Costume: Fanciful, Historical and TheatricalAria, Mrs. (Eliza Davis)
History
Costume: Fanciful, Historical and Theatrical
Aria, Mrs. (Eliza Davis)
Costume -- History
The peasant woman of Riazan wears black shoes, white stockings rucked at
the ankles, a shortish skirt of bright blue cotton, and a fringed apron
worked in a variety of colours, notably yellow and scarlet. The chief
garment is the ponka, a loose round coat to the knees, very like that
of a Chinaman, fashioned from white linen edged with a narrow border of
red, the wide elbow-sleeves terminating in an inch-deep band of the same.
Open in front, the jacket allows a liberal view of a red blouse, worked
in a characteristic cross-stitch design in brilliant shades, the long
"bishop" sleeves being of plain Turkey-red, finished with shallow frills
hemmed with blue in a tone corresponding to that of the skirt. Almost
impossible to describe in words, the _kitschka_, or local head-dress,
can best be pictured as a miniature version of the bonnet characteristic
of the Salvation Army lass. Composed of red velvet, it is neatly draped
with a silk kerchief the shade of the feathers on a pigeon's breast. From
the back dangle two unequal ends, one on top of the other, white edged
with red, the extremities consisting of stiffened squares of scarlet
passementerie, trimmed at the bottom with shallow red fringe.
In striking contrast to the types already mentioned, the costume of a
Tartar woman bears evidence of her Oriental descent, the memory of which
she strives still further to perpetuate by staining her nails with henna
and blackening her eyebrows and hair. She betrays a decided predilection
for striped silken textures, which she occasionally varies in favour
of a large all-over pattern. Her ordinary toilet is composed of baggy
trousers concealed beneath a long flowing robe of red and white figured
silk, surmounted by a second shapeless garment to the knees in the
nature of a coat. The last is evolved from striped pink and white silk,
and fastens near the right shoulder with three small metal buttons set
closely together, while through the loosely flapping fronts protrudes
the fringed end of a sumptuously embroidered sash. Covering the head and
shoulders is a sweeping veil of white silk, pin striped with green, that
falls to the ground and envelops the figure after the fashion of a cloak,
slits being provided for the hands to pass through; and although the
Tartars are Mohammedans by religion, the face is left bare.
Public-domain text, read in full here on John Shaqi.
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