Costume: Fanciful, Historical and Theatrical

by Mrs. Aria

The donning of a bridal crown is a fashion which traces its origin to the far North, and in Scandinavia it is the most significant feature of the bridal attire, each parish being possessed of its special crown, the property of the church, the pastor of which sanctions the use of the crown only when the bride is of irreproachable character. Such a custom should act as a powerful incentive to virtue, since to stand before the altar uncrowned must be conclusive evidence of unworthiness.

Of copper-gilt, the bridal crown differs slightly according to the district. In the diocese of Drontheim it is round in shape, tapering up to spire-like points, the rim encircled with a double garland of flowers emblematic of innocence, while from beneath it at either side dangle streamers of gaily coloured ribbon and black lace over luxuriant tresses, real or false, either of hair or straw. The dress consists of a close-fitting bodice with long tight sleeves, and a plain skirt to the ankles, of the same dark material, the short narrow apron being of white muslin. The corsage is almost hidden beneath a pelerine made of wool covered with white lace, edged with green ribbon, and decked across the chest with a triangular piece of scarlet cloth, which forms the resting-place for lavish adornment with gold and silver ornaments connected by chains; the narrow belt is of scarlet cloth, and falls in a single end down the left side of the front. The hands are held in a little drum-shaped muff of red cloth, bordered by lines of green silk and lace and further decorated with brooches; and on the feet are dark stockings and black leather shoes with imposing silver buckles.

The costumes and customs of Sweden and Norway have always borne a certain family resemblance; in both countries the crown plays a prominent part at weddings, occasionally assuming proportions more fantastic than convenient. In Hardanger the crown is a very gorgeous affair, large and wide at the top, set with rubies and emeralds and quivering with pendent ornaments; and beneath it the hair is divided to hang down loosely from a shower of bright ribbons. The scarlet skirt is trimmed with black velvet, and the white apron has a band of drawn thread-work at the hem, the bodice revealing a plastron made of a variety of coloured cloths, with red for the predominant hue, covered with gold and silver jewellery of the filigree description. Tradition orders that the bride shall retain her finery intact for an entire week, during which period the wedding festivities are kept up with unflagging enthusiasm, and on the eighth day she gives the signal for the merrymaking to cease by raising her hand to press a secret spring, when the heavy crown falls from her head and leaves her free to join in the last joyous dance with her husband.

Possibly the annals of costume contain no more extravagant wedding-dress than that peculiar to the Duchy of Saxe-Altenburg. The bridal crown is certainly unique. It is made of little quadrangular pieces of metal which display a raised design and are mounted upon a high cylindrical shape of pasteboard encircled by a fringe of gilt leaves attached to silver buttons. These buttons head a band of red velvet ribbon tied in a huge bow behind, where a curved handle of twisted green velvet extends itself with wide ends of green velvet ribbon that conceal the ears and are tied in an enormous bow under the chin above a stiff gigantic bow of black silk. The tight short skirt is of dark wool with a scolloped border of red and yellow, and a narrow pleated apron is in a dull shade of tangerine. About the waist is a broad sash of black silk tied in a monster bow in the front, and the tight bodice introduces the multi-coloured vest. Little can be seen of the bride or her gown beyond the Brobdingnagian bows, and her costume might be thought to embody the axiom—it is well to have more than one bow to your string.

The peasantry of the Swiss canton of Fribourg hold reverently to ancestral tradition, wearing the dress of their grandparents in token of their resolve to remain faithful to ancient custom. The bride plaits her hair in a single plait under an erection like the hussar's cap, made in pale blue trimmed with narrow lines of rose silk ruching, and banded across the forehead with black velvet. Her stockings, short skirt, and bodice are of scarlet, the sleeves terminating with velvet cuffs, and her apron is of black or of silk of some sombre shade. The indispensable plastron-vest is of pink edged with silver lace and loaded with silver buttons, and the flat circular ruffle is of pale blue edged with silver braid; and below it hangs a fine silver chain supporting a large medallion.

Mystic in its simple grandeur is the dress of an Armenian bride, consisting of a long trailing gown of thick silk, richly interwoven with gold, held at the waist by a golden girdle, and opening down the front to show a petticoat of a contrasting colour. On the head is a wreath of white flowers, overspread by a veil of misty white, which falls to the ground above a shower of glittering gold streamers.

The early fashions of Egypt in gala times, although sufficiently decorative in their colour and drapery, were always spoilt by the hideous head-dress of black wool or hair tied with wool and plaited, or set out aggressively at either side like a furze bush in mourning. On state occasions the Egyptian woman wore a dress with full sleeves of silk checked in crimson and yellow. The hem was trimmed with a gold fringe, and round the waist was a wide girdle, and on the feet leather shoes embroidered in gold. The black plaits as well as the head were adorned with gold braid encrusted with precious stones; a blue lotus flower fell over the forehead, a number of gold bodkins were placed above the fillet, and large gold hoops hung from the ears. Bracelets and necklets formed of rows of enamelled discs, pearls, strings of lizards and beetles of stamped gold, all served at feasts to adorn the Egyptian beauty, whose favourite bangle was in the form of a snake, and whose fingers were stiff with rings.

An old Indian festival dress is emblazoned with beads and silks in gay colours, and bears long square lappets hanging from a jewelled headpiece. The sombre tunic is enriched with jewels at the neck and waist. Remarkable specimens of old Indian taste and ingenuity are the tunics made of leather thickly encrusted with beads of different colours in geometrical pattern, such tunics being fringed with leather and completed by a much feathered head-dress.