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peasant woman were. Figure 2 shows an elderly matron of a rul ing Kozak family of nobility. Her headdress is fashioned from the usual white scarf, with lengthy embroidered ends. Over a dress of rich brocade, she wears a long sable-trimmed coat of softly- tanned lamb skin, dyed a bright color and fitted at the waist. Al most 200 years later, a similar type of fur coat, in cruder cut, was still worn by Ukrainian peas ants. The lady in figure 2 wears a muff to match her coat. Figure 1 shows a younger m at ron of noble family with a head dress typical of another region. She wears the usual wealthy wo man’s dress, consisting of a thin white round-necked blouse, cov ered witih a short corselet of vel vet or brocade, laced in front, and a long skirt over several petti coats. Her whole silhouette gives her the look of stately “monu- mentalism” so dear to Ukrainian painters’ hearts. The moire m at erial of her skirt and the brocade of her fur-lined kozhukih, copied from French materials, were nev ertheless, manufactured in U k raine. Her muff is of fashionable sable. Her headdress, although of richer material and longer, is identical with the headdress of the peasant women of her day. Figure 4 pictures a young un married girl of the nobility, while figure 5 shows a townswoman of the same day. A portrait of Mag dalene Mazeppa, mother of the famous Hetman Ivan, wearing this same type of dress of the Kozak era, as the lady in figure 5, hangs in the National Museum in Kharkow. She, although of the Ukrainian nobility and boasting a family crest, wore the same iden tical outer garments as the towns woman in figure 5. The coat was long-sleeved, wide skirted, fitted at the waistline and had shawl - collar and cuffs, often of contrast ing material. The coat of the no blewoman, however, is of moire, whereas the material o-f the townswoman’s coat is poorer. Both wear simple white blouses, laced corselet, and have long skirts—one of brocade, the other of plain material covered with an apron. Both wear fur hats, called a “Korablik” because of its simi larity to a boat—one of fine fur and velvet, the other o.f caracul and simple cloth. The two girls from two different social levels wear the same cut of clothes, but of different cloth. The korablik, inoidently, was still worn up to the recent Avar in some sections of Ukraine. Etiquette of the Kozak era demanded that winter or sum mer, indoors or out, a lady could not appear in public without her headdress and seas'onable outer coat. Interesting to note are the necklaces worn at this time. They were usually of coral, although some portraits show pearls worn then, and the number of strands never exceeded three. In addition, a cross or medallion, simple or el aborately gem-studded, according to their wealth, was worn by the ladies, sometimes attached to the corals, or on a fine chain. The young peasant girl pictured in figure 6 wears the still-tradi tional round-necked blouse hav ing the full, long sleeves, sparse ly embroidered in an over-all, geo metric design, matched by tlhe de sign edging her white under-s'kirt. Her double overskirt-pliakhta — woven in the beloved square pat tern, is still w'orn today, as part of the Ukrainian national costume although few own an authentical ly hand-woven one today. Her short corselet has given way in modern times to a hiip-length, sleeveless “Zhupan.” Pictured with only a small spring of flow ers in her braided hair and wear ing only a few ribbons, the peas ant girl of the 17-18th century nevertheless wore an elaborate, flowered headdress and many rib bons on holidays, as they do to present times. Americans of Ukrainian descent have long been familiar with the Ukrainian peasant costumes and even with the Kozak military dress on the stage. “Echoes of Ukraine” offers the first oppor tunity to depict on the American stage the dress of Ukrainian wo men of the Kozak era. C ourtesy of U YL of NA Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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