ABSTRACT Title of Document: COSTUME DESIGN FOR THE MATCHMAKER   Aryna Petrashenko, M.F.A., 2014 Directed By: Professor Helen Huang, Department of, Theatre, Dance, and Performance Studies The following thesis explores the costume design process and execution for the production of The Matchmaker. This document includes a detailed explanation of the design process, including conceptual approach statement, costume and character research, preliminary pencil sketches, color costume renderings with fabric swatches, in-process fitting photos and production photos. The production of The Matchmaker was produced at the University of Maryland and opened on October 11, 2013 under the direction of Alan Paul. The design team included set designer Paige Hathaway, the lighting designer Andrew Cissna, and the sound designer Neil McFadden. COSTUME DESIGN FOR THE MATCHMAKER By Aryna Petrashenko Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts 2014   Advisory Committee: Professor Helen Huang, Chair Associate Professor Daniel Conway Assistant Professor Sharon Mansur © Copyright by Aryna Petrashenko 2014                     ii Table of Contents Chapter 1: Concept Statement ................................................................... 1 Chapter 2: Character, Costume and Hair Research ................................... 5 Chapter 3: Color Inspiration .................................................................... 31 Chapter 4: Costume Renderings .............................................................. 36 Preliminary Sketches ......................................................................... 36 Revised Preliminary Sketches .......................................................... 44 Chapter 5: Costume Color Renderings ................................................... 57 Chapter 6: Costume Action Plot/ Piece List ........................................... 77 Chapter 7: Costume Fitting Photos ......................................................... 85 Chapter 8: Production Photos by Stan Barough .................................... 100 Bibliography .......................................................................................... 110 1 Chapter 1: Concept Statement From a first glance, The Matchmaker is a play that might feel quite straightforward and uncomplicated in its nature. A little town near New York City in the early 1880s full of people looking for happiness in their everyday life might not be associated with complex feelings or duality of any kind. However, after paying closer attention to each of the characters in the play, it is possible to notice that there is much more to the story than comic encounters of inexperienced lovers, first attempts to find love or even the scheming of someone into a marriage with benefits. Thornton Wilder creates a complex world that explores humanity and our unique desire to love and to be loved no matter what age and despite all the possible obstacles. The main theme of the play is the desire to live and the celebration of the joy of life. In particular, Dolly Levi’s character plays a role of a tremendous life force and though her personality the whole play comes into motion. According to director, one of my main tasks from the beginning of the design process was to clearly establish that the people in this lively and at times quite lighthearted world also have experienced real pain; the pain being the loss of a loved one or the struggle of a mundane everyday existence due to not having enough time to begin living. At this point it was clear to me as the designer that the wit threaded though out the text, is not going to play a single major role in the production, and therefore I needed to find a balance between the everyday fashions of the late Victorian era, precisely early 1880s, and the elements of comedic nature of the characters. 2 As the costume designer, I particularly enjoyed analyzing every character’s personality and finding the essence of their perspective on what life means to them and how they think it should be. Originally director was asking design team to create a world that is much more than a quick overview of a group of people whose adventures can be quite entertaining. We all began to believe that this certain emotional depth in our production will make it better and possibly different from others. However towards the end of rehearsal process I’ve realized that the overall concept of for the world of the play has changed quite a bit. The essence of the human struggle for love has been overpowered by farce. The production ended up being disjointed when it came to telling a story though acting and visual design. The set, costumes and lighting were overpowering the comedic situations in some moments, and did not always support the lighthearted feeling of the new direction. I think it would’ve been very helpful for me to think more about the play prior to first meeting with the director. I’ve learned from design process of this production that in order for collaboration to be truly successful everyone has to think and analyze the play and characters in equal way. It is not just a director’s job to introduce his vision to design team during the first meeting. But designers should also bring their own point of view to the table. Matchmaker would have benefitted a lot from multiple perspectives on the overall take on the play. My design would have been bolder in overall gesture and not shy when it came to expressing the comedic side of each character and situations they were in. My design process after our initial conversation included a challenge that had to do with making decisions about each character’s social status and how that would 3 influence their individuality. Once these decisions were made, I decided what their presence on stage would say about the world of the play. From the beginning we knew that our main character, Dolly Levi was not someone who has money lying around. Indeed, the case was quite the opposite; her constant struggle to support herself as a widowed woman of the late nineteenth century was quite touching despite the fact that it gave the playwright the opportunity to infuse a few funny scenes. As a driving force of the play, Dolly definitely set the mood for the production. Therefore, I as the designer, had to decide fairly early in the process, that the symbolic nature of most characters in the play was more important than the realistic portrayal of the Late Victorian society. However, this rule did not apply to everything. I had to use caution when purchasing the fabrics for the production and make clear distinctions between the different social statuses of certain characters. To accomplish this, I made two trips to New York City in search of fabrics for the costumes that were going to be built, which included all the leading female roles. On the second trip to New York, my mentor Helen Huang and I spent a day just looking at fabrics and gathering swatches of the ones that we felt were strong choices. Some of the fabrics really stood out to us, they seemed right for the show in terms of the quality of their color, and they had the same energy as nineteenth century impressionist painter - Edgar Degas whose works were my original color inspiration. There were times when I had to decide what was more important for a character the color and print of the fabric or the social status of the character. With Helen’s advice, I stayed 4 away from fabrics that looked very rich and when I had to compromise I made sure that the silhouette of the garment was simplistic enough that it would still fit the character. Despite the fact that designs of the visual elements and overall mood of the production did not seem to always go in unison, to me the most enjoyable part of the play is when you realize that despite the farce and the comedic nature of the story overall, the play is full of humanity. The Matchmaker takes us on a one-day journey where we get to enjoy the successes and failures of a few people who are not that different from us today. Thornton Wilder raises important questions about our lives that apply to all of us, no matter in what century we live. 5 Chapter 2: Character, Costume and Hair Research Costume Research; Dolly Levi, Act I, II and III 6 Costume Research; Dolly Levi - Act I, II and III 7 Costume Research; Horace Vandergelder – Act I 8 Costume Research; Horace Vandergelder – Act I and II 9 Costume Research; Horace Vandergelder – Act III and IV 10 Costume Research; Ermengarde 11 Costume Research; Ermengarde 12 6 Costume Research; Ambrose Kemper 13 Costume Research; Cornelius Hackl 14 Costume Research; Barnaby Tucker 15 Costume Research; Mrs. Irene Molloy- Act II, III and IV 16 Costume Research; Minnie Fay- Act II, III and IV 17 Costume Research; Joe 18 Costume Research, Gertrude 19 Costume Research, Malachi Stack 20 Costume Research; Cabman – Act III 21 Costume Research; Miss Van Huysen- Act IV 22 Costume Research; Miss Van Huysen – Act IV 23 Costume Research; Cook – Act IV 24 Costume Research, Rudolf- Act III 25 Costume Research; August – Act III 26 Costume Research; Transition People 27 Hair and Wig Research Wig Research; Dolly Levi Hair Research; Horace Vandergelder 28 Hair Research, Ermengarde Hair Research; Ambrose Kemper 29 Wig Research; Mrs. Irene Molloy Hair Research; Minnie Fay 30 Wig Research; Miss Van Huysen Wig Research; Gertrude 31 Chapter 3: Color Inspiration Color was particularly important to me as the designer for this production in particular. When it comes to the middle class during Victorian Era, color is not the first thing that comes to mind. Despite the director’s initial approach to the show of concentrating on the fragility of people’s lives and how it affects our everyday existence, the stylized comedic moments that represented characters’ struggles though their journeys needed special attention when it came to color choices. The color had to be appropriate for each character in a variety of situations, whether as a group experiencing a joyous feeling of celebration of life or highlighting the comedic side of all their struggles. My initial color research started with looking over many period paintings. Impressionism that was a contemporary movement at a time was a perfect background to the world of the play. Edgar Degas’ Millinery Shop was not only perfect for its’ subject matter but also had a beautifully rich palette full of deep hues mixed in with more tender pastel tones. In one painting I had a world that represented maturity of older characters and lightheartedness of the younger generation of the play. 32 Color Inspiration Research; Dolly Levi, Horace Vandergelder and Ermengard 33 Color Inspiration Research; Barnaby Tucker, Cornelius Hackl, Minnie Fay and Mrs. Irene Molloy 34 Color Inspiration Research; Malachi Stack, Cabman, Waiters, Joe and Gertrude 35 Color Inspiration Research; Cook and Miss Van Huysen 36 Chapter 4: Costume Renderings Preliminary Sketches Preliminary Sketch; Horace Vandergelder and Dolly Levi- Act I, II and III 37 Preliminary Sketch; Ambrose Kemper and Ermengarde 38 Preliminary Sketch; Cornelius Hackl and Mrs. Irene Molloy 39 Preliminary Sketch; Barnaby Tucker and Minnie Fay 40 Preliminary Sketch; Joe and Gertrude 41 Preliminary Sketch; Cabman and Malachi Stack 42 Preliminary Sketch; Miss Van Huysen and Cook 43 Preliminary Sketch; August and Rudolf 44 Revised Preliminary Sketches After the show has been cast Revised Preliminary Sketch; Dolly Levi- Act I and II 45 Revised Preliminary Sketch; Dolly Levi – Act III and IV 46 Revised Preliminary Sketch; Horace Vandergelder – Act I 47 Revised Preliminary Sketch; Horace Vandergelder – Act II 48 Revised Preliminary Sketch; Ermengarde 49 Revised Preliminary Sketch; Ambrose Kemper 50 Revised Preliminary Sketch; Mrs. Irene Molloy 51 Revised Preliminary Sketch; Minnie Fay 52 Revised Preliminary Sketch; Malachi Stack 53 Revised Preliminary Sketch; Miss Van Huysen – Act IV 54 Revised Preliminary Sketch; Cook – Act IV 55 Revised Preliminary Sketch; Transition Person - Male 56 Revised Preliminary Sketch; Transition Person - Female 57 Chapter 5: Costume Color Renderings Final Color Sketch; Dolly Levi – Act I and II 58 Final Color Sketch; Dolly Levi – Act III and IV 59 Final Color Sketch; Horace Vandergelder – Act I 60 Final Color Sketch; Horace Vandergelder- Act II 61 Final Color Sketch; Horace Vandergelder – Act III and IV 62 Final Color Sketch; Ermengarde 63 Final Color Sketch; Ambrose Kemper 64 Final Color Sketch; Cornelius Hackl 65 Final Color Sketch; Barnaby Tucker 66 Final Color Sketch; Mrs. Irene Molloy 67 Final Color Sketch; Minnie Fay 68 Final Color Sketch; Gertrude – Act I 69 Final Color Sketch; Malachi Stack 70 Final Color Sketch; Cabman 71 Final Color Sketch; Miss Van Huysen 72 Final Color Sketch; Cook 73 Final Color Sketch; Rudolf – Act III 74 Final Color Sketch; August – Act IV 75 Final Color Sketch; Transition Person - Female 76 Final Color Sketch; Transition Person - Male 77 Chapter 6: Costume Action Plot/Piece List Action'Plot Act II IVPage p.,9.34 p.35.60 p.93.114Time early,morning mid,day eveningLocation house,in,Yonkers Mrs.,Molloy,hat,store Miss,Flora,van,Huysen's,houseAction ermengarde,leaving adventures, mistaken,identitiesVandergelder,,60 Look,1,,enter,p.9 Look,2,,enter,p.24 Look,3,,enter,p.45 Look,4,,enter,p.61 Look,4,,enter,p.75 look,3same samehas,a,purse,p.28 add,walking,stick add,overcoat carries,overcoat,,stick,,hatwalletexit,p.,19 exit,p., exit,p.56 exit,p.65 exit,p.,92Ambrose,,30 Look,1,,enter,p.9 Look,1,,enter,p.19 Look,1,,,enter,p.63 look,1,,enter,p.100jacket same same,as,look,1 same,as,look,1,Act,IIIhat,,coat minus,overcoat add,overcoatexit,,p.12 exit,p.,24 exit,p.91Joe,,50 Look,1,,enter,p.10apron,,towel,,bagexit,p.15Gertrude,,70 Look,1,,enter,p.11exit,p.12Cornelius,,33 Look,1,,enter,p.12 Look,2,,enter,p.38 Look,2,,enter,p.66 Look,2,,enter,p.96brown,apron, same,as,look,1,,minus,apron,, same,as,look,2 same,as,look2black,shirt.sleeves &,sleves;,add,suit,jacket,,hat add,Irene's,coat,and,hat,on,stageexit,p.13 exit,p.60 exit,p.91Ermengarde Look,1,,enter,p.15 look,1.,enter,p.34 Look,1,,enter,p.63 Look,1,,enter,p.100,add,hat,,parasole,exit,p.,17 exit,p.,34 exit,p.91Malachi,Stack,,50 Look,1,,enter,p.16 Look,1,,enter,p.61 Look,1,,enter,p.96exit,p.,18 exit,p.79Mrs.,Levi,,50s Look,1,,enter,p.20 Look,1,,enter,p.45 Look,2,,enter,p.63 Look,2,,enter,p.105sameexit,p.,34 exit,p.,56 exit,p.92Barnaby,,17 Look,1,,enter,p.30 Look,2,,enter,p.38 Look,2,&3,,enter,p.66 Look,3,&,2,,enter,p.96same,as,look,1,,minus,apron,, same same,as,Act,IIIadd,jacket,and,cap add,Minnie's,hat,and,coat,on,stage minus,Minnies,coat,and,hatexit,p.,33 exit,p.60 exit,p. on,stageMrs.,Molloy,,late,30s Look,1,,enter,p.35 Look,1,,enter,p.66 Look,1,,enter,p.105sameadd,cloack,,hat,w/veil,p.58 minus,coat,and,hat,on,stageexit,p.60 exit,p.90Minnie%Fay Look%1,%enter%p.35 Look%1,%enter%p.66 Look%1,%enter%p.105add,coat,and,hat,,,p.58 minus%coat%a%and%hat%on%stageexit,p.60 exit%p.90Rudolf,%waiter Look%1,%enter%p.62 %%%%%%%%%%exit%p.%92Cabman Look%1,%enter%p.64 Look%1,%enter%p.95whip sameexit%p.%66August,%waiter Look%1,%enter%p.69exit%p.92Miss%Van%Huysen,%50 Look%1,%enter%p.93Cook,%55 Look%1,%enter%p.93exit%p.%114 The MatchmakerDirector:,Allan,PaulCostume,Designer:,Aryna,PetrashenkoFaculty,Advisor:,Helen,Huang I IIIp.61.924.5pmHarmonia,Gardenscouples,at,dinner 78 Act I Actor Character Look Item Build Pull Rent BuyMartin Thomas Horace Vandergelder 1 white undershirt xwhite shirt w/band collar xblack woolunifrom pants xburgundy/green striped dressing gown xblack socks xblack stacy adams boots xmustache, beard xAct IMartin Thomas 2 sameminus dressing gownadd black double breasted unifrrm coat xblack uniform hat xblack belt with sword xwhite gloves xAct IIMartin Thomas 3 same as look 2minus swordadd walking stick xAct IIIMartin Thomas 4 white shirtw fold down collar x light grey cutaway coat xlight greysuit pants xsuspenders xlight grey suit vest xbutterscotch brocade cravat xblack beaver top hat xpocket watch xwhite spats xadd dark grey overcoat xadd white handkerchief xadd brown leather wallet x The MatchmakerCostume Piece ListDirector: Alan PaulCostume Designer: Aryna PetrashenkoFaculty Advisor: Helen Huang Costume Piece List 79 Act IActor Character Look Item Build Pull Rent BuyTom Frances Ambrose Kemper 1 white undershirt xwhite dress shirt x pants xsuspenders xpurple striped vest x bow tie xlight brown hat xsage jacket xcoat x xbrown socks xbrown two-toned boots xAct I Actor Character Look Item Build Pull Rent BuyGabriel Macedo Joe 1 white undershirt xlight beige dress shirt xbrown striped suit vest xbrown suspenders xbrown striped suit pants xwhite half apron xbrownstriped suit jacket on a way out xblack arm garters x multicolored bow tie xblack bowler hat xpocket watch xbrown socks xbrown leather boots xchin strap beard xAct I Actor Character Look Item Build Pull Rent BuyRachel Grandizio Gertrude 1 white chemise xwhite soft petticoat x grey textured bodice xgrey textured skirt xcream long half apron xlacy neckerchieef xbrooch xnude tights xblack boots w/lace sides xwig- bun w/braid around, side rolls x Costume Piece List 80 Act I Actor Character Look Item Build Pull Rent BuyTom Beheler Cornelius Hackl 1 white undershirt xwhite dress shirt xplain brown vest w/metal buttons xsuspenders xbrown plaid suit pants xcravat xdark brown canvas apron xblack shirt-sleeves xbrown socks xdark brown oxfords xAct II, III, IVTom Beheler 2 same as Act Iminus apron and shirt-sleevesadd brown plaid suit jacket xstraw boater w/brown band xAct I, II, III, IVActor Character Look Item Build Pull Rent BuyChloe Adler Ermengarde 1 white chemise xwhite corset xwhite structurred petticoat w/bustle xcream lace skirt xpink and gold polonaise w/bows xpink rhinestone earrings xnude tights xbeige straw hat w/flowers xwhite lace up shoes w/heels xcream beaded pursecream golden parasol xAct I, II, III, IVActor Character Look Item Build Pull Rent BuyVaughn Midder Malachi Stack 1 white undershirt xoff white shirt xochre vest xburgundy striped suspenders xdenim reddish/wine striped pants xpea green jacket x cotton neckerchief xblack old distressed top hat xbrown socks xbrown stacy adams boots x Costume Piece List 81 Act I,IIActor Character Look Item Build Pull Rent BuyRiley Bartlebaugh Dolly Levi 1 white chemise xwhite corset xwhite petticoat xwhite bum pillow xburgundy skirt w/embroidery xburgundy textured coat w buttons xring xwedding band xblack velvet gloves xred w/black lace parasol xpurple velure purse xnude tights xbrown leather lace up boots xred hat with feathers xwavy blonde wig xAct IIRiley Bartlebaugh 2 same as Act IAct III, IVRiley Bartlebaugh 3 same as Act IIminus burgundy coatadd burgundy bodice xsilver necklace w/ red rhinestones xearrings xminus hatminus glovesAct IActor Character Look Item Build Pull Rent BuyAidan Walsch Barnaby Tucker 1 white undershirt xcream peter pan collar period shirt xburnt umber striped vest xlight green suspsenders xbrown pants xtan baize apron xmulti colored plaid bow tie xbrown socks xlight brown leather lace up boots x Costume Piece List 82 Act II, III, IVAidan Walsch 2 same as Act Iminus apronadd green wool norfolk jacket xadd brown newsboy cap xAct II, III,Actor Character Look Item Build Pull Rent BuyJulia Klavans Irene Molloy 1 white chemise xwhite corset xwhite petticoat x2 bum pillows under skirt xdark blue bodice/jacket w/blue insert xblue skirt w/overdrape xnude tights xblue/grey two-toned period boots xsilver w/pearls brooch for jakcet xadd grey cloak xadd black hat w/flowers xadd navy blue gloves xadd navy blue purse xbrown updo wig xAct II ,III, IV Actor Character Look Item Build Pull Rent BuyMargaret Bartolomeo Minnie Fay 1 white chemise xcorset xshort white petticoat xyellow bodice w/green CF xyellow skirt w/green gathered overskirt xraspberry hair bows xnude tights xyellow lace up shoes xgrey striped multicolored coat xadd olive green bonnet xAct IVMargaret Bartolomeo 1 same as Act IIIminus coat and hat Costume Piece List 83 Act IIIActor Character Look Item Build Pull Rent BuyJoe Graff Rudolf 1 white undershirt xwhite tux shirt xblack tux pants xblack suspenders xblack vest xburgundy tailcoat xblack satin bow tie xsilver studs and cufflinks xwhite cotton gloves xblack socks xblack leather stacy adams boots xAct III, IVActor Character Look Item Build Pull Rent BuyGabriel Macedo Cabman 1 white undershirt xbeige textured shirt xbrown plain vest xsuspenders xdenim blue striped pants xblue raggy neckerchief xplaid coat xbrown bowler hat xleather gloves xbrown socks xbrown stacy adam boots xblack thick mustache xAct IIIActor Character Look Item Build Pull Rent BuyTiziano D'Affusio August 1 white undershirt xwhite tux shirt xblack vest xblack suspenders xblack tux pants xblack bow tie xwhite long half-apron xblack socks xblack low stacy adams shoes x Costume Piece List 84 Act IVActor Character Look Item Build Pull Rent BuyRachel Grandizio Miss Van Huysen 1 nude chemise xcorset xpetticoat w/bustle xpurple/green polonaise xpurple skirt with green trainnude tightsearrings xrings xnecklace xblack fan with red/green flowers x xblack boots with lace sides xpeacock feather with bow hair pin x wig xAct IVActor Character Look Item Build Pull Rent BuyJessica Story Cook 1 white chemise xpetticoat w/ruffles cb attached xbugundy striped bodice xsage green textured skirt xcream apron with print xcream cotton mob cap xtights x xblack lace up boots xxActor Character Look Item Build Pull Rent BuyJimmy%Stubs Transition%Person 1 white%undershirt xoff%white%shirt%with%band%collar xbrown%vest xgreen%pants xsuspenders xtan%raggy%neckerchief xbrown%socks xbrown%distressed%boots xActor Character Look Item Build Pull Rent BuyRebecca%Mount Transition%Person 1 chemise xwhite%petticoatwhite%bum%pillowblack%and%grey%striped%bodice xblack%and%grey%striped%skirt xnude%tights xblack%boots xcream%apron x Costume Piece List 85 Chapter 7: Costume Fitting Photos A few months after the design process was completed, we began having fittings. In many ways, seeing actors in their mock up costumes required not only my paying close attention to the garments and how they sit on the body but I also needed to be open to redesigning the overall look and the visual effect it had right in the fitting room. For the women of this particular period my focus began with the undergarments. The shape of the petticoat determined everything. The volume and silhouette of the underskirt plays a role not only in one’s social status but also can portray a number of different feelings about the character. The first petticoat we had tried on during the first fitting for Dolly, made her look like she stepped out of the Sargent painting Morning Walk. The combination of a fuller petticoat and a more pronounced bustle created a very elegant romantic image that was not only wrong for the character, it also did not belong to the world of the play. However, once we had the right foundation that had less fullness, the clothes on top started to make so much more sense. We finally were able to see the characters of the play emerging and developing right in front of our eyes. 86 Costume Fitting Photos; Dolly Levi – Act I and II 87 Costume Fitting Photos; Dolly Levi – Act III and IV 88 Costume Fitting Photos; Horace Vandergelder – Act I, II, III and IV 89 Costume Fitting Photos; Ermengarde 90 Costume Fitting Photos; Ambrose Kemper 91 Costume Fitting Photos; Cornelius Hackl 92 Costume Fitting Photos; Mrs. Irene Molloy 93 Costume Fitting Photos; Barnaby Tucker 94 Costume Fitting Photos; Minnie Fay 95 Costume Fitting Photos; Joe, Cook and Gertrude 96 Costume Fitting Photos; Cabman 97 Costume Fitting Photos; Malachi Stack 98 Costume Fitting Photos; Miss Van Huysen – Act IV 99 Costume Fitting Photos; Rudolf and August – Act III 100 Chapter 8: Production Photos by Stan Barough Dolly Levi, Act I 101 Malachi Stach and Horace Vandergelder, Act I Dolly Levi, Ermengarde and Gertrude, Act I 102 Dolly Levi and Horace Vandergelder, Act I 103 Dolly Levi and Ermengrade, Act I 104 Barnaby and Cornelius, Act II Cornelius and Mrs. Molloy, Act II 105 Irene Molloy and Minnie Fay, Act III 106 Cornelius, Barnaby, Mrs. Molloy and Minnie Fay, Act III Horace Vandergelder and Dolly Levi, Act III 107 Malachi Stack, Act III 108 Mrs. Van Huysen, Minnie Fay, Cornelius and Amrose Kemper, Act IV Mrs. Van Huysen and Cook, Act IV 109 Ambrose Kemper, Mrs.Van Huysen and Cornelius, Act IV Full Cast, Act IV 110 Bibliography Fukai, Akiko. The Collection of the Kyoto Costume Institute Fashion. A History from the 18th to the 20th Century. Kyoto: Taschen, 2006. Print Johnson, Lucy. Nineteenth-Century Fashion in Detail. London: V & A Publications, 2009. Print Newman, B. Alan. New England Reflections 1182-1907. New York: Pantheon Book, 1981. Print Olian, Joanne. Victorian and Edwardian Fashions from “ La Mode Illustrée”. New York: Dover Publications, 1998. Print Setnik, Linda. Victorian Costume For Ladies 1860-1900. Atglen, PA: Schifffer Publishing Ltd, 2000. Print Blog of an Art Admirer – Web. Fall 2013. < http://www.artistsandart.org/2011/05/being-in-service-in-victorian- england.html>. The Metropolitan Museum of Art – Web. Spring 2013. . Pinterest – Web. Spring 2013. . Steves Uniform Pages Rifles Corps – Wed. Spring 2013. . Tumblr – Web. Fall 2013. < http://oldrags.tumblr.com>. Welcome to Artstor – Web. Spring 2013. < http://www.artstor.org/index.shtml>. Victoria and Albert Museum – Web. Spring 2013. .