ORIENTAL COSTUMES

THEIR DESIGNS AND COLORS

BY

MAX TILKE

ERNST WASMUTH LTD. / BERLIN W8

Translated by L. Hamilton.

All Rights of Reproduction reserved.

Printed in Germany

PREFACE

I he history of costumes has now become an indispensable factor * in the study of cultural history. But not only the learned specialists are interested in this branch of human invention which has by no means been exhaustively investigated. Ever-widening circles, such as artists, craftsmen, fashion firms, and the theatrical profession are becoming increasingly interested in it. True, much new and valuable work has been done, since Hermann Weiss laid the first foundations in his "Kostiimkunde" (1860 — 72) for the investigation and definition of costumes in connection with the general cultural life of the various nations. Yet, in turning over the leaves of the various books dealing with costume-lore one is struck by the fact that there is yet something lacking. The real dress itself. That is, we obtain but little information as to the shape of the dress itself, as to its cut, and the connection of the single parts. But even the few patterns in the books especially devoted to the subject of costumes are nearly always completely neglected. Re- construction of patterns from old oriental costumes are few and far between. They do not do justice to actual discoveries, because the investigators allowed themselves to be unduly influenced by the schematic forms of representation of the old artists without having a general conception of former and present parts of dresses and costumes.

We cannot reconstruct unless we can compare. For this reason it was first necessary to gather as complete a collection as possible of new and old patterns of garments used by all nations. On journeys in North Africa, Spain, the Balkans, and the Caucasus the material found in the European museums and private collections was completed, and finally united into a collec-

tion. I exhibited my first collection in 1911 at the Lipperheide Costume Library of the Berlin "Kunstgewerbe" Museum. The heads of the museum were so much interested in my collection that it was purchased for the library with money provided by the state.

Our illustrations of costumes, which are to be continued, only present a part of all the former and present types worn in the orient. But an attempt has been made to select the most conspi- cuous and particularly characteristic forms of each country, and thus at least to provide a general view qf the general character of oriental costumes. The reader will have no difficulty when looking carefully at the various plates, and comparing them, to find out the types of costumes belonging to certain cultural areas and to recognize their geographical distribution. Inspection of the plates will soon show how costumes resembling one another are distributed over great geographical areas, but also that there are great differences among the costumes of one and the same country. History, it is true, teaches us that peoples have migrated since the earliest times, have crowded each other out, and inter- mingled. But everything that is recognized as akin could not have been invented in one region and have spread from there. Where human intelligence found similar requirements and the same climate, the same form of costume had to be evolved in spite of local modifications.

In studying a costume one should at first see how many seams are marked or emphasized by ornamental decorations. Attention should not be paid to such seams that are the incidental result of lack of material or similar causes. The shape of the sleeves, the opening for the neck, the fastenings, ornamentation, and colour of the garments should then be scrutinized . The most ancient dresses

are the most simply cut, and have the fewest seams. Complicated costumes can be traced back to a characteristic nucleus which remains if one substracts all adjuncts recognizable by seams. It is interesting to note that these costume nuclei — which I shall term original forms — resemble those still worn to-day. Many of the original forms seem to belong to certain cultural circles, others to have been generally used. As many nations are still living in circumstances that are similar to those of ancient times, it is easy to understand that ancient costume shapes have been retained. In the same manner as excavations devulge various strata of cultural epochs, so do the garments of certain peoples consist of costume types of different cultural circles and epochs.

The wide undershirt from Morocco (cf. Plate 3) will serve as an example. The nucleus of this shirt corresponds to the ancient Roman tunic, which is characterized by the vertical slit for the neck. The sleeves consist of two parts. The upper part attached to the tunic corresponds to that of the ancient dalmatica, a wide- sleeved tunic of the late Roman period. To the dalmatica sleeve was added a slanting piece which lengthened the sleeve consi- derably towards the hand. This slanting additional piece corre- sponds to Syriac-Arabic taste, and was probably introduced into North Africa at the time of the Arab conquest. And in this manner a new garment was finally created, the older local shape of gar- ments was not abandoned. The tunic still exists in Morocco as "djebba", the rough Berber shirt, and the dalmatica is worn by (he women of Algiers as a chemise, though greatly reduced in size. And Algerian women still wear the two strips running over both shoulders ("angusti claviae") which were sewn onto the tunic and dalmatica. and are also found on Coptic garments. They are re- placed by coloured satin ribbons sewn to the light chemise,

This example will suffice. My "Studien zur orientalischen Kostiimgeschichte", which is to some extent a more extensive text-book of this volume of plates will provide further infor- mation. The text accompanying each plate is intended, in connec- tion with the material in my "Studien", to pave the way for the understanding of the history of the development of oriental costumes. It was often very difficult to find out the names of the garments. I made all the enquiries I could on my journeys, but no doubt I often received inexact information. Whenever I have found the names in the collections of costumes in museums I have made use of them. I should be particularly grateful to readers who could supply me with information about names missing in this work.

I regret to say that I am only partly able to fix the names of all types of dress according to their geographical distribution. But no one will deny how important this is for the history of costumes.

The costumes shown on the plates are drawn to the scale of 1 : 10, so that the size relations of the various costumes to one an- other are clearly expressed. Whenever possible, the costumes are depicted as spread out so that the cut is visible, and tailors and costumiers thus enabled to reproduce them.

I have found that the most useful way of arranging the plates was according to geographical distribution of the costumes. But of course related forms could have been grouped together. This would have better expressed the historical development. But such an attempt would have remained more or less fragmentary, and for this reason the present arrangement is justified.

There are two groups of costumes. Either a costume belongs to that class which has been Sewn and provided with an opening

for the neck, or it is simply one piece of material which is used to cover the head partly or altogether. Of course cut and sewn costumes are better adapted for reproduction than those which are used as loose wraps, and only receive their shape by more or less artistic draping. The former group is chiefly depicted on the accompanying plates, whereas the latter appeared more suitable for illustrating the text of the "Studien".

The reason why I begin my investigations with oriental costumes is because just these afford excellent material for study- ing the development of individual forms of garments. It is here that we can trace the gradual development of simple wraps to complicated combinations, or how original garments with only one button were developed by the addition of accessories and seams into new forms of dress.

If I am now able to publish a new collection of costumes, and at the same time to show in my "Studien zur orientalischen Kostumgeschichte" the construction of some original forms and their development to costumes, I must not omit to sincerely thank authorities who have so heartily assisted me in my work. Above all, I am obliged to Dr. Albert Griinwedel, one of the directors of the Berlin Ethnographical Museum, who has assisted me in my investigations for a great number of years. The same thanks are due to Professors Le Coq and Ankermann, both of the same in- stitute. I must not forget to express my gratitude to Professor Doege, the late eminent head of the Lipperheide Costume Library in Berlin, for his interest in my collection from its very inception.

MAX TILKE Berlin, Summer 1922.

Plate 1.

NORTH AFRICA, MOROCCO.

The djellabia or djellaba.

This hooded garment serves as an outer dress and replaces the bur- noose or sulham. It is usually made of rough wool, has brown-grey, or grey and black stripes, and is mostly edged yellow or red with green and red tassels. The Riff Kabyles wear unicoloured dark brown djellabias with yellow braid and coloured tassels. Townsfolk favour blue cloth djellabias. The braid is then often crimson. The "mokhasznia" (native gendarmes) and travellers wear the djellabia over the haik.

Tilke Collection.

Plate 2.

NORTH AFRICA, MOROCCO.

The farasia.

This garment is a shirt-dress with wide sleeves, it is buttoned over the chest. It is often belted, and made of light transparent stuff. Similary cut garments are often worn by the wealthy in Morocco, are of cloth, and can be buttoned all the way up in the same manner as the vests (sedria). The favourite colours for this cloth garment, also called kaftan, are wine- red, olive-green, light blue, or brown.

In Morocco weapons are suspended by particularly woven woollen cords called "medshul". They are slung over the shoulder. The curved dagger is known as kutnia.

Tilke Coll.

Plate 3

NORTH AFRICA, MOROCCO.

Djebba and kamis, or gamis.

The square djebba with horizontal opening at collar which can be fastened by strings at side of neck is a characteristic garment of the Moghreb. Like the gamis, it is only worn by men. The djebba in our illustration is made of rough finely striped wool. But is also made of white or blue cotton. The gamis is a djebba to which sleeves have been added. It serves as shirt.

Original in Berlin Ethnographical Museum, and Tilke Coll.

Plate 4.

NORTH AFRICA, ALGIERS.

Spahi officer's burnoose.

Red European cloth, trimmed with gold cord, braid and tassels. Corners lined with coloured silk, front seams underlayed with the tricolore colours. The usual N. African burnoose (also called "sulham" in Morocco) consists of white wool or cotton. But black, brown, and blue ones are also worn. Wealthy townsfolk wear cloth burnooses matching the colour of their clothes. Vertically striped burnooses, usually in the natural white, grey, or black wool are often seen in S. Algeria or Tunis.

Tilke Coll.

Plate 5.

NORTH AFRICA, ALGIERS.

Jewess' brocade dress, buttoned on shoulders, stomacher embroidered.

Muslin shirt of Algerian women. Often trimmed with coloured satin stripes 5 cm. wide running over shoulders to the lower seam. Favourite colours for these ribbons are: red, green, violet, or orange.

In the collection of W. Gentz (Painter of oriental scenes).

Plate 6.

NORTH AFRICA, ALGIERS.

Tunic: habayah or djebba. Vest: ssedria or ftrmla. Trousers: sserual.

The characteristic underclothing of the Algerian rural population. They are usually made of light white cotton material. The haik or bur- noose is worn over same when required.

Tilke Coll.

Plate 7.

NORTH AFRICA, TUNIS.

Jacket: ghlila. Trousers: sserual. Vest: ssedria or ftrmla. Shoes: begha. Cap: shishia.

The Tunisian jacket and trousers are of cloth, but those worn in summer are also made of white linen or cotton. The vest is usually of same material as the rest of the suit. N. African men's shoes are yellow, those of women mostly red, seldom green. The shishia is rounder in Tunis, and in Morocco more pointed.

Tilke Coll.

Plate 8.

NORTH AFRICA, TUNIS.

Kasabia, gasabia and hood-jacket.

The gasabia is a garment worn by the working-class, small shop- keepers, camel-drivers, etc. It is made of rough brown, grey, or white haik material, and decorated with white woollen borders. The hood-jacket takes the place of the burnoose with the busy itinerant dealers and such like folk for whom the former is too wide and inconvenient. The hood- jacket is worn over the gasabia or the ordinary suit. The coachmen in Tunis wear blue ones with red lining.

From drawings made in Tunis.

Plate 9.

NORTH AFRICA, TUNIS.

Kandura or gandura.

The kandura is usually made of haik material. Urban population, in contradistinction to rural, favour a kandura of haik material dyed wine-red and decorated with green or yellow borders.

Wealthy Tunisians wear a kandura made of European cloth over their cloth suits matching the colour of the suit. Grey-blue, pink, and lilac-grey are the popular colours. The silk braid is usually a shade or so darker than the rest of the garment.

Tilke Coll.

Plate. 10.

WESTERN SUDAN, TOGO.

Sleeveless lobe.

Characteristic garment of a Togo man; lower part of the garment is widened by gores in the manner of the medieval albes. An oblong cloth serves as cloak in W. Sudan; it consists of five or six narrow strips sewn lengthwise. One of the cloths was 140 cm. wide and 210 cm. long. It is worn loosely draped round the body.

Orig. Berlin Ethnogr. Mus.

Plate 11.

SUDAN.

White Haussa trousers,

African trousers, like tobes, are made of narrow strips sewn together and embroidered in accordance with their colours.

Orig. Berlin Ethnogr. Mus.. Thierry Coll

Plate 12.

SUDAN, BORNU.

Embroidered Bornu woman's shirt.

Material of this shirt is either dyed indigo-blue, or of white cotton. The embroidery is very peculiar, and tastefully worked in blue floss-silk. Embroidery pattern depicts an upper garment (decorated along its lower hem with tassels) drawn over the wide-sleeved lower garment, and superabundantly decorated with necklaces. Similar decoration patterns are found on Indian garments. Cf. Pis. 86 and 93

Orig. Berlin Ethnogr. Mus., Nachtigall Coll.

Plate 13.

SUDAN, BORNU.

Guinea-fowl tobe.

African tobes are sewn together out of small 4 — 5 cm. broad woollen strips (gabag) which are woven on the narrow native looms. The Bornu tobes are either white or dyed with indigo. Colour of ornamentations, embroidery, and open-work, which also cover the large breastpocket, is usually white. Material employed is raw silk or fine cotton. Embroidery on those tobes, made of white material and dyed indigo-red strips sewn together, is nearly always green. The wide sleeves of the tobe are draped in folds on the shoulders according to requirements. Nachtigall's book "Sahara und Sudan (Vol. 1, p. 642 et seq.) provides further details about tobes.

Orig. Berlin Ethnogr. Mus., Flegel Coll.

Plate 14.

ABYSSINIA.

Shama and hood-cloak.

The shama is a large oblong shawl of soft white cotton, and is wrapped about the wearer according to weather requirements. The hood-cloak is a bournoose reduced in size and embroidered with coloured floss-silk in the Abyssinian manner.

Origs. Berlin Ethnogr. Mus.

Plate 15.

ABYSSINIA.

Woman's shirt, embroidered.

The Abyssinian women's shirts are made, like the shama, of doubly folded soft cotton material. Opening for neck and sleeve ends are embroi- dered with silk chain-stitching. Slanting trousers are worn with these shirts, and are buttoned and laced tight beneath the calves down to the ankle. They are embroidered up to the knee.

Orig. Berlin Ethnogr. Mus., Rohlf's Coll.

Plate 16.

EGYPTIAN SUDAN.

Warrior's blouse from Omdurman.

These garments are made of cotton and ornamented with coloured decorative material. The amulet pockets behind and in front, as well as the characteristic triangle at the opening for the neck, are cut out of cloth and trimmed with coloured cord. The cut of the blouse is akin to the Egyptian shirt on PL 18, the opening for the neck is similar to those of Afghanistan and Northern India (cf. Pis. 84 and 92).

Origs. from Tilke Coll., now in Berlin Ethnogr. Mus.

Plate 17.

EGYPT.

Tob or sebleh, wide garment for women.

The material employed for this garment is usually a cotton fabric dyed blue. The only ornamentation is edging around opening for the neck and over breast-slit with coarse floss-silk stitching. Wealthy women wear black cotton garments interwoven with silk stripes, or also taffeta and watered-silk garments. Tob shaped garments are worn between Egypt, and Mesopotamia.

W. Gentz Coll.

Plate 18.

EGYPT.

Man's shirt (kalabiaf)

Characteristic garment of the modern Egyptian population. Owing to the insertion it is tighter under the arms than that of the following Plate. The material is black cotton. Sserual, men's trousers, of blue cotton. In Arabia they are called "libas" (according to Schweinf urt) . Cap with blue silk tassel, called "tarbush" in Egypt.

Tilke Coll.

Plate 19.

EGYPT.

"Eri"? Man's shirt, blue woollen fabric.

Characteristic garment of the modern Egyptian population. Copied from an original.

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Plate 20

EGYPT.

Wide man's shirt (kamis) of white linen or cotton.

Worn in Egypt particularly by the Fellahin. as well as the tight- sleeved shirts. Is also dyed blue.

W. Gentz Coll.

Plate 21.

EGYPT.

Kaftan, kuftan (Egyptian) or entari (Turkish) and under-vest, sedria.

The kaftan is one of the most common articles of dress in the Near East. It is worn by people of rank, and the middle-class. It is always girdled with a cloth belt (hizan).

Only striped cotton or half-silk fabrics are employed in making men's kaftans. The lining is always made of ramie. Formerly kaftans made of satin or brocade were popular. The most favourite colours are crimson or violet-red with white or yellow stripes, (cf. the under- vests on PI. 38).

The kaftan depicted here is made of coarse half-silk material woven in Sanaa in S. Arabia. Nearly all kaftans have a 5cm. broad vertical piece of white or yellow stitching about a hand's breadth over the seam.

A vest, shirt and trousers are worn under the kaftan. The djubbeh (PI. 23) or binish (PI. 22) serves as overcoat; in Asia Minor and Syria the short salta jacket (cf. PI. 39). Travellers prefer to wear a dust or weather cloak, the aba, (cf. PI. 29) over the kaftan.

Tilke Coll.

Plate 22.

EGYPT.

Binish. Cloth overcoat with wide sleeves, frequently slit below.

The binish, like the kaftan, is spread all over the Near East. Those countries where it is chiefly worn are Egypt, W. Arabia, Syria, Asia Minor, and Turkey. It is the upper garment of scholars and priests. It is usually of a dark or grey colour, unlined. Instead of being lined it is faced with quiet coloured silk.

W. Gentz Coll.

Plate 23.

EGYPT.

Djubbeh or gibbeh. Cloth overcoat. Front and back view.

The djubbeh, like the binish, is worn as an overcoat over the kaftan. It is nearly always of cloth, but distinguishes itself from the binish by its complicated cut and narrow sleeves. Favourite colours for the djubbeh are wine-red, brown, grey, and blue. It is mainly worn in Turkish countries by persons of rank. The Kurds of the S. Caucasus like to trim the djubbeh with gold Turkish braidings over the chest.

W. Gentz Coll.

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Plate 24.

EGYPT AND THE NEAR EAST.

Yelek. Woman's kaftan of flowered cotton print with ramie lining.

The better sort of women's yeleks are made of valuable silk fabrics. Gold and silver brocade are also employed. The woman's kaftan is open at the neck as far as the breast. It is provided with a number of buttons and laces from the breast to the belt along the front seams in order to fit it close to the waist, and has a high side slit to expose the wide trousers worn by females (cf. PI. 40). The front part, which is often in the way, is frequently hung over the lower arm. The yelek is girded with a cloth shawl.

The shirt is worn under the yelek; a djubbeh or bluish over it. These garments are closer fitting, and usually more brilliant in colouring than those of men. The woman's djubbeh is often made of velvet or silk, and ornamented with gold braid and embroidery.

W. Gentz Coll.

Plate 25.

ANCIENT EGYPT.

Shirt garment from a grave of the New Kingdom (ca. 1MO B. C.).

This garment shows the simple shape of former oriental dress, and is certainly identical with the kalasiris mentioned by Herodotus. It is made of one piece folded in the middle and sewn at sides up to the armpit. The material is Tine linen. In the middle of the fold is a slit or round opening for the neck. The kalasiris was always belted in such a manner as to gather the folds in front.

Orig. Berlin Ethnogr. Mus. (Egypt. Dept.).

Plate 26.

ANCIENT EGYPT.

Coptic tunic, found in a grave dating about 400 B. C.

Sleeve tunic of safron yellow wool with woven pattern resembling tapestry work. The opening for the neck is placed horizontally like that of the Roman tunic. The side seams, as well as those of the sleeves, are trimmed with twisted woollen cord. Purple tunics were much favoured, as well as those of natural colour wool. The latter had patterns of a brown- violet tint. Coptic tunics often have vertical stripes next to the neck-opening reaching to the nether hem in the ancient Roman fashion.

Orig. in Neues Museum, Berlin.

Plate 27.

ANCIENT EGYPT AND NEAR EAST.

Persian cloak made of shiny fine hair woollen material. (Found in an Egyptian grave of the 6th cent. B. C.)

This garment shows oriental origin in the super-long sleeves worn in accordance with the Asiatic custom. The open parts at the arm-pits are also found in Persian-Caucasian as well as Indian garments. The breast- flap, which can be tied, reminds one of the forms of the Indian angarkha (cf. PI. 95). The back of this cloak, which is made of one piece, is cut in the same manner as the modern Turkish djubbehs or binishes. The braid on the cloak resembles in its technique the tent-carpets of the Turkomans. The ornamental motif also points to north-western Persia.

Orig. in the Neues Museum, Berlin. Now published by kind per- mission of the directors for the first time.

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Plate 28.

ANCIENT EGYPT AND NEAR EAST.

Persian kirtle from an Egyptian grave (ca. 6th cent. A. D.)

The garment is made of fine linen. The nucleus has already had side parts added. The sleeves slant towards the wrist in the modern Persian fashion. In colour, motif, and the manner of making, the woollen braid resembles that of modern Turkoman tent spreads and carpets. The shape of the neck-opening is very similar to that of the Afghan shirts (PI. 84), the women's kirtles in Benares (PI. 92), and the warriors' tunics in Omdurman. The leg coverings are of reddish or brown felt ornamented below; they were fastened to a hip-cord. High soft leather top-boots, some of which are still preserved, completed the ancient costume of the Persians

Origs. in Neues Museum, Berlin. Published by kind permission of the directors.

Plate 29.

EAST ARABIA.

Aba (abayeh), kofia and ogal

The aba on our plate is made of black hard woollen material and consists of two pieces sewn together. The shoulder-seam, neck-slit, and front seam are ornamented with silk cords and embroidery (cf. details). In this shape it is used as a mantle by the upper class of Arabs.

The kofia or kefijeh is a square piece of cotton cloth interwoven with vertical silk stripes. Thin cords with small tassels are fixed on both sides. The kofia is worn diagonally, so that the cords hang down over the shoulders and back.

The ogal is used to fasten the kofia on to the head. It is usually made of natural colour camel's wool around which silk, gold, or silver threads are wound at intervals. In Palestine and Syria the ogal consists of a ring-like roll wrapped with black wool and folded twice round the head. The aba, kopia, and ogal are worn in Mesopotamia, Syria, Palestine, Arabia, and Egypt

Origs, in Berlin Ethnogr. Mus.

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Plate 30. ARABIA, YEMEN.

Woman's shirt, Aram's, from the mountain districts of Yemen.

The shirt is dyed with indigo-blue and made of shiny cotton. The sleeves, like those of the Bornu woman's shirt (PI. 12) are wide. The embroidery consists of white cotton threads, and is enlivened by red and yellow stitches. The embroidery ends on the back in a triangular pattern between two stripes in the style of the painted shirts worn by Afghan women (cf. PI. 86). The opening for the neck and breast are ornamented with gold threads and copper coloured edging.

As these shirts are very badly dyed, the white embroidery threads soon get dirty and stained light blue. Besides the wide-sleeved garments, there are others with sleeves narrowing at the wrist. Under their shirts the women wear long drawers which are tight at the end, and of the same colour. Sub is the name of a white pleated skirt with very long sleeves.

Orig. in the Berlin Ethnogr. Mus.. Schweinfurth Coll.

Plates 31 and 32.

SYRIA AND MESOPOTAMIA.

Front and back view of an aba from Damascus.

This aba is a type of those beautiful, gold-embroidered garments which the aristocratic Syrians and Arabs wear as gala dress. In this specimen, not only golden, but coloured threads are also woven into the natural colour fine woollen material.

A favourite colour combination on the gala-abas is that of black, gold and crimson; brown-gold, crimson and green; light-blue and gold; light- blue and silver; red with gold; wine-red, silver and gold; white and silver, and other colours. Abas made of ribbed silk and moire" are also worn.

The most magnificent gala-abas are made in Syria, Mesopotamia, and Western Persia.

W. Gentz Coll.

Plate 33. SYRIA, PALESTINE, AND MESOPOTAMIA.

Striped aba.

The common aba is striped brown and white. The shoulder-seam, the opening for the neck, and the middle-seam are embroidered with coloured silks. The horizontal stripes over the chest are reminiscences of the frogs worn on the garments of the Turkish peoples.

An aba striped in white and black, chiefly worn by Bedouins in Syria, is often seen beside the brown striped aba. But unicoloured, white, brown, or dark blue abas are also much favoured. The material is wool of the most various qualities.

Tilke Coll.

Plate 34. SYRIA.

A mashla from Damascus.

This costume is made of fine unicoloured or rougher woollen fabric with thin stripes. It is interwoven with tapestry-like colours on back and upper seams over chest. It serves as an over-jacket, and is worn by men over the kaftan, and also by women over their shirts. The mashla, like the aba, is composed of two pieces, but is considerably tighter, and shorter, and has short sleeves. Beside the coloured and decorated mashlas, there are some with simple broad white, brown, or black-white stripes cor- responding to the material of which the aba on PI. 33 is made. This garment is met with between the S. Caucasus and S. Mesopotamia.

W. Gentz Coll.

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Plate 35.

SYRIA, PALESTINE, MESOPOTAMIA.

Man's white cotton shirt with pointed sleeves.

This shirt is usually worn under the aba out of the sleeveholes of which the long points of the shirt-sleeves project. These shirts are worn from the southern parts of the Caucasus to E. Arabia.

W. Gentz Coll.

Plate 36.

SYRIA, PALESTINE.

Blue rough cotton woman's shirt with pointed sleeves.

The sleeves of this shirt are cut out of one piece, and not put together, as is the case with the shirt shown on the previous plate. The seams are often decorated with multicoloured silk stitches.

The native women of Jerusalem used to wear garments cut in a similar fashion, but of huge dimensions. They were gathered in the ancient Persian manner, and the upper sleeve-edges were tied together behind the neck. This produced a very picturesque fold arrangement.

W. Gentz Coll.

Plate 37.

PALESTINE.

Woman's blue woollen garment with coloured floss-silk stitching.

This garment served as a shirt. It has the shape of the mashla, but is longer, and closed at the breast. The seams are enlivened by coloured silk stitches.

W. Gentz Coll.

Plate 38.

SYRIA, PALESTINE, MESOPOTAMIA.

Tivo V€Sts of kaftan material from Baghdad.

These two vests show the shape of the vests worn in the whole of the Near East. They are mostly made of kaftan material; but like the upper-jacket are also made of unicoloured cloth.

A single row of pear-shaped buttons covered with woven material and caught into loops form the characteristic method of fastening this garment. The material is silk cord, 3 mm in width.

Origs. in Berlin Ethnogr. Mus.

Plate 39.

SYRIA, PALESTINE, MESOPOTAMIA.

Three types of jackets.

Left, a so-called "salta" of cloth with stitching in coloured and gold threads. This jacket comes from Bethlehem, but is worn in this shape by women in the whole of the Near East. In the middle, a sleeveless overcoat of rough wool material with shoulder-seam. Right, a salta for men, rough wool material. Note the shoulder-seam and side pieces. The sleeves are tighter than is usually the case (cf. the form of the chocas on PI. 88).

W. Gentz Coll.

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Plate 40.

TURKEY, SYRIA. PALESTINE, AND EGYPT. Wide taffeta women's trousers, tshalvar (Turkish), shintijdn (Egyptian).

Women's trousers in the Near East are made of both unicoloured or striped silk, as well as of unicoloured or cotton print. They are tied round the hips with a strip of material made to draw ("dikkeh"). The lower part of the trousers is pulled up and gathered below the knee by means of tape drawn through the hem. Owing to their length, however, the trousers reach to the feet, or nearly to the ground, although they are tied up.

Turkish man's cloth trousers ("potur"):

They have extension pieces cut like gaiters which, can be fitted close to leg by buttoning.

W. f.entz Coll.

Plate 4t.

TURKEY, SYRIA, MESOPOTAMIA.

Three differentia cut men's trousers.

The middle pair is of cloth. II shews the type of slanting trousers. Trousers from Baghdad made of natural colour wool, or ramie.

Trousers from the Nupairier Mts. (N. W. Mesopotamia). They are made of very rough red cotton stuff interwoven with dark blue stripes running lengthwise and with yellow horizontal ones. A blue cord gathers the trousers into pleats at the bottom.

Tilke Coll. and Berlin Ethnogr. Mus.

Plate 42.

TURKEY.

Old Turkish gala-coat. "Usth-knrbij"?

This characteristic over-garment shows the type of Turkish costumes as worn by the Sultan or the upper-classes 1'rom the 16th. to 19th, cent. The long empty sleeves betray the Asiatic origin of this garment. At the side, slits to admit the arms encased in the kaftan or entari sleeves. Upper garments made of cloth, velvet, or silk, and trimmed with sable, were very popular at the Turkish court.

Orig. in Berlin Ethnogr. Mus

Plate 43?

ASIA MINOR. Dust-mantle from Smyrna.

This garment shows the form of the mashla, and is of cotton interwoven with rough yellowish silk stripes. Net-like open-work on the sleeves. Seams on chest and around neck of the mantle are stitched in the style of the Asia Minor "state towels".

Orig. in Berlin Ethnogr, Mus.

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Plate 44.

TURKEY AND ASIA MINOR.

Turkish woman's shirt and shoes from Kars, S. Caucasus.

The shirt is made of so-called Brussa material. The extension of the nucleus of the garment and the sleeves by a straight strip of material, which is joined to both sides, is very original.

Turkish women's shoes are yellow.

Origs. in Caucasus Mus., Tiflis.

Plate 45.

TURKEY AND ASIA MINOR.

Men's Turkish jackets from Kara.

The men's jackets, closely related in form to the djubbeh, are also made of cloth. The favourite colours are blue, and grey-blue shades. Sometimes these jackets are provided with applied ornamental cord, usually of darker shade.

Origs. in Caucasus Mus., Tiflis.

Plate 46.

TURKEY AND ASIA MINOR.

Turkish trousers ("tshalvar"), and men's red leather shoes.

These trousers show the straight type. They are of clue cloth, and inconspicuously ornamented with black cord. A woollen draw-string runs through the cotton hem (top) which gathers the trousers in pleats round the waist. A unicoloured, striped, or checked woven belt is worn over the hem of the trousers.

Orig. in Caucasus Mus., Tiflis.

Plate 47.

BALKAN PENINSULA.

Under-jacket and vest types from western Balkans.

"Djamadan", sleeveless cloth vest worn overlapping the chest. Asiatic form. (Cf. Pis. 94 and 103).

"Mintan", under- jacket with sleeves; always of striped material; worn under djamadan. Herzegovina.

Vest with straight slit and black silk cord edging from Albania (cf. PI. 38).

Sleeveless over-jacket, cloth, with gold and silver thread edging. Worn over the djamadan. Herzegovina.

Tilke Coll.

Plate 48.

SOUTH-EASTERN EUROPE.

Shepherd's cloak from N.-W. Hungary.

This cloak reproduces an old Finnish-Asiatic shape. The sewn-on neck cover is very characteristic. This form of mantle is also worn in N. E. Russia among the garments of the Cheremissians.

Orig. in a private coll.

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Plate 49

CENTRAL CAUCASUS.

Georgian man's garment. "Tchockha".

A festive garment of a well-to-do Georgian from the district of Tiflis. The material is fine, but very strongly and closely woven blackish-blue wool. The lower part of the garment has small pleats sewn on to the top part. Richly trimmed with gold braid which is both well and tastefully made in the Caucasus by so-called board weaving.

Orig. in Caucasus Mus., Tiflis.

Plate 50.

CENTRAL CAUCASUS.

A cherkesska, the national Caucasian dress.

This tight waisted garment is always made of strongly woven wool. The favourite colours are black, dark blue, grey, and brown. Red, white, and ochre coloured materials are also used. Cloth cases are attached to that part covering the chest in which formerly cartridges were kept. Even peaceful urban artisans have not discarded the empty cloth cases on their coats. A narrow leather belt is worn round the cherkesska to middle of which the national dagger (the kindshal) is hung. Shirt, trousers, and beshmet (cf. PI. 69) are worn under the cherkesska, and over it the large semi-circular weather coat, the burka (cf. PI. 52).

Orig. in the Caucasus Mus., Tiflis.

Plate 51.

CENTRAL CAUCASUS.

Khevsur blouse.

Made of black-blue strong woollen material with pieces of cloth trimming, braid and small white china buttons.

The decorated opening for neck is buttoned at side like the Perso- Indian shirts (cf. Pis. 82 and 90).

The Khevsurs, like the old Retennus, who lived in the Near East, favour the cross as a decoration on their garments. The blouse is slit at side, and there is an opening in the old Persian manner under the arm- pits (cf. PI. 27).

Khevsur woollen trousers with coloured cloth trimmings (cf. von Radde "Die Chewsuren und ihr Land", Kassel 1878).

Orig. in the Caucasus Mus. Tiflis, v. Radde Coll.

Plate 52.

CENTRAL CAUCASUS.

The burka.

The burka is the weather cloak of the Caucasians. It is semi-circular, and made to fit the shoulders by the insertion of a gore. It is made of a felly milled wool, a sort of rough hunter's cloth, on the outside of which the hair is sometimes left.

The favourite colours are black, or black-brown; seldom white. The opening for the neck, and the seams over the chest are trimmed with the customary gold braid. The inside of the burka, and the shoulder parts are often lined with silk or calico. The burka is tied at the neck with strings. The bashlik is a complement to the burka. II is a hood, the ends of which are slung round the neck (cf. PI. 53).

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Plate 53.

CENTRAL CAUCASUS.

Three bashliks.

The bashlik belongs, like the cherkesska, the burka, and the lamb's- wool cap ("papache") to the national costume of the Caucasians- Bashliks are mostly made of natural colour wool, but cloth is also sometimes used. In the latter case they are edged with Caucasian gold and silver braid, or are decorated with ornamental gold piping. The bashlik is worn like a hood. Its ends can be used like a shawl, etc., or twisted round the head to the shape of a turban. Felt hats of the Ossetes and Swanets. Georgian felt caps.

Drawn after origs. in the Caucasus.

Plate 54.

CENTRAL CAUCASUS.

Georgian woman's garment; beginning of 19th cent., from Tiflis.

This costume is made of silk striped kaftan cloth. Blue flannel is used to line bodice, grey silk for sleeves, which are slit at ends. The front and lower seams are edged with green silk, the sleeves decorated with black braid. The somewhat broadly projecting parts above the hips are characteristically Persian.

Orig. in the Costume Depart, of the National Theatre, Tiflis.

Plate 55.

CASPIAN STEPPES.

Over-dress of a Calmuck woman.

This dress is a combination of bodice and skirt. It is of black satin with grey-brown flannel lining. Caucasian silver braid is used as edging, also narrow strips of inferior brocade. The bodice is fastened in front with galoons in the Turkish-Mongolian manner.

Orig. in Stavropol Mus.

Plate 56.

CASPIAN STEPPES.

Calmuck woman's untler-garment ("tshonor").

This shirt-garment is made of red patterned Chinese silk. Breast and sleeves are edged with Caucasian braid. The galoons at the breast are of the same material. The parts over hips are pleated up to the arm-pit piece, (cf. PI. 112).

Orig. in Stavropol Mus.

Plate 57.

CASPIAN STEPPES.

Nogair woman's kaftan.

This garment shows the type of the Caucasian beshmet or archaluk cut (cf. PI. 69). It is made of silk and lined with flowered calico. With the exception of jacket pattern seams, the kaftan is quilted vertically. The sleeves and seams are lined with silk of another colour. The bodice is closed in front with metal clasps (developed from Turko-Mongolian galoon patterns), and ornamental silver discs sewn onto underlying pieces of leather or cloth.

Orig. in Stavropol Mus.

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Plate 58.

CASPIAN STEPPES.

Nogair-Tartar shirt.

Flowered kaftan is the material of this shirt. It is provided with a rather high collar.

Nogair-Tartar woman's trousers.

The trousers are made of red -white-black flowered calico. The method of cutting is very interesting. The legs and the front part have been widened to correspond with the Turkish shirt, (cf. PI. 44).

Orig. in Caucasus Mus., Tiflis.

Plate 59.

CASPIAN STEPPES.

Turcoman boy's gala suit.

The cut of the Caucasian beshmet. Quilted silk is used. The hems and seams are hemmed with Caucasian silver braiding and green silk ribbon.

The Turcomans of the Stavropol district are very fond of highly coloured garments. Orange, yellow, white, violet, crimson, blue, etc. are often composed into patterns on the semi-circular women's cloaks.

Orig. in Caucasus Mus., Tiflis.

Plate 60.

S.-E. CAUCASUS, DAGHESTAN.

Primitive mantle called "tchopus".

The material of this simple mantle is made of a piece of felt shaped like a cross. This rough shepherd's dress is made by folding it together, and cutting and sewing the sides.

Copied from the orig. purchased (1913) in Kaoh for the Caucasian Mus., Tiflis.

Plate 61.

S.-E. CAUCASUS.

Short jacket-dress of a Tartar woman from Shemachd.

The dress is made of orange coloured velvet, lined with yellow silk, and decorated with Caucasian braid, as well as gold braid of lace-like texture. The cut is adapted to the Persian taste.

Orig. in Caucasus Mus., Tiflis.

Plate 62.

S.-E. CAUCASUS.

Short jacket-dress of a Tartar woman from Daghestan.

The jacket was made in the beginning of the 19th cent. Good old brocade was used; it is lined with calico and quilted. The seams are edged with silk ribbons. The narrow sleeves, half open at bottom, are lined with brocade of another colour. The character of the cut is Persian

Orig. in Caucasus Mus., Tiflis.

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Plate 63.

S.-E. CAUCASUS.

Shirt of a Tartar woman from Nuchd.

This shirt is made of shot silk, which is very popular in the Caucasus. A black satin ribbon which is ornamented with coins has been added to the front hem. The lower part of hem is ornamented with gold plaques. These are fastened to little tubes through which a string is drawn.

Hair-bag of a Tartar woman from Nticha.

The women of the S.-E. Caucasus are in the habit of enveloping their hair in a hair-bag which is open below, and can be tied at the neck to the back of the head so as to fit it tight to the foerehead. These hair-bags are either made of calico or silk and are edged with braiding at both ends.

Origs. in Caucasus Mus., Tiflis.