Warren sheaf., 1894-03-08

HISTORY or THE SLEEVE.
Norman Women First Dared to Add Em-
broidery.
Tho first approach among Grecian
women to sleeve was when they
caught the folds Of the diploidon at
intervals across The upper part Of the
arm with either jeweled agrafes or
buttons. This simple device has been
initiated in the sleeves of the sixteenth
and eighteenth centuries, and more
than once in the present day. The
Saxon woman covered her arm close to
the wrist in tight envelope of cloth.
This sleeve was warm and useful
rather than ornamental, and it is c,iri-
Gus that all through the middle ages
the arm was similarly clothed. The
dresses were generally more or less de-
collete, while the sleeve extended be-
yond the wrist and lay in q fiat point
on the back of the hand, permitting
only the fingers to move.
The Norman woman dared not eman-
cipate herself from the sleeve, but she
dared diversity it. The Norman woman
was skilled in cunning embroidery,
and to give her fingers freer play she
buttoned her sleeve up to her elbow on
the inner side of the arm, SO that,
when occasion required, she was free
to unfasten and throw it back. In the
twelfth century the second or outer
sleeve was elongated SO much that it
had to be knotted up out of the dirt.
Industrious as the Norman lady was,
she must have found her embroidery
tiresome at times, and her only re-
source was to diversity as much as pos
sible her sleeve and her head-dress.
The cut of the sleeve, as we'll as its
shape, was curious; and in the thir~
teenth century the edges of everything
sleeve, gown and tunic-were cut
into scallops. Rose leaves and other
things were ant21 initiated, and the
satirists of the day were fierce in their
disapprobation of this useless ''slytter-
ing" as they called it.
The open pendant sleeves required q
lining, and ermine and other costly fnrs
were used to line them. The fur was
frequently turned over the edge, form
ing handsome cuff, and women were
not the worst offenders. The sleeve
was brilliantly extravagant in the
fourteenth century. Sometimes it ex-
panded like balloon; again it dropped
like fantastic wings; then the outer
sleeve was cut up its length, and the
linen of the inner one was drawn out
between, forming long putting. The
linen shirt was the next new achieve
ment, and the slashed outer sleeves al
lowed to be seen; and soon the simple
linen was not considered fine enough
by dandies, who began to use cambria
and silk.
In the sixteenth century the sleeve
asserted its independence, and it got
detached from the gown, and made up
separately for change and variety.
Henry VIII. had variety of sleeves in
his wardrobe, and his daughter, Eliza
beth, improved upon the idea. The
dressmakers of to-day might borrow
many hint from the wardrobes sof
these two. Henry Wills had re-
splendent green velvet ones, richly
embroidered with flowers of damask
gold, and having a raised design OF
Venetian gold cord upon it. Each
sleeve had six buttons of gold, and on
each was a heart The damask flowers
were also set with pearls. Another
pair of sleeves were of black silk, with
strawberry leaves and flowers embroi-
dered in gold. The women of this CEN
tury wore both elaborately slashed
and embroidered linen sleeves and de-
tached outer sleeves. which hung from
the shoulders. These were often tied
into 'love-knots"
Till the close of Henry Will IS reign
the fashion of inner and outer sleeves
prevailed; but by degrees there were
signs that the outer sleeve would soon
have to retire from its place.
Elizabeth, that woman of many re-
forms, completed the Transformation,
and almost entirely discarded the
outer sleeve. The inner, now the only
sleeve, was as gorgeous as it might be,
and was an honored item in Eliza beth s
marvellous wardrobe.
The fat lace collars of the early half
of the seventeenth century had de-
pressing effect on the sleeve. 1t was
i.still full, but it was flattened at the
shoulder and the broad lace cuff was
turned back from the wrist 1t was
not till the latter half of that century
that the elbow sleeves became common
IN, II oo,,, f,o,,1 H., :. ~,
Watteau did his best forit. He re-
vived its ancient splendors as well as
he might, and there is grace and q
diversity about his sleeves that few
could equal The eighteenth, century
was emphatically the age of the elbow
sleeve, with it's finish of real lace and
ornaments of fnttering ribbons.
In the days Of the French revolution
sleeves finally vanished. The Empress
Josephine permitted slight and grace
ful puff near the shoulder, and the
sleeve again began to be used by de-
grees. Velvet and silk were held out
by whalebone, buckram and cushions
of all sorts. But it remained short,
ending high above the elbow.
At last it was found that the sleeve
was necessary to health, but it was not
lovely in form, and all sorts of un.
couth, ungracious shapes were tried
throughout the middle of this century.
It remained for the e-Raphaelite to
complete its reform, and to bring the
quaintness, the splendor and grace OF
the medieval sleeve into vogue once
more, and to-day it would seem as il
the golden age Of the sleeve had come
again, SO diversified are its shapes, SC
numerous its graces Queen Of Fash
ion.
Pineapple Cordial.
For cordial, peel and cut up the
pineapple, using the cores which have
been rejected in preserving. Put the
chopped pineapple in a preserving ket.
tie, barely covering it with water.
Let the water boil until the flavor has
been thoroughly extracted from the
pineapple. Strain and then add q
quarter of a pound Of sugar to q pound
of fruit If the pineapples are sugar.