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Title: Ladies' dress shoes of the nineteenth century
Author: T. Watson Greig
Release date: March 5, 2025 [eBook #75531]
Language: English
Original publication: Edinburgh: David Douglas, 1900
Credits: Alan, Mairi and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK LADIES' DRESS SHOES OF THE NINETEENTH CENTURY ***
[Illustration]
Ladies’ Dress Shoes
of the
Nineteenth Century
With Sixty-three Illustrations
BY
T. WATSON GREIG OF GLENCARSE
_Author of_
“Ladies’ Old Fashioned Shoes”
EDINBURGH: DAVID DOUGLAS
1900
Preface.
The sixty-three ladies’ shoes now illustrated have all belonged to and
been worn by ladies of the 19th century. They have been most carefully
selected to illustrate the variety and change of fashion during that
period. The shoes can be copied in any material by any shoemaker. I beg
to return thanks to all those who have been so kind as to give me their
assistance in collecting them.
GLENCARSE,
_28th May 1900_.
Frontispiece.
This specimen of Mule or Bedroom Slipper is in green velvet, on which
the coat of arms is embroidered in rich silk and metallic threads. The
front is finished off with a white silk ruche, held in place with a row
of narrow gold braid, and the lower outline softened with an edging of
fine blonde lace. The heel is covered with royal blue satin, and the
lining is white. The maker is Abrahams, Westbourne Grove, W.
Plate I.
We have in this illustration three fine specimens of the modern
shoemaker’s craft. The general shape of the shoes is much the same,
but what may be called the decoration is varied. The satisfactory use
of the “Magpie” colours is striking, and argues the good taste of the
worker, and the designs, though simple, give scope to great excellence
in workmanship.
The cordonnier artist has apparently considered his lines as carefully
as the best of yacht builders. The material employed in the first two
instances is kid, and in the other black and white velvet.
[Illustration: PLATE I.]
Plate II.
Illustrates three black satin shoes. The first, without heel and
very square toe, was, no doubt, comfortable, but decidedly unshapely
foot-gear. The sole is thin, and there is no attempt at ornamentation,
even to hide the elastic ankle strap. As this shoe dates back a
considerable number of years, it serves to show the many modern
improvements of its two companions.
No. 2 has a general appearance, which at once demands admiration. The
heel is medium, the toe pointed, and the ornament is a trefoil in old
paste. This shoe belonged to Mrs Macandrew of Dalcross Castle, N.B.,
who may be congratulated on its size, or, rather, want of size, and on
the good taste which chooses a plainness of style embodying the essence
of smartness. The Jubilee Shoe has Louis heel, and is embroidered with
the Royal Crown and initials, V.R., with motto, “God save the Queen.”
This shoe was designed in honour of Her Majesty’s first Jubilee, 1887.
In 1897 a similar shoe appeared with the Crown, date, and wording,
“Sixty Years Celebration.”
[Illustration: PLATE II.]
Plate III.
Bronze stage shoe worn by the well-known actress Miss Ada Cavendish.
Louis heel, somewhat square toe, embroidered finely with steel, and
large brown satin-pleated bow with steel buckle.
Bronze shoe No. 2 is one of the smallest in the collection, and
belonged to Miss Marsh. It has a pointed toe, Louis heel, and plain
little bow of brown satin ribbon.
The third shoe, also in bronze, has very pointed toe, with pearl and
gold embroidery, which also adorns the small bow, leaf-like in form.
The side seam is stitched with silk galloon, similar to what binds the
outside edge. The heel is Louis in style.
[Illustration: PLATE III.]
Plate IV.
This elegant shoe resembles a little its immediate predecessor in Plate
III. in the heel, bow with four small leaves, and the ribbon-covered
side seam, and, indeed, reflects the style of the same maker, with the
difference shown in the embroidery, which completely covers the pointed
toe, and is of rich gold thread. Gold beads further enhance the bow.
The kid is bronze.
Bronze also No. 2, with interlaced yellow ribbon in diamond pattern.
This design of stitched ribbon is a good idea to make a self-coloured
shoe correspond more closely with costumes in mixed hues. The round
ornament is gilt, and the heel an ordinary one.
The next shoe is in black glacé kid, and belonged to the late Duchesse
d’Aumâle. The toe is square, Louis heel, and the “ruched” rosette is of
black silk, edged with puce.
[Illustration: PLATE IV.]
Plate V.
No. 1.--Pink kid shoe, with round toe, ordinary heel, and lined white
kid. The knot-bow is in pink silk ribbon, with picot edge.
The late Marchioness of Ely owned the centre shoe. It is in rich pink
satin, ornamented with round real lace rosette, and has Louis heel and
square toe.
Plain pink satin shoe--the 3rd--very neat in shape, with ordinary heel,
and trimmed small bow of same pink satin as the shoe.
[Illustration: PLATE V.]
Plate VI.
Here appears another of Miss Ada Cavendish’s shoes, worn on the stage.
It is of bright yellow satin, trimmed silver braid, which mingles also
with the satin in the round rosette, with mother-of-pearl centre. The
toe is very square, this actress being slow to adopt the pointed toe
now so much in vogue.
No. 2, yellow satin shoe, has silk embroidery, studded with
orange-tinted cabochons, and the bow of crimson silk gives an uncommon
finish. Pointed toe and ordinary heel.
The third is of plain straw-coloured satin, made uncompromisingly to
match costume without further decoration than the bow, formed of the
same material.
[Illustration: PLATE VI.]
Plate VII.
Single strap shoe, in French grey satin, the front in a certain manner
unattached from back, and distinguished from the same by elaborate
floral embroidery in silk and iridescent beads, which figures also
on the strap. A single paste stone forms central finish to this
shoe--uncommon in shape and design.
The second shoe, deeper in hue, is said to have belonged to Mrs.
Grahame; and its central tongue, with two overlapping flaps, which call
for a necessary buckle of paste or silver, would place its date in the
early part of the century.
The silver embroidery in thread, tiny sequins, beads, and lace is in
admirable taste; and the whole workmanship of the shoe, which is in
excellent preservation, is of the best order.
The last shoe is of plain blue satin, with handsome decoration of gold
tinsel embroidery, studded with oval turquoises, and supplemented with
the brightness of crystal beads, being similar to the trimming of the
dress.
[Illustration: PLATE VII.]
Plate VIII.
This shoe--Figure 1--bears the print of its French origin in its
essential smartness, combined with neatness and uniformity of
colouring--namely, a deep, rich purple satin, the bow being of velvet
in similar shade. It was worn by a member of the Rothschild family
at the time of the Queen’s first Jubilee, and the maker, Meier of
Paris, not only has a great monopoly in the clothing and adorning
of fashionable feet, but is also much in request in successfully
fulfilling stage taste and requirements in shoes.
The second shoe on the page is of very small size, and is of English
make, though owned and worn by the French Duchesse de Beauprémont. It
is of bright blue silk, with large rosette and peculiarly shaped heel,
being much elongated underneath towards the side seam.
The next, pale blue silk shoe, is made simply to match a gown, and
probably out of the same fabric.
[Illustration: PLATE VIII.]
Plate IX.
The first shoe of this plate would be remarkable for neatness, though
it might be thought somewhat spoilt by a squareness of toe, but it will
be noticed the idea of squareness appears carried out otherwise in the
cut of the shoe. The space between the principal strap and the three
small ones crossing the foot makes an uncommon variety. The little bows
of twilled silk (of which the shoe also is constructed) give a chic, if
somewhat formal finish, to each band. The heel is a Louis shape.
Figure 2 belonged to an Edinburgh belle of the season of 1872, and is
of tiny dimensions, though the old fashion of ornamenting with a large
bow deprived the wearers of these small sizes of some of the credit.
The third and most elegant shoe possesses one of the highest Louis
heels worn off the stage, and belonged to an American lady who, like
several others, came to this country and acquired for herself the right
to the motto first adopted by Alexander the Great--namely, “Veni, Vidi,
Vici.”
[Illustration: PLATE IX.]
Plate X.
This shoe of white silk has the novel decoration of small netted
buttons. These buttons rest on simulated straps, the silk being merely
cut away to show spaces of the blue lining between. The shoe has
altogether a perfection of style which its distinguished owner, an
autocrat in dress, always demands.
No. 2 is of very small size in white satin, richly embroidered in
crystal beads and thick silk twist. The open-work meshes, like spider
webs, could reveal a pretty shade of stocking.
The latter idea, however, is carried out to perfection by No. 3, a
shoe which is composed entirely of strong cream silk guipure. It is
eminently fitted for evening--especially dancing--wear, both as to
texture and coolness. The pattern of the lace in this example adapts
itself to the neatest and smallest of shapes. The back is kept in shape
with satin-covered stiffening.
[Illustration: PLATE X.]
Plate XI.
This shoe of Cromwellian shape hails from the stage, and boasts the
highest heel in the collection. It is thickly embroidered in small
crystal beads studded with cabochons, the latter also in clear crystal,
which is a decoration difficult to beat. The wide tongue is kept in
place by a strap, which would require a diamond or silver buckle to
fasten it at the side, not visible in the illustration. The lining is
of pale blue satin.
No. 2 is owned by a society belle, whose beauty may be said to extend
from “top to toe,” as the toe, or rather toes, encased in this
foot-gear must be of the smallest and daintiest description, and
demanding a share of the admiration granted to their lovely owner’s
figure and face.
The next shoe is a wedding shoe, looking strange to us in its old-world
form, but the very mould of fashion in its day, which dates nearly
forty years ago.
[Illustration: PLATE XI.]
Plate XII.
A handsome shoe this of rich silver brocade, with bow of same, pointed
toe, and substantial Louis heel. The incurved seam at back gives a
firmer hold to heel and ankle.
Miss Edna May owned the centre shoe, and it was worn by her as the
“Belle of New York.” The embroidery in white silk and silver beads is
faultless in design. The heel is an extremity of height, and is much
the safer for the single ankle-strap, with its neat bow and ornament.
No. 3, of plain silver kid, has elongated toe, beaded by small
silver ornament. It is a suitable shoe for fancy dress, but has this
drawback--together with its two companions, also much besilvered--a
liability to tarnish.
[Illustration: PLATE XII.]
Plate XIII.
This well-shaped boot stands out unique amongst the bevy of surrounding
shoes, but its texture, shade, and workmanship are none the less
delicate. Its owner and wearer was of exalted position, and her foreign
birth, perhaps, inclined her to a departure from the usual style for
evening wear.
No. 2 shoe is of a shape frequently made in two shades, but looks no
less well for its sameness of colouring in the present instance, with
which the neat trio of steel daisies admirably harmonise, adapting it
at once to modified mourning if desired.
Last on this page is a bridesmaid’s shoe, and it could well be taken as
a pattern of style for anyone called upon to enact that part. The bow
of silk ribbon harmonises with the heliotrope coloured satin, of which
this shoe and its two predecessors are made.
[Illustration: PLATE XIII.]
Plate XIV.
First appears in this shoe a further idea of contrivances for firm
wear. This is in the form of a useful elastic strap, covered with
heliotrope satin bow to match shoe. It is a more clumsy appliance than
the indrawn heel at the top, before described in Plate XII.
The second shoe, also in heliotrope shade, but of silk, belonged to the
Comtesse de Paris, and is decorated with real lace. It has a square toe
and low heel.
No. 3 is distinguished for its embroidery, the species of flower and
the blending of its colours harmonising so well with the lilac colour
of satin.
[Illustration: PLATE XIV.]
Plate XV.
First, a shoe which can be certified as Imperial, and bears the French
print of good taste in elaboration. The little border of lace all
round the edge and also round the bow gives daintiness and lightness,
whereas the gold embroidery gives massive richness at the same time.
The additional knot of gold lace and tassels is peculiarly handsome and
effective, and the rich embroidery and bead work extends even to the
heel--an Imperial heel evidently demanding special adornment.
Algiers contributes this specimen of slipper, Eastern in design and
shape, and in its lavish covering of patterned gold.
No. 3 is another case of the evening “Oxford” shoe. It is beautifully
shaped and free from clumsiness, and the embroidery in lightness and
effectiveness of design scores a success. The Duchess who chose and
wore it might well be imitated in such a fashion.
[Illustration: PLATE XV.]
Plate XVI.
The first shoe on this plate belonged to and was worn by Miss Christine
Nilsson in “Lohengrin.” It is of cloth of gold, and testifies that the
great singer does not neglect, in her superior charm of voice, the
additional charm of dress. The gilt buttons are appropriate, and the
crystal studs, glistening like dewdrops across the instep, are original
in arrangement. The toe is very elongated. Otherwise the shoe is of the
ordinary approved shape.
No, 2 is gilded kid, superior to the cloth of woven gold thread from
its untarnishable quality. The round gilt button makes a neat finish.
The heel is rather low for smart effect.
The third shoe of cloth of gold boasts a Duchess for its quondam owner,
who, in turn, can boast that her foot could grace its tiny dimensions.
The sole ornament of loops of braid is uncommon, in the fact that it is
composed of bullion and not tinsel. The shoe has a Louis heel and white
kid lining.
[Illustration: PLATE XVI.]
Plate XVII.
Though simply severe in style (which the richness of material demands),
this shoe doubtless repeats the hue and texture of the gorgeous
sweeping folds of the costume it was made to match. The paste button
is neat and good, and too modest in size to publish its own failure in
competition with the jewels due to the rank and toilette of the wearer.
The Louis heel is also velvet-covered.
No. 2 shoe is a departure from the ordinary evening style. It must have
a firmness for dancing, which is, perhaps, advantageous in some cases.
The festooned embroidery in chain stitch and French knots is tastefully
done in silk of darker shade, and adds to the originality of the shoe.
Also a feature of it is that it is made all in one piece, and a line of
stitching simulates a seam.
The last is of watered silk. The inside lining is of delicate pink
satin. The buttoned strap is a favourite style with many--sometimes
single, sometimes multiplied, and more or less elaborate. The plain
gilt button in this case alone figures, whilst on the toe rests a small
bow of watered silk ribbon exact in shade.
[Illustration: PLATE XVII.]
Plate XVIII.
1. Deep eau-de-nil satin shoe worn by Miss Ada Cavendish as Lady
Teazle. Large rosette, with gilt and steel square buckle. This size of
bow (now obsolete) admitted of an elastic insertion at the back, which,
no doubt, added to the ease of fitting. The toe-cap is chain-stitched
and appliqué.
The next is similar in hue, but of modern shape. It is very finely
beaded, so fine as to readily conjure up the impression of a possible
use of seed pearl. The toe is pointed, and the heel in Louis style.
No. 3 is also of a modern shape, the colour yellowish green. This shoe
has only a Louis heel and general neatness to distinguish it.
[Illustration: PLATE XVIII.]
Plate XIX.
The satin Oxford shoe again appears first on this plate. It is
particularly small and neat indeed. Only the owner of a small foot
could, with success, adopt this style. It is very finely embroidered in
steel beads in a floral pattern. Louis heel, silk lace to match.
No. 2.--A deep red shoe, with closely embroidered toe in gold thread.
It has plain silk bow to match and Louis heel.
Deep crimson also No. 3, with embroidery of rich gold thread picked
out with white beads to emphasise the pattern. The rosette has rows of
beads alternate red and gold, on every folded edge, and in the centre
several rows. The toe is pointed; an ordinary heel.
[Illustration: PLATE XIX.]
Plate XX.
The brocade of this first shoe is rich in colour and substance. The
pattern is well manipulated, so that the effect is good. The bow is of
the same material.
The next shoe stands out in originality of style. The red and white
satin make a vivid contrast. The piece of red attached to the vamp is
sewn to the sole only, otherwise loose, and therefore would almost make
necessary an ornament to fix it at the top as well and give a finish.
This shoe, the third and last, belonged to Rosa Anderson, a fair
maid of Perth, whose elopement created a great sensation in bygone
days in the town, to whose Council her husband belonged. Let us hope
this actual pair of shoes did not carry their fair owner away to a
chimerical happiness from the path of duty which appeared prosaic in
the face of flattery and attention from one whose position far exceeded
that of the burgher’s wife.
[Illustration: PLATE XX.]
Finis.
Dancing sandals worn in the ballet by Madame Cerri, made of pink
satin with pink satin ties. The soles very small, and the padded toes
protruding considerably beyond them.
[Illustration]
*** END OF THE PROJECT GUTENBERG EBOOK LADIES' DRESS SHOES OF THE NINETEENTH CENTURY ***
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