when a shoulder is too straight, the diagonal L K becomes too large, and the axillar as well as the collumial line too small. The consequence of this would be an especial fulness in K, and a contraction in the acromion C, and in the neck. The reverse, when a shoulder lies too oblique, the diagonal line O K becomes too small, and the axillar as well as the collumial line too large ; the consequence of which is again, that the model in K can become too small, when in the same time in the neck, and the acromion F it would be too large. For this reason we do not take the differences either on the positive, or on the negative side larger than d}.

41.——See figures 3 and 4, where the shoulder is varied into the straight and the oblique styles: but which is under the condition that the axilla line shall remain unaltered in magnitude ; and that under this variation the altitudes of the vertex shall remain unaltered also.

To make a variation according to this condition, let the scapula spine line of the back part decrease, the same quantity as the clavicular line of the forepart is increased, when the shoulder is to be oblique. And the reverse, in the case of a straight shoulder, make the scapula spine line increase in the same quantity as the clavicular line of the forepart is decreased. But in the same time that the clavicular line increases or decreases as much as d4, the vertexial line increases or decreases as much as d 1. For instance, in an oblique shoulder, let the normal ordinate A B decrease so much as the difference BC = di; increase the normal ordinate E F as much as the difference H I = d}, and increase also the normal I K as much as the difference IM —d1; lastly, place together as usual the back and forepart, but with their varied acromia, and the required shoulder is given. Farther to obtain a straight style of shoulder, make the normal ordinate A B of the back part to increase as much as B D — di; decrease the normal ordinate EK F of the forepart as much as EG —d4; and likewise decrease the normal ordinate IK as much as the difference 1L—d1; lastly the varied acromia of the back and forepart placed together as usual, give the required shoulder. ; ‘

The altitude of the vertex by this variation is not altered, which becomes evident if R Q is prolonged ; and upon this prolongation QS a perpendicular P S$ falls from the point P, after which through P a line PO is drawn parallel with SR; then PO passes through the three vertices of the shoulder. Conse-

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quently the altitudes of the vertex remain unaltered, which also the position of the shoulder points T and V shows to be the case, because they lie in one line T V which is parallel with PO. The axillar lines have also remained unaltered, as first conditioned; but the collumial lines have not remained equal to each other, their equality under these circumstances not being possible, though it would be well if they could be made equal. To come nearly exact, a little may be deducted at F im the one case, and as much added in the other. Whoever believes that he can by altering the point T or in the other case, by altering V, obtain the equality of the length of the collumial lines, is in error, because this alteration would immedi- ately displace the altitude of the vertex, which would be contrary to the condition, and hence cause the shoulder to become incorrect in its form to the human figure, which must not be, because fit and taste are the first consideration in every construction.

Fig. 5 presents the measure by which the model on pl. 15 is constructed, and requires no further explanation.

q 42.—-—See figs. 1 and 2, pl. 16, which represent a normal model so varied that in the lower scapula region, and also in the iliac region from A to B, it goes closer to the figure than when in the normal form : lay the shoulder back as seen by CD EFG, under the parallel altitudes of the vertices as much as the difference d}, or d}, or d%, which is done when the normal IL and KG increase as much as such differences. But the normal pectoral point M must in the same time take its place in D, so that the difference M D = K O —I Q;; draw in the same time GH, or otherwise the model would become too large in the breast (thorax) in front. That this variation is correct must become evident on considering that through it the model is laid more back in the upper and front part of the thorax in relation to the lower part, than the normal ratio of both parts in position to one another required ; which is the same in effect as if the piece DMS R were taken out, or such in A B were taken away.

We have to proceed in a similar manner, but in an opposite direction, to cause A B to go to the figure less close than a normal ratio requires ; whereby must be again the differences MN — K P—=IT , and the model becomes in the lower thoracial part as much as the quantity or piece M N US larger, which produces an effect similar to A BS M gaining in breadth at AB as much as the piece larger than the normal ratio of the position of the parts to each other demands. We diaw also in this case V H, or otherwise the model would become too small in the breast.

That the altitudes of the vertex of the varied shoulder have remained unaltered, the parallel position of the points F, X ; E, W show, as well as the vertices under the parallels Y Z, and Y’ 7.

43.——We have now so far all cases of variations of models gone through, that the student may proceed without farther assistance. But it may be permitted that we still mention a well known proceeding which all practicians are accustomed to follow, who only guess at the variations. They make no difference in the process, whether the original model is constructed according to one or the other system, or to no system at all. It is especially worthy to be observed,—we repeat—that all masters have the same method, whether they are conversant with each other or not, and whatever country they may belong to. Hence such a fact is worthy of investigation.

The figures 3 and 4 on pl. 16 represent the model, in which the back part always remains unaltered, but of which the forepart according to the proceeding just alluded -to is varied by guess, without a clear cause for so doing, or perhaps without any cause whatever. Here is ABCDEFGH, the forepart and side part of the model. First the point A is taken away, and the point I taken instead; at the same time the point I is placed forward, and becomes the new vertex V, instead of the original vertex, and K L is drawn. Farther B is altered into M, C into N, D into Q, and then MNO Q is drawn; F is altered into R, and G into 8, and the lines QE and ER ag well as LS are drawn. The variation or better said this blind alteration is accomplished, without first having any clear condition or reason given for it. But what is now the difference between the varied model and the original? this should be known that it may be comprehended to which of the forms of the human figure the altered model agrees.

Now draw out fully the straight TU, parallel with W O, through the vertex of the original model, as

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seen in the straight T U, and compare the altitudes of both vertices, then the vertex V of the varied fore- part lies lower than that of the normal forepart. But as now the point Q lies as much lower, and also O N in O, as the new vertex deviates in a downward position from the original vertex: so have still the two alti- tudes of the original and the varied forepart remained unaltered. As now the quantity Q E equals D E in length, because Q E is more convex than D E: so the hind part if placed on QE will not through such variation, lie lower in relation to the forepart, than it was in its normal position on DE. Hence then the back part T W has become just as much longer in relation to the forepart, as the difference between the two foreparts in their vertices, in respect to their heights. As this altitudinal difference is commonly not more than dz, itis clear that instead of such a troublesome variation on the forepart, it is only needful to make the dorsal length X Y as much as d larger than its normal quantity.

Second—As now QD=CN=AI= HHK=GS=— FG lie equally forward: so lies E, through such variation, just as much as one of these differences, Q D or CN convexly outward. It is therefore the same, and more easy to leave the forepart in other respects normal, and draw only the convex D Z F, so that ZH — DQ. At the same time we may alter the normal shoulder, as shown at a, b, c, and this fore- part comes exactly equal to the varied one.

The varied model in both of these cases has that difference from the normal model that it is longer and wider in the back. But that the diagonal of these models has through this variation become less than it was in its normal quantity, does not agree with the instruction, paragraph 30 and 31, on the abnormal increase in the back. We now question whether such variation is of practical utility ? we leave this to be answered by the learned artist, and only say so much: when those who practice by guess can prove nothing, they screen themselves by referring to their own individual experience. But we have, from per- sonal observation known these same persons often with great loss, obliged to make their model once varied, undergo a second variation. To some of them, whom as we believed must have done with their altering, it comes still in their head that the side part now in QER is too roundly convex, and then they take away immediately this convexity, by which the side line becomes equal to the original one; indeed their varied

model is now completely equal to their original. Why then make the variation, or as they express it, alteration, at all?

As now this kind of variation comes to nothing, how is it that such a method of proceeding is common to so many practical men, by which the commencer only becomes confused, so as scarcely or never to arrive at a clear knowledge of his art? we answer: all practical men feel the necessity of varying their model, according to the position of the figure, and according to the style of the drapery. These two elements becoming mixed together confuse them, when they are uninformed upon the fundamental science of their art; and thus variations are made with a guess, and according to habit. The artist must understand the convex human figure in all its kinds of form, externally, and in regard to dimension and position; know the styles of costume, and bear the whole in his mind, if his hand shall correctly create; he must not alone rely upon his eye, but also upon his mind and understanding.

D, MIXED VARIATION.

q 44. ‘When we have to vary in the same time according to different kinds of elements; namely, style in the costume, and also position in the human figure, there arises a mixed variation 3 in a similar manner as we vary according to one kind of elements, namely, according to those of different positions of the human figure, the complex variation arises. But these compound yariations are all very easy, if the variations of the simple elements are well understood.

See figures 2 and 3, pl. 17. This model represents a mixed variation. The condition of it is neck thick and inclined backward, shoulder (acromion) forward; and according to the costume, as that of a servant, another condition is being much larger in the axillar line than the corresponding normal line. The variation to this condition is made by decreasing the minor dorsal length A F = 1} as much as the differ- ence A B—dz}; the major dorsal length F H = 1 increases as much as the difference d 3, and the scapula spine line also increases as much as the difference d 3, so that F G = 73 + d+ becomes larger.

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The style form of the back part may be altered or not according to pleasure. The forepart regulates itself through the usual placing of the parts to one another, and the required form is obtained, The sleeve part fig. 5 of the model remains to be noticed. In this take the quantity A C — 10} or 103 large instead of the normal quantity, which is 10 or 103.

Of the measure fig. 1, nothing further is to be observed than that the model on this plate is constructed by it.

Figures 4 and 6 explain themselves, because it is assumed that the construction is understood from the foregoing, by every one who will enter into the study of variation.

q 45. There is still another class of variations, which will perhaps be here the best place to men- tion, the only condition of which is to be easy, meaning easy in a greater degree than what is otherwise called comfortable ; but not so easy that it should not go close to the figure, and to lose the taste on account of being deficient in harmony to it.

To know and correctly to make this variation is very useful; for instance, as when the materials out of which the drapery is made, are very thick, or if it is lined throughout with thick material, which is often the case, as with hunting clothes. A particular model is not given to represent this because the variation is chiefly made in the back part, and the explanation on fig. 2, pl. 17 may serve equally well. Also:

To vary to the condition of being easy, first the normal F H — 7+ d i is made instead of 7; then the normal A C — 3 + dt instead of 8; lastly make the scapula line F G — 72+ dt instead of the normal quantity which otherwise is only 7%. The remainder is as usual. The differences d 4, d 4, and d 4, may be taken as d 4, d i, and di, or even d 3, 4, and d 4, according as the physical circumstances require it, as for instance in the case of using very thick or stiff materials.

It is now evident that in this difference there may be as well a negative increase as there can be a positive increase, that is in cases where the model shall be more or less tight than the normal, instead of being easy. The equation would then so appear; FH —=%—d}; AC=—3—d z; and FG=7—dt.

Whoever should conclude that it is only necessary to take a larger proportion measure to construct the model, instead of varying with the differences, and believe that the result would be the same, is greatly in error ; for the increase is not intended in all the parts, but only in those which secure a higher degree of ease, and this statement is true of the reyerse.

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MIXED VARIATION—continued.

q 46. Fig. 1, pl. 18, presents two models of Dress, one in the English, and the other in the French style of the present time, but both deviating from the normal form of style, which is expressed through the pointed curved line. The variations of the co-ordinates of the models are made, in this instance, on account of the style, but in such a manner of proceeding as is customary to practicians not scientifically informed. They vary the co-ordinates of the model, without knowing that they do so, in making an alteration of the style; while the scientific method of varying the style, is to increase or decrease the co-ordinates, and the artist knows exactly what he is about, as in this manner he can account for his proceeding.

First we will take into consideration the French style. The breadth of the hind part A is larger than that of the breadth of the human figure G; for this reason the forepart in the pectoral region C, must lose what was added in the hind part, so that the size in the axillar curve DCBA may not be less than its normal size ELFG. Through this alteration of style, the back part ordinate wins what the forepart ordinate loses, which two fix the breadths of these parts. Such alteration has influence upon the rest of the ordinates and abscisses of the model; and therefore the indentation HJ becomes H J+ JK, where JK=LC. Also the absciss of the hind part (major dorsal length M N) has become larger, because the axillar curve from F to B is placed deeper than the normal curve LF, and likewise the sternal length PQ has increased from the same cause. This usually satisfies the ordinary practician, but not the scientifically informed artist; he thinks farther and soon sees, with the eye of a geometrician, that, through such alteration the vertex O of the model so much recedes from the vertex of the neck of the human figure, as the point F has advanced into C; and besides this, that through the alteration the entire upper thoracial length has become somewhat too long, while the lower is in the same degree too short, which result is not corresponding with the given condition, which is only a wide style in the shoulder; hence through these alterations the model proves a little incorrect. Lastly, he would see that the model may be corrected by making the dorsal length RM as much as one quarter less, and the scapula spine line MI as much as one quarter larger than the normal size gives, and in the same time also the lumbar length NT must increase one quarter equal TV.

q 47. The variation of these styles in scientific order is easy, more certain, and at once correct. It is as follows: the ISR is the normal form in the back. To obtain the French style, put RM = 1}—4; MI=7%-+ 4; let TS decrease +; farther MN =1- 3, but, if wadding is put in the shoulder of the forepart leave the normal M N =7 unvaried; H J = 23+ 4, in the short waisted style; and in the long waisted style vary H J = 12-2, and WX into WY; the form of the forepart will be correct without altering the normal LF into C B, however broad the hindpart in G may be, if not excessive. But it must be observed that in this style of shoulder the model always requires + or + more length behind in the waist, than in other styles; hence the varying of the normal forepart ZX into ZY, and the length of the back T into V ; otherwise the model, being now easy in the shoulder region, would have the appearance of falling from the Figure.

What is here given for obtaining the French style serves also as a rule to obtain the English style, by only treating all the co-ordinates in question reversely; for instance RM—1}+4+ 3, and TS=3+43; MI=%73—z; MN=7—4; and HJ decrease }, and ZX vary into ZU.

The styles created in this manner belong to the ideal; as in the French style it is thought that a greater breadth and fulness than is really found in the natural form of the region of the back and shoulders add to the beauty of the figure; and in the opposite of this, in the English style, it is thought more beautiful if the region of the back and shoulders looks more confined and small than it isin nature. We find both styles not unfrequently in degree carried to excess. ‘The French style appears often in super- fluous quantity ; while the English, on the other hand, still oftener appears too constrained, and scrupulously contracted, It is, therefore, better to avoid either extreme, to keep between the two, and endeavour in unassuming modesty to reach the ideally beautiful; in which, we must never forget, that, in this idea, physical nature strives to realize itself, and in which realisation we meet dignified and refined natural forms, which we may know in mathematical ratio, and adopt as guides.

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If we well observe the three normal or primary forms of the human figure,—proportionate, slender, and broad, it will be evident that the French style is becoming to the slender figure, because in this figure there is a natural deficiency in breadth. In the case of the proportionate figure it may be admitted, but in the broad figure the French style is absolutely intolerable, because nature has here already given too much breadth. The present English style is the most suitable for this form of figure, but care must be taken not to deviate too far from the primitive or normal form, but rather to lean to that style approaching the ratio in the proportionate form, where the normal ideally beautiful only is to be found,

The model of the sleeve, fig. 2, undergoes an alteration in both styles. When, for instance, A B is the usual depth of the model, C D E belongs to the French style, because F E must be deeper than the normal depth F, otherwise the extension in the region of the shoulder would be drawn by the sleeve, and so brought out of its proper place. The English style requires the reverse, viz. HJ G. The models of the skirt and lappel, fig 3, are clear without farther explanation, only it needs to be mentioned that they are of the French style.

It may be useful to observe here, that, when it happens that a drapist has a number of customers who are abnormally long in the dorsal length, he easily falls into the belief that all men have a greater dorsal length than the ratio of the normal form gives. On the other hand, another drapist has customers the greater number of whom are abnormally short in the dorsal length, and he as naturally receives an opposite impression, that the dorsal length is always shorter than denoted by the ratio in the normal figure. Each one adheres to his own, and as he believes, to a more general and better rule, while in reality they are both mistaken, as the rule, neither of the one nor the other is general, but special, each belonging only to a particular class of figures, viz., one to those who are long in the dorsal region, and the other to those who are short ; hence the normal form remains the most generally undisturbed in its ratio. We must therefore, place the two cases, long as well as short in the dorsal region, under A, paragraphs 31, 32, &c, and remind the artist that the mastership of modelling is in being able to construct with facility, according to every occurring condition, and not in that, to construct only one kind of model for all conditions and forms,

4] 48.——The model of the two parts, fig. 4 and fig. 5, represents a complex form,—namely, to the condition that the human figure is long or high in the axilla, and in the same time low in the shoulder (acromion). This form is treated in its simple elements in paragraphs 34 and 38, and merely to present the model will be sufficient. But it may be repeated, that the increase A B of the forepart must be equal to the increase A B of the back part; and farther that MN of the forepart is varied into the position M O, so that NO; that K varies into D, C into H, and, lastly, that a human figure of this form always projects in E.G, recedes in I, and projects in P. .

q 49. The model, fig. 1, and fig. 2, pl. 19, is an example of the style worn before the French Revolution of 1789. It was one not only prevailing in France, but also in England and Germany ; at present it is only worn at fancy balls and courts. It is worthy of remark, that these three nations, until that time, were thus much identified with each other in the taste of their dress; certainly a consequence of intercourse and communication during a long peace.

The minor dorsal length A B, is in this style equal to 1} —4; CD=%—+; and BE -- EF=7 2-1. through which the neck was left more free, and the shoulder more easy than was the case in latter styles of dress. But this style is aesthetically ideal, and was the modern European classical drapery ; it appeared in the greatest perfection in the seventeenth century, and perhaps was an imitation from the dress of the southern and eastern nations, to which it has a similarity.

4| 50.——In the model under fig. 3 and fig 4, on the same plate 19, two styles of dress are presented, English and German, of the year 1820, which but slightly differ from each other. 'The English style A’ B’ and C D is broader in the shoulder (axilla) than the German A’ E and C/ F. When the shoulder was worn very narrow, then the normal line, A B of the back part is so placed as the line C D shows; but the increase A C, must always be: equal to the decrease B D, which is, in this case, equal to 2. The normal quantity A G= 4, and the normal quantity F B= 73, as usual.

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The form being entirely altered round the region of the shoulder, it appeared now, there being no section between the skirt and the body, that it was unsuited to this confined form of shoulder; from this cause arose the section between the body and the skirt, as G H J, and K LJ show, and an entirely new form of dress sprung out of the old one. But this change was not easily correctly effected, and those who are conversant with the literature of the art of modelling for drapery in this period, know how very long a time elapsed before this part of the model was made correct. Herein is nothing to surprise, because the lower portion of the thorax is similar to an inverted conical frustum, and, therefore, its surface in the section M J alluded to, demands a curved line G H J, which only a geometrician could at once make correct; and the science of geometry the artists of that time believed to be unnecessary, and, consequently, this part as well as others were guessed at, by many who professed to be masters. The style presented in this model is, in its origin, a copy of a cuirass after the time of the French revolution, and became only later a compo- sition or design according to the aesthetical normal idea of a human figure.

The taste of the present time calls again for an approach to the style presented in fig. 1 and fig. 2; but there can be no difficulty in changing one style into another, as the student is by this time acquainted with the laws which regulate the variations, especially if he compares the variation of fig. 1, with that of fig. 3.

These hints may be sufficient for every reasonable thinker, to be assured how necessary it is to know and esteem the literature of his art at every era, and to know and value at least so much scientific knowledge as is immediately connected with his art, so that every periodical change of form will not oblige him to discover all its first elements over again, or cause him to spoil materials.

q 51.——The figs. 1 and 2 on pl. 20 represent a model in the style of a shooting jacket, or of easy apparel in general. ‘This style, so far as it deviates from the style in dress and frock, is only one of convenience, for the purpose of it is to secure chiefly a higher degree of ease, without a departure from taste and fit. Therefore the normal quantities of the co-ordinates require only to be increased, as is seen in fig. 1, viz., 3 into 3-+ d}; 7% into 73+ d}; and 7 into 7-+- dz. Take away all the differences, d3, d2, and di, and we have again the normal quantities. The rest of the variation in the style of this model is in that part which can be effected without the help of the differences, and therefore needs only to be imitated and drawn by free hand.

Of the sleeve part of the model, fig. 3, nothing more is to be observed than that the quantity from the middle of the back to A is here equal to 103 or 103, instead of 104.

@ 52.——Fig. 4 on the same pl. 20, presents a model for a boy’s jacket. Although this model has some character of its own in style, still such is more in consequence of formation in the figure of the boy, than conditioned through the idea of style in dress. The conditions of the figure form are, head backward, and shoulder forward. For these reasons, the minor dorsal length, in the model A B=—=13—d$, and A C=7%-+ di, or even A C= 72+ di. The quantity D E14 is because childrens’ forms are most generally large in the neck; but, in the exceptions to this rule, may D K= 1, or D E=3, which last is the normal quantity.

53.——In fig. 1, pl. 21, we have a style of an uniform which has a great similarity to a boy’s jacket. First, its construction is conditioned to the peculiar style of the uniform, as the model sufficiently exemplifies ; and second, its construction is conditioned according to the form of the figure. The military form of the figure is in general head back, shoulders forward, chest out, and abdomen in; accordingly the minor dorsal length becomes A B= 1}—d3; the scapula spine line AC — 7%-+ d3; and the major dorsal length A D=T7—dt.

The construction of the skirt part, fig. 4, requires no explanation, nor that of the collar part, fig. 3, with the exception that AB must be put on in the neck, neither the lappel part, fig. 2, nor that of the bent arm model, fig. 6; but it must be here particularly observed that A B=104, whatever breadth the hind part C B may have.

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The model part for the straight sleeve has also no difficulty ; because the part CEGH K J is first in the same way constructed as a model of a bent sleeve, except that GH is parallel to Q P; then the two parts, G LM H, and NJ KO, must be made equal to the part JGHK. ‘The triangle, DBC, must be made to cover CB A; EF equal to EA, and the parts BN and EL must be made equal to the part BEGJ, and cover it. The measures accompanying the models are those by which they are constructed, and taken on a scale to produce a size of models best suited to the book.

Tn a general survey of all these varied models, it will become quite evident that the groundwork of them remains free and unfettered, in all cases, conveying fixed laws in systematic order, whatever may be the form of the style, or the form of the figure according to which the models are constructed. We must, therefore, regard the groundwork of the models as something general and continuative, and in the same time tangible, consequently such a groundwork is a complete system and of general application to construct models for draping the human figure.

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CONSTRUCTION—continven,

MODELS FOR VEST.

q 54. The same breast measures are used in the construction of models for vests, as those used in the construction of models for Dress and Frock; and as these measures are described in the foregoing paragraphs, the mere representation of them accompanying the models on Plates 22 and 23 will therefore suffice. But the length of the vest mentioned in paragraph 3 Mensuration must be observed in fixing the length of the model to it in front L, from G downward, having first the breadth of the back O B deducted from the length. It must also be mentioned that there is no ground length used in the construction of the vest models, whereas it was required in those of dress and frock; and farther, that the proportion numbers used in the vest models are abbreviated deductions from those numbers which were used in the dress and frock models; while the construction is made as simple as possible without giving up the correctness of the process. The measure fig. 1 shows that the form of the figure measured is normal in the size of the waist in relation to its breast measure, and the model fig. 2, pl. 22 is constructed according to this condition.

The co-ordinates in the models stand under right angles to one another; and the proportion numbers are all given with them; hence this neither needs any further explanation. But in case the figure is thick in the neck, A B on the hind part of the model may be made equal to } instead of z. It is seen on the same figure that EC = 9, but must be so much increased as that C D = 1, reckoning for the lessening caused

by putting the parts together.

Out of the centre F with the distance F G draw a circle GH which gives the collumial line for the model, but if the vest for which the model is constructed is to be buttoned close to the neck, draw a line Glas highasIH =. The size of the waist K L and MN is equal to R where as in this case R = 15 units. ,

q 55. The real size of the waist (R) shows a positive difference (Dt); namely D+ = AB on the measure fig. 8, and according to this D* and measure the model fig. 4, pl. 22 is constructed. But the con- dition is, besides that the figure is abdominal it is also broad in the circumference of the chest (breast mea- sure) to its height, and hence the model must be varied accordingly.

The model is first constructed after the same proportion numbers as those in the preceding paragraph 54, which the pointed line in fig. 4 shows, and when this is done the variations are made according to the condition of the figure form. First the increase of the size of the waist in the model is made ee 1D as } D* is added in the front on the forepart, and the other 3+ D* is added in the side of the hind part. Second, the variation is according to the broad form, but as we have not ground length here we vary A BC into CD A, so that DK = 3; proceed similarly with the hind part, varying DEF into DG F; and lastly vary FHC in FIC, so that HI=4=KD.

q 56. Fig. 5, pl. 22 shows the construction of the collar part as follows: from the point A with A B draw a curve BO, make BC = 8; draw a straight line EC D through the fixed point C, and through

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the point D taken at liberty, according as the turn of the vest is to be high or low, and form the collar part as shown on the model. Similar to this the collar part on fig. 4 is also formed; farther explanation is therefore superfluous.

The model fig. 6 differs from the preceding one in the style of costume, just so the collar part fig. 7, which is a standing one; although it may also be turned. For want of space the collar part is not given in its full length, nor is it really necessary, as AB is always drawn parallel to CD; afterwards C E is drawn, so that the piece C D E is taken off from the entire A BDC.

q 57. The model fig. 2, pl. 23 is constructed according to the measure fig. 1 which presents a negative difference (D>) namely D7 = AB. From the front of the fore part in the size of the waist iD- is taken off, and in the side from the back part } D~ is taken off; but A B must always be = 4 DC, how- ever great C D may be.

The remainder of the models on pl. 23 show merely differences of style in costume. Still the second form of the forepart in fig. 2 may not be unworthy of some attention. This form EF GH TI is varied from the normal form EK LI, in case the human figure should be very projecting in the region of the mamilla M. In this variation the following is to be observed: first cut the piece OM N out of the model, draw E L, make EP = NO, LG =NO, draw EG and place the triangle ELK in the position of PGF. Draw the curve GH. concentrical to the curve LQ, draw H I, and the variation is completed.

Through this means we obtain that a greater size is brought in the surface of the model over the chest. But if the object is only to shorten the line HI then the proceeding in fig. 3 is preferable, as it is seen in the form A BCD, deviating from the normal form Ao 0D; and the reverse effect is produced by the form DEF A, which deviates in the opposite direction from the normal form.

Fig. 4 represents a model for a court or fancy vest ; and fig. 5 a model of a modern French style, in which there is nothing more to observe than that we are convinced every student who has attended to the given rules in the construction of yests, may be able to construct any kind of model, not only to the figure, but equally to every style of costume.

MODELS FOR TUNICS.

58. In the construction of models for children’s apparel the ground length is to be made use of besides the breast measure, and in the same manner as that taught in the articles on Models for Dress and Frock. The form of children’s figure is mostly h < b, see paragraph 18, sometimes h— 6, but rarely h>». The construction of the models on pl. 24 and pl. 25 is according to the form of figure when h—=b, and Dt, and it need only be mentioned, if h < 6 the lengths in the model are taken from h, and the breadths from b ; and farther as the models given are all constructed after the form 4 =, and in this case the quantities # and b need not be distinguished from one another, so, we have only their co-efficients (commonly termed proportion numbers) marked on the co-ordinates of the models.

The measure represented in fig. 1, pl. 24, is that by which the models are constructed, and which is known through the article on mensuration, and as the units from the ground length are not given with this measure it must be understood that = 0, and that the breast measure and its units 1, 2, 4, 6, 12, 18, are sufficient by which to construct. This measure shows also the real size of the waist (R) and the difference D* between the normal and the real size of waist.

The model fig. 2 is a general Tunic model, in which A B= 9, BD=1, and A C2295 AB ==185, CF=81, and FG=}; FH=3, HI= 123, and [E=3; draw the circular lineI K out of the centre E with the radius EI, and lastly draw the curve H G with a free hand. If we would compare B E with GC, then it will be seen that GC is less than EB, when these two quantities are, in the case of Models for Dress and Frock, equal. This is accounted for by the peculiarity of the form of children’s

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figure, which is shoulder forward and upward, and head backward ; hence a Tunic model requires, what in common language is termed, a long shoulder, so as to cover the axilla region, more especially as it is necessary in the case of children to cover it easy.

The lower part of the model corresponding to the lower part of the thorax in the figure of a child is still more simple in its construction. Here is CL=8, M N= 23, O P=4, taken largely, so that the quantity A C in O P becomes } less; the lines QO M, and QP N may be drawn out by free hand. The line N R must be drawn onwards from the point of inflexion N, straight, and parallel to CL; the breadth LM is taken at liberty, and the indentation M N is taken equal to 24 in children’s forms. The whole of the increase is added to the front as § T in fig. 2 shows. QR is made equal to QM, and from the point Ra perpendicular line RS is drawn upon BS, so that BS R becomes a right angle, and lastly make SU=1.

With the radius of 21— A V a circle A W Y Q is drawn out of the centre V, which may serve as a normal line nearly corresponding to the real axillar line in the human figure, and through which is here seen the difference of the axillar line Z A’ Q B’ in the model. Farther ZY—=1}; ZI as well as H Y is drawn, making H By = ZI.

«| 59.——The sleeve part of the foregoing model is constructed of a close form, similar to that of the boy’s jacket model, or to that one belonging to the dress and frock models; or it is of a loose form as indicated in fig. 38 on pl. 24. The under part A BC D is in the first place constructed exactly as the close sleeve part; namely A E— 3, AB equal to a half of the axillar line Z A’ Q B’ of fig. 2, then make F C= 13, and C D= 63, &c. &c. When the under sleeve part is completed draw from the centre D with the distance D A the curve A G, and out of the centre C with the distance C B draw a curve BH; AG take at liberty according as the sleeve part shall be more or less loose, and then make HB=AG. After this H G is halved in I, I K made equal to 3 1G, and out of the centre K with the distance K G a circle GLH is drawn. Lastly G M is drawn straight, and H N is produced by free hand as the curve presents.

The sleeve part of the model just now treated of, is of a bent form, although loose, but fig. 5 represents one of a straight form. ‘The bend is of course at the elbow. In the straight form also, the line A B= 381; the CB is under a right angle CBA drawn upon A B in B; and also AC =+# the axillar line of the forepart, D EK = 2%, and the curve A EC drawn by a free hand. Just so make D K =i, and draw AKC by free hand. The pointed line KE L is drawn exactly in the middle of CH and AI. ‘The outside GF C must be held on in F, and the inside C F H must, on the same place F, be stretched out in putting the two edges together. The point C must meet the middle of the forepart under the arm.

The sleeve part of the model fig. 1, on pl. 25, is the same as that which has just been explained, with the exception that this one is given open, whereas that on pl. 24 is shown as folded in AI, (see fig. 5). The construction of the sleeve-part fig. 1, pl. 25, is besides, quite clear without especial explanation, requiring only to be mentioned that, after the co-ordinates C G, A E, and their co-efficients are put on them the remainder of the co-ordinates are also fixed, and the curves A B C D E, and F G Hi are drawn by free hand.

q 60. The skirt part fig. 4, pl. 24 is given of the true Tunic skirt form. BF is reckoned for lapping over ; BC is made equal to whatever length is chosen, but it should never be longer than to reach to the knee ; it may rather be taken shorter, because if it extends lower than the knee it destroys one of the chief geometrical parts of the human figure, and with this, destroys the effect of beauty also; especially as regards a Tunic which should convey the idea of elegant attire and not only of a mere covering for warmth.

Farther it is seen that A B = } R (see R fig. 1 on this plate) afterwards out of the centre A with the distance (radius) A Ba circular curve B D His drawn ; in A upon A B a perpendicular line A D is erected and D E made equal to the quantity which the breadth and plaits of the back part require, say D E to be equal to about 3 inches. By the breadth of the back is meant the part L M in fig. 2. Lastly the circle G H C is drawn, and in putting the parts of the model together, the curve B D is to be stretched out so that the foldings fall gracefully in the part HC.

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“| 61.——The models presented under figs. 2 and 3in pl. 25 have the same groundwork (co-ordinates) as those described in paragraph 58, with the exception that in fig. 2, AB = 2 instead of 24; and that D lies above the line E F instead of in it, and E lies in E F instead of below it. The remainder differs with the style of the fashion, and is taken quite at liberty. This model is very becoming as a child’s jacket, worn over other dress, and is sometimes termed an over tunic; it is also very useful as a model of an under flannel jacket for grown persons.

Fig. 3 on pl. 25 is a Tunic Jacket model which does not require farther explanation, as it differs from the Tunic only in the skirt part. The skirt of this Tunic Jacket is an ancient German jacket skirt, which is still worn in many parts of Germany by the peasantry; it is pretty and graceful, and if the whole apparel is otherwise appropriately arranged to correspond, it looks even picturesque and beautiful.

The model fig. 4 pl. 25 presents a child’s loose paletét, of which the part ABC DEF G presents the back, and HIKCLMNO the forepart. The construction of it is self-evident, as the co-efficients are all given with the co-ordinates, only leaving it to be mentioned that A K — 33, and the circle P K B is drawn out of the centre A with the radius 34, also that Q R= 8.

The measure fig. 5 under these models, is as usual the one by which they are constructed. With this we have given the principal groundwork, and the necessary information for constructing

models for children’s apparel ; every artist who is well acquainted with them will be able to construct any other kind of model which the time or the figure may require.

MODELS FOR TROUSERS.

q 62. The method of taking the measure from the real figure for the construction of trousers’ models is treated of in paragraph 4, Mensuration; and mention is made in paragraph 5 of the proportion measures, which are also brought into use in the construction of these models, The proportion measures referred to in paragraph 5, are, in size, equal to the breast measure of the figure ; and as we found in Anthropometry that the gluteal circumference is equal, or nearly equal to the thoracial circumference, we may safely take the proportion measure of a size equal to that of the gluteal measure and construct the model by it. As an instance we may grant the gluteal measure to be equal to 18 inches, in which case take the proportion measure of 18 inches as the size by which to construct the model, that is, so far as itis required ; for only a few proportion numbers are needed, the greater portion of the model being determined by other direct and given measures. Fig. 3, pl. 26, presents a proportion measure, understood from the instruction in paragraph 4. The measure BConly, is here made use of. The real size of the waist R farther indicates that in this case R is equal to the normal size of waist Bo, namely R= N.

A farther examination into Anthropometry shews that the thigh measure in the femorial circumference is not in that constant ratio to the breast measure which the gluteal measure bears to it ; still the difference, which is fluctuating, is never so great that it need be regarded in the construction of models. For this reason the stride may safely be determined by either the one or the other. The thigh measure is to be obtained by placing the measuring tape on the figure in the region of the femorial section (see my Anatomy, pl. 7) and laying it close on the undress side. Any other measure which may be useful, as the rotular, tibial, &c. must also be taken close to those parts; asa vague and loose measurement could not give usa true knowledge of the size of the parts which it would be desirable to ascertain.

The half thigh measure A B, fig. 4, pl. 26, is divided into three parts, AC, CD, DB, and each of these parts contains 3} units, equal, or nearly so, to 34 units of the proportion measure. If any difference exists it is so small that it can only be detected by comparing equal multiples of units of thigh and proportion measure, as 3 to 8 or 4 to 4, &c.

q 63. Before entering into the simple art of constructing models for trousers, it is desirable to bring those scientific elements to the mind treated of in Anthropometry, namely in the development of pelvis and leg, especially fig. 9, pl. VI. Figures similar to these are represented on pl. 26 of the present work for the farther precise development of forms. First, fig. 1. The legs of this figure will illustrate that if one should be placed slant as N N’ or vertical as N M, the depressions 4, 1, 4 will always be the same in every normally formed leg. . Compare in this respect both figures 1 and 2, and it will be seen why the depressions K L = 3, MN = 1, &c. for which see fig. 2, are so in every case in the construction of models. In Anthropometry we proceeded so far as to find the coccyxial point F, the ilial point Y, and FI=18 units, see fig 2, pl. 26; but here we have to add FZ = # unit, allowing for the curve on the back part at the junction of pelvis and leg. Second, see fig. 1, pl. 26. We have here to define the proportions of the gluteal section, namely the straight line JH —J K E= 10, the straight line FG equal to the curve F KE = 8; units. Now these straight lines J H and FG shall correspond with the straight lines A’ D’ and aD’, fig. 2. But similarly and for the same reason as the sizes in the leg sections of the model are greater than the corresponding ones in the figure leg, which is seen by comparing section to section in the figures 1 and 2, pl. 26, so are those sizes likewise greater in the gluteal section of the model pelvis, than those of the figure pelvis. On making a comparison of the magnitudes in both figures, it will be found that those in the figure model are one unit larger than such in the figure leg ; for example, in the ankle the ratio is 41:53; sural 74:82; tibial 64:74; rotular 7:8; femorial 103: 112. In like manner the gluteal lines 10: 103; but the pubial lines do not present such uniformity with the rest; as FG:a D’ = 8}: 91 when it should be, retaining the uniformity, 8t: 82; thus in fig 2, a D’ is 2 too large, which will however be rectified farther on. In the ilial section (compare the corresponding lines in both figures 1 and 2) the

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CB: WY=17:7; and AB: VY —8:8. In this section the sizes are perfectly equal, and nothing is allowed for seams in the model, as has been in the other parts, and which may be done or omitted according as the trousers are close or easy in the size of waist.

In fig. 1, pl. 27, let there be every thing in the model as before, and in addition be drawn in it a perspective figure pelvis ABCDEF. [If it is now considered that the perspective curve EA BC must be stereometrical in space, equal to its corresponding plane section KA BC, fig. 2, and this so in the parts as well as.in the whole, then it-is clear that A B of fig. 1 is equal to AB of fig. 2, &c. Now if in fig. 1, the part F A GD is moved in the position of A’ G’ D’ on the centre F, so that the distance from the coccyxial point to H is equal to 5 units, then it may be perceived that the A’ G’ is nearly equal to 1H; and likewise that the distance from G’ to the coccyxial point is equal to CB A of fig. 2. And as the distance from I to the coccyxial point fig. 1 is rather greater than the distance from G’ to that point, so is the first distance fully capable of covering the line C A B of fig. 2; hence cover likewise the perspective curve C B A of fig. 1. Thus is proved in another way the correct position of the gluteal pelvial part (that is the hind part) of the model in relation to the leg part.

With reference to the pubial part in the pelvis (see fig. 2) the pubial D recedes similarly as the gluteal B is projecting. And for this reason the forepart of the model must be constructed in a reverse form to that of the hindpart: see fig. 8, pl. 27. In the first place all shall be as before in the case of fig. 2, pl. 26. After this let the forepart A BC move into the position A B’C’; thus is C’D < CD, and D in relation to C’ has receded, when the new curve C’D is drawn harmonious with CD. This is in correspondence with the form or depression of D in fig. 2. But in the form C’D in fig. 3 the magnitude of D A has become no less than it was before, which was already ¢ unit too large. Hence DA must be lessened in the end A, or more suitably in the end D. For this reason, therefore, let us proceed to fig. 4, pl. 27, and move the forepart A BC into the position A B’C’, and make D E = 3, draw C’E, and it then becomes EK A= 83. This form in E will correspond with the receding form or depressed position of the os pubis in fig. 2; and likewise reach the required magnitude looked for in the gluteal section, fig. 2, pl. 26. Thus we have satisfactorily disposed of the scientific elements in the construction of proper models for trousers, and there now remains only a few more points that will call for attention.

First observe, in figs. 1 and 2, pl. 26, that the model, fig. 2, is somewhat longer here than the fig. 1 to which it belongs. But, as already mentioned in Anthropometry, it is lengthened, because a physical plane, when placed on a convex body, carries up, besides an allowance for required seams or turnings. And as the entire in the model is greater than the entire in the figure, so it is likewise the case with the parts, each to each. Thus it is that the os pubis a in the model fig. 2 is lower posited than the same point P in the figure (fig. 1). And so with the rest of the parts; all bear the same proportions in the model that they do in the figure, and invariably have done so in every model and figure. The tibial depression N is situated in the half height of the os pubis a and the sole of the foot. Second, if we receive an impression of a form from the side view of fig. 2, pl. 27, in nature, and sketch or draw a shape, this shape would be about such a one as figs. 5 and 6, pl. 26 present. ‘Thus we received from that impression the first idea for drawing a form for trousers, however dark, confused, and imperfect it was as to correctness in the form and size of the real figure. But as soon as a measure is given of a definite size, and a model required scientifically correct, constructed to the measure and form of that specific figure from which it was taken ; then the mind is called into action and the matter becomes in its operation a scientific art. Thirdly, see fig. 8, pl. 27. It may be mentioned that if we have a system of elements, such as lines and angles, below and above an axis, X, brought in connection one with another in a point or more, posited in that axis, then whatever the one system undergoes the other will be affected, that is, its co-system; bear in mind the relation of angle u and angle z. Similarly if three systems are connected, such as are presented in fig. 9 on the same plate, they will, under similar circumstances, influence one the other. This however will be properly studied in Geometry and Mechanics. It is here only alluded to because that these abstract figures correspond with pelvis, thigh, and leg, and therefore may lead to reflection.

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I. MODELS FOR A FIGURE NORMAL IN SIZE OF WAIST.

R=N, or R—N=O.

q 64. The two last paragraphs are to be considered as an introduction to the art of constructing models for trousers. In this paragraph we proceed to the simple construction itself. See fig. 7, pl. 26. In the first place draw a straight line H H’ equal to the side length taken from above the iliac to the sole of the foot. Make H’ P equal to the leg length. Now bring into consideration whether PH is equal to the pelvial height of the figure, which height derived from Anthropometry is known to be 9 units. Remembering from the preceding paragraph that the parts in the model must be greater than their corresponding ones in the figure, it follows that at least it ought to be P H—9% units. Farther, whatever is allowed above the iliac H, it must be given independently of the pelvial height. For this reason then, if only the side length and no leg length is given, and any quantity above the iliac H is required, the amount must be definitely stated and allowed for. If the side length is given, and the pelvial height known from the proportions, the leg length is known without being given, which is by itself evident. Farther draw perpendicular lines J P, L H, and KE H’ upon H H’ in H, P and H’. Define next KH’, JP, LH, and H Q as the proportion numbers indicate. Next drawaHKand KF. Halve KF in O, and draw the rest of the line by free hand through the point which the proportion numbers have defined. F indicates the centre of the heel. Similarly as with fig. 7 proceed with fig. 8. In the ilial size of these two figures 7 and 8, the seams are allowed as LH + QH=9-4 7 = 16 of the one, and the other eL+ZM = 16 likewise. But should the nett size be required in fig. 7, make the forepart LH less in the end at H; and in fig. 8 make the hind part less in M and Z. All models for trousers are constructed in this manner, and we have only concurrently with these general elements to consider the details or specialities. The measures fig. 3, pl. 26, and fig. 5, pl. 27, are normal in size,as R= Bo= 15; and as the ilial size or size of waist in the model is 15 units without seams, it is clear that such size agrees with the measure.

Before going farther, it is well to consider in the construction of models, where the numbers define the positions of parts, and where they define size. Then, although the same number, sometimes defining position, and in the same time defining size, the difference must still be kept in mind. Fig. 7, pl. 26, gives an example where L H = 9 and Q H =7, define position and quantity in the same time; and fig. 8 gives another where e K = 9, Z K = 7 define position only, when e L= ‘J and Z M=7- 2 define size or quantity.

We see on fig. 6, pl. 27, no difference in the general construction from that of the preceding model, beyond a few special points. From the leg-axis lying in a slanting direction, a greater length is produced on the inside of the model, which is as much as A B. ‘There are besides cases where the hind part in the gluteus and stride region are increased much beyond their normal extension, similar to C D A; but all increases which are above the normal quantity must be left in practice to special conditions, and the student must carefully distinguish between quantities, constant and defined, and quantities variable and indefinite.

Fig. 7, pl. 27, is another model, quite opposite to that just described. It is distinguished by great fulness on the hip, and by being flat in the seat; whereas in fig. 6, the hip is formed close, and the seat very full; however, this belongs more properly to style than to form of figure.

II. MODELS FOR FIGURES ABNORMAL IN SIZE OF WAIST.

A. NEGATIVE, NAMELY R < N, D-.

gq 65. As this construction may be fully comprehended from the preceding paragraph, and from the proportion numbers indicated on its co-ordinates, it is only necessary here to fix the attention on the proper distribution of the negative difference, D~, of the measure, fig. 3, pl. 28; namely, that the D~ must be taken from the normal form of the model fig. 2, in the same manner as the D7 in the size of the waist indicates. Compare the figure form, fig. 1, with the model fig. 2, namely, the ilial section BC D of the figure with the waist size of the model, and the distribution will be clear by itself. It may here be

38 repeated that the tibial depression G, fig. 2, as well as fig. 1, is always in the half height between the os pubis F, and the sole of the foot; EF and H F.

2 2

B. POSITIVE, NAMELY R>N, D+.

q 66.——For the form of a figure positive in the size of the waist, see fig. 5, pl. 28, of which the normal size is A BC; the positive difference or increase is indicated by the dotted line external to the normal one. Fig. 7 is the measure by which the model fig. 6 of this figure is constructed. In this measure is Ao =N. Now if we take the smaller N from the larger R, that is R — N = D+, then we have the positive difference D+ or increase of the size of waist beyond its normal size. This increase D+ of the size of the waist, being chiefly in the front or abdomen of the figure, naturally causes in every figure possessed of such abnormality a leaning backwards. And this causes a greater angle in the junction of pelvis and leg than exists in a normal form. The model, fig. 6, requires a construction accordingly. For this reason then, after A K and Q K are defined, and the lines G K, M Q, and P A are drawn, make F IK — 646 —+D+. Draw DF, halve it in E and proceed with the rest, first as the normal forms and the proportion numbers indicate. After the normal form is defined, distribute the D+ of the measure in the size of waist as indicated on the model. Now in the increase P N of the model, fig. 6, and the increase A C with the decrease of F K being } D* less than the normal 6% 6, the entire model, proportioned to the figure in question, has a backward leaning likewise. ‘Thus we have constructed models for the three forms of figure, normal, negative, and positive in size of waist.

To the class of forms just treated of belongs fig. 10, pl. 27. This model is constructed by the measure fig. 11, and as seen has a D+. But if we compare the two models they will be found different in form although of the same measure. ‘The real figure according to which this model was constructed was not only abnormal in the size of waist, but abnormal in other parts at the same time. Bya course of gymnastic exercises it was much depressed at the os pubis A, and projected at the upper part of the gluteus B. Thus in the deviating or twisting from the normal form the stride C became affected likewise, and required to be harmoniously drawn to the projection at B. The rest of this figure must be evident from the foregoing and the proportion numbers; it being only needful to mention that the greater height KE in the hind part, than the normal height, and the lowness D of the forepart (low for such a form) is to be accounted for by the circumstance of no braces being worn by the person alluded to. These cases always require considerable height in E and corresponding lowness in D; for under these conditions the garment is tight in the waist, and pressure cannot be borne in the higher part of the abdomen, however much may be on the lower part -of it.

ON STYLE OF MODELS.

q 6'7.——If we speak of style in the sense of that which is becoming to the specific kind of form to be dressed or draped, then style means that which is presented when the figure is attired in such a manner that nothing could be either added to or taken away from any part without detracting from the beauty of . the figure in its entire. This style, termed the beautiful, presents itself in the special as the complete or perfectly becoming; it is in the abstract, universal, and ought to be manifest in every style, whether accidental, fashionable, or conventional. It is the object in. draping a human figure always to insure a style in this sense, combined with fit; but at the expense of fit, if the becoming is made the primary object of consideration. But styles in dress, as form, floating or accidental, are as to number infinite. Still the artist must, by presenting each in the human figure, let the beautiful and the becoming be the most conspicuous features.

We will however enumerate some few cases, in models for trousers, although they are inadequate to convey the infinite number to be discovered by an imaginative or reflective mind. First, it is sometimes affirmed that a better style in trousers may be produced, and with greater precision, if the fore and hind parts are drawn and constructed separately. Although this is an error, and is merely a matter of habit, still having different styles to give it may be as well to know how to construct a model in this way. See as an example fig. 4, pl. 29, constructed by the measure beneath, and it will be observed that the ground-

39

work of the model is the same as that of the preceding ones. If we now reflect that the forepart and the hindpart have the centre E of the femorial section in common, and that likewise F C = 33, if AC is drawn perpendicular to AB in A, then it is evident that the forepart as well as the hindpart may be drawn independent of one another. For these reasons then see fig. 2, pl. 29, draw two lines A B parallel to GH, distant 7 units of the proportion measure; define side length as well as leg length; make ¥ C — 3} units, F E= 53 units, and find the pubial point D as before and as the proportion numbers indicate.

Note.—It may be worthy of observation that F C equals likewise 3 of the half thigh measure, as has been said previously, if such is taken close on the undress side of the figure. And as CL = 7 units, it is likewise 3 of the same measure. Now 3% +7 = 10}, and this is the half thigh measure (femorial measure) in units. This may be still better illustrated by fig. 7, pl. 80. Here is the straight line AB equal to the half circle, and so likewise is CF, if the circle is drawn with a radius GE = 33. And thus if the entires are equal their respective parts must be equal likewise; namely AG —=CD, and DF = GB. Hence if AB is given as the half of the thigh, then 4 of it, namely AG may determine DC. Thus the stride may be defined by the unit of the breast measure, or by the 4 of the half thigh measure.

Tt may here be the proper place to mention that in some form of the human figure the thigh is small in relation to the circumference of the pelvis; and others again are the opposite. And as the stride not only affects the size of the leg, but more so the junction of pelvis and leg, especially the length of line in the plane section from the side view of the pelvis, therefore this is evident: that a figure with a large-sized thigh and a small pelvis in circumference, will be found to have e small stride; and vice versa, a figure with a small-sized thigh and a large pelvis in circumference, must have a large stride. Farther, see again, fig. 2, pl. 295 after the undress side is formed, we see likewise that the half distance from C to the pubial point D is nearly $ unit. And for that reason the forepart may even be formed without finding first the pubial point D; but which however it is better to ascertain previously, on account of its giving a clearer insight.

Wherever now we may place the forepart on the hindpart, the model remains unaltered in form and size in all its parts, as seen in figures 1 and 38, pl. 29. And should the conclusion be now arrived at that there would be anything superior or different in the forepart being constructed upon the hindpart, either in the one or in the other position, such would be an error; although it might be so constructed easily from an exact knowledge of the proportions. Still if we would construct the forepart upon the hindpart, undoubtedly the position of the forepart taken in fig. 4 is the best, because the parts of the model have the femorial centre E in common.

Merely on account of variation in style, we see in fig. 3, pl. 29, some deviation in the hindpart from the usual form, namely, as the figure is according to the measure given normal in the size of the waist, and as such equal to 15 units; and as CD, so must be AB=8; then CD+ AB=165, the required size; and is likewise according to the foregoing, correct in form. But to reduce the model in the seat F, the quantity B E=1 is taken from AB of the end B, and GA=1 is again added to A Bat the end A, and the line G F is drawn. Thus is GE—=AB=8, and CD+ GE= 15 as above, correct in size, but varied in form according to condition.

There are on pl. 29 other figures of style, quite conventional, for morning or private wear. Fig. 5 is such a model, to which belongs the foot piece fig. 6. So is fig. 8, the leg part only, of the same kind, to which belongs the foot piece fig. 7.

gq 68. There are still other styles presented on pl. 80. To construct these, is from a knowledge of the system by itself clear. In these models the size of the waist is made equal to 16 units, one unit being reckoned for the seams, instead of the nett size of 15 units. ‘Thus shewing if such addition is required where to give it, namely, on the side of the hindpart.

As to the stride of the models in the forepart on this plate (80) the undress side is lessened as much as the dress side is increased. If however the stride, dress and undress is lessened much beyond its normal size, the stride of the hindpart must be as much increased. This is exemplified in fig. 5, pl. 30. See DF—=DE. Besides this the forming of the dress in the forepart depends much on the carriage of the figure; if for instance, projecting in the os pubis, scarcely any dress can be taken from the normal size for the undress side, but the dress side must be increased the more for it. The reverse is to be observed if the os pubis is much receding. In this case the normal size may serve for the dress, and much may be taken from the undress side as seen in fig. 10, pl. 27.

In the manner hitherto treated of in forming the undress side, it is often preferred to let the line AB of the forepart run parallel to the line D F of the hindpart, instead of A C and D C, see fig. 2, pl. 31. Still, which ever way is chosen the extreme stride point BH will demand its natural position. But in all this change of form in the stride, a certain relation of the point C to A, and of D to B, fig. 3 must not be over- looked. Therefore we direct the attention to O C= 33, O’D = 33.

AO ‘

69.——There is a way different from the above to define the dress and undress side in the stride, | namely, to cause the dress and undress to run in the leg line, as C presents on figs. 6 and 7, pl. 31. After | this condition the points B in both figures must be taken sufficiently low, so that the line BO = AC. The formation of dress and undress is independent of the size of the stride which may be different, and for example is in fig. 6 larger than in fig. 7. But attention must be especially given to the harmonious evenness in the stride curves, which the proportion numbers precisely define. If a model for trousers should be required without a leg seam it would be unavoidable to proceed in this way to form the dress and undress side of the stride, which some persons however deem the best in either case, whether there are leg seams or not; hence we have given the same in the models pl. 29.

70.——There is still another style of models for trousers which is termed the breeches style. See figs. 4 and 5, pl. 31. Fig. 4 is of a more modern construction than fig. 5. There is something peculiar in this style of models ; first that the stride is in size larger than in the former ones, and second that the leg line A B, towards A fig. 4, and G fig. 5, is quite straight, instead of being as usual curved in this region, If models are constructed in this style it must be observed that unless they are very close in the side, there will be a fulness on the inside of the leg, in the front as well as hindpart. For that reason if they should be required close on the inside of the thigh, and full on the outside, such a straight line on the inside must not be drawn on the hindpart, although it may be on the forepart; but in this case the former mode must be retained, that is to draw the hindpart curved, which has the effect of lessening the inside of the model. Their construction is to the nett size of waist; sois GC + DE=8+ 7—15in fig. 4; and if seams shall be allowed in the size of waist, the quantity EF must be put at the iliac point E, as the pelvial part and leg part are joined under right angles. But in fig. 5 the allowance for seams in the size of waist may be made in A as A D indicates; or the half quantity for them may be added in A and the other half in B ; because in this model the leg part is joined with the pelvial part under an acute angle E F G, as inserted between the two right angles upon which leg and pelvis join. This latter figure is of importance, so far as it brings to the mind the fundamental idea of the correct placing of the pelvial part in relation to the leg part, in the hind and forepart of the model, under certain and various conditions or requirements.

Fig. 1, pl. 31, is a truly original leather drawers or pantaloons model of which the groundwork is the same as the previous. It is drawn without dress or undress, as the abdominal line runs through the pubial point. If without a leg seam, as when made of leather, the leg has the position of A BOD K, and it must be straight in E to fall in the position E G F with the part EBC; if it has a leg seam it may be constructed so at once. The forepart Mis always taken fully an inch lower than the dotted ground line. But the hindpart H may be taken as much higher. And if the forepart MIL is formed instead of M K L, as customary in these kinds of models, then it is better to add at most one unit in K, and take off the same quantity again in H, and raise in the same time the point H nearly twice as much. This model is the prior idea to figs. 4 and 5, and even to form the stride of figs. 6 and 7.

There is another model, fig. 8, pl. 31, which has a similarity with fig. 1. But if we observe the parts in the pelvial region the difference soon becomes manifest; so it is with the leg part which has a position in relation to the pelvial part far more slanting, and under the same angle to the pelvial part as

that in fig. 5.

This model, fig. 8, is one of a belt drawers, ‘The abdominal line A B C may be drawn, if merely for a plain drawers, but if for a special belt drawers E F A D must be drawn separately, D C makes the stride, and C E is held a little on in D E. ‘The hindpart to this belt is GE F, likewise separately drawn, and if EG of the seat is made larger in size at G, it must be held on in the belt part GE. Although it is not customary to do so, the point A may be taken lower than it is.

Note.—As to the styles of the bottoms of trousers they haye been and are made in so many forms that their number is endless, in fact every small change of line produces a different effect, hence arises another style. Fig. 9 is one of the earliest gaiter bottom forms, dating from 1830, and given here for its peculiarly good foot; but all such forms on the foot are hard and stiff, and for that reason in a fine art sense to be avoided, unless a historical character of costume demands such minute precision. In forming these bottoms, it is only necessary to observe the centre point A of the heel, from which to place 34 distant on each side, the strap, running under the sole of the foot. There are other and more modern specimens of this class, producing a different style of trousers from that just mentioned, namely, those on pl. 30, and pl. 28, which are also more easy in falling over the foot. But whatever style of model is designed, and to whatever form of figure it is intended, all contraction must be avoided, and an unconstrained, natural fall be insured, and most scrupulously so when they are designed for the studio of the painter or sculptor. Because the artist sends his works forth not only into the world of his own time, with the intention of raising the standard of taste, but he likewise, independently of his own will, does so for future generations by the preservation of them. The true artist must have before him the real object, put in its best form ; in order to endow his works more thoroughly with the true and the beautiful, flowing from his higher and cultivated mental

conceptions,

Al

MODELS FOR HABITS.

MEASURE.

q 71. The measure for constructing a model for a Habit is taken in the following manner: first, take the measure of the figure from the bone of the neck (7th vertebra) to the waist, and term it back length ; next take the measure from close under the arm (fovea axilaris) to the waist, which measure is termed side length, continue this downwards to the ground, which is the skirt length. Secondly, cause the arm to be held in a right angle with the side, and the forearm to be bent at the elbow, also in a right angle with the upper arm ; then take the measure from the centre of the back to the elbow, which is the elbow length, continue from the elbow to the hand, or as far as the sleeve is to reach, which is termed sleeve length; afterwards take the circumference of the arm, if the sleeve is intended to be tight, but for a loose sleeve this measure is not necessary. ‘Thirdly, take a measure from the upper end of the sternum down to the waist, and from thence continue so far as the length in the front may be required, the first of which is termed front waist length, and the second front style length. Fourthly, place the measure as close up under the arm as it can be done, running behind over the shoulder blades (scapulee) and in the front above the bosom, being particular to take it as tight in the same time as it can be obtained. This measure is termed breast measure (thoracial circumference). Place the measure a second time in the same position, round the figure, except that in the front it must pass over the most prominent part of the bosom, (over the mammille) taking the measure easy. This is termed the bust measure, to distinguish it from the breast measure. Lastly take a measure round the smallest part of the waist, and make it half an inch tighter than it can be obtained by measurement, which is termed the waist measure. These are the only measures which it is essentially requisite should be taken for the purpose of constructing a model. Fashion sometimes demands minor ones, as for instance in the length of a polka skirt, or a cape, &c., which however are not such as to require an especial direction.

The form of putting the measures down is as follows:—

Inch 133 Back length. Inch 19 Elbow length. Inch 30 Breast measure. » 7 Side ditto. » 29 Sleeve ditto. » 83 Bust ditto. » 00 Skirt ditto. » 11 Front waist ditto. » 223 Size of waist.

Bs 6 Front style ditto.

q 72. ‘The proportion measure by which the model is constructed is made as follows 5 first, take a narrow strip of paper, grant BC, (fig. 1, pl. 32,) to be such, and in the same time equal to the bust measure; A B equal to the breast measure. It is necessary to remind that the widths are always taken in their half quantities in the proportion measures; A B is halved in D; BD halved in E; BE halved in F, and lastly B F is halved in G; BG is taken as one unit ; hence BE = 2 units; BE=4 units 6) 8) De 8 units; and BA —16 units. The division is invariably made in this manner, whatever the size of the measure taken from the figure, let it be ever so large or small.

Between the breast measure A B and the bust measure BC there is always a difference A C, which is termed the bosom difference (BD). This difference, in a female figure, which is not very much abnormal in the dimension form is in most cases equal to 14 inch, (that is in the half size as mentioned above,) or nearly so. For this reason it may be observed: if the difference is not found on the measure to be nearly equal to 13 inch, that the measure has not been taken correctly ; the breast measure being taken too large, and the bust measure being taken too small. Under these circumstances the former measure may be taken less, and the latter somewhat larger; so much so in both instances that the bosom difference shall be equal to 13 inch.

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The AD must be halved in 0, and Bo is termed the normal size of the waist, (N), this means the bust size in the sense of taste in relation to the thoracial circumference (breast measure). Below this normal size B 0 is a line denoted by R. This line R means the real size of the waist, which is the true measure taken from the figure. We now compare these two quantities R with N, and if we find that R=N, we say the form of the figure is normal in the size of the waist, and there is nothing farther to observe with regard to the size of the waist, except that the model is constructed normal in this

respect also.

Fig. 2, on pl. 82, presents another measure similar in every respect to the former, except that the real size of the waist ‘R is here given less than the normal size Bo; hence the difference D-, termed negative difference. A second case is presented by the line R’ where the real size of the waist is greater than the normal size Bo; hence the difference D*, which is termed positive difference. A

PROPORTIONATE FORM.

q 73. Fig. 3, pl. 82 presents the hind part of the model for a proportionate figure. The proportion numbers (co-efficients) are all determined by the proportion measure, as A B= 2 on the hind part are equal to 2 units of the measure, and so on with the remainder, except the side length CD, which is directly determined by the measurement of that length from the figure. ED= 4 is taken off from the hind part as the line EF shows. In the same time it is not unimportant to remark that all these proportion numbers are deduced from the real figure, treated of in Anthropometry.

In constructing the hind part we proceed in the following order :—first, determine DC; then CB; afterwards B.A. Having gone thus far, apply the back length taken from the figure, and if EA be found equal to it, we may know that the figure is proportionate. Second, erect perpendiculars upon D A in every one of the points D,C, Band A, and determine the ordinates as the proportion numbers ( co-efficients) show; lastly, the style lines LM and NO are drawn as seen in the fig. 3; and the style form ALMNOis distinct from the ground form AGH K F E.

4.——The forepart belonging to the proportionate hind part is presented in fig. 4, pl. 32. First, AB is made equal to the side length, as the measure directly gives it taken from the figure; BC, CD are determined by the proportion measure, as the proportion numbers show; second, we erect the perpen- diculars ED, CF and GB, making BH equal to the bosom difference; draw IH K, EF, and GL. Halve OH in P, and take a point Q, so that PQ=4. Take the form MU broad according to the style of the time and good taste; draw QM and shape the curve Q M R by free hand; draw out from the centre Q with the distance Q M a curve MS, and with the distance Q R a curve RT; deduct M U of the forepart and F E of the hind part from the normal size of the waist, and then make V § equal to the remainder of the size; lastly, shape the curve QST similar and equal to the curve QMR.

To obtain the form in the shoulder, we place HG of the hind part in F E of the forepart, in a similar manner to that in the construction of models for Dress and Frock in parapraph 26. The line W X will be the result, but here the curve W Y deflects in the direction Y Z, in a reverse direction from Y X. The rest of the curves are drawn as seen at fig. 4 by free hand, and need not further explanation.

BROAD FORM.

q 75. The hind part fig. 5, pl. 32, presents a part of the model for a figure which is broad in its form. First, draw a line AB, make AC equal to the side length, and proceed with CD and DB exactly as in the foregoing hind part, paragraph 73, and as the proportion numbers indicate; this done, we apply the back length; finding that A B is longer than the back length, we know that the form of the figure is a broad form in relation to its height; we draw another line EF, and make EF equal to the back length. After this, we make EG equal to AC, equal to the side length. As now the side length is precisely given

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through measurement of the figure, it must follow, that all the shortening is in GF. To bring GH to HF in the same ratio in which C D is to DB, it is only necessary to observe that CB is equal to 85 units; such units being described in the proportion measure, paragraph 72. For this reason we halve GF in I, and halve again I F in K, take a point H above K as much a of an unit; then the ratio is as nearly as needed obtained; because GI is equal to 4 units, I K equal to 2 units, and K F is equal to 2 units; hence GF is equal to 8 units; therefore GK is equal to 6 units; and as GH is more than 6 units, and F H less than 2 units, so it is undoubted that the ratio GH to H F is very near C D to DB. The remainder of the hind part for a broad form is constructed as the hind part fig. 3 has been described, and does not require any farther explanation here ; besides the proportion number define such quite completely.

q 76.——The forepart of the broad form is presented at fig. 6; the manner of its construction is the same as has been shown in paragraph 74 as the forepart for the proportionate form. The form in the shoulder of this broad forepart, is decidedly different from that of the proportionate forepart, which arises from the difference between its hind part fig. 5, and the proportionate hind part fig. 3, and should not therefore occasion any surprise to the student.

In the fig. 6 we may in the same time remark upon the case of there being in the size of the waist a positive difference (D+) as already has been alluded to in the paragraph on the measure. Here it is meant to explain how this D* is to be distributed in the forepart of the model. After the normal form is constructed, it is only needful to add, in the region of the waist in the model, A B =} D+, and in the same time add CD =3 D* to it, see fig. 6, pl. 82; draw the pointed lines at C and B and the forepart is finished.

SLENDER FORM.

q 77.——The hind part of the model belonging toa slender female figure is presented by fig. 7, pl. 32. First, we draw a straight line A B; make AC equal to the side length, as was done in the two previous instances; make C D as well as D Eas large as the proportion numbers show. Having done this, apply the back length to AE, and if it is found that this length exceeds AE, it shows that the form of the figure from which this back length is taken, is a slender form, and we make AB equal to the back length, keeping the difference EB carefully in mind. Now we erect the perpendicular in B,upon B A, and proceed with the construction of the remainder of the back part, as shown in that of the preceeding ones, and as the proportion numbers sufficiently indicate.

It must be by itself evident that the procedure of adding the entire increase on the top is correct: because AC is a measurement given directly from the figure; CD is determined by the proportion number of the breast measure, and the breadth of the arm must occupy the space FG; hence there is no other place where the figure could naturally receive this increase E B, which was actually obtained by taking the back length direct from it. The hind part A BF GH fora slender form is therefore correct. The line of the style form in KI is not always made use of; it is sometimes not drawn at all, at others laid more towards G, inclining more towards H, and receding from I; but this is of no importance and may be done quite at liberty.

4 78.——The forepart, belonging to the hind part fig. 7, is presented by fig. 8, pl. 32. This part of the model also is constructed as those previous, except that AB is made equal to EB of the hind part. The form in the shoulder of this forepart, so different from the other two, must not either surprise the student, as it arises from the mere increase of A B and EB in the height of the axilla on the figure ; and hence the form in the model.

This perhaps is the most suitable place to show how the negative difference (D7) is distributed on the model, in case there should occur such by the measure. After the normal form of the model is entirely finished, deduct from CD the quantity EC=}3D-, and draw the pointed line F EG; sce fig. 8. In the same time deduct the other half in fig. 7, namely take from AH the quantity HL—=2D~; and lastly draw K M, ML, so that the point MG=7zHL. y

4A

In regard to dimension we have now treated upon all kinds of forms in the model according to the female figure, namely, proportionate, broad and slender forms. We have considered also those cases which may arise in the size of the waist, that is, that each form may be normal, positive or negative in the waist circumference. Normal means that size which the waist has in an aesthetical sense (that is in the sense of the beautiful) in relation to the size of the breast (thoracial circumference) ; positive means to exceed, and negative to be within the normal size. We shall now pass on to the rest of the plates belonging to a Habit model; but before which we must not neglect to observe that all these models are constructed in regard to position, as if the figure in this respect were normal; if the figure should be abnormal in position, that is round in the back, &c., &c., to which the model is constructed, then such is to be varied according to the rules given in paragraphs 30, 31, and 22, on the variation for dress and frock for the male form ; because position is the same in the male and female forms, but the latter is very seldom abnormal in its position, although often so in dimension.

SLEEVE.

q 79. The sleeve part of the habit model is a matter left almost entirely to the guidance of choice and fashion ; see fig. 1, pl. 33; still there is something calling for observation, which does not appertain to either, namely, that A B = 23 is always the required quantity, because the breadth of the hind part keeps uniformly the same in the direction across the lower angle of the scapula. Farther, A C is always equal to the half of the axillar line (arm hole) of the model; AC is halved in D, and DE made equal to 1 unit of the measure, if the shoulder remains unaltered, otherwise this quantity is increased or decreased according as the shoulder of the model is made narrower or broader. In the rest of the sleeve part there is nothing to observe more than that it is drawn easy, and by free hand, suitably to the changes going on at the time.

SKIRTS.

{| 80. —The skirt as figs. 2 and 3, pl. 33 show, is very simple; but there is one particular accompanying it which must be borne in mind, namely that AB fig. 2 is the breadth of the cloth, double, and the same is to be remarked of A B fig. 3, which is also the breadth of the cloth lying double; A C is on both the figures 2 and 3 the entire length of the skirt from above the hip to the ground, and CD is equal to 3 AC; so namely, that the whole length of the Habit skirt is onc half longer than the entire natural skirt length of the figure. Sometimes it is made even longer than this. Fig. 2 is the hind part, and fig. 3 the forepart of the skirt.

It is sometimes the case that the forepart of the skirt is slanted off towards the top, as seen at EF in fig. 3. In this case GH must be halved in K, and a perpendicular be drawn from K upon FG, and the curve from F to H drawn by free hand, cutting away the sharp angle F KH. Also L B must be halved in M, and EN drawn; and lastly if fashion requires it, as at the present period, then the curve EO must be drawn suitably to the front part of the model in the forepart.

The small jacket skirt belonging to the Habit is shown at fig. 4. Here A B is made equal to about 5z Inches ; a perpendicular line C A is drawn in A under a right angle to AB; the right angle C A D is halved in the line E A, and this obtuse angle DE A is again halved by the line EF, thus E F is prolonged toH. This being done the skirt is folded together, as represented at fig. 5.

The polka skirt, much in favour at present is shown at fig. 6. First draw A B, fix the length of the skirt AC; make CB=2R; draw out of the point B with the radius BC the circular line C D E; make DE=8; BF=1 unit of the proportion measure. Draw FEG; let a perpendicular D H fall out of D upon FE; make HG=AC, and draw the curve H DC by free hand, similar to the full drawn out curve in the plate given.

Of the proportion measure fig. 7, there is nothing more to observe than that such is the same as the

esate eres

45

foregoing, which has been fully explained in its place. Fig. 8 is a form for a collar which may easily be drawn by free hand, or imitated at sight.

MODELS FOR OVER HABITS.

q 81.——To be able to construct a model for an over Habit, as in the case of a Polka or a Paletot, construct first the model of the regular Habit, and after this is done, make the proper increase suitable to the purpose of being worn over. Pl. 34 presents a Polka Habit model which can be worn outside, and still go easily to the figure should there be no under Habit. Fig. 1 upon this plate shows the hind part A BCD EF of the regular Habit model; and the increase 2 round the shoulder and back as well as the increase at

F, namely FG= 84 which give the hind part of the desired model. HIMN belongs to the hind part, and H IK LG is the side of the model.

Fig. 2 presents the forepart of this model. Here A BC DEF is the part of the regular Habit model, where the increases show the form of the intended model, that is GH =11; DH=:: H I= &e. &e. as the numbers indicate. Farther drawaline LM, and halve it in N, draw O K through the point N, and take out the piece K N O, the width of which must be guided according to the closeness or ease which the wearer wishes ; sometimes there is nothing taken out. Ifthe length of skirt of the hind part A N= 12 units taken from the proportion measure, then the skirt of the forepart MP—14 inch units. See figs. 1 and 2.

Fig. 4 presents the measure according to which the model is constructed. The sleeve part of this model is constructed as indicated by the habit model, or sometimes as fig. 2, pl. 85 directs. The collar part is similar to that shown in the habits, but most frequently as presented under fig. 3, pl. 34.

This collar part of the model is very elegant, and its construction is the following: first make AC = 13, AB=43; draw from the point A, with the radius A B the circle BD E; make GFF D, draw out from A with the distance A G the pointed circle line GH; and after this, draw out by free hand the curve as seen by the full drawn curve GH; make D I=}, and draw the curve BIE by free hand, Lastly, draw out by free hand another curve IK, so that K L—1 is the height of the stand, and K H the breadth from the

turning curve I K.

q 82.——Fig. 1, pl. 35 presents a model for a paletot. First ABCD EF is the ground work of the hind part of a regular habit, where the increases are made round the shoulders and back, as the numbers sufficiently denote ; but to obtain the increase in the side, we make GH = 1, draw HB, and erect upon BH a perpendicular HI; make HK=GE, and KI=2. ‘The rest of the form is self-evident, the length being made as required, but it must not reach lower than to half the length of the thigh, or otherwise quite to the knee; to be any longer than this looks extremely bad and ungraceful.

Fig. 3, pl. 35, presents the forepart of this model. Here again ABCD EFG is the ground work of the regular habit, and the proportion numbers sufficiently show the increase so as to render any farther explanations needless. But it may be observed by this model also, as it was observed of the former, that if