Two paintings from my last post – I have no real conclusions on them, but I find that writing as though I’m talking to someone else sometimes helps me understand things.
Mrs. Bryan Cooke, George Romney, 1787-1791
– Amadis sleeves
– Heavyish muslin used
– Double ruffle around the neckline recalls the original construction of the chemise gown (which I should really have done a post on)
– Kerchief tucked into the neckline
– Some gathering in the front, but the back seems to be fitted
– Round waistline, at or the slightest bit higher than the natural waist
Comtesse de la Châtre, Élisabeth Vigée Le Brun, 1789
– Amadis sleeves again! More shaped than the last ones, I think, but Mrs. Cooke’s painting is brushier and it could just be about that
– Kerchief is on the outside
– Muslin embroidered with white spots?
– Open robe over a matching petticoat
– Slightly low-waisted
– And the most confusing thing: the waistline of the dress itself is a little high, you can see it above the sash. I don’t understand it at all. A countess wouldn’t have a dress made in a style she didn’t want to wear. No idea, no idea at all.
And looking at these – there’s a third painting I should take into account:
– Long, shaped sleeves without the ruffle
– No ruffles at all, much cleaner
– Very solid cotton fabric
– Bib-front opening
– Round gown
– Kerchief worn inside neckline, less voluminous
Mimic of Modes 