ancient Assyrian costumes by Mary G. Houston

Thia is an Excerpt from the book  Ancient Egyptians. Assyrians, Persians Costumes.

In my humble opinion, this is one of the best technical surveys written on the subject.

Every illustration of costume given has been actuallycut out and made up before being sketched, exceptin a few cases which are of the nature of duplicates, sothat by following the directions given it will be easy for anyone to reproduce them in material. Where decoration is required, the exact drawing and colouring of the various styles of Historic Ornament, which are the work of F. S. Hornblower (who has also coloured the costumes where necessary), will enable such details
to be appropriately applied.
Throughout the book, the illustrations are given by means of facsimiles of drawings by artists of the
various centuries, so that a historic survey of the History of Figure Drawing will be included. Where
the drawings of primitive artists do not clearly express the ideas intended to be conveyed, a modern drawing of the garment on a dress-stand will be used for explanation of the measured drawings of the cut-out garments. The growing appreciation of the beauty and value of the earlier and more primitive systems of cutting shown in modern dress designing for the last decade, when the so-called Magyar blouse (really the simple tunic common to all primitive folk) began to be popular, will make the present volume a convenient form of inspiration for designers ; also, where more exact reproduction is needed, as in theatrical work, pageantry, and so forth, the careful working out of the details of cut and decoration will expedite production and save hours of fruitless searching in reference libraries.

There are practically two types of garment found  generally in the representations of Ancient Assyrian costume: (1) the Shawl, and (2) the tunic.. These vary in size and proportion, and are worn either alone, or more generally in combination.

DECORATION

Except in the earliest examples, decoration in Assyrian costume; may be said to be absolutely covered with ornament. Jewelry, woven and embroidered  patterns, and fringes are used in the utmost profusion.

See the illustrations of  te most characteristic ornamental details of this style.

MATERAL

The materials used seem to have been of linen and wool. The skins and furs of animals and etal were also in use, but chiefly for military and hunting costume.

DATES

The earliest type of costume here shown is a rather elaborate shawl drapery worn without any tunic underneath. Later comes the tunic with various fringed shawl draperies worn in addition, and some of the latest types have the tunic worn alone without the shawl draperies. The dates given for the costumes illustrated  in this style have been verified by theBritish Museum. It should be remembered, as in the case of ancient Egyptian costume, that the dresses changed very slowly indeed, and most styles of this era were worn literally for hundreds of years.

MEN AND WOMEN: THE DIFFERENCE IN THER DRESS

The representations of costume which Assyrian art has left us are almost entirely those of men´s dress. Two examples of women´s dresses are shown in this volume. The first wears a plain ungirded tunic and  a simply draped shawl covering the figure partially. The second is the dress of a queen, and has the tunic almost entirely covered with a voluminous shawl. The wide belt with narrow belt over t seems to be confined to the men´s costume, as is also the tighter and scantier shawl draperies which exist in singular variety.

 Figs. 26, 27, and 28: This drapery is from the figure of the king Gudea, 2500BC (see British Museum). To drape, place the corner b of fig. 26a under left arm-pit, and draw the edge b-a round the back of shoulders under the right arm-pit, across the front of chest, and round the back again, and under the right arm-pit once ore; then throw the edge b-a upwards across the chest and over the left shoulder; the corner a will then hang down the back. Take this corner a and tuck it in at the right side of breast as shown in illustration (Fig. 26) It should be noted that, unless the left hand is raised, the left arm and hand are entirely covered by this drapery,  the right arm only being left free for movement. This drapery presents points of similarity to the Roman “toga” of a much later period.

 Fig 26- Fig 27- Fig 28- Fig 28a

Plate XI.- This type of dress, which in the British Museum is described as worn by “a Mythical Figure in attendance upon King Assur-nassir-bal” ninth century BC, might be dated about 1000BC, as following the usual custom of the ancients who dressed like sacred figures in the costume of some previous generation as a rule, consists of a simple tunic with short sleeves, and reaching to the knee, cut in similar fashion to the Egyptian; then, a small shawl (Fig. 29b) is wrapped round the hips, beginning with the corner a on right hip, and passing the edge a-b across the front towards the front and round the waist. The triangle b-e-f can be tucked in at waist line; then the wide belt, probably leather, which is coloured buff in the illustration, is put on, and kept in position by a narrow belt, which is coloured red; this belt is much better seen in Fig. 80. Lastly the large shawl (Fig. 29a) has the corner b tucked into the narrow belt at left side of waist, and the edge a-b passed round the back towards right side of waist upwards across the chest, and hangs down the back over the left shoulder. The original of the figure is winged, the wings being omitted here.

 Fig 29a-Fig 29b

Plate XI

                                 

Plate XI represents Kng Assur-nassir-pal (ninth century BC) Tied at his waist and covering the back half of his figure is a small richly decorated shawl about 20” square. Note the tassels hanging from right hand bottom corner; these would be the same as on the left hand bottom corner. He also wears the belt mentioned in connection with Plate XI. The wavy tassels which look like horse hair, hang from his sword belt; a tassel also hangs from the back of his necklace, and two ribbons from his cap-band. Note the similarity of this cap to the so-called fez or tarboush worn in Modern Assyria at the present day.

 Fig 30

Fig. 31: The point to be noted in this figure is the arrangement of a fringe drapery which goes once round the waist, is thrown over one shoulder, and hangs down the back.

 Fig. 31:

The point to be noted in this figure is the arrangement of a fringe drapery which goes once round the waist, is thrown over one shoulder, and hangs down the back.

Fig. 32: This man in hunting dress, ninth century BC, has a small scarf, fringed only at the ends, wrapped tightly round the limbs, reaching to the knee.

Fig 32

Fig. 33: This woman, a captive of  Sennacherib who reigned in eighth and seventh centuries BC, wears a long tunic, and over it a long shawl fringed at the two ends and measuring 50” x 80”, To drape this shawl, place one corner under the left arm-pit, and draw it across the back under the right arm-pit, wrapping it once round the body; draw it across the back and up over right shoulder. A corner of the fringed ends will hang down in front of the right shoulder.

Fig. 33

Plate XII, shows a number of characteristic Assyrian ornaments.

a, The sacred tree.

b, c, d, e, f, Repeating patterns on costumes.

g, h, I, j, k, l, Borders on costumes.

m, One of the many rosettes much used in Assyrian decorations.

These should be compared with the decorated costumes shown in the plates; they would be either woven or embroidered.

 Plate XII

Plate XIII,- A facsimile drawing, from an enamel tile, is one of the many representations of the king Assur-nassir-pal, ninth century BC. The description of his dress will be better understood by referring to Fig. 34, 35, and 36. The king wears over his long tunic a very beautiful and dignified shawl drapery, which  is fringed, recalling certain Egyptian types already illustrated, and indeed, has points of similarity with certain Greek and Roman draperies.

To drape this shawl (see Fig. 34a) fold over on the line e-f  so that e-f, a-b, hangs down outside; then attach the cord e-g  as illustrated, and hold g at right side of waist in front, throwing the rest of the shawl backwards over the right shoulder. Draw the edge e-f round the back of neck, and form a sling over the left arm as shown.

Fig 34a

Plate XIII

Figs. 34, 35, 36,

To complete the draping, continue to pass the edge e-f  round the waist towards the right, passing under the right elbow, then on round the back and left side until it reaches about 6 inches in front of left side of waist; now fold remainder of drapery  underneath, as shown in the drawings, and tie a cord round waist to keep all firmly in positon; knot the end of the cord e-g  to this waist cord. Fig 35 shows the back view, and Fig 36 shows the drapery thrown off the left shoulder to give freedom to both arms, Figs.  34 and 35 only giving freedom to the right arm. If the cord e-g is pulled down so that e touches the waist, then both shoulders will be covered by the drapery. Fig 34 is the most usual arrangement of this type of drapery, but, in looking at Plate XII closely, it will be seen that the modern drawing  (Fig 37) is a more exact rendering. This drawing is from a draping of the same shawl as Fig. 34 is wearing, but the fold-over is somewhat deeper, the point e is tied closely to waist belt, and the drapery is rolled at waist while it is being adjusted. When worn thus, with a roll, the drapery will remain in position without the waist cord being tied over it, but it is more secure when it has been thus confined. Fig. 38 is still another variety of this type of draping, and is taken from a statue of Assur-nassir-pal in the British Museum; there we have two shawls, one square and one semi-circular (see Figs. 38a and 38b). To arrange this drapery, take the square shawl and fold outwards about 20 inches, as at e-f. Tie a waist cord on the tunic, and tuck the corner f deeply into it at left side of waist cord; then draw tightly round the figure in front and round again across the back of waist till the left side is reached again. Now double about  inches of the shawl inwards, and tuck again into waist cord. Take the semicircular shawl g-h and attach the cord to another waist cord, throw backwards over the right shoulder, and arrange a sling over the left arm as before in Figs. 34 and 37. The corner h of the shawl shows in front about 8 inches below the waist towards the left. Tie the second waist cord tightly over this shawl to keep in position

Figs. 37, 38, 38a, 38b

NOTES ON THE COLOURING OF ANCIENT ASSYRIAN AND PERSIAN COSTUMES

Though we do not possess the actual specimen of these costumes, still we can infer from the lavish ornament, and from references in the Hebrew Old Testament writings, that rich colouring prevailed. The dyes were probably similar to those of Ancient Egypt, and this table will suggest the particular ue of each colour:

ANCIENT EGYPTIAN AND ASSYRIAN COLOURS

Blue: Usually rather dark indigo, sometimes paler.

Red: Much like the colour known as Indian Red.

Yellow: Similar to yellow ochre.

Green: Much like the paint known as green blue, but rather more dull.

Purple: Dark, and quite a brownish hue of purple.

All these colours could be used as embroideries on white or natural coloured ground of linen, the embroideries being of wool. In other cases the whole garment might be coloured throughout.

Fig 39. Is the tunic of king Assur-nassir-pal, seventh century BC. It will be noticed that it is cut very much in the same manner as the Egyptian tunic; the neck opening, which is a slit large enough to admit the head, does not show in the drawing, but three buttons on either side of neck will be seen. A row of fringe decorates the bottom, and the whole is richly embroidered; over this tunic were worn the wide and narrow belts.

Fig. 39

Plate XIV.

Plate XIV. Is the queen of Assur-bani-pal, seventh century BC. She wears a similar tunic to the king, but the sleeves reach half-way down the lower arm; her shawl, which is fringed all round, would measure 50” x 130”. It is wrapped once round the lower limbs, and so covers the bottom of her tunic; it is then wond round the upper part of her body in similar fashion to that of the woman in Fig 33, save that it goes in the opposite direction.

Plate XIV

Plate XV.

Plate XV, shows further details of Assyria decoration; attention may be particularly drawn to the varied forms of the tassels.

A, b, c, Bracelets

D, e, f, Ear-rings

G, h, I, j, Tassels from costumes and harness on horses.

K, Winged globe.

L, Palm tree.

M, Lappet of a King´s tiara.

N, Bronze vessel.

O, Sword handle.

Plate XV

From the book: Costume of the Ancients, by Mary G. Houston, printed for William Miller and published by W.Bulmer and Company, Cleveland-Row, st. James s, 1812

For Assyrian and Ancient Persian Styles consult : Layard's '^ Monuments
of Nineveh"; Flandin and Coste, "Voyage en Perse"; Botta,
/'Monuments de Ninive"; Victor Place, " Ninive et Assyrie"; Perrot
and Chipiez, " History of Art in Persia "; Racinet, " Le Costume
Historique"; Hottenroth " Le Costume." Also reproductions and
handbooks of the collections in the British Museum.
The costume plates presented at the heading are from the book A History of Costumes in Pictures, Published by Braun and Schnieder c. 1861-1880