conic shapes

anonymous asked:

i'm so sick of these people thinking no corset/stays = feminism! or whatever bizarre misinformed notion... like... sorry its a necessary article to complete a historic outfit. and on being able to ride horses in the costumes, these costume designers really did so little research on historic clothing that they didn't know women wore corsets to horse ride for centuries *eyerolls* and yeah the iconic yellow dress really looks like a modern prom gown and an ugly one at that :/

Yeah, agreed. And especially corsets pre-1800. They were not designed to narrow the waist per se. They were designed to push the breasts upwards and flair out over the hips. Which is effect made the waist narrower, but this was not a goal in itself. If anything, they could restrict the arms more than the waist.

A main idea was that the corset supported the torso, not necessarily re-shaping it. If exaggerated - for grand occations - they could be a challenge. But for everyday wear they were just a part of the attire, giving a welcome support to a torso which may have carried several children and which may be exposed to hard physical work.

There is negative things to be said about the corset, but much of this stems from the early 20th century, where the corsets frankly were at its worst. They pushed the bust out in front and the butt out in the back, while keeping the stomach straight. It gave the torso a most challenging S shape. Here’s 18th century stays and paniers VS early 20th century stays:

It was also in the late 19th and early 20th century tight-lacing became a fetish, where the laced-in waist was to be as narrow as possible. But this short-lived corset phenomenon shouldn’t be translated into corsets 1600-1800 whose shape was conical and function fundamentally different.

And that’s also why the talk of corset or non-corset in “Beauty and the Beast” rubs me the wrong way. They sauce every corset myth ever together in a strange soup, and the conclusion is of course that they don’t like this strange soup, so they’re not gonna deal with it. Sigh.

The signs as Medieval, Renaissance and Baroque woodwind instruments

Aries- Cornamuse: a double reed instrument from the renaissance with a wind cap over the reed and cylindrical bore

Taurus- Dulcian: a renaissance predecessor of the bassoon with a folded conical bore

Gemini- Recorder: considered renaissance and baroque. The friend we all know and love from elementary school with whistle mouthpieces and bores changing throughout time.

Cancer- Cromorne: a french, capped, double reed instrument from the baroque period. Do not confuse this with the crumhorn, which has a ‘j” shape

Leo- Chalumeau: a single-reed, baroque instrument that is a predecessor of the modern-day clarinet. It has a cylindrical bore with 8 tone holes.

Virgo- Shawm: a double-reed, renaissance, woodwind instrument with a conical bore 

Libra- Rackett: also known as the Sausage bassoon. Sausage Bassoon. This double reed woodwind is a predecessor to the bassoon, with 9 parallel bores inside, which are connected at the top and bottom.

Scorpio- Rauschpfeife: a capped, double-reed from the renaissance period. it has a conical bore, unlike the Cornamuse.

Sagittarius- Ocarina- A Medieval egg-shaped woodwind instrument with the mouth piece coming out of the body

Capricorn- Gemshorn- an early Medieval recorder made from a cow horn. It has a conical shape that produces a very sweet sound.

Aquarius- Flageolet- a Medieval woodwind that can be described as a small fipple flute. (origins of instrument are Medieval even though picture says 19th century)

Pisces- Crumhorn: a Renaissance woodwind with a double reed mounted inside the long windcap.

So remember that Godzilla design I did? I finally got around to actually drawing the rest of its body. By now it should be clear that this design is basically just ShinGoji with skin, but I just love Shin’s silhouette so much! I mentioned before that it’s incredibly well-balanced, with each part of it contributing in a different way to the overall image of the perfect giant monster. The massive legs provide much of its bulk, while the spry digitigrade feet ensure that it always looks like it should be moving, rather than simply sitting on the ground anchored by its own weight. The tiny arms make its anatomy distinctly inhuman, and ensure that its shoulders don’t break the overall conical shape of its upper body, which makes it look incredibly stable when placed on top of its massive legs. The ridiculously long tail serves multiple purposes, with its girth adding to the overall weight of the creature and making it look even more stable on its feet, while its extreme length draws attention to the wake of destruction the creature leaves behind it, and its highly mobile nature gives the whole design a sense of flow and energy that the otherwise stiff monster might not have. Finally, the five rows of densely packed dorsal fins give the back a powerful forward arch and further exaggerate its bulk, in addition to just looking cool and aggressive. The monster doesn’t move much, but its outline is incredibly dynamic, emphasizing its perpetual march forward, so even when it’s standing still, it always looks like it’s doing something.

People like to claim that ShinGoji doesn’t look like it can fight because of its tiny arms, but I disagree. The arms are short and skinny, but they’re organized much like a bird’s legs, with huge muscles at the base, and hardly any in the extremities. Godzilla’s deeply-keeled sternum and super beefy shoulders are all packed full of gigantic muscles meant to put as much power as possible behind its claws, while the arms’ short length sacrifices grasping range for sheer power, defensibility (they’re hard for an opponent to grab onto), and a surprising amount of speed due to the high twitch speed and short lever attachments of the muscles involved. With this in mind, Godzilla probably fights much like a sumo wrestler: ramming into its opponent with its chest and maintaining control with its arms while using its powerful legs and tremendous bulk to overpower and knock down its foe. Its low center of mass and wide stance make it particularly hard to topple over in this scenario. At moderate ranges, beyond the reach of its arms and head, it would likely attack with its colossal tail.

Why I hate the fourth Powerpuff girl

And no, it’s not because she is black.

First of all, she shouldn’t be the 4th at all.

Back in the original PPG, there was a 4th PP girl. Her name was Bunny, and she was, well, unusual.


Even though that was the case, it did not prevent her from being amazing. She saved the city, **spoilers for the episode** but in the end of the episode, she secrificed herself for the girls. **End of spoilers**

Bliss, the “fourth” Powerpuff girl, is called so in every possible medium, effectively deleting Bunny. And if that wasn’t enough, HER COLOUR IS PURPLE.

She is perfect to destroy girls’ body image.

Her design is bad. And no, it has nothing to do with her skin tone, but with her body shape.


The first thing noticeable is that she’s bigger. That’s on its own isn’t bad, but it only makes the other problems worse.

First of all, her hips are exaggerated. I know she is bigger, but her hips are still unproportinally large compared to the rest of her body. Secondly, her waist it tiny. I mean, it’s smaller than the other PP girls’, and Bliss is bigger! All three original PP girls’ bodies have some sort of conic-square shape, with no curvature. But now there’s Bliss, and boy, her body shape will sure teach kids about body image!

Of many bad things in the new PPG, I find this the worst. And it makes me mad.

sissysage3000  asked:

Hi! Thanks for the lottery! I was wondering what you guys think Kakashi would be like around Asuma's baby, or how he would behave around any infants. Thanks!

Wow, this took forever to get to you. I’m so sorry! I tried for a lighter tone on this instead of focusing on Asuma’s death, so I hope that’s alright! ~Admin Axel

[Reluctant][Rated G] Kakashi’s First Meeting With A Baby

Originally posted by prism17

Kakashi was squatting behind a bush. 

Normally, he would have found a more dignified hiding place, but tough times call for tough measures and this particular bush was one of the only ones in this part of Konoha that had stubbornly hung onto its leaves after the first cold snap of the approaching winter. Pulling his ever-present orange book from inside of his flak jacket, Kakashi resigned himself to crouching here on the ground until his pursuer either moved on to a new location to search for him or gave up. Whichever came first, he wasn’t picky really.

Eyes darting over dog-eared page of  Icha Icha Tactics, Kakashi read a particularly racy scene that he could recite by heart. Aika, the busty heroine, had just snuck out of her village to have a late night rendezvous with the lover her family had forbidden her from seeing.

Kakashi allowed himself to get absorbed in the story to wile away the time and distract him from his chilled fingers, and maybe he did it a little too well, because suddenly he found himself blinking in the harsh sunlight like a startled raccoon as the limbs of the bush were yanked apart by a familiar pair of hands.

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Anonymous said to bonnytymepyrate:
Why do you say that one costume looks “18th century” when the Victorian Era is in the 19th century?

Because it’s very much more inspired by Rococo fashion, the neckline and sleeves stand out the most, and there is something of an implication of a stomacher in the center, though it’s all one piece, and while it cuts off as a crop top, the silhouette is still one that looks like it would extend to a more conical shape instead of the hourglass silhouette of the Victorian era. This also isn’t the only costume that has more of an 18th century influence either, and it makes sense to some degree as musically Emilie is more Baroque inspired and this is closer at least.

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The Springfield Model 1855 rifled musket,

The Springfield Model 1855 was one of the most unusual muskets produced for the US Army.  It was also a great leap in technology which ushered the army from an age of Napoleonic Warfare into the age of modern warfare.  The Model 1855 boasted several advances that were unlike all other American musket designs produced before it.  First and foremost the M1855 was the first American rifles musket, using the deadly conical shaped minie ball.  Before the M1855 all muskets produced for the US military were smoothbore, which mean’t they lacked the rifling of a rifle.  This was done because muskets at the time fired a simple round ball.  It took a lot more time to load a rifle because the user had to cram the ball against the rifling down the bore with a patch, whereas with a smoothbore the user only had to drop a slightly under-caliber ball down the barrel.  Of course, this cost the smoothbore musket accuracy compared to a rifle.  The M1855 used what was called a minie ball, a recent invention by French Army Captain Claude Etienne Minie.  The minie ball was conical shaped and had a hollow rear end.  Thus the user could simply drop it into the barrel like the older round ball.  When the musket was fired, the minie ball would expand into the rifling, thus giving it accuracy.  The minie ball was an incredible advance in firearms technology because it allowed muskets to have the accuracy of a rifle, but the loading speed of a smoothbore. With the adoption of the minie ball came a reduction in caliber as well. Originally American muskets were based on French muskets and thus were .69 caliber. At first a .69 caliber minie ball was considered by both French and American ordnance officials, however, it was determined that a smaller caliber bullet would have better accuracy and range. Thus a .58 caliber minie ball was developed and adopted with the Model 1855 produced in .58 caliber.

The most unusual addition to the M1855 was the Maynard Tape System, invented by a dentist named Edward Maynard in 1845.  Unlike other percussion firearms which used copper caps filled with mercury fulminate (percussion caps), the Maynard system used a paper tape filled with blots of mercury fulminate.  A mechanism advanced the tape over the nipple of the musket when the hammer was cocked, and when the hammer struck it, a spark traveled down the nipple and ignited the main powder charge in the chamber.  It worked much in the same way roll caps work in a toy cap gun today. Unlike other Springfield models, the M1855 featured a noticeable “hump” on the lock, which contained a spinning roll of tape.  The theory behind the Maynard System was that it sped up the loading process.  Soldiers only had to worry about loading the rifle without placing a cap on the nipple. US Army Ordnance was skeptical of the new system, but Maynard found a friend in then Secretary of War Jefferson Davis, who was very enthusiastic about Maynard’s system.  As a result, the Maynard Tape System was included in the M1855 design. While a great idea in theory, in practice the Maynard System proved to be impractical in the real world.  Often the Maynard mechanism malfunctioned or failed to advance the tape directly over the nipple.  Tests also found that the Maynard tape itself tended to misfire.  The tape was also very susceptible to moisture, humidity, dirt, and mud.  As a result, the tape system was abandoned, and the US Army simply used standard percussion caps with the musket.

The Model 1855 was used primarily in the American Civil War by both Union and Confederate forces. It was succeeded by the Springfield Model 1861 and 1863.  Around 60,000 were produced.

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Herod’s mausoleum

Herodium, Israel

~0 CE

25 m. in height


Herod’s mausoleum was in the shape of a tower rising to a height of 25 m. It consisted of a podium, a square story, a circular story, and a roof. Each story contained a single burial chamber. The mausoleum was built from hard white limestone, suitable for carving, which was quarried near the site. The circular upper story included a domed chamber surrounded by 18 columns of the Ionic order. Herod’s sarcophagus probably stood in this room. The roof was concave conical in shape and decorated with six urns (imitating cinerary urns) around the base. At the top was a Corinthian capital, with an additional urn above it.

The mausoleum stood for no more than 70 years. in the course of the Jewish Revolt (66–70 CE ) it was wrecked and almost entirely dismantled, and the sarcophagi smashed to pieces.

Sigiled Seashells: A Guide 🐚

• Be aware that not every beach allows for seashell gathering, for a multitude of reasons- one of them being the fact that seashells help keep sand where it’s supposed to be- on beaches, not swept away by the waves and eroded. Also, many creatures rely on these shells for shelter, and without them, may not otherwise survive. If you are told that gathering seashells is not permitted, it is for good reason and you should find somewhere else to gather shells.

• Even when you do have permission from your local authorities, ask the sea. Always, always ask. And always say thank you if the sea permits you to take her treasures. If you are planning on harvesting shells for Aphrodite/in her name, also ask her for permission in advance.

• Find alternatives. For the reasons listed above, harvesting shells- even one or two- may seem harmless, but may ultimately cause genuine harm to our beaches and the wildlife in that environment. My own shells were given as gifts bought from a souvenir shop, and I strictly informed the giver that while I appreciated them, I also did not want more. I also have a collection of ceramic shells, which, while not genuine shells, serve the same purpose- and after blessing them in the sea, hold the same power as real ones.

• Now onto the actual magic! Seashells range in size, shape, texture, and color. Because of this, some shells will be harder to draw your sigil on than others. The larger the shell, the easier it is to sigil. The smallest shell I’ve been able to sigil has been about the size of a dollar coin, and it was an ark shell. The easiest types of shells to sigil, regardless of size, are ark shells (cut ribbed, ponderous, mossy, etc), clam shells (calico, bittersweet, channeled duck, etc), cockle shells (Atlantic giant, broad paper, Florida prickly, etc), and pretty much any type of flat shell with enough space to sigil. Irregularly shape, conical, conch and conch-like shells are much harder to sigil and easiest sigiled when they are particularly large.

• Use permanent markers (like Sharpies) when drawing your sigil. Feel free to bless or otherwise spell your writing tools- sometimes, I spell mine with ‘clarity’ sigils to make it easier to focus on my intent. Keep in mind the irregular surface of many shells will mean that slow and steady really does win the race- drawing slowly will help you navigate the bumps of the shell and keep from making a mistake.

• Once you finish drawing your sigil, either paint clear polish on it or do not get it wet at all. The ink will run, no matter what permanent marker you use, unless you cover it with a thin layer of clear polish.

• And finally, enjoy! Sigiled shells make excellent portable sigils, and are also wonderfully witchy gifts that even your non-witch friends/family may enjoy! They can be strung on necklaces, used as paperweights on your desk, or added to your altars, and so much more!

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The M1841 Mississippi Rifle,

In the 1840’s the United States Army decided to revive the rifle regiment in American warfare.  The Army had used rifleman in the American Revolution and the War of 1812.  However after the War of 1812 the rifle regiments were phased out and discontinued. While rifleman were very accurate, the could not load their firearms as fast as musket infantry.  In an age where firepower held a higher priority than accuracy, the rifle went by the wayside. To revive the rifle regiment a new rifle was needed, as the US hadn’t produced a common military rifle since 1803.  Instead military production focused almost exclusively on smooth bore muskets.

The Model 1841 rifle was produced at the Harper’s Ferry Armory under the direction of Eli Whitney Blake, nephew of the famous Eli Whitney.  The rifle was issued exclusively to the 155th Mississippi Rifles Infantry Regiment, thus the rifle was nicknamed the “Mississippi rifle”.  It was because of the accuracy of the Mississippi rifle that the 155th Regiment, under the command of Col. Jefferson Davis was able to fend of a massive Mexican assault at the Battle of Buena Vista during the Mexican American War.  The rifle itself was special because it was 8 inches shorter than the standard US Military musket.  Often riflemen acted as scouts and skirmishers, thus a shorter and easier to wield firearm was often issued to rifleman.  The Mississippi rifle itself was based on the jaeger rifle concept, which was popular in Europe.  This concept revolved around the use of light infantry armed with rifles acting as specialized reconnaissance and sharpshooter units.  As a result, the M1841 was also often referred to as a “yagar” rifle by those who could not pronounced the Germanic word “jaeger”.

After the Mexican American War production of Mississippi rifles continued.  By the 1850’s, all US military muskets were rifled because of the new invention of the minie ball; a conical shaped bullet which allowed the rifle to be loaded as fast as an older smoothbore musket, without compromising accuracy.  Regardless of the advance in technology, M1841 production continued up to 1861.  During the Civil War both the Union and the Confederacy issued the M1841, most of which were converted to fire the new minie ball.  However the Union discontinued use entirely in 1863.  The Confederates, however, made the most use of the old rifle.  It was most famously used by Confederate sharpshooters and scouts who needed a short rifle.  During the Civil War, the M1841 Mississippi rifle was the 2nd most popular firearms with Confederate sharpshooters, next to the British made Whitworth rifle.

anonymous asked:

Hi Anea! A question I've been wondering about: have the west end star princesses always been this weird, or did it start off looking like the costume design then suddenly went nuts and turned into the neon monster with the weird bodice it is now? :P

BAAAAAAAAAAH.

The West End Star Princess costumes used to be so nice. They had bell-shaped skirts with a strong ombre effect, petal-like bodice tabs, ornate beading, and of course gentler pastel colours. The silks and ruffles also dded a feather like look to it all. The dresses around 1998-2002 are some of my all-time favourites, in fact:

But around the time of Maria Bjørnson’s death (Dec. 2002) things started change. They pushed the colours to the max - apparently someone felt things needed to be more “vibrant” - and the skirts became more conical in shape. Eventually the beading was also changed, to glue-on hotstones instead of actual beads. This because the beading suffered during the lifts in Masquerade. Eventually the ruffles over the bust and puffed sleeves was also replaced by the stiffer “Elizabethan ruff” style.

Today the costumes may look the same at first glance. But at second glance you notice the silhouette is different, the colours bolder, the fabrics more “plastic” looking and the decorations stiffer and flatter:

So yeah, the West End dresses used to be very nice and not as N-E-O-N coloured as today. That change kicked in around 2003, and has only reinforced itself for every new costume made. I hope they eventually calm down on colours and start to add the softer, more detailed decorations again. It would bring the costume back to the “ballet tutu” style seen in the design, and also in many productions worldwide (including the US and Japan). 

30 Days, 30 words

Here are the resulting 30 poems from my challenge, to write 30 poems prompted by a new word!

1. Aurivorous - [Au`riv´o`rous
1. Gold-devouring.]

2. Giglot - [Gig´lot
1. A wanton; a lascivious or light, giddy girl.]

3. Ataraxia - [at-uh-rak-see-uh
1. a state of freedom from emotional disturbance and anxiety; tranquillity.]

4. Migniard - [Mign´iard

1.Soft; dainty.]

5. Polyrhizous - [Pol`y`rhi´zous
1. Having numerous roots, or rootlets.]

6. Somniloquism - [Som`nil´o`quism
1.The act or habit of talking in one’s sleep.]

7. Blin - [v.1.To stop; to cease; to desist.
n.1.Cessation; end.]

8. Abulia - [a•bu•li•a
1. Loss or impairment of the ability to make decisions or act independently.]

9. Compotator - [com•po•ta•tor
1. one who drinks with another]

10. Sarcocarp - [sahr-koh-kahrp
1. the fleshy mesocarp of certain fruits, such as the peach.]

11. Crepuscule - [cre•pus•cule
1. Twilight.]

12. Misween - [Mis`ween´
1. To ween amiss; to misjudge; to distrust; to be mistaken.]

13. Ascetic - [as•cet•ic
1. A person who renounces material comforts and leads a life of austere self-discipline, especially as an act of religious devotion.]

14. Thurification - [Thu`ri`fi`ca´tion
1. The act of fuming with incense, or the act of burning incense.]

15. Aurichalceous - [Au`ri`chal´ce`ous
1. Brass-colored.]

16. Fuliginous - [fyoo-lij-uh-nuh-s
1.sooty; smoky]

17. Nychthemeron - [nych•them•er•on
a full period of a night and a day]

18. Subdial - [Sub`di´al
1.Of or pertaining to the open air; being under the open sky.]

19. Lunulet - [Lun’u’let
1. A small spot shaped like a half moon or crescent as the lunulet on the wings of many insects]

20. Eluctation - [E`luc`ta´tion
1. A struggling out of any difficulty.]

21. Copple - [Cop´ple
1.Something rising in a conical shape; specifically, a hill rising to a point.]

22. Chirm - [chi(ə)rm\
1. noise, din; especially  confused noise, clamor, or hum (as of voices or insects)]

23. Ambustion - [Am`bus´tion
1.(Med.) A burn or scald.]

24. Anhele - [An`hele´
1.To pant; to be breathlessly anxious or eager for.]

25. Surceaseance - [Sur`cease´ance
1.Cessation]

26. Meach - [1.To skulk; to cower ]

27. Camleted - [Cam´let`ed
1. Wavy or undulating like camlet; veined]

28. Thaumaturgist - [thau·ma·tur·gist
1. A performer of miracles; especially a magician]

29. Supervacaneous - [Su`per`va`ca´ne`ous
1.Serving no purpose; superfluous; needless.]

30.Geognosis - [Ge`og`no´sis
1. Knowledge of the earth.]

3

Saxon Iron Helmet, 6th-8th Century AD

Anglo-Saxon helmets, as well as Danish and Viking ones, had a conical shape in order to protect the wearer’s head by deflecting direct blows. The most expensive ones, used by kings and nobles, were entirely made of steel and iron while less expensive ones had an iron skeleton to which panels of animal horn, hard leather or even wood were fixed. The face, cheeks and the neck of the wearer were protected by additional elements made of iron plate or other materials.

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Doing another redesign, this time of Pearl. I didn’t really change much for this design. Though I did give Pearl a more conical body and head shape, based off of @fungussteps ‘s designs. I also made Pearl’s eyes more Asian/ Filipina after her voice actor, Deedee Magno and changed her palette slightly to match an actual pearl more (Or an artist’s depiction of a pearl that seemed close enough). Her outfit is now more samurai-like, with her sash-bow now doubling as sword holder, knee high boots and transparent thigh covers (Sort of like the skirt she had in Season 1).

@traumatizedofficial @gloomypunks @gloomethyst @jivepeaches @badstevenuniversescreencaps @goodstevenuniversescreencaps @echochara @jivepeaches

Theories on the costumes for Beauty and the Beast (2017)

So, being a historical costume nerd as well as a Beauty and the Beast super-fan, I naturally was exultant when the first teaser trailer came out for the live action Beauty and the Beast.

Being a costume nerd (and cosplayer, I might add) came with the early decision that when the film came out I would be dressed to the nines in Belle’s ball gown for the night of the premiere. Now, not knowing what exactly Belle’s ball gown would look like led me to great distress, especially after reading the extremely vague accounts of people who attended the D23 expo last August.

With the release of the teaser trailer, two things led me to believe that the costumes (as well as the general styling of the film) were most heavily influenced by 18th century aesthetics, which I will discuss here. The first being the portrait showing the Prince and his parents, dressed in extravagant court uniforms that appear to be early 18th century styles. Focusing mainly on the Queen, her bodice seems to be shaped and adorned similarly to early 18th century court fashions.

One extant (surviving) example from the time period is a Swedish court gown from 1766 which has a 17th century shaping to the bodice and sleeve decoration similar to 18th century court dress. When examined closely, it appears that the sleeve decoration on the Queen’s gown is vaguely similar to that of the real life example.

Going based off of this, later in the trailer when we see Belle’s torso (unfocused) in the background of the rose, her neckline is shaped similarly to later 18th century round gowns, and although it is difficult to make out, the shaped of her bodice may also fit the conical silhouette of the 17th and 18th centuries. In the image below, I have outlined the neckline and my theorized shape of the bodice in red.

(Because of the blurriness of the background, it is difficult to determine the true shape of Belle’s bodice, so this is just one possibility)

Below I have images of a (reproduction) 1780s style corset and an extant example of a round gown, to illustrate the shape and silhouette I believe that Belle’s costumes may have. Note the inverted conical shape of the corset, and the rounded neckline of both the corset and the gown.

Finally, today there were still revealed that showed concept art of Lumiere and Cogsworth, as well as a B-roll image of the inside of the Tavern, where Gaston and Lefou as well as many extras can be seen. While many of the people in the photo are moving, a few characters are still and much can be seen by their costumes. There are two major indicators that I believe confirm my theory that the overall styling of the film will be inspired by 18th century fashion. These are: Gaston’s coat, which is very obviously inspired by 18th century fashion, and the other men in the image, many of which are wearing knee breeches and waistcoats, which is an iconic style of men’s dress form the 18th century.

Finally, while many of the women are in motion and blurred, or far from the camera and difficult to make out, it is possible that they too are dressed in styles influenced by the 18th century as well as wearing conical stays to provide an 18th century silhouette.