| INDEX | 1300-1599 | 17. JH. | 18. JH. | 19. JH. | 20. JH | ÜBERGREIFEND | ETHNO | |
| VERMISCHTES | PROJEKTBLOG | FLOHMARKT | ALTE MUSIK | KONTAKT | SUCHE |
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As has been said here, it is awfully difficult to tell which pattern is suitable for 18th century clothing and which isn't. To help you educate your eye, I have collected a few pictures of "good" and "bad" examples.
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| Too symmetric. Such a pattern could be used for late Baroque (c. 1690-1710), but after that, it's only suitable for furniture, wallpapers, curtains and the like. | Too symmetric. The pattern is so dense that it can only be used for furniture |
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| Wring flowers. The distribution of the pattern would be OK for after 1750, but Chrysanthemums didn't play any role in European fabric patterns of the time. The leaves are too shaded, too. | Wrong layout. Flower patterns tend to be sinuous while this one is almost circular. Violets aren't typical, either. They are shaded. Only embroidered flowers and leaves were shaded - the ones in above two examples are embroidered, but by machine. |
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| Too realistic. The blooms have perspective and are strongly shaded. 18th century flowers are more stylised. |
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| The pattern layout and distribution of flowers are correct. Shading is done as distinct zones only, i.e. stylised. Flowers in various shadesof red are typical. However, the leaves are too vividly green. I'd expect a more bluish hue. A typical alico print pattern. | The loose layout is suitable for the late 18th century, especially ofter 1770. The colurs are a bit too uniform, but not unsuitable. The flowers are well stylised. This could be a block print or embroidery. |
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| Such a striped layout is found mainly fater 1760/65. The flowers are stylised and don't have their natural ccolours. A pattern like the above should be done in in silk brocade. | |
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