Ahah on the Swiss belt. I have severalbut did not know they had a name.
And alas, I do mean the Ditchley"
And thankyou Cindy for the notes on construction...even for a doll!
I am still floundering about the "inside out/outside in."
As illustrated in Arnold and elsewhere, I understand the the longer sleeves
are an actual 'tube' in part. How does it hang for this gown so that it (1)
contains the inner true sleeve and(2) also reveal the elaborate matching
quality of the gown. According to the painting, this sleeve is as long as
the skirt. I made the lining just as Cindy suggests but cannot get the right
effect when the inner sleeve is inserted and there slis my problem.
Another small query, what is the visible red one can see throught the space
beneath the left arm? This was originally why I thought I was seeing this
"Cape".
Kathleen
----- Original Message -----
From: <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Monday, December 11, 2006 10:37 AM
Subject: Re: [h-cost] 0f belts and hanging sleeves
I believe that Swiss belts in the mid-19th century were the ones that were
wider in the front, often with a point at center front and frequently had a
laced effect there mimicking the lacing on a bodice.
Which portrait are you referring to for Queen E? The portrait I know as the
Darnley Portrait is the one in gold and cream with the 'Polish' frog
closures up the front of the doublet-bodice and no sign of hanging sleeves
at all. Are you thinking of one of the Armada portraits?
Karen
Seamstrix
-- "LLOYD MITCHELL" <[EMAIL PROTECTED]> wrote:
Two questions:
Waugh suggests Swiss belts for some of the mid 19thC dresses. Any clue as
to what these looked like?
I am working out the problems of interpreting the Darnley Dress for my QEI
14" doll. At first, I thought I was looking at a sleeveless coat
be set to give a cape effect. On closer examenation, I see that this is
actually a hanging sleeve...born out by Waugh, Arnold, and Hunnisett. I
have worked out the shape and cut but am having problems with the set. In
order for the unity of the skirt , bodice and sleeve that bear the
ornamentation, I can only achieve the look by inserting the hanging sleeve
outside in. This means that the lining will actually be the outside fabric.
Has anyone else attempted this dress "for real"? I have turned the backside
of the shoulder area backwards so the gathers of the shoulder look like the
painting...and will tack them downover the silk lining, but the lining is
still exposed in all its plainess. I have been unable to find any
explanation of how this was done.
Or, might the error be at the end of the artist's brush? He chose to try to
capture the total dazzle of the gown?
Kathleen
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