  GENERAL DESCRIPTION CUTTING OUTThe garments illustrated in this style are of four types; of these, three have already appeared in the two previous styles—namely, the type of the tunic, the type of the robe, and the type of the shawl or drapery. In ancient Persian costume we come for the first time to type five: the coat. We may refer here also for the first time to the wearing of trousers, for these are usually shown worn with the coats in ancient Persian costume, and a diagram is given on p. 86 showing one of the earliest known methods of cutting these garments. DECORATIONAncient Persian decoration was so exceedingly similar to ancient Assyrian that it does not seem necessary to illustrate it. We do not find, however, that ancient Persian garments were ornamented to anything like the same extent as ancient Assyrian; the frequent fringes of MATERIALLinen and wool were most probably the chief materials used in ancient Persian costume, but there are indications that leather may have been rather extensively employed in the more tight-fitting garments. It must not be taken that either in Assyrian or ancient Persian dress the garments fitted as smoothly and tightly as might be imagined from the sculptured and painted representations; it is true folds are sometimes indicated, but the chief concern of the artists of both styles was to show the human figure and richly decorative ornament. DATESThe illustrations here given of ancient Persian costumes date about the sixth and fifth centuries B.C. with two of neighbouring nations dating eighth century B.C. and sixth and fifth centuries B.C. respectively. MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESSThere is not sufficient information to form a definite picture of the women’s dress of this period and style; For list of authorities see Ancient Assyrian Costume. Plate XVI. is a representation of Darius, King of Persia, sixth and fifth centuries B.C.; he is wearing the Median “Robe of Honour.” It will be seen from the plan (Fig. 40A) that this robe is sewn up each side, leaving a space of 20 inches on either side for the hands. Like the Egyptian robe, the material required is twice the height of the figure, the material is doubled, a neck-hole cut, and the garment is pulled on over the head. The Persian or Median method of wearing the garment is unique: a girdle is tightly bound round the waist, and then the robe is pulled up at either side over the girdle so as to produce the very elegant effect shown in Plate XVI. and Fig. 40, which is a modern drawing of the front view of Plate XVI., the result giving great freedom to the arms. The King seems to have two robes of the same cut, one under the other. PLATE XVI Image unavailable: PLATE XVI M.G.H. del. F.S.H. pinx. DARIUS, KING OF PERSIA M.G.H. del. F.S.H. pinx. DARIUS, KING OF PERSIA To arrange the drapery, dating sixth to fifth centuries B.C., on Fig. 41, take the corner b of Fig. 41A in the left hand, letting the rest of the drapery fall down the back, draw the edge b-a across the back, then under the right arm-pit across the chest, and throw the corner a upwards and over the left shoulder; a will hang down the back. It will be noted that this garment is weighted at the corners; this keeps it in position. Fig. 42 is a modern drawing showing the garment in front view. Fig. 43, dating eighth century B.C., is wearing cloak (see Fig. 43A) partly fringed. It is worn much in the same manner as Fig. 41, but in Fig. 43 the corner a is thrown backwards over the left shoulder, and the edge a-b is passed across the chest and under the right arm-pit, then drawn across the back, and the corner b falls down in front of the left shoulder. This costume is not Persian, but that of some nation to the east of Persia in northern Asia Minor. The wearing of boots with upturned toes as here shown seems to have extended from Persia across northern Asia Minor to the Mediterranean even as far west as Italy. Fig. 44 is a modern drawing showing the garment in front view. Fig. 45 is wearing a short-sleeved coat over a tunic. The edging shown is probably uncut fringe; in reality it would not fit the figure neatly, as the ancient artist has indicated, but would hang rather loosely. Fig. 45A shows the method of cutting. The costume is considered to be that of a Jewish captive of the Persian conqueror and dates sixth to fifth centuries Fig. 46, which dates sixth to fifth centuries B.C., is wearing over a tunic and trousers (see Fig. 46B) an overcoat with a set-in sleeve (see Fig. 46B), turned-over collar and cuffs, and tied in front with ribbons. The plan (Fig. 46A) shows one of the earliest known methods of setting in the sleeve; the collar in this plan is represented turned forward and lying flat. The tunic worn by this figure, under his long overcoat, and also the trousers would most probably be of leather. PEEPS AT ANCIENT CIVILIZATIONS The “Peeps” Series, written primarily for young people, giving glimpses of the scenery of various countries with the life and manners of the people, now includes sixty volumes, all of which have proved exceedingly popular. This new group deals with the lands of the older civilizations, and the aim of the writer has been in each case to put before his readers a series of pictures of the various aspects of life in the great days of each country. For example, the country, development, and spirit of the people of Ancient Assyria are shown when that nation was the greatest in the Ancient World, and it is pointed out that their land was the cradle of civilization. The splendour of the Court of Ancient Egypt, the achievements of the Egyptians in exploration, conquest, art, architecture, and science are indicated, and special stress has been laid upon the depiction of child life and its surroundings. Ancient Greece is depicted when the nation was at the summit of its glory and achievement, while its matchless art and the effect of the universal prevalence of athletic training in the physical development of the race are given special prominence. Dealing with Ancient Rome the writer reconstructs the early Empire and the Imperial City at the time of its greatest splendour, and we are conducted in spirit to the Chariot Races at the Circus Maximus and the Gladiatorial Sports at the Colosseum. The illustrations in the volumes faithfully depict the life and costume of the period and include examples of the pictorial and sculptured art, the architecture, and some imaginative scenes from the legends of those old days. PUBLISHED BY OTHER VOLUMES BY REV. JAMES BAIKIE, F.R.A.S. LANDS AND PEOPLES OF Daily News.—“This is a book of great interest.” Edinburgh Evening News.—“Mr. Baikie has a clear and graphic style, and altogether this book is a well-written and up-to-date summary covering a wide field.” Liverpool Courier.—“A volume heartily to be commended.” THE STORY OF THE PHARAOHS Oxford Magazine.—“While the latest conclusions of archÆological investigation are embodied in the narrative, all unnecessary details are omitted, and the story flows on with ease and rapidity.” Aberdeen Free Press.—“At once popular and scholarly, and of great service. The main facts have been woven into a narrative of marvellous vividness in which accuracy has not in the least been sacrificed to effect.” THE SEA-KINGS OF CRETE The writer’s aim in this volume has been to present to the general reader, in an untechnical and readable form, the results of the various explorations which have recently done so much to enlarge our knowledge of the great prehistoric civilization which preceded that of classic Greece, and on whose ruins Greek culture, as we know it, arose. The ancient legends pointing to the existence of a great sea-power in prehistoric Crete are narrated, and a short account is given of the civilization assumed in the Homeric poems. Thereafter, the work of Schliemann, leading to the discovery of the MycenÆan culture, is briefly described, and, turning to Crete itself, an account is given of the remarkable discoveries at Knossos, PhÆstos, and elsewhere, which have revealed the relics of the wonderful empire of the Minoan sea-kings with its advanced civilization. PUBLISHED BY |
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