Costume: Fanciful, Historical and Theatrical

by Mrs. Aria

From Italy the fashion of wearing dominoes spread to France, and thence to England. In Paris the vogue reached its height under Louis XIII. and Louis XIV. During the reigns of both monarchs, and more especially the latter, masquerades and masked balls were the favourite amusements of the Court. Many entertainments were given at which dominoes were compulsory for men, the King alone being exempt from this rule. Louis XIV. generally elected to appear in a white domino of transparent muslin which merely veiled, without in any way concealing, the gala dress beneath. Dominoes at this period were richly trimmed, and contrived from costly materials.

Under the Regency masked balls were instituted at the Opera. At these public functions, safeguarded by the practically impenetrable disguise of a domino, all classes of society mixed indiscriminately. If tales of the time are to be believed, many a gallant has shadowed a domino the entire evening, only to make the humiliating discovery that the coquettish countess of his dreams was a tripe-seller from the market.

With the fall of the French monarchy the domino degenerated into an abuse, and was finally abolished, excepting for such occasions as carnivals and fancy-dress balls.

The dominoes worn by women differ from those worn by men in that they invariably manage to strike a distinguishing feminine note. The textures employed are lighter, being usually soft satin, silk, or mousseline de soie. The hood, instead of partaking of the severity of a cowl, is round in shape and, for most festive occasions, is trimmed with fluffy frills of silk, chiffon, and lace, further elaboration consisting of flowers. A characteristic example is of forget-me-not-hued bengaline lined with pale pink. The yoke sparkles with silver sequins and the round hood and shallow cape display frills powdered with glittering paillettes, and reveal inner frills of frayed pink silk and cobwebby lace the tint of old ivory, a bunch of shaded roses being fastened near the left temple and another at the throat. At the foot is a flounce which, when the wearer walks, shows occasional glimpses of pink silk and cream lace, and the wide sleeves bear sequin-embroidered cuffs and lace ruffles. A quaint domino is of gauze of an opaque whiteness, strewn with black and gold spots of varying sizes, the hood gathered up in the middle beneath a big white poppy, the petals tipped with gold and the centre of black silk.

For obvious reasons, many dominoes, both for men and women, were made reversible. Occasionally, in addition to the hood, a towering erection was worn on the head, causing the wearer to appear of supernatural height, and the more mysterious. And I pause here to observe with emphasis that at a masked ball a domino is invested with special interest when surmounted by a fantastic headgear, and that such an incongruous alliance as that of a white-powdered and curled wig and the black silk domino shaped as a gaberdine, with a full hood and lace-frilled silk mask, creates an effect beneath which an identity may be most easily concealed. Far more desirable, however, in the interests of the beautiful, is it to select the domino and head-dress in sympathy; and I may quote as a successful blend a long cloak of jet-spangled net, with jet-spangled hood falling round the shoulders, and a high-pointed head-dress of the fourteenth century, with a pendent jet veil and a jet mask to cover the face, the chin being held by a few folds of net to match the veil. Dominoes made of net oversewn with petals of flowers, the hoods adorned to match and well drawn over the hair, and the masks of lace in butterfly shape, may also be quoted as decorative; and so too may the domino of accordion-pleated silk, but custom has somewhat staled the charms of this, and I would vote rather for the more sumptuous brocade, and urge the importance of liberality in its folds.

The mask has, at all times, been the essential complement of the domino. In its ordinary form it consists of a stiff shape arranged to fit the face as far as the upper lip. Moulded to the nose, it is provided with slits for the eyes and nostrils, and fastened by means of a button and a narrow elastic band. Now and then it is edged with a frill of lace which conceals the chin and further enhances the disguise. Black satin and velvet are most frequently employed to cover this kind of mask, the latter, by the way, being far more becoming; but the black lace mask is an innovation of modern times, sometimes failing in its purpose of disguise, and the chiffon spangled mask may be accredited with like disadvantage. Coloured masks, or loups, as they are termed in French, are also worn, but have little to commend them, being grotesque and ugly.

Authorities differ concerning the origin of masks. The most generally accepted theory is that they were first employed at the festivals of Bacchus, and recent discoveries have proved them to have been in use in ancient Egypt, numerous specimens having been found at the heads of mummy-cases. These early examples are composed of a substance closely resembling papier-maché, and painted in imitation of life.

It was in Greece, however, that the mask reached its apotheosis. There it formed an indispensable factor in classic drama. Its introduction on the stage is attributed to Thespis, who is held to have substituted masks for cosmetics.

There is no confusing the mask peculiar to the Greek theatre with that of any other country or period. The industry rose to the dignity of an art, as the beauty-loving Hellenes would tolerate nothing ugly or ill-made on their actors.

The dramatic masks consisted of an entire head, with hair, beard, and ornaments arranged in exact accordance with the character to be portrayed. All the features were strongly accentuated, vividly coloured, and of supernatural size. The eyes were deeply sunken, the nose exaggerated, and the mouth open. Inside the parted lips was a metal construction designed to make the voice carry a considerable distance—a necessary measure, as all performances took place in colossal open-air buildings. The moment an actor appeared upon the scene a glance at his mask sufficed to determine the rôle he was about to play; and, whether masculine or feminine, the details were equally exact.