,tradition and ,history1 ,albert ,r4 ,mann ,library1 ,cornell ,university 7http3_/_/hearth4library4cornell4edu_/7 file which includes the original illustrations4 ,see #ahija-;h4htm or #ahija-;h4zip3 7https3_/_/www4gutenberg4org_/dirs_/#a_/ h_/i_/j_/ahija_/ahija-;h_/#ahija-;h4htm7 or 7https3_/_/www4gutenberg4org_/dirs_/#a_/ h_/i_/j_/ahija_/ahija-;h4zip7 ,images of the original pages are available through the ,home ,economics ,archive3 ,research1 ,tradition and ,history1 ,albert ,r4 ,mann ,library1 ,cornell ,university4 ,see http3_/_/hearth4library4cornell4edu_/cgi _/t_/text_/text-idx8chearth2idno#dbbageh ,,woman ,,as ,,decoration by ,,emily ,,burbank ,illustrated ,illustration ,new ,york ,dodd1 ,mead and ,company #aiag ,copyright1 #aiag ,by ,dodd1 ,mead and ,company1 ,inc4 ,,dedicated ,,to ,v4 ,b4 ,g4 ,,plate ,i ,madame ,geraldine ,farrar as ,thais in the opera of that name4 ,it is a sketch made from life for this book4 ,observe the gilded wig and richly embroidered gown4 ,they are after descriptions of a costume worn by the real ,thais4 ,it is a ,greek type of costume but not the familiar classic ,greek of sculptured story4 ,thais was a reigning beauty and acted in the theatre of ,alexandria in the early ,christian era4 ,illustration3 ,sketched for ,woman as ,decoration by ,thelma ,cudlipp ,mme4 ,geraldine ,farrar in ,greek ,costume as ,thais ,,foreword ,,woman ,,as ,,decoration is intended as a sequel to ,the ,art of ,interior ,decoration 7,grace ,wood and ,emily ,burbank74 ,having assisted in setting the stage for woman1 the next logical step is the consideration of woman1 herself1 as an important factor in the decorative scheme of any setting1--the vital spark to animate all interior decoration1 private or public4 ,the book in hand is intended as a brief guide for the woman who would understand her own type1--make the most of it1 and know how simple a matter it is to be decorative if she will but master the few rules underlying all successful dressing4 ,as the costuming of woman is an art1 the history of that art must be known--to a certain extent--by one who would be an intelligent student of our subject4 ,with the assistance of thirty-three illustrations to throw light upon the text1 we have tried to tell the beguiling story of decorative woman1 as she appears in frescoes and bas reliefs of ,ancient ,egypt1 on ,greek vases1 the ,gothic woman in tapestry and stained glass1 woman in painting1 stucco and tapestry of the ,renaissance1 seventeenth1 eighteenth and nineteenth century woman in portraits4 ,contemporary woman's costume is considered1 not as fashion1 but as decorative line and colour1 a distinct contribution to the interior decoration of her own home or other setting4 ,in this department1 woman is given suggestions as to the costuming of herself1 beautifully and appropriately1 in the ball-room1 at the opera1 in her boudoir1 sun-room or on her shaded porch2 in her garden2 when driving her own car2 by the sea1 or on the ice4 ,woman as ,decoration has been planned1 in part1 also to fill a need very generally expressed for a handbook to serve as guide for beginners in getting up costumes for fancy-dress balls1 amateur theatricals1 or the professional stage4 ,we have tried to shed light upon period costumes and point out ways of making any costume effective4 ,costume books abound1 but so far as we know1 this is the first attempt to confine the vast and perplexing subject within the dimensions of a small1 accessible volume devoted to the principles underlying the planning of all costumes1 regardless of period4 ,the author does not advocate the preening of her feathers as woman's sole occupation1 in any age1 much less at this crisis in the making of world history2 but she does lay great emphasis on the fact that a woman owes it to herself1 her family and the public in general1 to be as decorative in any setting1 as her knowledge of the art of dressing admits4 ,this knowledge implies an understanding of line1 colour1 fitness1 background1 and above all1 one's own type4 ,to know one's type1 and to have some knowledge of the principles underlying all good dressing1 is of serious economic value2 it means a saving of time1 vitality and money4 ,the watchword of to-day is efficiency1 and the keynote to modern costuming1 appropriateness4 ,and so the spirit of the time records itself in the interesting and charming subdivision of woman's attire4 ,one may follow ,woman ,decorative in the ,orient on vase1 fan1 screen and kakemono2 as she struts in the stiff manner of ,egyptian bas reliefs1 across walls of ancient ruins1 or sits in angular serenity1 gazing into the future through the narrow slits of ,egyptian eyes1 oblivious of time2 woman1 beautiful in the ,european sense1 and decorative to the superlative degree1 on ,greek vase and sculptured wall4 ,here in rhythmic curves1 she dandles lovely ,cupid on her toe2 serves as vestal virgin at a woodland shrine2 wears the bronze helmet of ,minerva2 makes laws1 or as ,penelope1 the wife1 wearily awaits her roving lord4 ,she moves in august majesty1 a sore-tried queen1 and leaps in merry laughter as a care-free slave2 pipes1 sings and plies the distaff4 ,sauntering on1 down through ,gothic ,europe1 ,tudor ,england1 the adolescent ,renaissance1 ,bourbon ,france1 into the picturesque changes of the eighteenth century1 we ask1 can one possibly escape our theme--,woman as ,decoration8 ,no1 for she is carved in wood and stone2 as ,mother of ,god and ,queen of ,heaven gleams in the jeweled windows of the church1 looks down in placid serenity on lighted altar2 is woven in tapestry1 in fact dominates all art1 painting1 stucco or marble1 throughout the ages4 ,if one would know the story of ,woman's evolution and retrogression--that rising and falling tide in civilisation--we commend a study of her as she is presented in ,art4 ,a knowledge of her costume frequently throws light upon her age2 a thorough knowledge of her age will throw light upon her costume4 ,a study of the essentials of any costume1 of any period1 trains the eye and mind to be expert in planning costumes for every-day use4 ,one learns quickly to discriminate between details which are ornaments1 because they have meaning1 and those which are only illiterate superfluities2 and one learns to master many other points4 ,it is not within the province of this book to dwell at length upon national costume1 but rather to follow costume as it developed with and reflected caste1 after human society ceased to be all alike as to occupation1 diversion and interest4 ,in the world of caste1 costume has gradually evolved until it aims through appropriateness1 at assisting woman to fulfil her role4 ,with peasants who know only the traditional costume of their province1 the task must often be done in spite of the costume1 which is picturesque or grotesque1 inconvenient1 even impossible2 but long may it linger to divert the eye6 ,russia1 ,germany1 ,france1 ,spain1 ,italy1 ,poland1 ,scandinavia1--all have an endless variety of costumes1 rich in souvenirs of folk history1 rainbows of colour and bizarre in line1 but it is costuming the woman of fashion which claims our attention4 ,the succeeding chapters will treat of woman1 the vital spark which gives meaning to any setting--indoors1 out of doors1 at the opera1 in the ball-room1 on the ice--where you will4 ,each chapter has to do with modern woman and the historical paragraphs are given primarily to shed light upon her costume4 ,it is shown that woman's decorative appearance affects her psychology1 and that woman's psychology affects her decorative appearance4 ,some chapters may1 at first glance1 seem irrelevant1 but those who have seriously studied any art1 and then undertaken to tell its story briefly in simple1 direct language1 with the hope of quickly putting audience or reader in touch with the vital links in the chain of evidence1 will understand the author's claim that no detour which illustrates the subject can in justice be termed irrelevant4 ,in the detours often lie invaluable data1 for one with a mind for research--whether author or reader4 ,this is especially true in connection with our present task1 which involves unravelling some of the threads from the tangled skein of religion1 dancing1 music1 sculpture and painting--that mass of bright and sombre colour1 of gold and silver threads1 strung with pearls and glittering gems strangely broken by age--which tells the epic-lyric tale of civilisation4 ,while we state that it is not our aim to make a point of fashion as such1 some of our illustrations show contemporary woman as she appears in our homes1 on our streets1 at the play1 in her garden1 etc4 ,we have taken examples of women's costumes which are pre-eminently characteristic of the moment in which we write1 and as we believe1 illustrate those laws upon which we base our deductions concerning woman as decoration4 ,these laws are3 appropriateness of her costume to the occasion2 consideration of the type of wearer2 background against which costume is to be worn2 and all decoration 7which includes jewels71 as detail with raison d'etre4 ,the body should be carried with form 7in the sporting sense71 to assist in giving line to the costume4 ,the chic woman is the one who understands the art of elimination in costumes4 ,wear your costumes with conviction--by which we mean decide what picture you will make of yourself1 make it and then enjoy it6 ,it is only by letting your personality animate your costume that you make yourself superior to the lay figure or the sawdust doll4 ,,contents ,,chapter ,,page ,,foreword xi ,i ,a ,,few ,,hints ,,for ,,the ,,novice ,,who ,,would ,,plan ,,her ,,costumes #a ,rules having economic value while aiming at decorativeness4--,lines and colouring emphasised or modified by costuming4--,temperaments affect carriage of the body4--,line of body affects costume4--,technique of controlling the physique4--,the highly sensitised woman4--,costuming an art4--,studying types4--,starring one's own good points4--,beauty not so fleeting as is supposed if costume is adapted to its changing aspects4--,masters in art of costuming often discover and star previously unrecognised beauty4--,establishing the habit of those lines and colours in gowns1 hats1 gloves1 parasols1 sticks1 fans and jewels which are your own4--,the intelligent purchaser4--,the best dressed women4--,value of understanding one's background4--,learning the art of understanding one's background4--,learning the art of costuming from masters of the art4--,how to proceed with this study4--,successful costuming not dependent upon amount of money spent upon it4--,an example ,,ii ,,the ,,laws ,,underlying ,,all ,,costuming ,,of ,,woman #bc ,appropriateness keynote of costuming to-day4--,five salient points to be borne in mind when planning a costume4--,where ,english1 ,french1 and ,american women excel in art of costuming4--,feeling for line4--,to make our points clear constant reference to the stage is necessary4--,bakst and ,poiret4--,turning to the ,orient for line and colour4--,keeping costume in same key as its settings4--,how to know your period2 its line1 colours and characteristic details4--,studying costumes in ,gothic illuminations ,,iii ,,how ,,to ,,dress ,,your ,,type #df ,a ,,few ,,points ,,applying ,,to ,,all ,,costumes4--,background4--,line and colour of costumes to bring out the individuality of wearer4--,the chic woman defined4--,intelligent expressing of self in mise-en-scene4--,selecting one's colour scheme ,,iv ,,the ,,psychology ,,of ,,clothes #ed ,effect of clothes upon manners4--,the natural instinct for costuming1 clothes sense4--,costuming affecting psychology of wearer4--,clothes may liberate or shackle the spirit of women1 be a tyrant or magician's wand4--,follow colour instinct in clothes as well as housefurnishings ,v ,,establish ,,habits ,,of ,,carriage ,,which ,,create ,,good ,,line #ff ,woman's line result of habits of a mind controlled by observations1 conventions1 experiences and attitudes which make her personality4--,training lines of physique from childhood2 an example4--,a knowledge of how to dress appropriately leads to efficiency ,,vi ,,colour ,,in ,,woman',s ,,costume #gd ,colour hall-mark of to-day4--,bakst1 ,rheinhardt and ,granville ,barker1 teachers of the new colour vocabulary4--,,portable ,,backgrounds ,,vii ,,footwear #he ,importance of carefully considering extremities4--,what constitutes a costume4--,importance of learning how to buy1 put on and wear each detail of costume if one would be a decorative picture4--,spats4--,stockings4--,slipper s4--,buckles ,,viii ,,jewelry ,,as ,,decoration #id ,considered as colour and line not with regard to intrinsic worth4--,to complete a costume or furnish keynote upon which to build a costume4--,distinguished jewels with historic associations worn artistically2 examples4--,know what jewels are your affair as to colour1 size1 and shape4--,to know what one can and cannot wear in all departments of costuming prepares one to grasp and make use of expert suggestions4 ,how fashions come into being4--,one of the rules as to how jewels should be worn4--,gems and paste ,,ix ,,woman ,,decorative ,,in ,,her ,,boudoir #aaa ,negligee or tea-gown belongs to this intimate setting4--,fortuny the artist designer of tea-gowns4--,sibyl ,sanderson4--,the decorative value of a long string of beads4--,beauty which is the result of conscious effort4--,bien soine a hall-mark of our period ,x ,,woman ,,decorative ,,in ,,her ,,sun-,,room #aaf ,since a winter sun-room is planned to give the illusion of summer1 one's costuming for it should carry out the same idea4--,the sun-room provides a means for using up last summer's costumes4--,the hat1 if worn1 should suggest repose1 not action4--,the age and habits of those occupying a sun-room dictate the exact type of costume to be worn4--,colour scheme ,,xi ,i4 ,,woman ,,decorative ,,in ,,her ,,garden #abd ,in the garden the costume should have a decorative outline but simple colour scheme which harmonises with background of flowers4--,white1 grey1 or one note of colour preferable4--,the flowers furnish variety and colour4--,lady de ,bathe 7,mrs4 ,langtry7 in her garden at ,newmarket1 ,england ,,ii4 ,,woman ,,decorative ,,on ,,the ,,lawn ,one may be a flower or a bunch of flowers for colour against the unbroken sweep of green underfoot and background of shrubs and trees4--,chic outline and interesting detail1 as well as colour1 of distinct value in a costume for lawn4--,how to cultivate an unerring instinct for what is a successful costume for any given occasion ,,iii4 ,,woman ,,decorative ,,on ,,the ,,beach ,if one would be a contribution to the picture1 figure as white or vivid colour on beach1 deck of steamer or yacht ,,xii ,,woman ,,as ,,decoration ,,when ,,skating #acd ,line of the body all important4--,the necessity of mastering form to gain efficiency in any line2 examples4--,the traditional skating costume has the lead ,,xiii ,,woman ,,decorative ,,in ,,her ,,motor ,,car #ade ,the colour of one's car inside and out important factor in effect produced by one's carefully chosen costume ,,xiv ,,how ,,to ,,go ,,about ,,planning ,a ,,period ,,costume #aed ,period4--,background4--,outline4--,mate rials4--,colour scheme4--,detail with meaning4--,authorities4--,consulting portraits by great masters4--,geraldine ,farrar4--,distinguished collection of costume plates4--,one result of planning period costumes is the opening up of vistas in history4--,every detail of a period costume has its fascinating story worth the knowing4--,brief historic outline to serve as key to the rich storehouse of important volumes on costumes and the distinguished textless books of costume plates4--,period of fashions in costumes developing without nationality4--,nationality declared in artistry of workmanship and the modification or exaggeration of an essential detail according to national or individual temperament4--,evolution of woman's costume4--,assyria4--,egypt4--,byzantium 4-- ,greece4--,rome4--,gothic ,europe4--,europe of the ,renaissance1--seventeenth1 eighteenth and nineteenth century through ,mid-,victorian period4--,cord tied about waist origin of costumes for women and men ,,xv ,,the ,,story ,,of ,,period ,,costumes #agb ,a ,,resume4 ,woman as seen in ,egyptian sculpture-relief2 on ,greek vase2 in ,gothic stained glass2 carved stone2 tapestry2 stucco2 and painting of the ,renaissance2 eighteenth and nineteenth century portraits4--,art throughout the ages reflects woman in every role2 as companion1 ruler1 slave1 saint1 plaything1 teacher1 and voluntary worker4--,evolution of outline of woman's costume1 including change in neck2 shoulder2 evolution of sleeve2 girdle2 hair2 head-dress2 waist line2 petticoat4--,gradual disappearance of long1 flowing lines characteristic of ,greek and ,gothic periods4--,demoralisation of ,nature's shoulder and hip-line culminates in the ,velasquez edition of ,spanish fashion and the ,marie ,antoinette extravaganzas ,,xvi ,,development ,,of ,,gothic ,,costume #aib ,gothic outline first seen as early as fourth century4--,costume of ,roman-,christian women4--,ninth century4--,the ,gothic cape of twelfth1 thirteenth and fourteenth centuries made familiar on the ,virgin and saints in sacred art4--,the tunic4--,restraint in line1 colour1 and detail gradually disappear with increased circulation of wealth until in fifteenth century we see humanity over-weighted with rich brocades1 laces1 massive jewels1 etc4 ,,the ,,virgin ,,in ,,art ,late ,middle ,ages4--,sovereignty of the ,virgin as explained in ,the ,cathedrals of ,mont ,st4 ,michel and ,chartres1 by ,henry ,adams4--,woman as the ,virgin dominates art of twelfth1 thirteenth1 and fourteenth centuries4--,the girdle4--,the round neck4--,the necklace1 etc4 ,,xvii ,,the ,,renaissance #bad ,,sixteenth ,,and ,,seventeenth ,,centuries ,pointed and other head-dresses with floating veils4--,neck low off shoulders4--,skirts part as waist-line over petticoat4--,wealth of ,roman ,empire through new trade channels had led to importation of richly coloured ,oriental stuffs4--,same wealth led to establishing looms in ,europe4--,clothes of man like his over-ornate furniture show debauched and vulgar taste4--,the good ,gothic lines live on in costumes of nuns and priests4--,the ,davanzati ,palace collection1 ,florence1 ,italy4--,long pointed shoes of the ,middle ,ages give way to broad square ones4--,gorgeous materials4--,hats4--,hair4--,sleeves4-- ,skirts4--,crinolines4--,coats4--,oversk irts draped to develop into panniers of ,marie ,antoinette's time4--,directoire reaction to simple lines and materials ,,xvii ,,eighteenth ,,century #bcc ,political upheavals4--,scientific discoveries4--,mechanical inventions4--,chemical achievements4--,chintz or stamped linens of ,jouy near ,versailles4--,painted wall-papers after the ,chinese4--,simplicity in costuming of woman and man ,,xix ,,woman ,,in ,,the ,,victorian ,,period #bda ,first seventy years of nineteenth century4--,historic ,dress in ,america by ,elizabeth ,mc,clellan4--,hoops1 wigs1 absurdly furbished head-dresses1 paper-soled shoes1 bonnets enormous1 laces of cobweb1 shawls from ,india1 rouge and hair-grease1 patches and powder1 laced waists1 and vapours4--,man still decorative ,,xx ,,sex ,,in ,,costuming #bdd ,european dress4--,progenitor of costume worn by modern men4--,the time when no distinction was made between materials used for man and woman4--,velvets1 silks1 satins1 laces1 elaborate cuffs and collars1 embroidery1 jewels and plumes as much his as hers ,,xxi ,,line ,,and ,,colour ,,of ,,costumes ,,in ,,hungary #beb ,in a sense colour a sign of virility4--,examples4--,studying line and colour in ,magyar ,land4--,in ,krakau1 ,poland1--,a highly decorative ,polish peasant and her setting ,,xxii ,,studying ,,line ,,and ,,colour ,,in ,,russia #bfe ,kiev our headquarters4--,slav temperament an integral part of ,russian nature expressed in costuming as well as folk songs and dances of the people4--,russian woman of the fashionable world4--,the ,russian pilgrims as we saw them tramping over the frozen roads to the shrines of ,kiev1 the ,holy ,city and ancient capital of ,russia at the close of the ,lenten season4--,their costumes and their psychology ,,xxiii ,,mark ,,twain',s ,,love ,,of ,,colour ,,in ,,all ,,costuming #bgf ,wrapped in a crimson silk dressing-gown on a balcony of his ,italian villa in ,connecticut1 ,mark ,twain dilated on the value of brilliant colour in man's costuming4--,his creative1 picturing-making mind in action4--,other themes followed ,,xxiv ,,the ,,artist ,,and ,,his ,,costume #bhc ,a ,god-given sense of the beautiful4--,the artist nature has always assumed poetic license in the matter of dress4--,many so-called affectations have raison d'etre4--,responding to texture1 colour and line as some do to music and scenery4--,how ,japanese actors train themselves to act women's parts by wearing woman's costumes off the stage4--,this cultivates the required feeling for the costumes4--,the woman devotee to sports when costumed4--,richard ,wagner's responsiveness to colour and texture4--,clyde ,fitch's sensitiveness to the same4--,the wearing of jewels by men4--,king ,edward ,,vii4--,a remarkable topaz worn by a ,spaniard4--,its undoing as a decorative object through its resetting ,,xxv ,,idiosyncrasies ,,in ,,costume #bib ,fashions in dress all powerful because they seize upon the public mind4--,they become the symbol of manners and affect human psychology4--,affectations of the youth of ,athens4--,les ,merveilleux1 ,les ,encroyables1 the ,illuminati4--,schiller during the ,storm and ,stress ,period4--,venetian belles of the sixteenth century4--,the ,cavalier ,servente of the seventeenth century4--,mme4 ,recamier scandalised ,london in eighteenth century by appearing costumed a la ,greque4--,mme4 ,jerome ,bonaparte1 a ,baltimore belle1 followed suit in ,philadelphia4--,hour-glass waist-line and attendant vapours were thought to be in the role of a high-born ,victorian miss4--,appropriateness the contribution of our day to the story of woman's costuming ,,xxvi ,,nationality ,,in ,,costume #bif ,when seen with perspective the costumes of various periods appear as distinct types though to the man or woman of any particular period the variations of the type are bewildering and misleading4--,having followed the evolution of the costume of woman of fashion which comes under the general head of ,european dress1 before closing we turn to quite another field1 that of national costumes4--,progress levels national differences1 therefore the student must make the most of opportunities to observe4--,experiences in ,hungary ,,xxvii ,,models #cjf ,historical interest attaches to fashions in woman's costuming4--,one of the missions of art is to make subtle the obvious4--,examples as seen in #aiag ,,xxviii ,,woman ,,costumed ,,for ,,her ,,war ,,job #cac ,the ,pageant of ,life shows that woman has played opposite man with consistency and success throughout the ages4--,apropos of this1 we quote from ,philadelphia ,public ,ledger1 for ,march #be1 #aiag1 an impression of a woman of to-day costumed appropriately to get efficiency in her war work ,,in ,,conclusion #cbd ,a brief review of the chief points to be kept in mind by those interested in the costuming of woman so that she figures as a decorative contribution to any setting ,,illustrations ,i ,,mme4 ,,geraldine ,,farrar ,,in ,,greek ,,costume ,,as ,,thais 7,,frontispiece7 vi ,sketched by ,thelma ,cudlipp ,,ii ,,woman ,,in ,,ancient ,,egyptian ,,sculpture-,,relief #i ,,iii ,,woman ,,in ,,greek ,,art #ai ,,iv ,,woman ,,on ,,greek ,,vase #bi ,v ,,woman ,,in ,,gothic ,,art #ci ,portrait ,showing ,pointed ,head-dress ,,vi ,,woman ,,in ,,art ,,of ,,the ,,renaissance #di ,sculpture-relief in ,terra-cotta3 ,the ,virgin ,,vii ,,woman ,,in ,,art ,,of ,,the ,,renaissance #ei ,sculpture-relief in ,terra-cotta3 ,holy ,women ,,viii ,,tudor ,,england #fi ,portrait of ,queen ,elizabeth ,,ix ,,spain--,,velasquez ,,portrait #gi ,x ,,eighteenth ,,century ,,england #hi ,portrait by ,thomas ,gainsborough ,,xi ,,bourbon ,,france #ii ,portrait of ,marie ,antoinette by ,madame ,vigee ,le ,brun ,,xii ,,costume ,,of ,,empire ,,period #aji ,an ,english ,portrait ,,xiii ,,eighteenth ,,century ,,costume #aai ,portrait by ,gilbert ,stuart ,,xiv ,,victorian ,,period 7,,about #ahdj7 #abi ,mme4 ,adeline ,genee in ,costume ,,xv ,,late ,,nineteenth ,,century 7,,about #ahij7 #aci ,a ,portrait by ,john ,s4 ,sargent ,,xvi ,a ,,modern ,,portrait #adi ,by ,john ,w4 ,alexander ,,xvii ,a ,,portrait ,,of ,,mrs4 ,,philip ,m4 ,,lydig #aei ,by ,i4 ,zuloaga ,,xviii ,,mrs4 ,,langtry 7,,lady ,,de ,,bathe7 ,,in ,,evening ,,wrap #afi ,,xix ,,mrs4 ,,conde ,,nast ,,in ,,street ,,dress #agi ,photograph by ,baron de ,meyer ,,xx ,,mrs4 ,,conde ,,nast ,,in ,,evening ,,dress #ahi ,,xxi ,,mrs4 ,,conde ,,nast ,,in ,,garden ,,costume #aii ,,xxii ,,mrs4 ,,conde ,,nast ,,in ,,fortuny ,,tea ,,gown #bji ,,xxiii ,,mrs4 ,,vernon ,,castle ,,in ,,ball ,,costume #bai ,,xxiv ,,mrs4 ,,vernon ,,castle ,,in ,,afternoon ,,costume--,,winter #bbi ,,xxv ,,mrs4 ,,vernon ,,castle ,,in ,,afternoon ,,costume--,,summer #bci ,,xxvi ,,mrs4 ,,vernon ,,castle ,,costumed ,a ,,la ,,guerre ,,for ,a ,,walk #bdi ,,xxvii ,,mrs4 ,,vernon ,,castle--,a ,,fantasy #bei ,,xxviii ,,modern ,,skating ,,costume--#aiag #bfi ,winner of ,amateur ,championship of ,fancy ,skating ,,xxix ,a ,,modern ,,silhouette--#aiag #bgi ,,tailor-,,made ,drawn from ,life by ,elisabeth ,searcy ,,xxx ,,tappe',s ,,creations #bhi ,sketched for ,woman as ,decoration by ,thelma ,cudlipp ,,xxxi ,,miss ,,elsie ,,de ,,wolfe ,,in ,,costume ,,of ,,red ,,cross ,,nurse #bii ,,xxxii ,,mme4 ,,geraldine ,,farrar ,,in ,,spanish ,,costume ,,as ,,carmen #cji ,from ,photograph by ,courtesy of ,vanity ,fair ,,xxxiii ,,mme4 ,,geraldine ,,farrar ,,in ,,japanese ,,costume ,,as ,,madame ,,butterfly #cai ,sketched by ,thelma ,cudlipp ,the ,communion of men upon earth abhors identity more than nature does a vacuum4 ,nothing so shocks and repels the living soul as a row of exactly similar things1 whether it consists of modern houses or of modern people1 and nothing so delights and edifies as distinction4 ,,coventry ,,patmore4 ,whatever piece of dress conceals a woman's figure1 is bound1 in justice1 to do so in a picturesque way4 ,from an ,early ,victorian ,fashion ,paper4 ,when was that 'simple time of our fathers' when people were too sensible to care for fashions8 ,it certainly was before the ,pharaohs1 and perhaps before the ,glacial ,epoch4 ,w4 ,g4 ,,sumner1 in ,folkways4 ,,chapter ,i ,a ,,few ,,hints ,,for ,,the ,,novice ,,who ,,would ,,plan ,,her ,,costumes ,there are a few rules with regard to the costuming of woman which if understood put one a long way on the road toward that desirable goal--decorativeness1 and have economic value as well4 ,they are simple rules deduced by those who have made a study of woman's lines and colouring1 and how to emphasise or modify them by dress4 ,temperaments are seriously considered by experts in this art1 for the carriage of a woman and her manner of wearing her clothes depends in part upon her temperament4 ,some women instinctively feel line and are graceful in consequence1 as we have said1 but where one is not born with this instinct1 it is possible to become so thoroughly schooled in the technique of controlling the physique--poise of the body1 carriage of the head1 movement of the limbs1 use of feet and hands1 that a sense of line is acquired4 ,study portraits by great masters1 the movements of those on the stage1 the carriage and positions natural to graceful women4 ,a graceful woman is invariably a woman highly sensitised1 but remember that alive to the finger tips--or toe tips1 may be true of the woman with few gestures1 a quiet voice and measured words1 as well as the intensely active type4 ,the highly sensitised woman is the one who will wear her clothes with individuality1 whether she be rounded or slender4 ,to dress well is an art1 and requires concentration as any other art does4 ,you know the old story of the boy1 who when asked why his necktie was always more neatly tied than those of his companions1 answered3 ,i put my whole mind on it4 ,there you have it6 ,the woman who puts her whole mind on the costuming of herself is naturally going to look better than the woman who does not1 and having carefully studied her type1 she will know her strong points and her weak ones1 and by accentuating the former1 draw attention from the latter4 ,there is a great difference1 however1 between concentrating on dress until an effect is achieved1 and then turning the mind to other subjects1 and that tiresome dawdling1 indefinite1 fruitless way1 to arrive at no convictions4 ,this variety of woman never gets dress off her chest4 ,the catechism of good dressing might be given in some such form as this3 ,are you fat8 ,if so1 never try to look thin by compressing your figure or confining your clothes in such a way as to clearly outline the figure4 ,take a chance from your size4 ,aim at long lines1 and what dressmakers call an easy fit1 and the use of solid colours4 ,stripes1 checks1 plaids1 spots and figures of any kind draw attention to dimensions2 a very fat woman looks larger if her surface is marked off into many spaces4 ,likewise a very thin woman looks thinner if her body on the imagination of the public subtracting is marked off into spaces absurdly few in number4 ,a beautifully proportioned and rounded figure is the one to indulge in striped1 checked1 spotted or flowered materials or any parti-coloured costumes4 99 99 99 99 99 ,never try to make a thin woman look anything but thin4 ,often by accentuating her thinness1 a woman can make an effect as type1 which gives her distinction4 ,if she were foolish enough to try to look fatter1 her lines would be lost without attaining the contour of the rounded type4 ,there are of course fashions in types2 pale ash blonds1 red-haired types 7auburn or golden red with shell pink complexions71 dark haired types with pale white skin1 etc41 and fashions in figures are as many and as fleeting4 ,artists are sometimes responsible for these vogues4 ,one hears of the ,rubens type1 or the ,sir ,joshua ,reynolds1 ,hauptner1 ,burne-,jones1 ,greuse1 ,henner1 ,zuloaga1 and others4 ,the artist selects the type and paints it1 the attention of the public is attracted to it and thereafter singles it out4 ,we may prefer soft1 round blonds with dimpled smiles1 but that does not mean that such indisputable loveliness can challenge the attractions of a slender serpentine tragedy-queen1 if the latter has established the vogue of her type through the medium of the stage or painter's brush4 ,a woman well known in the world of fashion both sides of the ,atlantic1 slender and very tall1 has at times deliberately increased that height with a small high-crowned hat1 surmounted by a still higher feather4 ,she attained distinction without becoming a caricature1 by reason of her obvious breeding and reserve4 ,here is an important point4 ,a woman of quiet and what we call conservative type1 can afford to wear conspicuous clothes if she wishes1 whereas a conspicuous type must be reserved in her dress4 ,by following this rule the overblown rose often makes herself beautiful4 ,study all types of woman4 ,beauty is a wonderful and precious thing1 and not so fleeting either as one is told4 ,the point is1 to take note1 not of beauty's departure1 but its gradually changing aspect1 and adapt costume1 line and colour1 to the demands of each year's alterations in the individual4 ,make the most of grey hair2 as you lose your colour1 soften your tones4 ,always star your points4 ,if you happen to have an unusual amount of hair1 make it count1 even though the fashion be to wear but little4 ,we recall the beautiful and unique ,madame ,x4 of ,paris1 blessed by the gods with hair like bronze1 heavy1 long1 silken and straight4 ,she wore it wrapped about her head and finally coiled into a ,french twist on the top1 the effect closely resembling an old ,roman helmet4 ,this was design1 not chance1 and her well-modeled features were the sort to stand the severe coiffure1 ,madame's husband1 always at her side that season on ,lake ,lucerne1 was curator of the ,louvre4 ,we often wondered whether the idea was his or hers4 ,she invariably wore white1 not a note of colour1 save her hair2 even her well-bred fox terrier was snowy white4 ,worth has given distinction to more than one woman by recognising her possibilities1 if kept to white1 black1 greys and mauves4 ,a beautiful ,englishwoman dressed by this establishment1 always a marked figure at whatever embassy her husband happens to be posted1 has never been seen wearing anything in the evening but black1 or white1 with very simple lines1 cut low and having a narrow train4 ,,plate ,,ii ,woman in ancient ,egyptian sculpture-relief about #ajjj ,b4,c4 ,we have here a husband and wife4 7,metropolitan ,museum47 ,illustration3 ,metropolitan ,museum of ,art ,woman in ,ancient ,egyptian ,sculpture-,relief ,it may take courage on the part of dressmaker1 as well as the woman in question1 but granted you have a distinct style of your own1 and understand it1 it is the part of wisdom to establish the habit of those lines and colours which are yours1 and then to avoid experiments with outre lines and shades4 ,they are almost sure to prove failures4 ,taking on a colour and its variants is an economic1 as well as an artistic measure4 ,some women have so systematised their costuming in order to be decorative1 at the least possible expenditure of vitality and time 7these are the women who dress to live1 not live to dress71 that they know at a glance1 if dress materials1 hats1 gloves1 jewels1 colour of stones and style of setting1 are for them4 ,it is really a joy to shop with this kind of woman4 ,she has definitely fixed in her mind the colours and lines of her rooms1 all her habitual settings1 and the clothes and accessories best for her4 ,and with the eye of an artist1 she passes swiftly by the most alluring bargains1 calculated to undermine firm resolution4 ,in fact one should not say that this woman shops2 she buys4 ,what is more1 she never wastes money1 though she may spend it lavishly4 ,some of the best dressed women 7by which we always mean women dressed fittingly for the occasion1 and with reference to their own particular types7 are those with decidedly limited incomes4 ,there are women who suggest chiffon and others brocade2 women who call for satin1 and others for silk2 women for sheer muslins1 and others for heavy linen weaves2 women for straight brims1 and others for those that droop2 women for leghorns1 and those they do not suit2 women for white furs1 and others for tawny shades4 ,a woman with red in her hair is the one to wear red fox4 ,if you cannot see for yourself what line and colour do to you1 surely you have some friend who can tell you4 ,in any case1 there is always the possibility of paying an expert for advice4 ,allow yourself to be guided in the reaching of some decision about yourself and your limitations1 as well as possibilities4 ,you will by this means increase your decorativeness1 and what is of more serious importance1 your economic value4 ,a marked example of woman decorative was seen on the recent occasion when ,miss ,isadora ,duncan danced at the ,metropolitan ,opera ,house1 for the benefit of ,french artists and their families1 victims of the present war4 ,miss ,duncan was herself so marvelous that afternoon1 as she poured her art1 aglow and vibrant with genius1 into the mould of one classic pose after another1 that most of her audience had little interest in any other personality1 or effect4 ,some of us1 however1 when scanning the house between the acts1 had our attention caught and held by a charmingly decorative woman occupying one of the boxes1 a quaint outline in silver-grey taffeta1 exactly matching the shade of the woman's hair1 which was cut in ,florentine fashion forming an aureole about her small head1--a becoming frame for her fine1 highly sensitive face4 ,the deep red curtains and upholstery in the box threw her into relief1 a lovely miniature1 as seen from a distance4 ,there were no doubt other charming costumes in the boxes and stalls that afternoon1 but none so successful in registering a distinct decorative effect4 ,the one we refer to was suitable1 becoming1 individual1 and reflected personality in a way to indicate an extraordinary sensitiveness to values1 that subtle instinct which makes the artist4 ,with very young women it is easy to be decorative under most conditions4 ,almost all of them are decorative1 as seen in our present fashions1 but to produce an effect in an opera box is to understand the carrying power of colour and line4 ,the woman in the opera box has the same problem to solve as the woman on the stage3 her costume must be effective at a distance4 ,such a costume may be white1 black and any colour2 gold1 silver1 steel or jet2 lace1 chiffon--what you will--provided the fact be kept in mind that your outline be striking and the colour an agreeable contrast against the lining of the box4 ,here1 outline is of chief importance1 the silhouette must be definite2 hair1 ornaments1 fan1 cut of gown1 calculated to register against the background4 ,in the stalls1 colour and outline of any single costume become a part of the mass of colour and black and white of the audience4 ,it is difficult to be a decorative factor under these conditions1 yet we can all recall women of every age1 who so costume themselves as to make an artistic1 memorable impression1 not only when entering opera1 theatre or concert hall1 but when seated4 ,these are the women who understand the value of elimination1 restraint1 colour harmony and that chic which results in part from faultless grooming4 ,to-day it is not enough to possess hair which curls ideally3 it must1 willy nilly1 curl conventionally6 ,if it is necessary1 prudent or wise that your purchases for each season include not more than six new gowns1 take the advice of an actress of international reputation1 who is famous for her good dressing in private life1 and make a point of adding one new gown to each of the six departments of your wardrobe4 ,then have the cleverness to appear in these costumes whenever on view1 making what you have fill in between times4 ,to be clear1 we would say1 try always to begin a season with one distinguished evening gown1 one smart tailor suit1 one charming house gown1 one tea gown1 one negligee and one sport suit4 ,if you are needing many dancing frocks1 which have hard wear1 get a simple1 becoming model1 which your little dressmaker1 seamstress or maid can copy in inexpensive but becoming colours4 ,you can do this in ,summer and ,winter alike1 and with dancing frocks1 tea gowns1 negligees and even sport suits4 ,that is1 if you have smart1 up-to-date models to copy4 ,one woman we know bought the finest quality jersey cloth by the yard1 and had a little dressmaker copy exactly a very expensive skirt and sweater4 ,it seems incredible1 but she saved on a ready made suit exactly like it forty dollars1 and on one made to measure by an exclusive house1 one hundred dollars6 ,remember1 however1 that there was an artist back of it all and someone had to pay for that perfect model1 to start with4 ,in the case we cite1 the woman had herself bought the original sport suit from an importer who is always in advance with ,paris models4 ,if you cannot buy the designs and workmanship of artists1 take advantage of all opportunities to see them2 hats and gowns shown at openings1 or when your richer friends are ordering4 ,in this way you will get ideas to make use of and you will avoid looking home-made1 than which1 no more damning phrase can be applied to any costume4 ,as a matter of fact it implies a hat or gown lacking an artist's touch and describes many a one turned out by long-established and largely patronised firms4 ,,plate ,,iii ,a ,greek vase4 ,dionysiac scenes about #dfj ,b4,c4 ,interesting costumes4 7,metropolitan ,museum47 ,illustration3 ,metropolitan ,museum of ,art ,woman on ,greek ,vase ,the only satisfactory copy of a ,fortuny tea gown we have ever seen accomplished away from the supervision of ,fortuny himself1 was the exquisite hand-work of a young ,american woman who lives in ,new ,york1 and makes her own gowns and hats1 because her interest and talent happen to be in that direction4 ,she told a group of friends the other day1 to whom she was showing a dainty chiffon gown1 posed on a form1 that to her1 the planning and making of a lovely costume had the same thrilling excitement that the painting of a picture had for the artist in the field of paint and canvas4 ,this same young woman has worked constantly since the ,european war began1 both in ,london and ,new ,york1 on the shapeless surgical shirts used by the wounded soldiers4 ,in this1 does she outrank her less accomplished sisters8 ,yes1 for the technique she has achieved by making her own costumes makes her swift and economical1 both in the cutting of her material and in the actual sewing and she is invaluable as a buyer of materials4 ,,chapter ,,ii ,,the ,,laws ,,underlying ,,all ,,costuming ,,of ,,woman ,that every costume is either right or wrong is not a matter of general knowledge4 ,it will do1 or ,it is near enough are verdicts responsible for beauty hidden and interest destroyed4 ,who has not witnessed the mad mental confusion of women and men put to it to decide upon costumes for some fancy-dress ball1 and the appalling ignorance displayed when1 at the costumer's1 they vaguely grope among battered-looking garments1 accepting those proffered1 not really knowing how the costume they ask for should look8 ,absurd mistakes in period costumes are to be taken more or less seriously according to temperament4 ,but where is the fair woman who will say that a failure to emerge from a dressmaker's hands in a successful costume is not a tragedy8 ,yet we know that the average woman1 more often than not1 stands stupefied before the infinite variety of materials and colours of our twentieth century1 and unless guided by an expert1 rarely presents the figure1 chez-elle1 or when on view in public places1 which she would or could1 if in possession of the few rules underlying all successful dressing1 whatever the century or circumstances4 ,six salient points are to be borne in mind when planning a costume1 whether for a fancy-dress ball or to be worn as one goes about one's daily life3 99 99 99 99 99 ,first1 appropriateness to occasion1 station and age2 ,second1 character of background you are to appear against 7your setting72 ,third1 what outline you wish to present to observers 7the period of costume72 ,fourth1 what materials of those in use during period selected you will choose2 ,fifth1 what colours of those characteristic of period you will use2 ,sixth1 the distinction between those details which are obvious contributions to the costume1 and those which are superfluous1 because meaningless or line-destroying4 99 99 99 99 99 ,let us remind our reader that the woman who dresses in perfect taste often spends far less money than she who has contracted the habit of indefiniteness as to what she wants1 what she should want1 and how to wear what she gets4 ,where one woman has used her mind and learned beyond all wavering what she can and what she cannot wear1 thousands fill the streets by day and places of amusement by night1 who blithely carry upon their persons costumes which hide their good points and accentuate their bad ones4 ,the rara avis among women is she who always presents a fashionable outline1 but so subtly adapted to her own type that the impression made is one of distinct individuality4 ,one knows very well how little the average costume counts in a theatre1 opera house or ball-room4 ,it is a question of background again4 ,also you will observe that the costume which counts most individually1 is the one in a key higher or lower than the average1 as with a voice in a crowded room4 ,the chief contribution of our day to the art of making woman decorative is the quality of appropriateness4 ,i refer of course to the woman who lives her life in the meshes of civilisation4 ,we have defined the smart woman as she who wears the costume best suited to each occasion when that occasion presents itself4 ,accepting this definition1 we must all agree that beyond question the smartest women1 as a nation1 are ,english women1 who are so fundamentally convinced as to the invincible law of appropriateness that from the cradle to the grave1 with them evening means an evening gown2 country clothes are suited to country uses and a tea-gown is not a bedroom negligee4 ,not even in ,rome can they be prevailed upon to do as the ,romans do4 ,apropos of this we recall an experience in ,scotland4 ,a house party had gathered for the shooting1--,english men and women4 ,among the guests were two ,americans2 done to a turn by ,redfern4 ,it really turned out to be a tragedy1 as they saw it1 for though their cloth skirts were short1 they were silk-lined2 outing shirts were of crepe--not flannel2 tan boots1 but thinly soled2 hats most chic1 but the sort that drooped in a mist4 ,well1 those two ,american girls had to choose between long days alone1 while the rest tramped the moors1 or to being togged out in borrowed tweeds1 flannel shirts and thick-soled boots4 ,,plate ,,iv ,greek ,kylix4 ,signed by ,hieron1 about #djj ,b4,c4 ,athenian4 ,the woman wears one of the gowns ,fortuny 7,paris7 has reproduced as a modern tea gown4 ,it is in two pieces4 ,the characteristic short tunic reaches just below waist line in front and hangs in long1 fine pleats 7sometimes cascaded folds7 under the arms1 the ends of which reach below knees4 ,the material is not cut to form sleeves2 instead two oblong pieces of material are held together by small fastenings at short intervals1 showing upper arm through intervening spaces4 ,the result in appearance is similar to a kimono sleeve4 7,metropolitan ,museum47 ,illustration3 ,metropolitan ,museum of ,art ,woman in ,greek ,art about #djj ,b4,c4 ,that was some years back4 ,we are a match for ,england to-day1 in the open1 but have a long way to go before we wear with equal conviction1 and therefore easy grace1 tea-gown and evening dress4 ,both how and when still annoy us as a nation4 ,on the street we are supreme when tailleur4 ,in carriage attire the ,french woman is supreme1 by reason of that innate ,latin coquetry which makes her feel line and its significance4 ,the ideal pose for any hat is a ,french secret4 ,the average woman is partially aware that if she would be a decorative being1 she must grasp conclusively two points3 first1 the limitations of her natural outline2 secondly1 a knowledge of how nearly she can approach the outline demanded by fashion without appearing a caricature1 which is another way of saying that each woman should learn to recognise her own type4 ,the discussion of silhouette has become a popular theme4 ,in fact it would be difficult to find a maker of women's costumes so remote and unread as not to have seized and imbedded deep in her vocabulary that mystic word4 ,to make our points clear1 constant reference to the stage is necessary2 for from stage effects we are one and all free to enjoy and learn4 ,nowhere else can the woman see so clearly presented the value of having what she wears harmonise with the room she wears it in1 and the occasion for which it is worn4 ,not all plays depicting contemporary life are plays of social life1 staged and costumed in a chic manner4 ,what is taught by the modern stage1 as shown by ,bakst1 ,reinhardt1 ,barker1 ,urban1 ,jones1 the ,portmanteau ,theatre and ,washington ,square ,players1 is values1 as the artist uses the term--not fashions2 the relative importance of background1 outline1 colour1 texture of material and how to produce harmonious effects by the judicious combination of furnishings and costumes4 ,to-day1 when we want to say that a costume or the interior decoration of a house is the last word in modern line and colour1 we are apt to call it a la ,bakst1 meaning of course ,leon ,bakst1 whose ,american poster was the ,russian ,ballet4 ,if you have not done so already1 buy or borrow the wonderful ,bakst book1 showing reproductions in their colours of his extraordinary drawings1 the originals of which are owned by private individuals or museums1 in ,paris1 ,petrograd1 ,london1 and ,new ,york4 ,they are outre to a degree1 yet each one suggests the whole or parts of costumes for modern woman--adorable lines1 unbelievable combinations of colour6 ,no wonder ,poiret1 the ,paris dressmaker1 seized upon ,bakst as designer 7or was it ,bakst who seized upon ,poiret874 ,bakst got his inspiration in the ,orient4 ,as a bit of proof1 for your own satisfaction1 there is a book entitled ,six ,monuments of ,chinese ,sculpture1 by ,edward ,chauvannes1 published in #aiad1 by ,g4 ,van ,oest ,cie41 of ,brussels and ,paris4 ,the author1 with a highly commendable desire to perpetuate for students a record of the most ancient speciments of ,chinese sculpture1 brought to ,paris and sold there1 from time to time1 to art-collectors1 from all over the world2 selected six fine speciments as theme of text and for illustrations4 ,plate #bc in this collection shows a woman whose costume in outline might have been taken from ,bakst or even ,vogue4 ,but put it the other way round3 the ,vogue artist to-day--we use the word as a generic term--finds inspiration through museums and such works as the above4 ,this is particularly true as our little handbook goes into print1 for the reason that the great war between the ,central ,powers and the ,entente has to a certain extent checked the invention and material output of ,europe1 and driven designers of and dealers in costumes for women1 to ,china and ,japan4 ,our great-great-grandmothers here in ,america wore ,paris fashions shown on the imported fashion dolls and made up in brocades from ,china1 by the ,colonial mantua makers4 ,so we are but repeating history4 ,to-day1 war1 which means horror1 ugliness1 loss of ideals and illusions1 holds most of the world in its grasp1 and we find creative artists--apostles of the ,beautiful1 seeking the ,orient because it is remote from the great world struggle4 ,we hear that ,edmund ,dulac 7who has shown in a superlative manner1 woman decorative1 when illustrating the ,arabian ,nights and other well-known books71 is planning a flight to the ,orient4 ,he says that he longs to bury himself far from carnage1 in the hope of wooing back his muse4 ,if this subject of background1 line and colour1 in relation to costuming of woman1 interests you1 there are many ways of getting valuable points4 ,one of them1 as we have said1 is to walk through galleries looking at pictures only as decorations2 that is1 colour and line against the painter's background4 ,fashions change1 in dress1 arrangement of hair1 jewels1 etc41 but this does not affect values4 ,it is la ligne1 the grand gesture1 or line fraught with meaning and balance and harmony of colour4 ,the reader knows the colour scheme of her own rooms and the character of gowns she is planning1 and for suggestions as to interesting colour against colour1 she can have no higher authority than the experience of recognised painters4 ,some develop rapidly in this study of values4 ,if your rooms are so-called period rooms1 you need not of necessity dress in period costumes1 but what is extremely important1 if you would not spoil your period room1 nor fail to be a decorative contribution when in it1 is that you make a point of having the colour and texture of your house gowns in the same key as the hangings and upholstery of your room4 ,white is safe in any room1 black is at times too strong4 ,it depends in part upon the size of your room4 ,if it is small and in soft tones1 delicate harmonising shades will not obtrude themselves as black can and so reduce the effect of space4 ,this is the case not only with black1 but with emerald green1 decided shades of red1 royal blue1 and purple or deep yellows4 ,if artistic creations1 these colours are all decorative in a room done in light tones1 provided the room is large4 ,a ,louis ,,xvi salon is far more beautiful if the costumes are kept in ,louis ,,xvi colouring and all details1 such as lace1 jewelry1 fans1 etc41 kept strictly within the picture2 fine in design1 delicate in colouring1 workmanship and quality of material4 ,beyond these points one may follow the outline demanded by the fashion of the moment1 if desired4 ,but remember that a beautiful1 interesting room1 furnished with works of art1 demands a beautiful1 interesting costume1 if the woman in question would sustain the impression made by her rooms1 to the arranging of which she has given thought1 time and vitality1 to say nothing of financial outlay2 she must take her own decorative appearance seriously4 ,,plate ,v ,example of the pointed head-dress1 carefully concealed hair 7in certain countries at certain periods of history1 a sign of modesty71 round necklace and very long close sleeves characteristic of fourteenth and fifteenth centuries4 ,observe angle at which head-dress is worn4 ,illustration3 ,metropolitan ,museum of ,art ,woman in ,gothic ,art ,portrait showing pointed head-dress ,the writer has passed wonderful hours examining rare illuminated manuscripts of the ,middle ,ages 7twelfth1 thirteenth1 fourteenth and fifteenth centuries71 missals1 ,hours of the ,virgin1 and ,breviaries1 for the sole purpose of studying woman's costumes1--their colour1 line and details1 as depicted by the old artists4 ,gothic costumes in ,gothic interiors1 and ,early ,renaissance costumes in ,renaissance interiors4 ,the art of moderns in various media1 has taken from these creations of mediaeval genius1 more than is generally realized4 ,we were looking at a rare illuminated ,gothic manuscript recently1 from which ,william ,morris drew inspirations and ideas for the books he made4 ,it is a monumental achievement of the twelfth century1 a mass book1 written and illuminated in ,flanders2 at one time in the possession of a ,cistercian monastery1 but now one of the treasures in the noted private collection made by the late ,j4 ,pierpont ,morgan4 ,the pages are of vellum and the illuminations show the figures of saints in jewel-like colours on backgrounds of pure gold leaf4 ,the binding of this book1--sides of wood1 held together by heavy white vellum1 hand-tooled with clasps of thin silver1 is the work of ,morris himself and very characteristic of his manner4 ,he patterned his hand-made books after these great models1 just as he worked years to duplicate some wonderful old piece of furniture1 realising so well the magic which lies in consecrated labour1 that labour which takes no account of time1 nor pay1 but is led on by the vision of perfection possessing the artist's soul4 ,we know women who have copied the line1 colour and material of costumes depicted in ,gothic illuminations that they might be in harmony with their own ,gothic rooms4 ,one woman familiar with this art1 has planned a frankly modern room1 covering her walls with gold ,japanese fibre1 gilding her woodwork and doors1 using the brilliant blues1 purples and greens of the old illuminations in her hangings1 upholstery and cushions1 and as a striking contribution to the decorative scheme1 costumes herself in white1 some soft1 clinging material such as crepe de chine1 liberty satin or chiffon velvet1 which take the mediaeval lines1 in long folds4 ,she wears a silver girdle formed of the hand-made clasps of old religious books1 and her rings1 neck chains and earrings are all of hand-wrought silver1 with precious stones cut in the ancient way and irregularly set4 ,this woman got her idea of the effectiveness of white against gold from an ancient missal in a famous private collection1 which shows the saints all clad in marvellous white against gold leaf4 ,whistler's house at #b ,cheyne ,road1 ,london1 had a room the dado and doors of which were done in gold1 on which he and two of his pupils painted the scattered petals of white and pink chrysanthemums4 ,possibly a ,persian or ,japanese effect1 as ,whistler leaned that way1 but one sees the same idea in an illumination of the early sixteenth century2 ,hours of the ,virgin and ,breviary1 made for ,eleanor of ,portugal1 ,queen of ,john ,,ii4 ,the decorations here are in the style of the ,renaissance1 not ,gothic1 and some think ,memling had a hand in the work4 ,the borders of the illumination1 characteristic of the ,bruges ,school1 are gold leaf on which is painted1 in the most realistic way1 an immense variety of single flowers1 small roses1 pansies1 violets1 daisies1 etc41 and among them butterflies and insects4 ,this border surrounds the pictures which illustrate the text4 ,always the marvellous colour1 the astounding skill in laying it on to the vellum pages1 an unforgettable lesson in the possibility of colour applied effectively to costumes1 when background is kept in mind4 ,this ,breviary was bound in green velvet and clasped with hand-wrought silver1 for ,cardinal ,rodrigue de ,castro 7#aebj-afjj7 of ,spain4 ,it is now in the private collection of ,mr4 ,morgan4 ,the cover alone gives one great emotion1 genuine ancient velvet of the sixteenth century1 to imitate which taxes the ingenuity of the most skilful of modern manufacturers4 ,,chapter ,,iii ,,how ,,to ,,dress ,,your ,,type ,a ,few ,points ,applying to ,all ,costumes ,needless to say1 when considering woman's costumes1 for ordinary use1 in their relation to background1 unless some chameleon-like material be invented to take on the colour of any background1 one must be content with the consideration of one's own rooms1 porches1 garden1 opera-box or automobile1 etc4 ,for a gown to be worn when away from home1 when lunching1 at receptions or dinners1 the first consideration must be becomingness1--a careful selection of line and colour that bring out the individuality of the wearer4 ,when away from one's own setting1 personality is one of the chief assets of every woman4 ,remember1 individuality is nature's gift to each human being4 ,some are more markedly different than others1 but we have all seen a so-called colourless woman transformed into surprising loveliness when dressed by an artist's instinct4 ,a delicate type of blond1 with fair hair1 quiet eyes and faint shell-pink complexion1 can be snuffed out by too strong colours4 ,remember that your ethereal blond is invariably at her best in white1 black 7never white and black in combination unless black with soft white collars and frills7 and delicate pastel shades4 ,,plate ,,vi ,fifteenth-century costume4 ,virgin and ,child in painted terra-cotta4 ,it is by ,andrea ,verrocchio1 and now in ,metropolitan ,museum4 ,we have here an illustration of the costume1 so often shown on the person of the ,virgin in the art of the ,middle ,ages4 ,illustration3 ,metropolitan ,museum of ,art ,woman in ,art of the ,renaissance ,sculpture-,relief in ,terra-,cotta3 ,the ,virgin ,the richly-toned brunette comes into her own in reds1 yellows and low-tones of strong blue4 ,colourless jewels should adorn your perfect blond1 colourful gems your glowing brunette4 ,what of those betwixt and between8 ,in such cases let complexion and colour of eyes act as guide in the choice of colours4 ,one is familiar with various trite rules such as match the eyes1 carry out the general scheme of your colouring1 by which is meant1 if you are a yellow blond1 go in for yellows1 if your hair is ash-brown1 your eyes but a shade deeper1 and your skin inclined to be lifeless in tone1 wear beaver browns and content yourself with making a record in harmony1 with no contrasting note4 ,just here let us say that the woman in question must at the very outset decide whether she would look pretty or chic1 sacrificing the one for the other1 or if she insists upon both1 carefully arrange a compromise4 ,as for example1 combine a semi-picture hat with a semi-tailored dress4 ,the strictly chic woman of our day goes in for appropriateness2 the lines of the latest fashion1 but adapted to bring out her own best points1 while concealing her bad ones1 and an insistance upon a colour and a shade of colour1 sufficiently definite to impress the beholder at a glance4 ,this type of woman as a rule keeps to a few colours1 possibly one or two and their varieties1 and prefers gowns of one material rather than combinations of materials4 ,though she possess both style and beauty1 she elects to emphasise style4 ,in the case of the other woman1 who would star her face at the expense of her tout ensemble1 colour is her first consideration1 multiplication of detail and intelligent expressing of herself in her mise-en-scene4 ,seduisant1 instead of chic is the word for this woman4 ,your black-haired woman with white skin and dark1 brilliant eyes1 is the one who can best wear emerald green and other strong colours4 ,the now fashionable mustard1 sage green1 and bright magentas are also the affaire of this woman with clear skin1 brilliant colour and sparkling eyes4 ,these same colours1 if subdued1 are lovely on the middle-aged woman with black hair1 quiet eyes and pale complexion1 but if her hair is grey or white1 mustard and sage green are not for her1 and the magenta must be the deep purplish sort1 which combines with her violets and mauves1 or delicate pinks and faded blues4 ,she will be at her best in shades of grey which tone with her hair4 ,,chapter ,,iv ,,the ,,psychology ,,of ,,clothes ,has the reader ever observed the effect of clothes upon manners8 ,it is amazing1 and only proves how pathetically childlike human nature is4 ,put any woman into a ,marie ,antoinette costume and see how1 during an evening she will gradually take on the mannerisms of that time4 ,this very point was brought up recently in conversation with an artist1 who in referring to one of the most successful costume balls ever given in ,new ,york--the crinoline ball at the old ,astor ,house--spoke of how our unromantic ,wall ,street men fell to the spell of stocks1 ruffled shirts and knickerbockers1 and as the evening advanced1 were quite themselves in the minuette and polka1 bowing low in solemn rigidity1 leading their lady with high arched arm1 grasping her pinched-in waist1 and swinging her beruffled1 crinolined form in quite the #ahfj manner4 ,some women1 even girls of tender years1 have a natural instinct for costuming themselves1 so that they contribute in a decorative way to any setting which chance makes theirs4 ,watch children dressing up and see how among a large number1 perhaps not more than one of them will have this gift for effects4 ,it will be she who knows at a glance which of the available odds and ends she wants for herself1 and with a sure1 swift hand will wrap a bright shawl about her1 tie a flaming bit of silk about her dark head1 and with an assumed manner1 born of her garb1 cast a magic spell over the small band which she leads on1 to that which1 without her intense conviction and their susceptibility to her mental attitude toward the masquerade1 could never be done4 ,this illustrates the point we would make as to the effect of clothes upon psychology4 ,the actor's costume affects the real actor's psychology as much or more than it does that of his audience4 ,he is the man he has made himself appear4 ,the writer had the experience of seeing a well-known opera singer1 when a victim to a bad case of the grippe1 leave her hotel voiceless1 facing a matinee of ,juliet4 ,arrived in her dressing-room at the opera1 she proceeded to change into the costume for the first act4 ,under the spell of her role1 that prima donna seemed literally to shed her malady with her ordinary garments1 and to take on health and vitality with her ,juliet robes4 ,even in the ,waltz song her voice did not betray her1 and apparently no critic detected that she was indisposed4 ,in speaking of periods in furniture1 we said that their story was one of waves of types which repeated themselves1 reflecting the ages in which they prevailed4 ,with clothes we find it is the same thing3 the scarlet1 and silver and gold of the early ,jacobeans1 is followed by the drabs and greys of the ,commonwealth2 the marvellous colour of the ,church1 where ,beauty was enthroned1 was stamped out by the iron will of ,cromwell who1 in setting up his standard of revolt1 wrapped soul and body of the new ,faith in penal shades4 ,new ,england was conceived in this spirit and as mind had affected the colour of the ,puritans' clothes1 so in turn the drab clothes1 prescribed by their new creed1 helped to remove colour from the ,new ,england mind and nature4 ,,plate ,,vii ,fifteenth-century costumes on the ,holy ,women at the ,tomb of our ,lord4 ,the sculpture relief is enamelled terra-cotta in white1 blue1 green1 yellow and manganese colours4 ,it bears the date #adhg4 ,note character of head-dresses1 arrangement of hair1 capes and gowns which are ,early ,renaissance4 7,metropolitan ,museum47 ,illustration3 ,metropolitan ,museum of ,art ,woman in ,art of the ,renaissance ,sculpture-,relief in ,terra-,cotta3 ,holy ,women ,but observe how1 as prosperity follows privation1 the mind expands1 reaching out for what the changed psychology demands4 ,it is the old story of ,rome grown rich and gay in mood and dress4 ,there were of course1 villains in ,puritan drab and ,grecian white1 but the child in every man takes symbol for fact4 ,so it is that to-day1 some shudder with the belief that ,beauty1 re-enthroned in all her gorgeous modern hues1 means near disaster4 ,the progressives claim that into the world has come a new hope2 that beneath our lovely clothes of rainbow tints1 and within our homes where ,beauty surely reigns1 a new psychology is born to radiate colour from within4 ,our advice to the woman not born with clothes sense1 is3 employ experts until you acquire a mental picture of your possibilities and limitations1 or buy as you can afford to1 good ,french models1 under expert supervision4 ,you may never turn out to be an artist in the treatment of your appearance1 instinctively knowing how a prevailing fashion in line and colour may be adapted to you1 but you can be taught what your own type is1 what your strong points are1 your weak ones1 and how1 while accentuating the former1 you may obliterate the latter4 ,there are two types of women familiar to all of us3 the one gains in vital charm and abandon of spirit from the consciousness that she is faultlessly gowned2 the other succumbs to self-consciousness and is pitifully unable to extricate her mood from her material trappings4 ,for the darling of the gods who walks through life on clouds1 head up and spirit-free1 who knows she is perfectly turned out and lets it go at that1 we have only grateful applause4 ,she it is who carries every occasion she graces--indoors1 out-of-doors1 at home1 abroad4 ,may her kind be multiplied6 ,but to the other type1 she who droops under her silks and gold tissue1 whose pearls are chains indeed1 we would throw out a lifeline4 ,submerged by clothes1 the more she struggles to rise above them the more her spirit flags4 ,the case is this3 the woman's mind is wrong2 her clothes are right--lovely as ever seen2 her jewels gems2 her house and car and dog the best4 ,it is her mind that is wrong2 it is turned in1 instead of out4 ,now this intense and soul-1 as well as line-destroying self-consciousness1 may be prenatal1 and it may result from the ,puritan attitude toward beauty2 that old ,new ,england point of view that the beautiful and the vicious are akin4 ,every young child needs to have cultivated a certain degree of self-reliance4 ,to know that one's appearance is pleasing1 to put it mildly1 is of inestimable value when it comes to meeting the world4 ,every child1 if normal1 has its good points--hair1 eyes1 teeth1 complexion or figure2 and we all know that many a stage beauty has been built up on even two of these attributes4 ,star your good points1 clothes will help you4 ,be a winner in your own setting1 but avoid the fatal error of damning your clothes by the spirit within you4 ,the writer has in mind a woman of distinguished appearance1 beauty1 great wealth1 few cares1 wonderful clothes and jewels1 palatial homes2 and yet an envious unrest poisons her soul4 ,she would look differently1 be different and has not the wisdom to shake off her fetters4 ,her perfect dressing helps this woman2 you would not be conscious of her otherwise1 but with her natural equipment1 granted that she concentrated upon flashing her spirit instead of her wealth1 she would be a leader in a fine sense4 ,the ,beauty ,doctor can do much1 but show us one who can put a gleam in the eye1 tighten the grasp1 teach one that ineffable grace which enables woman1 young or old1 to wear her clothes as if an integral part of herself4 ,this quality belongs to the woman who knows1 though she may not have thought it out1 that clothes can make one a success1 but not a success in the enduring sense4 ,dress is a tyrant if you take it as your god1 but on the other hand dress becomes a magician's wand when dominated by a clever brain4 ,gown yourself as beautifully as you can afford1 but with judgment4 ,what we do1 and how we do it1 is often seriously and strangely affected by what we have on4 ,the writer has in mind a literary woman who says she can never talk business except in a linen collar6 ,mark ,twain1 in his last days1 insisted that he wrote more easily in his night-shirt4 ,richard ,wagner deliberately put on certain rich materials in colours and hung his room with them when composing the music of ,the ,ring4 ,chopin says in a letter to a friend3 ,after working at the piano all day1 ,i find that nothing rests me so much as to get into the evening dress which ,i wear on formal occasions4 ,in monarchies based on militarism1 royal princes1 as soon as they can walk1 are put into military uniforms4 ,it cultivates in them the desired military spirit4 ,we all associate certain duties with certain costumes1 and the extraordinary response to colour is familiar to all4 ,we talk about feeling colour and say that we can or cannot live in green1 blue1 violet or red4 ,it is well to follow this colour instinct in clothes as well as in furnishing4 ,you will find you are at your best in the colours and lines most sympathetic to you4 ,we know a woman who is an unusual beauty and has distinction1 in fact is noted for her chic when in white1 black or the combination4 ,she once ventured a cerise hat and instantly dropped to the ranks of the commonplace4 ,fine eyes1 hair1 skin1 teeth1 colour and carriage were still hers1 but her effectiveness was lessened as that of a pearl might be if set in a coral circle4 ,,chapter ,v ,,establish ,,habits ,,of ,,carriage ,,which ,,create ,,good ,,line ,woman's line is the result of her costume1 in part only4 ,far more is woman's costume affected by her line4 ,by this we mean the line she habitually falls into1 the pose of torso1 the line of her legs in action1 and when seated1 her arms and hands in repose and gesture1 the poise of her head4 ,it is woman's line resulting from her habit of mind and the control which her mind has over her body1 a thing quite apart from the way ,god made her1 and the expression her body would have had if left to itself1 ungoverned by a mind stocked with observations1 conventions1 experience and attitudes4 ,we call this the physical expression of woman's personality2 this personality moulds her bodily lines and if properly directed determines the character of the clothes she wears2 determines also whether she be a decorative object which says something in line and colour1 or an undecorative object which says nothing4 ,,plate ,,viii ,queen ,elizabeth in the absurdly elaborate costume of the late ,renaissance4 ,then crinoline1 gaudy materials1 and ornamentations without meaning reached their high-water mark in the costuming of women4 ,illustration3 ,metropolitan ,museum of ,art ,tudor ,england ,portrait of ,queen ,elizabeth ,woman to be decorative1 should train the carriage of her body from childhood1 by wearing appropriate clothing for various daily roles4 ,there is more in this than at first appears4 ,the criticism by foreigners that ,americans1 both men and women1 never appear really at home in evening clothes1 that they look as if they felt dressed1 is true of the average man and woman of our country and results from the lax standards of a new and composite social structure4 ,america as a whole1 lacks traditions and still embodies the pioneer spirit1 equally characteristic of ,australia and other offshoots from the old world4 ,the little ,american girl who is brought up from babyhood to change for the evening1 even though she have a nursery tea1 and be allowed only a brief good-night visit to the grown-ups1 is still the exception rather than the rule4 ,a wee ,english maiden we know1 created a good deal of amused comment because1 on several occasions1 when passing rainy afternoons indoors1 with some affluent little ,new ,york friends1 whose luxurious nurseries and marvellous mechanical toys were a delight1 always insisted upon returning home1--a block distant1--to change into white before partaking of milk toast and jam1 at the nursery table1 the ,american children keeping on their pink and blue linens of the afternoon4 ,the fact of white or pink is unimportant1 but our point is made when we have said that the mother of the ,american children constantly remarked on the unconscious grace of the ,english tot1 whether in her white muslin and pink ribbons1 her riding clothes1 or accordion-plaited dancing frock4 ,the ,english woman-child was acquiring decorative lines by wearing the correct costume for each occasion1 as naturally as a bird wears its feathers4 ,this is one way of obviating self-consciousness4 ,the ,eton boy masters his stick and topper in the same way1 when young1 and so more easily passes through the formless stage conspicuous in the ,american youth4 ,call it technique1 or call it efficiency1 the object of our modern life is to excel1 to be the best of our kind1 and appropriate dress is a means to that end1 for it helps to liberate the spirit4 ,we of to-day make no claim to consistency or logic4 ,some of us wear too high heels1 even with strictly tailored suits1 which demand in the name of consistency a sensible shoe4 ,also our sensible skirt may be far too narrow for comfort4 ,but on the whole1 women have made great strides in the matter of costuming with a view to appropriateness and efficiency4 ,,chapter ,,vi ,,colour ,,in ,,woman',s ,,costume ,colour is the hall-mark of our day1 and woman decoratively costumed1 and as decorator1 will be largely responsible for recording this age as one of distinct importance--a transition period in decoration4 ,colour is the most marked expression of the spirit of the times2 colour in woman's clothes2 colour in house furnishing2 colour on the stage and in its setting2 colour in prose and verse4 ,speaking of colour in verse1 ,rudyard ,kipling says 7we quote from an editorial in the ,philadelphia ,public ,ledger1 ,jan4 #g1 #aiag73 ,several songs written by ,tommy and the ,poilu at the front1 celebrate the glories of camp life in such vivid colors they could not be reproduced in cold1 black1 leaden type4 ,it is no mere chance1 this use of vivid colour4 ,man's psychology to-day craves it4 ,a revolution is on4 ,did not the strong red1 green1 and blue of ,napoleon's time follow the delicate sky-blues1 rose and sunset-yellows of the ,louis8 ,colour pulses on every side1 strong1 clean1 clear rainbow colour1 as if our magicians of brush and dye-pot held a prism to the sun-beam2 violet1 orange and green1 magentas and strong blue against backgrounds of black and cold grey4 ,we had come to think of colour as vice and had grown so conservative in its use1 that it had all but disappeared from our persons1 our homes1 our gardens1 our music and our literature4 ,more than this1 from our point of view6 ,the reaction was bound to come by reason of eternal precedent4 ,half-tones1 antique effects1 and general monotony1--the material expression of complacent minds1 has been cast aside1 and the blase man of ten years ago is as keen as any child with his first linen picture book1--and for the same reason4 ,colour1 as we see it to-day1 came out of the ,east via ,persia4 ,bakst in ,russia translated it into terms of art1 and made the ,ballet ,russe an amazing1 enthralling vision6 ,then ,poiret1 wizard among ,french couturieres1 assisted by ,bakst1 adapted this ,oriental colour and line to woman's uses in private life4 ,this supplemented the good work of le ,gazette du ,bon ,ton of ,paris1 that effete fashion sheet1 devoted to the decoration of woman1 whose staff included many of the most gifted ,french artists1 masters of brush and pen4 ,always irregular1 no issue of the ,bon ,ton has appeared of late4 ,it is held up by the war4 ,the men who made it so fascinating a guide to woman who would be decorative1 are at the front1 painting scenery for the battlefield--literally that3 making mock trees and rocks1 grass and hedges and earth1 to mislead the fire of the enemy1 and doubtless the kindred ,munich art has been diverted into similar channels4 ,this ,oriental colour has made its way across ,europe like some gorgeous bird of the tropics1 and since the war has checked the output of ,europe's factories1 another channel has supplied the same wonderful colours in silks and gauze4 ,they come to us by way of the ,pacific1 from ,china and from ,japan4 ,there is no escaping the colour spell4 ,writers from the front tell us that it is as if the gods made sport with fate's anvil1 for even the blackened dome of the war zone is lurid by night1 with sparks of purple1 red1 green1 yellow and blue2 the flare of the world-destroying projectiles4 ,,plate ,,ix ,a ,velasquez portrait of the ,renaissance1 when the human form counted only as a rack on which was heaped crinoline and stiff brocades and chains and gems and wigs and every manner of elaborate adornment1 making mountains of poor tottering human forms1 all but lost beneath4 ,illustration3 ,vienna ,hofmuseum ,spain-,velasquez ,portrait ,the present costuming of woman1 when she treats herself as decoration1 owes much to the prophets of the new theatre and their colour scale4 ,these men have demonstrated1 in an unforgettable manner1 the value of colour2 the dependence of every decorative object upon background2 shown how fraught with meaning can be an uncompromising outline1 and the suggestiveness of really significant detail4 ,bakst1 ,rheinhardt and ,granville ,barker have taught us the new colour vocabulary4 ,gordon ,craig was perhaps the first to show us the stage made suggestive by insisting on the importance of clever lighting to produce atmosphere and elimination of unessential objects1 the argument of his school being that the too detailed reproducing of ,nature 7on the stage7 acts as a check to the imagination1 whereas by the judicious selection of harmonics1 the imagination is stimulated to its utmost creative capacity4 ,one detects this creed to-day in certain styles of home decoration 7woman's background71 as well as in woman's costumes4 ,portable ,backgrounds ,the staging of a recent play showed more plainly than any words1 the importance of background4 ,in one of the scenes1 beautiful1 artistic gowns in delicate shades were set off by a room with wonderful green walls and woodwork 7mignonette74 ,now1 so long as the characters moved about the room1 they were thrown into relief most charmingly1 but the moment the women seated themselves on a very light coloured and characterless chintz sofa1 they lost their decorative value4 ,it was lacking in harmony and contrast4 ,the two black sofa cushions intended possibly to serve as background1 being small1 instantly disappeared behind the seated women4 ,a sofa of contrasting colour1 or black1 would have looked better in the room1 and served as immediate background for gowns4 ,it might have been covered in dark chintz1 a silk damask in one or several tones1 or a solid colour1 since the gowns were of delicate indefinite shades4 ,one of the sofas did have a dark ,chinese coat thrown over the back1 with the intent1 no doubt1 of serving as effective background1 but the point seemed to escape the daintily gowned young woman who poured tea1 for she failed to take advantage of it1 occupying the opposite end of the sofa4 ,a modern addition to a woman's toilet is a large square of chiffon1 edged with narrow metal or crystal fringe1 or a gold or silver flexible cord4 ,this scarf is always in beguiling contrast to the costume1 and when not being worn1 is thrown over the chair or end of sofa against which our lady reclines4 ,to a certain degree1 this portable background makes a woman decorative when the wrong colour on a chair might convert her lovely gown into an eyesore4 ,one woman we know1 who has an ,empire room1 admires the lines of her sofa as furniture1 but feels it ineffective unless one reclines a la ,mme4 ,recamier4 ,to obviate this difficulty1 she has had made a square 7one and a half yards71 of lovely soft mauve silk damask1 lined with satin charmeuse of the same shade1 and weighted by long1 heavy tassels1 at the corners2 this she throws over the ,empire roll and a part of the seat1 which are done in antique green velvet4 ,now the woman seated for conversation with arm and elbow resting on the head1 looks at ease1--a part of the composition4 ,the square of soft1 lined silk serves at other times as a couvrepied4 ,,chapter ,,vii ,,footwear ,footwear points the costume2 every child should be taught this4 ,give most careful attention to your extremities1--shoes1 gloves and hats4 ,the genius of fashion's greatest artist counts for naught if his costume may not include hat1 gloves1 shoes1 and we would add1 umbrella1 parasol1 stick1 fan1 jewels2 in fact every detail4 ,if you have the good sense to go to one who deservedly ranks as an authority on line and colour in woman's costume1 have also the wisdom to get from this man or woman not merely your raiment2 go farther1 and grasp as far as you are able the principles underlying his or her creations4 ,common sense tells one that there must be principles which underlie the planning of every hat and gown1--serious reasons why certain lines1 colours and details are employed4 ,principles have evolved and clarified themselves in the long journey which textiles1 colours and lines have made1 travelling down through the ages4 ,a great cathedral1 a beautiful house1 a perfect piece of furniture1 a portrait by a master1 sculpture which is an object of art1 a costume proclaimed as a success2 all are the results of knowing and following laws4 ,the clever woman of slender means may rival her friends with munition incomes1 if only she will go to an expert with open mind1 and through the thoughtful purchase of a completed costume1--hat1 gown and all accessories1--learn an artist-modiste's point of view4 ,then1 and we would put it in italics2 take seriously1 with conviction1 all his or her instructions as to the way to wear your clothes4 ,anyone can buy costumes1 many can1 perhaps own far more than you1 but it is quite possible that no one can more surely be a picture--a delightfully decorative object on every occasion1 than you1 who knows instinctively 7or has been taught71 beyond all shadow of doubt1 how to put on and then how to sit or walk in1 your one tailored suit1 your one tea gown1 your one sport suit or ball gown4 ,,plate ,x ,an ideal example of the typical costume of fashionable ,england in the eighteenth century1 when picturesqueness1 not appropriateness1 was the demand of the times4 ,this picture is known as ,,the ,,morning ,,promenade3 ,,squire ,,hallet ,,with ,,his ,,lady4 ,painted by ,thomas ,gainsborough and now in the private collection of ,lord ,rothschild1 ,london4 ,illustration3 ,courtesy of ,braun ,co41 ,new ,york1 ,london ,paris ,eighteenth ,century ,england ,portrait by ,thomas ,gainsborough ,if you want to wear light spats1 stop and think whether your heavy ankles will not look more trim in boots with light1 glove-fitting tops and black vamps4 ,we have seen women with such slender ankles and shapely insteps1 that white slippers or low shoes might be worn with black or coloured stockings4 ,but it is playing safe to have your stockings match your slippers or shoes4 ,buckles and bows on slippers and pumps can destroy the line of a shoe and hence a foot1 or continue and accentuate line4 ,there are fashions in buckles and bows1 but unless you bend the fashion until it allows nature's work to appear at its best1 it will destroy artistic intention4 ,some people buy footwear as they buy fruit2 they like what they see1 so they get it6 ,you know so many women1 young and old1 who do this1 that our advice is1 try to recall those who do not4 ,yes1 now you see what we aim at2 the women you have in mind always continue the line of their gowns with their feet4 ,you can see with your mind's eye how the slender black satin slippers1 one of which always protrudes from the black evening gown1 carry to its eloquent finish the line from her head through torso1 hip to knee1 and knee down through instep to toe1--a line so frequently obstructed by senseless trimmings1 lineless hats1 and footwear wrong in colour and line4 ,if your gown is white and your object to create line1 can you see how you defeat your purpose by wearing anything but white slippers or shoes8 ,at a recent dinner one of the young women who had sufficient good taste to wear an exquisite gown of silk and silver gauze1 showing a pale magenta ground with silver roses1 continued the colour scheme of her designer with silver slippers1 tapering as ,cinderella's1 but spoiled the picture she might have made by breaking her line and enlarging her ankles and instep with magenta stockings4 ,this could have been avoided by the use of silver stockings or magenta slippers with magenta stockings4 ,when brocades1 in several colours1 are chosen for slippers1 keep in mind that the ground of the silk must absolutely match your costume4 ,it is not enough that in the figure of brocade is the colour of the dress4 ,because so distorting to line1 figured silks and coloured brocades for footwear are seldom a wise choice4 ,to those who cannot own a match in slippers for each gown1 we would suggest that the number of colours used in gowns be but few1 getting the desired variety by varying shades of a colour1 and then using slippers a trifle higher in shade than the general colour selected4 ,,chapter ,,viii ,,jewelry ,,as ,,decoration ,the use of jewelry as colour and line has really nothing to do with its intrinsic worth4 ,just as when furnishing a house1 one selects pictures for certain rooms with regard to their decorative quality alone1 their colour with relation to the colour scheme of the room 7,the ,art of ,interior ,decoration71 so jewels should be selected either to complete costumes1 or to give the keynote upon which a costume is built4 ,a woman whose artist-dressmaker turns out for her a marvellous green gown1 would far better carry out the colour scheme with some semi-precious stones than insist upon wearing her priceless rubies4 ,on the other hand1 granted one owns rubies and they are becoming1 then plan a gown entirely with reference to them1 noting not merely the shade of their colour1 but the character of their setting1 should it be distinctive4 ,one of the most picturesque public events in ,vienna each year1 is a bazaar held for the benefit of a charity under court patronage4 ,to draw the crowds and induce them to give up their money1 it has always been the custom to advertise widely that the ladies of the ,austro-,hungarian court would conduct the sale of articles at the various booths and that the said noble ladies would wear their family jewels4 ,also1 that there be no danger of confusing the various celebrities1 the names of those selling at each booth would be posted in plain lettering over it4 ,programmes are sold1 which also inform patrons as to the name and station of each lovely vendor of flowers and sweets4 ,it is an extraordinary occasion1 and well worth witnessing once4 ,the jewels worn are as amazing and fascinating as is ,hungarian music4 ,there is a barbaric sumptuousness about them1 an elemental quality conveyed by the ,oriental combining of stones1 which to the western ,european and ,american1 seem incongruous4 ,enormous pearls1 regular and irregular1 are set together in company with huge sapphires1 emeralds1 rubies and diamonds1 cut in the antique way4 ,looking about1 one feels in an ,arabian ,nights' dream4 ,on the particular occasion to which we refer1 the most beautiful woman present was the ,princess ,metternich1 and in her jewels decorative as any woman ever seen4 ,the women of the ,austrian court1 especially the ,hungarian women1 are notably beautiful and fascinating as well4 ,it is the ,magyar elan1 that abandon which prompts a woman to toss her jewelled bangle to a ,gypsy leader of the orchestra1 when his violin moans and flashes out a czardas4 ,but the rule remains the same whether your jewels are inherited and rich in souvenirs of ,european courts1 or the last work of ,cartier4 ,they must be a harmonious part of a carefully designed costume1 or used with discretion against a background of costumes planned with reference to making them count as the sole decoration4 ,we recall a ,spanish beauty1 representative of several noble strains1 who was an artist in the combining of her gems as to their class and colour4 ,hers was that rare gift1--infallible good taste1 which led her to contribute an individual quality to her temporary possessions4 ,she counted in ,madrid1 not only as a beautiful and brilliant woman1 but as a decorative contribution to any room she entered4 ,it was not uncommon to meet her at dinner1 wearing some very chic blue gown1 often of velvet1 the sole decoration of which would be her sapphires1 stones rare in themselves1 famous for their colour1 their matching1 the manner in which they were cut1 and their setting1--the unique hand-work of some goldsmith of genius4 ,it is impossible to forget her distinguished appearance as she entered the room in a princess gown1 made to show the outline of her faultless figure1 and cut very low4 ,against the background of her white neck and the simple lines of her blue gown1 the sapphires became decoration with artistic restraint1 though they gleamed from a coronet in her soft1 black hair1 encircled her neck many times and fell below her waist line1 clasped her arms and were suspended from her ears in long1 graceful pendants4 ,they adorned her fingers and they composed a girdle of indescribable beauty4 ,,plate ,,xi ,,marie ,,antoinette ,,in ,a ,,portrait ,,by ,,madame ,,vigee ,,le ,,brun1 one of the greatest portrait painters of the eighteenth century4 ,here we see the lovely queen of ,louis ,,xvi in the type of costume she made her own which is still referred to as the ,marie ,antoinette style4 ,this portrait is in the ,musee ,national1 ,versailles4 ,illustration3 ,courtesy of ,braun ,co41 ,new ,york1 ,london ,paris ,bourbon ,france ,marie ,antoinette ,portrait by ,madame ,vigee ,le ,brun ,later1 the same night1 one would meet this woman at a ball1 and discover that she had made a complete change of costume and was as elegant as before1 but now all in red1 a gown of deep red velvet or some wonderful soft satin1 unadorned save by her rubies1 as numerous and as unique as her sapphires had been4 ,there were other women in ,madrid wearing wonderful jewels1 one of them when going to court functions always had a carriage follow hers1 in which were detectives4 ,how strange this seems to ,americans6 ,but this particular woman in no way illustrated the point we would make1 for she had lost control of her own lines1 had no knowledge of line and colour in costume1 and when wearing her jewels1 looked very much like the show case of a jeweller's shop4 ,jewelry must be worn to make lines1 continue or terminate lines1 accentuate a good physical point1 or hide a bad one4 ,remember that a jewel like any other object d'art1 is an ornament1 and unless it is ornamental1 and an added attraction to the wearer1 it is valueless in a decorative way4 ,for this reason it is well to discover1 by experimenting1 what jewelry is your affair1 what kind of rings for example1 are best suited to your kind of hands4 ,it may be that small rings of delicate workmanship1 set with colourless gems1 will suit your hands2 while your friend will look better in the larger1 heavier sort1 set with stones of deeper tones4 ,this finding out what one can and cannot wear1 from shoe leather to a feather in the hat 7and the inventory includes even width of hem on a linen handkerchief71 is by no means a frivolous1 fruitless waste of time2 it is a wise preparedness1 which in the end saves time1 vitality and money4 ,and if it does not make one independent of expert advice 7and why should one expect to be that1 since technique in any art should improve with practice87 it certainly prepares one to grasp and make use of1 expert suggestions4 ,we have often been told1 and by those whose business it is to know such things1 that the models created by great ,paris dressmakers are not always flashes of genius which come in the night1 nor the wilful perversion of an existing fashion1 to force the world of women into discarding1 and buying everything new4 ,it may look suspiciously like it when we see a mere swing of the pendulum carrying the straight sheath out to the ten-yard limit of crinoline skirts4 ,as a matter of fact1 decorative woman rules the fashions1 and if decorative woman makes up her mind to retain a line or a limit1 she does it4 ,the open secret is that every great ,paris house has its chic clientele1 which in returning from the ,riviera--,europe's ,peacock ,alley--is full of knowledge as to how the last fashions 7line and colour71 succeeded in scoring in the role designated4 ,those points found to be desirable1 becoming1 beautiful1 comfortable1 appropriate1 seduisant--what you will--are taken as the foundation of the next wardrobe order1 and with this inside information from women who know 7know the subtle distinction between daring lines and colours1 which are good form1 and those which are not71 the men or women who give their lives to creating costumes proceed to build4 ,these are the fashions for the exclusive few this year1 for the whole world the next year4 ,in conclusion1 to reduce one of the rules as to how jewels should be worn to its simplest form1 never use imitation pearl trimming if you are wearing a necklace and other ornaments of real pearls4 ,the pearl trimming may be very charming in itself1 but it lessens the distinction of your real pearls4 ,in the same way rhinestones may be decidedly decorative1 but only a woman with an artist's instinct can use her diamonds at the same time4 ,it can be done1 by keeping the rhinestones off the bodice4 ,an artist can conceive and work out a perfect adjustment of what in the mind and hand of the inexperienced is not to be attempted4 ,your ,french dressmaker combines real and imitation laces in a fascinating manner4 ,that same artist's instinct could trim a gown with emerald pastes and hang real gems of the same in the ears1 using brooch and chain1 but you would find the green glass garniture swept from the proximity of the gems and used in some telling manner to score as trimming1--not to compete as jewels4 ,we have seen the skirt of ,french gowns of black tulle or net1 caught up with great rhinestone swans1 and at the same time a diamond chain and diamond earrings worn4 ,nothing could have been more chic4 ,we recall another case of the discreet combining of gems and paste4 ,it was at the ,spring races1 ,longchamps1 ,paris4 ,the decorative woman we have never forgotten1 had marvellous gold-red hair1 wore a costume of golden brown chiffon1 a close toque 7to show her hair7 of brown2 long topaz drops hung from her ears1 set in hand-wrought ,etruscan gold1 and her shell lorgnettes hung from a topaz chain4 ,now note that on her toque and her girdle were buckles made of topaz glass1 obviously not real topaz and because made to look like milliner's garniture and not jeweler's work1 they had great style and were as beautiful of their kind as the real stones4 ,,plate ,,xii ,the portrait of an ,englishwoman painted during the ,napoleonic period4 ,she wears the typical ,empire gown1 cloak1 and bonnet4 ,the original of this portrait is the same referred to elsewhere as having moistened her muslin gowns to make them cling to her1 in ,grecian folds4 ,among her admiring friends was ,lord ,byron4 ,a descendant who allows the use of the charming portrait1 explains that the fair lady insisted upon being painted in her bonnet because her curling locks were short--a result of typhoid fever4 ,illustration3 ,costume of ,empire ,period ,an ,english ,portrait ,,chapter ,,ix ,,woman ,,decorative ,,in ,,her ,,boudoir ,by the way1 do you know that boudoir originally meant pouting room1 a place where the ceremonious grande dame of the ,louis might relax and express a ruffled mood1 if she would8 ,which only serves to prove that even the definition of words alter with fashion1 for we imagine that our supinely relaxed modern beauty1 of the country club type1 has on the whole more self-control than she of the boudoir age4 ,since a boudoir is of all rooms the most personal1 we take it for granted that its decoration is eloquent with the individuality and taste of its owner4 ,walls1 floors1 woodwork1 upholstery1 hangings1 cushions and objects d'art furnish the colour for my lady's background1 and will naturally be a scheme calculated to set off her own particular type4 ,here we find woman easily made decorative in negligee or tea gown1 and it makes no difference whether fashion is for voluminous1 flowing robes1 ruffled and covered with ribbons and lace1 or the other extreme1 those creations of ,fortuny1 which cling to the form in long crinkled lines and shimmer like the skin of a snake4 ,the ,fortuny in question1 son of the great ,spanish painter1 devotes his time to the designing of the most artistic and unique tea gowns offered to modern woman4 ,we first saw his work in #aiaj at his ,paris atelier4 ,his gowns1 then popular with ,french women1 were made in ,venice1 where ,m4 ,fortuny was at that time employing some five hundred women to carry out his ideas as to the dyeing of thin silks1 the making and colouring of beads used as garniture1 and the stenciling of designs in gold1 silver or colour4 ,the lines are ,grecian and a woman in her ,fortuny tea gown suggests a ,tanagra figure1 whether she goes in for the finely pleated sort1 kept tightly twisted and coiled when not in use1 to preserve the distinguishing fine pleats1 or one with smooth surface and stenciled designs4 ,these ,fortuny tea gowns slip over the head with no opening but the neck1 with its silk shirring cord by means of which it can be made high or low1 at will2 they come in black1 gold and the tones of old ,venetian dyes4 ,one could use a dozen of them and be a picture each time1 in any setting1 though for the epicure they are at their best when chosen with relation to a special background4 ,the black ,fortunys are extraordinarily chic and look well when worn with long ,oriental earrings and neck chains of links or beads1 which reach--at least one strand of them--half-way to the knees4 ,the distinction which this long line of a chain or string of pearls gives to the figure of any woman is a point to dwell upon4 ,real pearls are desirable1 even if one must begin with a short necklace2 but where it can be afforded1 woman cannot be urged too strongly to wear a string extending as near to and as much below the waist-line as possible4 ,a long string of pearls gives great elegance1 whether wearer is standing or seated4 ,you can use your short string of pearls1 too1 but whatever your figure is1 if you are not a young girl it will be improved by the long line1 and if you would be decorative above everything1 we insist that a long chain or string of less intrinsic value is preferable to one of meaningless length and priceless worth4 ,very young girls look best in short necklaces2 women whose throats are getting lined should take to jeweled dog-collars1 in addition to their strings of pearls or diamond chains4 ,the woman with firm throat and perfect neck was made for pearls4 ,for those less blessed there are lovely things too1 jewels to match their eyes1 or to tone in with skin or hair2 settings to carry out the line of profile1 rings to illuminate the swift gesture or nestle into the soft1 white1 dimpled hand of inertia4 ,every type has its charm and followers1 but we still say1 avoid emphasising your lack of certain points by wearing unsuitable costumes and accessories1 and by so doing lose the chance of being decorative4 ,sibyl ,sanderson1 the ,american prima donna1 whose career was in ,paris1 was the most irresistibly lovely vision ever seen in a tea gown4 ,she was past-mistress at the art of making herself decorative1 and the writer recalls her as she last saw her in a ,doucet model of chiffon1 one layer over another of flesh1 palest pink and pinkish mauve that melted into the creamy tones of her perfect neck and arms4 ,sibyl ,sanderson was lovely as nature turned her out1 but ,paris taught her the value of that other beauty1 the beauty which comes of art and attained like all art1 only through conscious effort4 ,an artistic appearance once meant letting nature have its way4 ,it has come to mean1 nature directed and controlled by ,art1 and while we do not resort to the artificiality 7in this moment7 of hoops1 crinoline1 pyramids of false hair1 monstrous head-dresses1 laced waists1 low neck and short sleeves for all hours and all seasons1 paper-soled shoes in snow-drifts1 etc41 we do insist that woman be bien soine--hair1 complexion1 hands1 feet1 figure1 perfection par tout4 ,woman's costumes1 her jewels and all accessories complete her decorative effect1 but even in the age of powder and patches1 hair oil and wigs1 no more time nor greater care was given to her grooming1 and what we say applies to the average woman of affairs and not merely to the parasite type4 ,,chapter ,x ,,woman ,,decorative ,,in ,,her ,,sun-,,room ,a sun-room as the name implies1 is a room planned to admit as much sun as is possible4 ,an easy way to get the greatest amount of light and sun is to enclose a steam heated porch with glass which may be removed at will4 ,sometimes part of a conservatory is turned into a sun-room1 awnings1 rugs1 chairs1 tables1 couches1 making it a fascinating lounge or breakfast room1 useful1 too1 at the tea hour4 ,often when building a house a room on the sunny side is given one1 two1 or three glass sides4 ,to trick the senses1 ferns and flowering plants1 birds and fountains are used as decorations1 suggesting out-of-doors4 ,,plate ,,xiii ,portrait by ,gilbert ,stuart of ,dona ,matilda1 ,stoughton de ,jaudenes4 7,metropolitan ,museum47 ,we use this portrait to illustrate the period when woman's line was obliterated by the excessive decoration of her costume4 ,the interest attached to this charming example of her time lies in colour and detail4 ,it is as if the bewitching ,dona ,matilda were holding up her clothes with her person4 ,her outline is that of a ruffled canary4 ,how difficult for her to forget her material trappings1 when they are so many1 and yet she looks light of heart4 ,for sharp contrast we suggest that our reader turn at once to the portrait by ,sargent 7,plate ,,xv7 which is distinguished for its clean-cut outline and also the distinction arrived at through elimination of detail in the way of trimming4 ,the costume hangs on the woman1 suspended by jewelled chains from her shoulders4 ,the ,sargent has the simplicity of the ,classic ,greek2 the ,gilbert ,stuart portrait1 the amusing fascination of ,marie ,antoinette detail4 ,the gown is white satin1 with small gold flowers scattered over its surface4 ,the head-dress surmounting the powdered hair is of white satin with seed-pearl ornaments4 ,the background is a dead-rose velvet curtain1 draped to show blue sky1 veiled by clouds4 ,the same dead-rose on table and chair covering4 ,the book on table has a softly toned calf cover4 ,gilbert ,stuart was fond of working in this particular colour note4 ,illustration3 ,metropolitan ,museum of ,art ,eighteenth ,century ,costume ,portrait by ,gilbert ,stewart ,the woman who would add to the charm of her sun-room in ,winter by keeping up the illusion of ,summer1 will wear ,summer clothes when in it1 that is1 the same gowns1 hats and footwear which she would select for a warm climate4 ,to be exquisite1 if you are young or youngish1 well and active1 you would naturally appear in the sun-room after eleven1 in some sheer material of a delicate tint1 made walking length1 with any graceful ,summer hat which is becoming1 and either harmonises with colour of gown or is an agreeable contrast to it4 ,by graceful hat we mean a hat suggesting repose1 not the close1 tailored hat of action4 ,one woman we know always uses her last ,summer's muslins and wash silks1 shoes1 slippers and hats in her sun-room during the ,winter4 ,in her wardrobe there are invariably a lot of sheer muslins1 voiles and wash silks in white1 mauve1 greys1 pinks1 or delicate stripes1 the outline following the fashion1 voluminous1 straight or clinging1 the bodice tight with trimmings inset or full1 beruffled1 or kerchiefed4 ,her hats are always entirely black or entirely white1 in type the variety we know as picturesque1 made very light in weight and with no thought of withstanding the elements4 ,the woman who knows how1 can get the effect of a picture hat with very little outlay of money4 ,it is a matter of line when on the head1 that look of lightness and general airiness which gives one the feeling that the wearer has just blown in from the lawn6 ,the artist's hand can place a few simple loops of ribbon on a hat1 and have success1 while a stupid arrangement of costly feathers or flowers may result in failure4 ,the effect of movement got by certain line manipulation1 suggesting arrested motion1 is of inestimable value1 especially when your hat is one with any considerable width of brim4 ,the hat with movement is like a free-hand sketch1 a hat without movement like a decalcomania4 ,if the owner of the sun-room is resting or invalided then away with out-of-door costume4 ,for her a tea-gown and satin slippers are in order1 as they would be under similar conditions on her furnished porch4 ,if the mistress of the sun-room is young and athletic1 one who never goes in for frou-frous1 but wears linen skirts and blouses when pouring tea for her friends1 let her be true to her type in the sun-room1 but always emphasising immaculate daintiness1 rather than the ready-for-sport note4 ,a sheer blouse and ,french heels on white pumps will transpose the plain linen skirt into the key of picturesque relaxation1 the hall-mark of sun-rooms4 ,more than any other room in the house1 the sun-room is for drifting4 ,one cannot imagine writing a cheque there1 or going over one's monthly accounts4 ,we assume that the colour scheme in the sun-room was dictated by the owner and is therefore sympathetic to her4 ,if this be true1 we can go farther and assume that the delicate tones of her porch gowns and tea gowns will harmonise4 ,if her sun-room is done in yellows and orange and greens1 nothing will look better than cream-white as a costume4 ,if the walls1 woodwork and furniture have been kept very light in tone1 relying on the rugs and cushions and dark foliage of plants to give character1 then a costume of sheer material in any one of the decided colours in the chintz cushions1 will be a welcome contribution to the decoration of the sun-room4 ,additional effect can be given a costume by the clever choice of colour and line in a work-bag4 ,,chapter ,,xi ,i4 ,,woman ,,decorative ,,in ,,her ,,garden ,in your garden1 if you would count as decoration1 keep to white or one colour2 the flowers furnish a variegated background against which your costume of colour1 grey or white stands out4 ,the great point is that your outline be one with pictorial value1 from the artist's point of view4 ,if merely strolling through your garden to admire it1 keeping to the well-made paths1 a fragile gown of sheer material and dainty shoes1 with perishable hat or fragile sunshade1 is in order4 ,but if yours is the task to gather flowers1 then wear stout linen or pretty1 bright ginghams1 good to the eye and easily laundered1 while resisting the briars and branches4 ,smocks1 those loose over-all garments of soft-toned linens1 reaching from neck half-way to the knees and unbelted1 are ideal for garden work1 and to the young and slender1 add a distinct charm1 for one catches the movement of the lithe form beneath4 ,you can be decorative in your garden in a large enveloping apron of gingham1 if you are wise in choosing a colour which becomes you4 ,one lover of flowers1 who has an instinct for fitness and colour1 may be seen on a ,summer morning1 trimming her porch-boxes in snowy white1--shoes and all1--over which she wears a big1 encircling apron1 extending from neck to skirt hem2 deep pockets cross the entire front1 convenient for clippers1 scissors and twine4 ,this apron is low-necked with shoulder straps and no sleeves4 ,the woman in question is tall and fair1 and on her soft curling hair she wears sun hats of peanut straw1 the edges sewn over and over with wool to match her gingham apron1 which is a solid pink1 pale green or lavender4 ,dark women look uncommonly well in khaki colour1 and so do some blonds4 ,here is a shade decorative against vegetation and serviceable above all4 ,garden costumes for actual work vary according to individual taste and the amount and character of the gardening indulged in4 ,lady de ,bathe 7,mrs4 ,langtry7 owns one of the most charming gardens in ,england1 though not as famous as some4 ,it is attached to ,regal ,lodge1 her place at ,newmarket4 ,the ,blue ,walk is something to remember1 with its walls of blue lavender flanking the blue paving stones1 between the cracks of which lovely bluebells and larkspur spring up in irrelevant1 poetic license4 ,lady de ,bathe digs and climbs and clips and gathers1 therefore she wears easily laundered garments2 a white linen or cotton skirt and blouse1 a ,chinese coat to the knees1 of pink cotton crepe and an ,isle-of-,jersey sun-bonnet1 a poke with curtain1 to protect the neck and strings to tie it on4 ,so while she claims never to have consciously considered being a decorative note in her own garden1 her trained instinct for costuming herself appropriately and becomingly brings about the desirable decorative effect4 ,,plate ,,xiv ,madame ,adeline ,genee1 the greatest living exponent of the art of toe dancing4 ,she wears an early ,victorian costume 7#ahdj7 made for a ballet she danced in ,london several seasons ago4 ,the writer did not see the costume and neglected1 until too late1 to ask ,madame ,genee for a description of its colouring1 but judging by what we know of #ahdj colours and textures as described by ,miss ,mc,clellan 7,historic ,dress in ,america7 and other historians of the period as well as from portraits1 we feel safe in stating that it may well have been a bonnet of pink uncut velvet1 trimmed with silk fringe and a band of braided velvet of the same colour2 or perhaps a white shirred satin2 or dove-coloured satin with pale pink and green figured ribbon4 ,for the dress1 it may have been of dove-grey satin1 or pink flowered silk with a black taffeta cape and one of black lace to change off with4 ,illustration3 ,victorian ,period about #ahdj ,mme4 ,adeline ,genee in ,costume ,,ii4 ,,woman ,,decorative ,,on ,,the ,,lawn ,when on your lawn with the unbroken sweep of green under foot and the background of shrubs and trees1 be a flower or a bunch of flowers in the colour of your costume4 ,white1--hat1 shoes and all1 cannot be excelled1 but colour has charm of another sort1 and turning the pages of memory1 one realises that not a shade or artistic combination but has scored1 if the outline is chic4 ,since both outline and colour scheme vary with fashion we use the word chic or smart to imply that quality in a costume which is the result of restraint in the handling of line1 colour and all details1 whatever the period4 ,a chic outline is very telling on the lawn2 gown or hat must be appropriate to the occasion1 becoming to the wearer1 its lines following the fashion1 yet adapted to type1 and the colour1 one sympathetic to the wearer4 ,the trimming must accentuate the distinctive type of the gown or hat instead of blotting out the lines by an overabundance of garniture4 ,the trimming must follow the constructive lines of gown1 or have meaning4 ,a buckle must buckle something1 buttons must be used where there is at least some semblance of an opening4 ,let us repeat3 ,to be chic1 the trimming of a hat or gown must have a raison d'etre4 ,when in doubt omit trimming4 ,as in interior decoration1 too much detail often defeats the original idea of a costume4 ,an observing woman knows that few of her kind understand the value of restraint4 ,when turned out by an artist1 most women recognise when they look their best1 but how to achieve it alone1 is beyond them4 ,this sort of knowledge comes from carefully and constantly comparing the gown which is a success with those which are failures4 ,elimination characterises the smart costume or hat1 and the smart designer is he or she who can make one flower1 one feather1 one bow of ribbon1 band of fur1 bit of real lace or hand embroidery1 say a distinct something4 ,it is the decorative value gained by the judicious placing of one object so that line and colour count to the full4 ,as we have said in ,interior ,decoration1 one pink rose in a slender ,venetian glass vase against a green silk curtain may have far more decorative value than dozens of costly roses used without knowledge of line and background4 ,so it is with ornaments on wearing apparel4 ,,iii4 ,,woman ,,decorative ,,on ,,the ,,beach ,with a background of grey sand1 steel-blue water and more or less blue sky1 woman is given a tempting opportunity to figure as colour when by the sea4 ,that it is gay colour or white which makes decorative effects on the beach1 even the least knowing realise4 ,plein air artists have stamped on our mental visions impressions of smart society disporting itself on the sands of ,dieppe1 ,trouville1 ,brighton1 and where not4 ,whatever the period1 hence outline1 white and the gay colours impress one4 ,most conspicuous is white on woman 7and man72 then each colour in the rainbow with its half-tones1 figures as sweaters1 veils1 hats and parasols2 the striped marquise and gay wares of the venders of nosegays1 balloons and lollypops4 ,the artist picks out the telling notes when painting1 learn from him and figure as one of these4 ,on the beach avoid being a dull note2 dead greys and browns have no charm there4 ,what is true of costuming for the beach applies equally to costumes to be worn on the deck of a steamer or yacht4 ,,chapter ,,xii ,,woman ,,as ,,decoration ,,when ,,skating ,to be decorative when skating1 two things are necessary3 first1 know how to skate2 then see to it that you are costumed with reference to appropriateness1 becomingness and the outline demanded by the fashion of the moment4 ,the woman who excels in the technique of her art does not always excel in dressing her role4 ,it is therefore with great enthusiasm that we record ,miss ,theresa ,weld of ,boston1 holder of ,woman's ,figure ,skating ,championship1 as the most chicly costumed woman on the ice of the ,hippodrome 7,new ,york7 where amateurs contested for the cup offered by ,mr4 ,charles ,b4 ,dillingham1 on ,march #bc1 #aiag1 when ,miss ,weld again won1--this time over the men as well as the women4 ,miss ,weld combined good work with perfect form1 and her edges1 fronts1 ins1 outs1 threes1 double-threes1 etc41 etc41 were a delight to the eye as she passed and repassed in her wine-coloured velvet1 trimmed with mole-skin1 a narrow band on the bottom of the full skirt 7full to allow the required amount of leg action71 deep cuffs1 and a band of the same fur encircling the close velvet toque4 ,this is reproduced as the ideal costume because1 while absolutely up-to-date in line1 material1 colour and character of fur1 it follows the traditional idea as to what is appropriate and beautiful for a skating costume1 regardless of epoch4 ,we have seen its ancestors in many parts of ,europe1 year after year4 ,some of us recall with keen pleasure1 the wonderful skating in ,vienna and ,berlin on natural and artificial ice1 invariably hung with flags and gaily lighted by night4 ,we can see now1 those ,german girls1--some of them trim and good to look at1 in costumes of sapphire blue1 deep red1 or green velvet1 fur trimmed1--gliding swiftly across the ice1 to the irresistible swing of waltz music and accompanied by flashing uniforms4 ,in the ,german-speaking countries everyone skates3 the white-bearded grandfather and the third generation going hand in hand on ,sunday mornings to the nearest ice-pond4 ,with them skating is a communal recreation1 as beer garden concerts are4 ,with us in ,america most sports are fashions1 not traditions4 ,the rage for skating during the past few seasons is the outcome of the exhibition skating done by professionals from ,austria1 ,germany1 ,scandinavian countries and ,canada1 at the ,new ,york ,hippodrome4 ,those who madly danced are now as madly skating4 ,and out of town the young women delight the eye in bright wool sweaters1 broad1 long wool scarfs and bright wool caps1 or small1 close felt hats1--fascinating against the white background of ice and snow4 ,the boots are high1 reaching to top of calf1 a popular model having a seam to the tip of the toe4 ,no sport so perfectly throws into relief command of the body as does skating4 ,watch a group of competitors for honours at any gathering of amateur women skaters and note how few have command of themselves--know absolutely what they want to do1 and then are able to do it4 ,one skater1 in the language of the ice1 can do the actual work1 but has no form4 ,it may be she lacks temperament1 has no abandon1 no rhythm2 is stiff1 or1 while full of life1 has bad arms4 ,it is as necessary that the fancy skater should learn the correct position of the arms as that the solo dancer should4 ,certain lines must be preserved1 say1 from fingers of right arm through to tip of left foot1 or from tip of left hand through to tip of right foot4 ,,plate ,,xv ,a portrait by ,john ,s4 ,sargent4 7,metropolitan ,museum1 painted about #ahij47 ,we have here a distinguished example of the dignity and beauty possible to a costume characteristic of the period when extreme severity as to outline and elimination of detail followed the elaboration of ,victorian ruffles1 ribbons and lace over hoops and bustle2 curled hair and the obvious cameo brooch1 massive bracelets and chains4 ,illustration3 ,metropolitan ,museum of ,art ,late ,nineteenth ,century ,costume about #ahij ,a ,portrait by ,john ,s4 ,sargent ,form is the manipulation of the lines of the body to produce perfect balance1 perfect freedom and1 when required1 perfect control in arrested motion4 ,this is the mastery which produces in free skating that melting of one figure into another which so hypnotises the onlooker4 ,it is because ,miss ,weld has mastered the above qualifications that she is amateur champion in fancy skating4 ,she has mastered her medium2 has control of every muscle in her body4 ,in consequence she is decorative and delightful to watch4 ,to be decorative when not on skates1 whether walking1 standing or sitting1 a woman must have cultivated the same feeling for line1 her form must be good4 ,it is not enough to obey the ,a4 ,b4 ,c4's of position2 head up1 shoulders back1 chest out1 stomach in4 ,one must study the possibilities of the body in acquiring and perfecting poses which have line1 making pictures with one's self4 ,in the ,art of ,interior ,decoration we insist that every room be a beautiful composition4 ,what we would now impress upon the mind of the reader is that she is a part of the picture and must compose with her setting4 ,to do this she should acquire the mastery of her body1 and then train that body until it has acquired good habits in the assuming of line1 whether in action or repose4 ,this can be done to an astonishing degree1 even if one lacks the instinct4 ,to be born with a sense of line is a gift1 and the development of this sense can give artistic delight to those who witness the results and thrill them quite as sculpture or music1 or any other art does4 ,the ,greek idea of regarding the perfectly trained body as a beautiful temple is one to keep in mind1 if woman would fulfil her obligation to be decorative4 ,form means efficiency1 if properly understood and carried out according to the spirit1 not the letter of the law4 ,form implies the human body under control1 ready for immediate action4 ,the man or woman with form1 will be the first to fall into action when required1 because1 so to speak1 no time is lost in collecting and aiming the body4 ,one of the great points in the teaching of the late ,theodore ,leschetizky1 the world's greatest master in the art of piano playing1 was that the hand should immediately assume the correct position for the succeeding chord1 the instant it was lifted from the keys2--preparedness6 ,the crack regiments of ,europe1 noted for their form1 have for years been the object of jests in those new worlds where brawn and muscle1 with mental acumen1 have converted primeval forests into congested commercial centers4 ,but that form1 so derided by the pioneer spirit1 has proved its worth during the present ,european war4 ,the ,united ,states and the ,central ,powers are now at war and military guards have been stationed at vulnerable points4 ,only to-day we saw one of ,uncle ,sam's soldiers1 one of three1 patrolling the front of a big armory1--standing in an absolutely relaxed position1 his gun held loosely in his hand1 and its bayonet propped against the iron fence4 ,one could not help thinking2 no form1 no preparedness1 no efficiency4 ,it goes without saying that prompt obedience cannot be looked for where there is lack of form1 no matter how willing the spirit4 ,the modern woman when on parole1--walking1 dancing1 driving1 riding or engaged in any sport1 to be efficient must have trained the body until it has form1 and dress it appropriately1 if she would be efficient as well as decorative in the modern sense of the term4 ,no better illustration of our point can be found than in the popular sport cited at the beginning of this chapter4 ,,chapter ,,xiii ,,woman ,,decorative ,,in ,,her ,,motor ,,car ,it is not easy to be decorative in your automobile now that the manufacturers are going in for gay colour schemes both in upholstery and outside painting4 ,a putty-coloured touring car lined with red leather is very stunning in itself1 but the woman who would look well when sitting in it does not carelessly don any bright motor coat at hand4 ,she knows very well that to show up to advantage against red1 and be in harmony with the putty-colour paint1 her tweed coat should blend with the car1 also her furs4 ,black is smart with everything1 but fancy how impossible mustard1 cerise and some shades of green would look against that scarlet leather6 ,an orange car with black top1 mud-guards and upholstery calls for a costume of white1 black1 brown1 tawny grey1 or1 if one would be a poster1 royal blue4 ,some twenty-five years ago the writer watched the first automobile in her experience driven down the ,champs ,elysees4 ,it seemed an uncanny1 horseless carriage1 built to carry four people and making a good deal of fuss about it4 ,a few days later1 while lunching at the ,cafe de ,reservoir1 ,versailles1 we were told that some men were starting back to ,paris by automobile1 and if we went to a window giving on to the court1 we might see the astonishing vehicle make its start4 ,it was as thrilling as the first near view of an aeroplane1 and all-excitement we watched the two ,frenchmen getting ready for the drive4 ,their elaborate preparation to face the current of air to be encountered en route was not unlike the preparation to-day for flying4 ,it was ,spring--,june1 at that--but those ,frenchmen wearing very ,english tweeds and smoking ,english pipes1 each drew on extra cloth trousers and coats and over these a complete outfit of leather6 ,we saw them get into the things in the public courtyard1 arrange huge goggles1 draw down cloth caps1 and set out at a speed of about fifteen miles an hour6 ,,plate ,,xvi ,a portrait of ,mrs4 ,thomas ,hastings of ,new ,york painted by the late ,john ,w4 ,alexander4 ,we have chosen this--one of the most successful portraits by one of ,america's leading portrait painters--as a striking example of colour scheme and interesting line4 ,also we have here a woman who carries herself with form4 ,mrs4 ,hastings is an accomplished horsewoman4 ,her fine physique is poised so as to give that individual movement which makes for type2 her colour--wonderful red hair and the complexion which goes with it--are set off by a dull gold background2 a gown in another tone of gold1 relieved by a note or two of turquoise green2 and the same green appearing as a shadow on the ,victory in the background4 ,we see the sitter1 as she impressed an observer1 transferred to the canvas by the consummate skill of our deeply lamented artist4 ,illustration3 ,a ,modern ,portrait ,by ,john ,w4 ,alexander ,the above seems incredible1 now that we have passed through the various stages of motor car improvements and motor clothes creations4 ,the rapid development of the automobile1 with its windshields1 limousine tops1 shock absorbers1 perfected engines and springs1 has brought us to the point where no more preparation is needed for a thousand-mile run across country with an average speed of thirty miles an hour1 than if we were boarding a train4 ,one dresses for a motor as one would for driving in a carriage and those dun-colored1 lineless monstrosities invented for motor use have vanished from view4 ,more than this1 woman to-day considers her decorative value against the electric blue velvet or lovely chintz lining of her limousine1 exactly as she does when planning clothes for her salon4 ,and why not8 ,the manufacturers of cars are taking seriously their interior decoration as well as outside painting2 and many women interior decorators specialise along this line and devote their time to inventing colour schemes calculated to reflect the personality of the owner of the car4 ,special orders have raised the standard of the entire industry1 so that at the recent ,new ,york automobile show1 many effects in cars were offered to the public4 ,besides the putty-coloured roadster lined with scarlet1 black lined with russet yellow1 orange lined with black2 there were limousines painted a delicate custard colour1 with top and rim of wheels1 chassis and lamps of the same ,nattier ,blue as the velvet lining1 cushions and curtains4 ,a beautiful and luxurious background and how easy to be decorative against it to one who knows how6 ,another popular colour scheme was a mauve body with top of canopy and rims of wheels white1 the entire lining of mauve1 like the body4 ,imagine your woman with a decorative instinct in this car4 ,so obvious an opportunity would never escape her1 and one can see the vision on a ,summer day1 as she appears in simple white1 softest blue or pale pink1 or better still1 treating herself as a quaint nosegay of blush roses1 for-get-me-nots1 lilies and mignonette1 with her chiffons and silks or sheerest of lawns4 ,but how about me8 one hears from the girl of the open car--a racer perhaps1 which she drives herself4 ,you are easiest of all1 we assure you2 to begin with1 your car being a racer1 is painted and lined with durable dark colours--battleship grey1 dust colour1 or some shade which does not show dirt and wear4 ,the consequence is1 you will be decorative in any of the smart coats1 close hats and scarfs in brilliant and lovely hues1--silk or wool4 ,,chapter ,,xiv ,,how ,,to ,,go ,,about ,,planning ,a ,,period ,,costume ,here is a plan to follow when getting up a period costume3 ,we will assume that you wish to wear a ,spanish dress of the time of ,philip ,,iv 7early seventeenth century74 ,the first thing to give your attention to is the station in life which you propose to represent4 ,granted that you decide on a court costume1 one of those made so familiar by the paintings of the great ,velasquez1 let your first step be to get a definite impression of the outline of such a costume4 ,go to art galleries and look at pictures1 go to libraries and ask for books on costumes1 with plates4 ,you will observe that under the head of crinoline and hoop-skirt periods1 there are a variety of outlines1 markedly different4 ,the slope of the hip line and the outline of the skirt is the infallible hall-mark of each of these periods4 ,let it be remembered that the outline of a woman includes hair1 combs1 head-dress1 earrings1 treatment of neck1 shoulders1 arms1 bust and hips2 line to the ankles and shoes2 also fan1 handkerchief or any other article1 which if a silhouette were made1 would appear4 ,the next step is to ascertain what materials were available at the time your costume was worn and what in vogue4 ,were velvets1 satins or silks worn1 or all three8 ,were materials flowered1 striped1 or plain8 ,if striped1 horizontal or perpendicular8 ,for these points turn again to your art gallery1 costume plates1 or the best of historical novels4 ,if you are unable to resort to the sources suggested1 two courses lie open to you4 ,put the matter into the hands of an expert2 there are many to be approached through the columns of first-class periodicals or newspapers 7we do not refer to the ordinary dealer in costumes or theatre accessories72 or make the effort to consult some authority1 in person or by letter3 an actor1 historian or librarian4 ,it is amazing how near at hand help often is1 if we only make our needs known4 ,if the reader is young and busy1 dancing and skating and sleeping1 and complains1 in her winsome way1 that days are too short for such work1 we would remind her that as already stated1 to carefully study the details of any costume1 of any period1 means that the mind and the eye are being trained to discriminate between the essentials and non-essentials of woman's costume in every-day life4 ,the same young beauty may be interested to know that at the beginning of ,geraldine ,farrar's career the writer1 visiting with her1 an exhibition of pictures in ,munich1 was amazed at the then1 very young girl's familiarity with the manner of artists--ancient and modern1--and exclaimed ,i did not know you were so fond of pictures4 ,it's not that1 ,farrar said1 ,i get my costumes from them1 and a great many of my poses4 ,,plate ,,xvii ,portrait of ,mrs4 ,philip ,m4 ,lydig1 patron of the arts1 exhibited in ,new ,york at ,duveen ,galleries during ,winter of #aiaf-aiag with the ,zuloaga pictures4 ,the exhibition was arranged by ,mrs4 ,lydig4 ,this portrait has been chosen to illustrate two points3 that a distinguished decorative quality is dependent upon line which has primarily to do with form of one's own physique 7and not alone the cut of the costume72 and the great value of knowing one's own type4 ,mrs4 ,lydig has been transferred to the canvas by the clever technique of one of the greatest modern painters1 ,ignacio ,zuloaga1 an artistic descendant of ,velasquez4 ,the delightful movement is that of the subject1 in this case kept alive through its subtle translation into terms of art4 ,illustration3 ,a ,portrait of ,mrs4 ,philip ,m4 ,lydig4 ,by ,i4 ,zuloaga ,outline and material being decided1 give your attention to the character of the background against which you are to appear4 ,if it is a ball-room1 and the occasion a costume-ball1 is it done in light or dark colours1 and what is the prevailing tone8 ,see to it that you settle on a colour which will be either a harmonious note or an agreeable1 hence impressive contrast1 against the prevailing background4 ,if you are to wear the costume on a stage or as a living picture against a background arranged with special reference to you1 and where you are the central figure1 be more subtle and combine colours1 if you will2 go in for interesting detail1 provided always that you make these details have meaning4 ,for example1 if it be trimming1 pure and simple1 be sure that it be applied as during your chosen period4 ,trimming can be used so as to increase effectiveness of a costume by accentuating its distinctive features1 and it can be misused so as to pervert your period1 whether that be the age of ,cleopatra1 or the ,winter of #aiag4 ,details1 such as lace1 jewels1 head-dresses1 fans1 snuff-boxes1 work baskets and flowers must be absolutely of the period1 or not at all4 ,a few details1 even one stunning jewel1 if correct1 will be far more convincing than any number of makeshifts1 no matter how attractive in themselves4 ,paintings1 plates and history come to our rescue here4 ,if you think it dry work1 try it4 ,the chances are all in favour of your emerging from your search spell-bound by the vistas opened up to you2 the sudden meaning acquired by many inanimate things1 and a new pleasure added to all observations4 ,that ,spanish comb of great-great-grandmother's is really a treasure now4 ,the antique ,spanish plaque you own1 found to be ,moorish lustre1 and out of the attic it comes6 ,a ,spanish miracle cross proves the spiritual superstition of the race1 so back to the junk-shop you go1 hoping to acquire the one that was proffered4 ,yes1 ,carmen should wear a long skirt when she dances1 ,spanish pictures show them2 and so on4 ,the collecting of materials and all accessories to a costume1 puts one in touch1 not only with the dress1 but the life of the period1 and the customs of the times4 ,once steeped in the tradition of ,spanish art and artists1 how quick the connoisseur is to recognize ,spanish influence on the art of ,holland1 ,france and ,england4 ,lead your expert in costumes of nations into talking of history and we promise you pictures of dynasties and lands that few historical writers can match4 ,this man or woman has extracted from the things people wore the story of where they wore them1 and when1 and how2 for the lover of colour we commend this method of studying history4 ,if any one of our readers is casting about for a hobby and craves one with inexhaustible possibilities1 we would advise3 try collecting data on periods in dress1 as shown in the art treasures of the world1 for of this there is verily no end4 ,we warn the novice in advance that each detail of woman's dress has for one in pursuit of such data the allure of the siren4 ,there is the pictured story of head-dresses and hats1 and how the hair is worn1 from ,cleopatra's time till ours2 the evolution of a woman's sleeve1 its ups and downs and ins and outs as shown in art2 the separation of the waist from skirt1 and ever changing line of both2 the neck of woman's gown so variously cut and trimmed and how the necklace changed likewise to accord2 the passing of the sandals of the ,greeks into the poetic glove-fitting slippers of to-day4 ,one sets out gaily to study costumes1 full of the courage of ignorance1 the joyous optimism of an enthusiast1 because it is amusing and looks so simple with all the material1--old and new1 lying about one4 ,ah1 that is the pitfall--the very abundance of those plates in wondrous books1 old coloured prints and portraits of the past4 ,to some students this kaleidoscopic vision of period costumes never falls into definite lines and colour2 or if the types are clear1 what they come from or merge into remains obscure4 ,for the eager beginner we have tried to evolve out of the whole mass of data a system of origin and development as definite as the anatomy of the human body1 a framework on which to build4 ,if our historical outline be clear enough to impress the mental vision as indelibly as those primary maps of the earth did1 then we feel persuaded1 the textless books of wonderful and beguiling costume plates will serve their end as never before4 ,we humbly offer what we hope may prove a key to the rich storehouse4 ,simplicity1 and pure line1 were lost sight of when overabundance dulled the senses of the world4 ,we could prove this1 for art shows that the costuming of woman developed slowly1 preserving1 as did furniture1 the same classic lines and general characteristics until the fifteenth century1 the end of the ,middle ,ages4 ,with the opening up of trade channels and the possibilities of easy and quick communication between countries we find1 as we did in the case of furniture1 periods of fashion developing without nationality4 ,nations declared themselves in the artistry of workmanship1 as to-day1 and in the modification and exaggeration of an essential detail1 resulting from national or individual temperament4 ,if you ask1 ,where do fashions come from1--why 'periods'8 we would answer that in the last analysis one would probably find in the conception of every fashion some artist's brain4 ,if the period is a good one1 then it proves that fate allowed the artist to be true to his muse4 ,if the fashion is a bad one the artist may have had to adapt his lines and colour or detail to hide a royal deformity1 or to cater to the whim of some wilful beauty ignorant of our art1 but rich and in the public eye4 ,a fashion if started is a demon or a god let loose4 ,as we have said1 there is an interesting point to be observed in looking at woman as decoration2 whether the medium be fresco1 bas relief1 sculpture1 mosaic1 stained glass or painting1 the decorative line1 shown in costumes1 presents the same recurrent types that we found when studying the history of furniture4 ,for our present purposes it is expedient to confine ourselves to the observation of that expression of civilisation which had root1 so far as we know1 in ,assyria and ,egypt1 and spread like a branching vine through ,byzantium1 ,greece1 ,rome1 ,gothic ,europe and ,europe of the ,renaissance1 on through the seventeenth1 eighteenth and nineteenth centuries1 down to the present time4 ,costumes for woman and man are supposed to have had their origin in a cord tied about the waist1 from which was suspended crude implements 7used for the slaying of beasts for food1 and in self-defence72 trophies of war1 such as teeth1 scalps1 etc4 ,the trophies suspended1 partly concealed the body and were for decoration1 as was tattooing of the skin4 ,clothes were not the result of modesty2 modesty followed the partial covering of the human body4 ,modesty1 or shame1 was the emotion which developed when man1 accustomed to decoration--trophies or tattooing--was deprived of all or part of such covering4 ,what parts of the body require concealment1 is purely a matter of the customs prevailing with a race or tribe1 at a certain time1 and under certain conditions4 ,this is a theme1 the detailed development of which lies outside the purpose of our book4 ,it has delightful possibilities1 however1 if the plentiful data on the subject1 given in scientific books1 were to be condensed and simplified4 ,,plate ,,xviii ,mrs4 ,langtry 7,lady de ,bathe7 who has been one of the greatest beauties of modern times and a marked example of a woman who has always understood her own type1 to costume it4 ,she agrees that this photograph of her1 in an evening wrap1 illustrates a point she has always laid emphasis on3 that a garment which has good lines--in which one is a picture--continues wearable even when not the dernier cri of fashion4 ,this wrap was worn by ,mrs4 ,langtry about two years ago4 ,illustration3 ,mrs4 ,langtry 7,lady de ,bathe7 in ,evening ,wrap ,,chapter ,,xv ,i4 ,,the ,,story ,,of ,,period ,,costumes ,a ,resume ,our present modes of dress 7aside from the variations imposed by fashion7 are the resultant of all the fashions of the last #bjjj years4 ,w4 ,g4 ,,sumner in ,folkways4 ,the earliest ,egyptian frescoes1 invaluable pre-historic data1 show us woman as she was costumed1 housed and occupied when the painting was done4 ,on those age-old walls she appears as man's companion1 his teacher1 plaything1 slave1 and ruler2--in whatever role the fates decreed4 ,the same frescoed walls have pictured records of how ,egypt tilled the soil1 built houses1 worked in metals1 pottery and sculpture4 ,woman is seen beside her man1 who slays the beasts1 at times from boats propelled through reeded jungles2 and hers is always that rigid outline1 those long1 quiet eyes depicted in profile1 with massive head-dress1 and strange upstanding ornaments1 abnormally curled wig1 and close1 straight garments to the feet 7or none at all71 heavy collar1 wristbands and anklets of precious metals with gems inset1 or chased in strange designs4 ,about her1 the calm mysterious poise and childlike acquiescence of those who know themselves to be the puppets of the gods4 ,in this naivete lies one of the great charms of ,egyptian art4 ,as sculptured caryatide1 we see woman of ,egypt clad in transparent sheath-like skirt1 nude above the waist1 with the usual extinguishing head-dress and heavy collar1 bracelets and anklets4 ,we see her as woman1 mute1 law-abiding1 supporting the edifice2 woman with steady gaze and silent lips2 one wonders what was in the mind of that lotus eater of the ,nile who carved his dream in stone4 ,those would reproduce ,egyptian colour schemes for costumes1 house or stage settings1 would do well to consult the book of ,egyptian designs1 brought out in #ahgh by the ,ecole des ,beaux ,arts1 ,paris1 and available in the large libraries4 ,on the walls of the ,necropolis of ,memphis1 ,thi and his wife 7,fifth ,dynasty7 appear in a delightful hunting scene4 ,the man in the prow of his boat is about to spear an enormous beast1 while his wife1 seated in the bottom1 wraps her arm about his leg6 ,among the earliest portraits of an ,egyptian woman completely clothed1 is that of ,queen ,taia1 wife of ,amenophis1 ,eighteenth ,dynasty1 who wears a striped gown with sleeves of the kimono type and a ribbon tied around her waist1 the usual ornamental collar and bracelets of gold1 and an elaborate head-dress with deep blue curtain1 extending to the waist1 behind4 ,full of illuminating suggestions is an example of ,woman in ,egyptian decoration1 to be seen as a fresco in the ,necropolis of ,thebes4 ,it shows the governess of a young prince 7,eighteenth ,dynasty7 holding the child on her lap4 ,the feet of the little prince rest on a stool1 supported by nine crouching human beings--men2 each has a collar about his neck1 to which a leash is attached1 and all nine leashes are held in the hands of the child6 ,the illustrations of the ,egyptian funeral papyrus1 ,the ,book of the ,dead1 show woman in the role of wife and companion4 ,it is the story of a high-born ,egyptian woman1 ,tutu1 wife of ,ani1 ,royal ,scribe and ,scribe of the ,sacred ,revenue of all the gods of ,thebes4 ,tutu1 the long-eyed ,egyptian woman1 young and straight1 with raven hair and active form1 a ,kemaeit of ,amon1 which means she belonged to the religious chapter or congregation of the great god of ,thebes4 ,she was what might be described as lady-in-waiting or honorary priestess1 to the god ,amon4 ,she1 too1 wears the typical ,egyptian head-dress and straight1 long white gown1 hanging in close folds to her feet4 ,one vignette shows ,tutu with arm about her husband's leg4 ,this seems to have been a naive ,egyptian way of expressing that eternal womanliness1 that tender care for those beloved1 that quality inseparable from woman if worthy the name1 and by reason of which with man1 her mate1 she has run the gamut of human experience1 meeting the demands of her time4 ,there is no dodging the issue1 woman's story recorded in art1 shows that she has always responded to ,fate's call2 followed1 led1 ruled1 been ruled1 amused1 instructed1 sent her men into battle as ,spartan mothers did to return with honour or on their shields1 and when ,fate so decreed1 led them to battle1 like ,joan of ,arc4 ,,ii4 ,,egypt ,,and ,,assyria ,in ,egypt and ,assyria the lines of the torso were kept straight1 with no contracting of body at waist line4 ,woman was clad in a straight sheet-like garment1 extending from waist to feet with only metal ornaments above2 necklace1 bracelets and armlets2 or a straight dress from neck to meet the heavy anklets4 ,sandals were worn on the feet4 ,the head was encased in an abnormally curled wig1 with pendent ringlets1 and the whole clasped by a massive head-dress1 following the contour of head and having as part of it1 a curtain or veil1 reaching down behind1 across shoulders and approaching waist line4 ,the ,sphinx wears a characteristic ,egyptian head-dress4 ,,plate ,,xix ,mrs4 ,conde ,nast1 artist and patron of the arts1 noted for her understanding of her own type and the successful costuming of it4 ,mrs4 ,nast was ,miss ,clarisse ,coudert4 ,her ,french blood accounts1 in part1 for her innate feeling for line and colour4 ,it is largely due to the keen interest and active services of ,mrs4 ,nast that ,vogue and ,vanity ,fair have become the popular mirrors and prophetic crystal balls of fashion for the ,american woman4 ,mrs4 ,nast is here shown in street costume4 ,the photograph is by ,baron de ,meyer1 who has made a distinguished art of photography4 ,we are here shown the value of a carefully considered outline which is sharply registered on the background by posing figure against the light1 a method for suppressing all details not effecting the outline4 ,illustration3 ,photograph by ,baron de ,meyer ,mrs4 ,conde ,nast in ,street ,dress ,,iii4 ,,egypt1 ,,byzantium1 ,,greece ,,and ,,rome ,during the periods antedating ,christ1 when the ,roman empire was all-powerful1 the women of ,egypt1 ,byzantium1 ,greece and ,rome1 wore gilded wigs 7see ,plate ,i1 ,frontispiece71 arranged in ,psyche knots1 and banded2 sandals on their feet1 and a one-piece garment1 confined at the waist by a girdle1 which fell in close folds to the feet1 a style to develop later into the classic ,greek4 ,the ,greek garment consisted of a great square of white linen1 draped in the deft manner of the ,east1 to adapt it to the human form1 at once concealing and disclosing the body to a degree of perfection never since attained4 ,there were undraped ,greek garments left to hang in close1 clinging folds1 even in the classic period4 ,it is this undraped and finely-pleated robe 7see ,plate ,,xxi7 hanging close to the figure1 and the two-piece garment 7see ,plate ,,iv7 with its short tunic of the same material1 extending just below the waist line in front1 and drooping in a cascade of ripples at the sides1 as low as the knees1 that ,fortuny 7,paris7 has reproduced in his tea gowns4 ,an ,englishwoman told us recently that her great-great-grandmother used to describe how she and others of her time 7,empire ,period7 wet their clothes to make them cling to their forms1 a la ,grecque6 ,the classic ,greek costume was often a sleeveless garment1 falling in folds1 and when confined at waist line with cord the upper part bloused over it2 the material was draped so as to leave the arms free1 the folds being held in place by ornamental clasps upon the shoulders4 ,the fitting was practically unaided by cutting2 squares or straight lengths of linen being adjusted to the human form by clever manipulation4 ,the adjusting of these folds1 as we have said1 developed into an art4 ,the use of large squares or shawls of brilliantly dyed linen1 wool and later silk1 is conspicuous in all the examples showing woman as decoration4 ,the long ,gothic cape succeeds it1 that enveloping circular garment1 with and without the hood1 and clasped at the throat1 in which the ,mother of ,god is invariably depicted4 ,her cape is the celestial royal blue4 ,the stained silk gauzes1 popular with ,greek dancers1 were made into garments following the same classic lines1 and so were the gymnasium costumes of the young girls of ,greece4 ,isadora ,duncan reproduces the latter in many of her dances4 ,in the chapter entitled ,the ,story of ,textiles in ,the ,art of ,interior ,decoration1 we have given a resume of this branch of our subject4 ,the type of costume worn by woman throughout the entire ,roman ,empire during its most glorious period1 was classic ,greek1 not only in general outline1 but in detail4 ,note that the collarless neck was cut round and a trifle low2 the lines of gown were long and followed each other2 the trimming followed the hem of neck and sleeves and skirt2 the hair1 while artificially curled and sometimes intertwined with pearls and other gems1 after being gilded1 was so arranged as to show the contour of the head1 then gathered into a ,psyche knot4 ,gold bands1 plain or jewelled1 clasped and held the hair in place4 ,in the ,gold ,room of the ,metropolitan ,museum2 in noted collections in ,europe2 in portraits and costume plates1 one sees that the earrings worn at that period were great heavy discs1 or half discs1 of gold2 large gold flowers1 in the ,etruscan style2 large rings with groups of pendants1--usually three on each ring1 and the drop earrings so much in vogue to-day4 ,necklaces were broad1 like collars1 round and made of hand-wrought links and beads1 with pendants4 ,these filled in the neck of the dress and were evidently regarded as a necessary part of the costume4 ,the simple cord which confined the ,greek woman's draperies at the waist1 in ,egypt and ,byzantium1 became a sash2 a broad strip of material which was passed across the front of body at the waist1 crossed behind and then brought tight over the hips to tie in front1 low down1 the ends hanging square to knees or below4 ,in ,egypt a shoulder cape1 with kerchief effect in front1 broadened behind to a square1 and reached to the waist line4 ,we would call attention to the fact that when the classic type of furniture and costume were revived by ,napoleon ,i and the ,empress ,josephine1 it was the ,egyptian version1 as well as the ,greek4 ,one sees ,egyptian and ,etruscan styles in the straight1 narrow garment of the ,first ,empire reaching to ankles1 with parallel rows of trimming at the bottom of skirt4 ,the ,empire style of parted hair1 with cascade of curls each side1 riotous curling locks outlining face1 with one or two ringlets brought in front of ears1 and the ,psyche knot 7which later in ,victorian days lent itself to caricature1 in a feather-duster effect at crown of head71 were inspired by those curled and gilded creations such as ,thais wore4 ,hats1 as we use the term to-day1 were worn by the ancients4 ,some will remember the ,greek hat ,sibyl ,sanderson wore with her classic robes when she sang ,massenet's ,phedre1 in ,paris4 ,it was ,chinese in type4 ,one sees this type of hat on ,tanagra ,statuettes in our museums4 ,apropos of hats1 designers to-day are constantly resurrecting models found in museums1 and some of us recognise the lines and details of ancient head-dresses in hats turned out by our most up-to-date milliners4 ,parasols and umbrellas were also used by ,assyrians and ,greeks4 ,sandals which only covered the soles of the feet were the usual footwear1 but ,greeks and ,etruscans are shown in art as wearing also moccasin-like boots and shoes laced up the front4 ,of course1 the strapped slippers of the ,empire were a version of classic sandals4 ,as we have said1 the ,greek gown and toga are found wherever the ,roman ,empire reached4 ,the women of what are now ,france and ,england clothed themselves at that time in the same manner as the cultured class of ,rome4 ,naturally the ,germanic branch which broke from the parent stem1 and drifted northward to strike root in unbroken forests1 bordering on untried seas1 wore skins and crudely woven garments1 few and strongly made1 but often picturesque4 ,though but slightly reminiscent of the traditional costume1 we know that the women of the third and fourth centuries wore a short1 one-piece garment1 with large earrings1 heavy metal armlets above the elbow and at wrists4 ,the chain about the waist1 from which hung a knife1 for protection and domestic purposes1 is descendent from the savage's cord and ancestor to that lovely bauble1 the chatelaine of later days1 with its attached fan1 snuff-box and jewelled watch4 ,,plate ,,xx ,mrs4 ,conde ,nast in an evening gown4 ,here again is a costume the beauty of which evades the dictum of fashion in the narrow sense of the term4 ,this picture has the distinction of a well-posed and finely executed old master and because possessing beauty of a traditional sort will continue to give pleasure long after the costume has perished4 ,illustration3 ,mrs4 ,conde ,nast in ,evening ,dress ,,chapter ,,xvi ,,development ,,of ,,gothic ,,costume ,to the ,romans1 all who were not of ,rome and her ,empire1 were foreigners1--outsiders1 people with a strange viewpoint1 so they were given a name to indicate this2 they were called barbarians4 ,conspicuous among those tribes of barbarians1 moved by human lust for gain to descend upon the ,roman ,empire and eventually bring about its fall1 was the tribe of ,goths1 and in the course of centuries ,gothic has become a generic term1 implying that which is not ,roman4 ,we speak of ,gothic architecture1 ,gothic art1 ,gothic costumes1 when we mean1 strictly speaking1 the characteristic architecture1 art and costuming of the late ,middle ,ages 7twelfth to fifteenth centuries74 ,but we find the so-called ,gothic outline in costume as early as the fourth century4 ,over the undraped1 one-piece robe of classic type1 a second garment is now worn1 cut with straight lines4 ,it usually fastens behind1 and the uncorseted figure is outlined4 ,the neck is still collarless and cut round1 the space filled in with a necklace4 ,the sleeves of the tunic appear to be the logical evolution of the folds of the toga1 which fall over the arms when bent4 ,they cling to the outline of the shoulder1 broadening at the hand into what is called angel sleeves2 in art1 the traditional angel wears them4 ,roman-,christian women wore their hair parted1 no ,psyche knot1 and interesting1 large earrings4 ,the gowns were not draped1 but were in one piece and with no fulness4 ,a tunic1 following lines of the form1 reached below the knees and was belted4 ,this garment was trimmed with bands from shoulders to hem of tunic and kept the same width throughout1 if narrow2 but if wide1 the bands broadened to the hem4 ,the neck continued to be cut round1 and filled in with a necklace4 ,the cape1 fastening on shoulders or chest1 remnant of the ,greek toga1 was worn1 and veils of various materials were the usual head coverings4 ,between the fifth and tenth centuries there are examples of the overgarment or tunic having a broad stomacher of some contrasting material1 held in place with a cord1 which is tied behind1 brought around to the front1 knotted and allowed to hang to bottom of skirt4 ,byzantine art between #hjj and #ajjj ,a4 ,d4 still shows women wearing tunics1 but hanging straight from neck to hem of skirt1 fastened on shoulders and opened at sides to show gown beneath2 close sleeves with trimming at the wrists1 often large1 roughly cut jewels forming a border on tunic1 and the hair worn in long braids on each side of the face2 the coil of hair1 which was wrapped with pearls or other beads1 was parted and used to frame the face4 ,this fashion was carried to excess by the ,franks4 ,we see some of their women between #djj and #fjj ,a4 ,d4 wearing these heavy1 rope-like braids to the hem of the skirt in front4 ,in the fourteenth century the ,gothic costume was perhaps at its most beautiful stage4 ,the long robe1 the upper part following the lines of the figure1 with long close sleeves half covering hands1 or flowing sleeves1 that touched the floor4 ,about the waist was worn a silk cord or jewelled girdle1 finely wrought and swung low on hips2 from the end of which was suspended the money bag1 fan and keys4 ,the girdle begins now to play an important part as decoration4 ,this theme1 the evolution of the girdle1 may be indefinitely enlarged upon but we must not dwell upon it here4 ,in some cases we see that the tunic opened in the front and that the large1 square1 shawl-like outer garment of ,greece now became the long circular cape1 clasped on the chest 7one or two clasps71 made so familiar by the art of the ,gothic and ,renaissance periods4 ,turn to the illuminated manuscripts of those periods1 to paintings1 on wood1 frescoes1 stained glass1 stucco1 carved wood1 and stone1 and you will find the ,mother of ,god invariably costumed in the simple one-piece robe and circular clasped cape4 ,in most of the sacred art of the tenth1 eleventh1 twelfth1 thirteenth1 fourteenth and fifteenth centuries1 the ,virgin and other saints are depicted in the current costume of woman4 ,the ,virgin was the most frequent subject of artists in every medium1 during the ages when the ,church dominated the ,state in ,europe4 ,the refurnishing of the ,virgin's wardrobe has long been and still is1 a pious task and one clamoured for by adherents to the churches in which the ,virgin's image is displayed to worshippers4 ,we regret to say1 for aesthetic reasons1 that there is no effort made on the part of modern devotees to perpetuate the beautiful mediaeval type of costume4 ,in some old paintings which come under the head of ,folk ,art1 the ,holy ,family appears in national costume4 ,the writer recalls a bit of eighteenth century painting1 showing ,st4 ,anne holding the ,virgin as child4 ,st4 ,anne wears the bizarre fete attire of a ,spanish peasant2 a gigantic head-dress and veil1 large earrings1 wide stiff skirts1 showing gay flowers on a background of gold4 ,the skirt is rather short1 to display wide trousers below it4 ,her sleeves have filmy frills of deep white lace executed with skill4 ,,plate ,,xxi ,mrs4 ,conde ,nast in a garden costume4 ,she wears a sun-hat and carries a flower-basket1 which are decorative as well as useful4 ,we have chosen this photograph as an example of a costume made exquisitely artistic by being kept simple in line and free from an excess of trimming4 ,this costume is so decorative that it gives distinction and interest to the least pretentious of gardens4 ,illustration3 ,mrs4 ,conde ,nast in ,garden ,costume ,to return to the girdle1 as we have said1 it slipped from its position at the waist line1 where it confined the classic folds1 and was allowed to hang loosely about the hips1 clasped low in front4 ,from this clasp a chain extended1 to which were attached the housewife's keys or purse and the dame of fashion's fan4 ,in fact one can tell1 to a certain extent1 the woman's class and period by carefully inspecting her chatelaine4 ,the absence of waist line1 and the long1 straight effect produced in the body of gown by wearing the girdle swung about the hips1 gives it the so-called ,moyen ,age silhouette1 revived by the fashion of to-day4 ,in the thirteenth century the round collarless neck1 low enough to admit a necklace of links or beads1 persists4 ,a new note is the outer sleeve laced across an inner sleeve of white4 ,let us remember that the costume of the thirteenth and fourteenth centuries was distinguished by a quality of beautiful1 sweeping line1 massed colour1 detail with raison d'etre1 which produced dignity with graceful movement1 found nowhere to-day1 unless it be on the ,wagnerian stage or in the boudoir of a woman who still takes time1 in our age of hurry1 to wear her negligee beautifully4 ,in the fourteenth century the round neck continued1 but one sees low necks too1 which left the shoulders exposed 7our #ahcj style74 ,another new note is the tunic grown into a garment reaching to the feet1 a one-piece princess gown1 with belt or girdle4 ,sometimes a ,juliet cap was worn to merely cover the crown of head1 with hair parted and flowing1 while on matrons we see head coverings with sides turned up1 like ecclesiastical caps1 and floating veils falling to the waist4 ,notice that through all the periods that we have named1 which means until the fourteenth century1 the line of shoulder remains normal and beautiful1 sloping and melting into folds of robe or line of sleeve4 ,we see now for the first time an inclination to tamper with the shoulder line4 ,an inoffensive scallop appears1--or some other decoration1 as cap to sleeve4 ,no harm done yet6 ,the fifteenth century shows another style1 a long sleeveless overgarment1 reaching to the floor1 fastened on shoulders and swinging loose1 to show at sides the undergown4 ,it suggests a priest's robe4 ,here we discover one more of the ,moyen ,age styles revived to-day4 ,the fourteenth century gowns1 with necks cut out round1 to admit a necklace with pendants1 are still popular4 ,the gowns are long on the ground1 and the most beautiful of the characteristic head-dresses--the long1 pointed one1 with veil covering it1 and floating down from point of cap to hem of flowing skirt behind1 continues the movement of costume--the long lines which follow one another4 ,when correctly posed1 this pointed head-dress is a delight to the eye4 ,we recently saw a photograph of some fair young women in this type of ,mediaeval or ,gothic costume worn by them at a costume ball4 ,failing to realise that the pose of any head-dress 7this means hats as well7 is all-important1 they had placed the quaint1 long1 pointed caps on the very tops of their heads1 like fools' caps6 ,the angle at which this head-dress is worn is half the battle4 ,the importance of every woman's cultivating an eye for line cannot be overstated4 ,in the fifteenth century we first see puffs at the elbow1 otherwise the outlines of gown are the same4 ,the garment in one piece1 the body of it outlining the form1 its skirts sweeping the ground2 a girdle about the hips1 and long1 close or flowing sleeves1 wide at the hem4 ,despite the fourteenth century innovation of necks cut low and off the shoulders 7berated by the ,church71 most necks in the fifteenth century are still cut round at the throat1 and the necklace worn instead of collar4 ,some of the gowns cut low off the shoulders are filled in with a puffed tucker of muslin4 ,the pointed cap with a floating veil is still seen4 ,notice that the restraint in line1 colour and detail1 gradually disappears1 with the abnormal circulation of wealth1 in those departments of ,church and ,state to which the current of material things was diverted4 ,we now see humanity tricked out in rich attire and staggering to its doom through general debaucheries4 ,rich brocades1 once from ,damascus1 are now made in ,venice2 and so are wonderful satins1 velvets and silks1 with jewels many and massive4 ,sometimes a broad jewelled band crossed the breast from shoulder diagonally to under arm1 at waist4 ,the development of the petticoat begins now4 ,at first we get only a glimpse of it1 when our lady of the pointed cap lifts her long skirts1 lined with another shade4 ,it is of a rich contrasting colour and is gradually elaborated4 ,the waist-line1 when indicated1 is high4 ,a new note is the hair1 with throat and neck completely concealed by a white veil1 a style we associate with nuns and certain folk costumes4 ,as fashion it had a passing vogue4 ,originally1 the habit of covering woman's hair indicated modesty 7an idea held among the ,folk71 and the gradual shrinking of the dimensions of her coif1 records the progress of the peasant woman's emancipation1 in certain countries4 ,this is especially conspicuous in ,brittany1 as ,m4 ,anatol ,le ,braz1 the eminent ,breton scholar1 remarked recently to the writer4 ,note the silk bag1 quite modern1 on the arm2 also the jewelled line of chain hanging from girdle down the middle of front1 to hem of skirt1--both for use and ornament4 ,to us of a practical era1 a mysterious charm attaches to the long-pointed shoes worn at this period4 ,in the fifteenth century1 the marked division of costume into waist and skirt begins1 the waist line more and more pinched in1 the skirt more and more full1 the sleeves and neck more elaborately trimmed1 the head-dresses multiplied in size1 elaborateness and variety4 ,textiles developed with wealth and ostentation4 ,in the sixteenth century the neck was usually cut out and worn low on the shoulders1 sometimes filled in1 but we see also high necks2 necks with small ruffs and necks with large ruffs2 ruffs turned down1 forming stiff linen-cape collars1 trimmed with lace1 close to the throat or flaring from neck to show the throat4 ,the hair is parted and worn low in a snood1 or by young women1 flowing4 ,the ears are covered with the hair4 ,,plate ,,xxii ,mrs4 ,conde ,nast wearing one of the famous ,fortuny tea gowns4 ,this one has no tunic but is finely pleated1 in the ,fortuny manner1 and falls in long lines1 closely following the figure1 to the floor4 ,observe the decorative value of the long string of beads4 ,illustration3 ,mrs4 ,conde ,nast in a ,fortuny ,tea ,gown ,the ,virgin in ,art ,when writing of the ,gothic period in ,the ,art of ,interior ,decoration1 we have said 444 ,gothic art proceeds from the ,christian ,church and stretches like a canopy over western ,europe during the late ,middle ,ages4 ,it was in the churches and monasteries that ,christian ,art1 driven from pillar to post by wars1 was obliged to take refuge1 and there produced that marvellous development known as the ,gothic style1 of the ,church1 for the ,church and by the ,church1 perfected in countless ,gothic cathedrals1 crystallised glorias1 lifting their manifold spires to heaven2 ethereal monuments of an intrepid ,faith which gave material form to its adoration1 its fasting and prayer1 in an unrivalled art4444 ,crystallised glorias 7hymns to the ,virgin7 is as concise a defining of the nature and spirit of this highest type of mediaeval art--perfected in ,france--as we can find4 ,here we have deified woman inspiring an art miraculously decorative4 ,chartres ,cathedral and ,rheims 7before the ,german invasion in #aiad7 with ,mont ,saint ,michel1 are distinguished examples4 ,if the readers would put to the test our claim that woman as decoration is a beguiling theme worthy of days passed in the broad highways of art1 and many an hour in cross-roads and unbeaten paths1 we would recommend to them the fascinations of a marvellous story-teller1 one who1 knowing all there is to know of his subject1 has had the genius to weave the innumerable and perplexing threads into a tapestry of words1 where the main ideas take their places in the foreground1 standing out clearly defined against the deftly woven1 intelligible but unobtruding background4 ,the author is ,henry ,adams1 the book1 ,the ,cathedrals of ,mont ,st4 ,michel and ,chartres4 ,he tells you in striking language1 how woman was translated into pure decoration in the ,middle ,ages1 woman as the ,virgin ,mother of ,god1 the manifestation of ,deity which took precedence over all others during the twelfth1 thirteenth and fourteenth centuries2 and if you will follow him to the ,chartres ,cathedral 7particularly if you have been there already71 and will stand facing the great ,east ,window1 where in stained glass of the ancient jewelled sort1 woman1 as ,mother of ,god1 is enthroned above all1 he will tell you how1 out of the chaos of warring religious orders1 the priestly schools of ,abelard1 ,st4 ,francis of ,assisi and others1 there emerged the form of the ,virgin4 ,to woman1 as mother of ,god and man1 the instrument of reproduction1 of tender care1 of motherhood1 the disputatious1 groping mind of man agreed to bow1 silenced and awed by the mystery of her calling4 ,in view of the recent enrolling of womanhood in the stupendous business of the war now waging in ,europe1 and the demands upon her to help in arming her men or nursing back to life the shattered remains of fair youth1 which so bravely went forth1 the thought comes that woman will play a large part in the art to arise from the ashes of to-day4 ,woman as woman ready to supplement man1 pouring into life's caldron the best of herself1 unstinted1 unmeasured2 woman capable of serving beyond her strength1 rising to her greatest height1 bending1 but not breaking to the end1 if only assured she is needed4 ,,chapter ,,xvii ,,the ,,renaissance ,sixteenth and ,seventeenth ,centuries ,the marked departure is necks cut square1 if low1 and elaborate jewelled chains draped from shoulders1 outlining neck of gown and describing a festoon on front of waist1 which is soon to become independent of skirt to develop on its own account4 ,as in the fifteenth century1 when necks were cut low off the shoulders1 they were on occasions filled in with tuckers4 ,the skirt now registers a new characteristic2 it parts at the waist line over a petticoat1 and the opening is decorated by the ornamental1 heavy chain which hangs from girdle to hem of gown4 ,one sees the hair still worn coiled low in the neck1 concealing the ears and held in a snood or in ,italy cut ,florentine fashion with fringe on brow4 ,observe how the wealth of the ,roman ,empire1 through its new trade channels opening up with the ,east 7the result of the crusades7 led to the importation of rich and many-coloured ,oriental stuffs2 the same wealth ultimately established looms in ,italy for making silks and velvets1 to decorate man and his home4 ,there was no longer simplicity in line and colour scheme2 gorgeous apparel fills the frames of the ,renaissance and makes amusing reading for those who consult old documents4 ,the clothes of man1 like his over-ornate furniture1 show a debauched and vulgar taste4 ,instead of the lines which follow one another1 solid colours1 and trimmings kept to hem of neck and sleeve and skirt1 great designs1 in satins and velvet brocades1 distort the lines and proportions of man and woman4 ,the good ,gothic lines lived on in the costumes of priests and nuns4 ,jewelry ceased to be decoration with meaning2 lace and fringe1 tassels and embroidery1 with colour combinations to rival the ,african parrots1 disfigured man and woman alike4 ,during ,november of #aiaf1 ,new ,york was so fortunate as to see1 at the ,american ,art ,galleries1 the great collection of late ,gothic and early ,renaissance furniture and other art treasures1 brought together in the restored ,davanzati ,palace of ,florence1 ,italy4 ,the collection was sold at auction1 and is now scattered4 ,of course those who saw it in its natural setting in ,florence1 were most fortunate of all4 ,but with some knowledge and imagination1 at the sight of those wonderful things1--hand-made all of them1--the most casual among those who crowded the galleries for days1 must have gleaned a vivid impression of how woman of the ,early ,renaissance lived1--in her kitchen1 dining-room1 bedroom and reception-rooms4 ,they displayed her cooking utensils1 her chairs and tables1 her silver1 glass and earthenware1 her bed1 linen1 satin damask1 lace and drawn work2 the cushions she rested against2 portraits in their gorgeous ,florentine frames1 showing us how those early ,italians dressed2 the colored terra-cottas1 unspeakably beautiful presentments of the ,virgin and ,child1 moulded and painted by great artists under that same exaltation of ,faith which brought into being the sister arts of the time1 imbuing them with something truly divine4 ,there is no disputing that quality which radiates from the face of both the ,mother and the ,child4 ,one all but kneels before it4 ,their expression is not of this world4 ,,plate ,,xxiii ,mrs4 ,vernon ,castle who set to-day's fashion in outline of costume and short hair for the young woman of ,america4 ,for this reason and because ,mrs4 ,castle has form to a superlative degree 7correct carriage of the body7 and the clothes sense 7knowledge of what she can wear and how to wear it7 we have selected her to illustrate several types of costumes1 characteristic of #aiaf and #aiag4 ,another reason for asking ,mrs4 ,castle to illustrate our text is1 that what ,mrs4 ,castle's professional dancing has done to develop and perfect her natural instinct for line1 the normal exercise of going about one's tasks and diversions can do for any young woman1 provided she keep in mind correct carriage of body when in action or repose4 ,here we see ,mrs4 ,castle in ball costume4 ,illustration3 ,mrs4 ,vernon ,castle in ,ball ,costume ,that is woman as the ,mother of ,god in art ,woman as the mother of man1 who looked on these inspired works of art1 lived for the most part in small houses built of wood with thatched roofs1 unpaved streets1 dirty interiors1 which were cleaned but once a week--on ,saturdays6 ,the men of the aristocracy hunted and engaged in commerce1 and the general rank and file gave themselves over to the gaining of money to increase their power4 ,it sounds not unlike ,new ,york to-day4 ,gradually the cities grew large and rich4 ,people changed from simple sober living to elaborate and less temperate ways1 and the great families1 with their proportionately increased wealth gained through trade1 built beautiful palaces and built them well4 ,the gorgeous colouring of the frescoed walls shows ,byzantine influence4 ,in ,the ,art of ,interior ,decoration we have described at length the house furnishing of that time4 ,against this background moved woman1 man's mate2 note her colour scheme and then her role4 7,we quote from ,jahn ,rusconi in ,les ,arts1 ,paris1 ,august1 #aiaa47 ,donna ,francesca dei ,albizzi's cloak of black cloth ornamented on a yellow background with birds1 parrots1 butterflies1 pink and red roses1 and a few other red and green figures2 dragons1 letters and trees in yellow and black1 and again other figures made of white cloth with red and black stripes4 ,extravagance ran high not only in dress1 but in everything1 laws were made to regulate the amount spent on all forms of entertainment1 even on funerals1 and the cook who was to prepare a wedding feast had to submit his menu for approval to the city authorities4 ,more than this1 only two hundred guests could be asked to a wedding1 and the number of presents which the bride was allowed to receive was limited by law4 ,but wealth and fashion ran away with laws2 the same old story4 ,as the tide of the ,renaissance rose and swept over ,europe 7the awakening began in ,italy71 the woman of the gorgeous cloak and her contemporaries1 according to the vivid description of the last quoted author1 were subject to their husbands' tyranny1 not even knowing how to read in many cases1 occupied with their household duties1 in which they were assisted by rough and uncouth slaves1 with no other mission in life than to give birth to a numerous posterity4444 ,this life ruined them1 and their beauty quickly faded away2 no wonder1 then1 that they summoned art to the aid of nature4 ,the custom was so common and the art so perfect that even a painter like ,taddeo ,gaddi acknowledged that the ,florentine women were the best painters in the world6444 ,considering the mental status of the women1 it is easy to imagine to what excesses they were given in the matter of dress4 ,the above assertions relate to the average woman1 not the great exceptions4 ,the marriage coffers of woman of the ,renaissance in themselves give an idea of her luxurious tastes4 ,they were about six feet long1 three feet high1 and two and a half feet deep4 ,some had domed covers opening on hinges--the whole was carved1 gilded and painted1 the background of reds and blues throwing the gold into relief4 ,scenes taken from mythology were done in what was known as pastille1 composition work raised and painted on a gold background4 ,on one fifteenth century marriage coffer1 ,bacchus and ,ariadne were shown in their triumphal car drawn by winged griffins1 a young ,bacchante driving them on4 ,another coffer decorated in the same manner had as decoration ,the ,rape of ,proserpine4 ,women rocked their infants in sumptuous carved and emblazoned walnut cradles1 and crimson satin damask covered their beds and cushions4 ,this blaze of gold and silver1 crimson and blue we find as the wake of ,byzantine trade1 via ,constantinople1 ,venice1 ,rome1 ,florence on to ,france1 ,spain1 ,germany1 ,holland1 ,flanders and ,england4 ,carved wood1 crimson1 green and blue velvets1 satin damask1 tapestries1 gold and silver fringe and lace4 ,against all this moved woman1 costumed sumptuously4 ,gradually the line of woman's 7and man's7 neck is lost in a ruff1 her sweeping locks1 instead of parted on her brow1 entwined with pearls or other gems to frame her face and make long lines down the length of her robe1 are huddled under grotesque head-dresses1 monstrous creations1 rising and spreading until they become caricatures1 defying art4 ,in some sixteenth century ,italian portraits we see the ruff flaring from a neck cut out square and low in front1 then rising behind to form a head covering4 ,the last half of the sixteenth century is marked by gowns cut high in the neck with a close collar1 and the appearance of a small ruff encircling the throat4 ,this ruff almost at once increased to absurd dimensions4 ,the tightly laced long-pointed bodice now appears1 with and without padded hips4 7,the superlative degree of this type is to be seen in portraits by ,velasquez 7see ,plate ,,ix747 ,long pointed toes to the shoes give way to broad1 square ones4 ,another sixteenth century departure is the absurdly small hat1 placed as if by the wind1 at a careless angle on the hair1 which is curled and piled high4 ,also we see hats of normal size with many plumes1 on both men and women4 ,notice the sleeves3 some are still flowing1 with tight undersleeves1 others slashed to show full white sleeve beneath4 ,but most important of all is that the general license1 moral and artistic1 lays its ruthless hand on woman's beautiful1 sweeping shoulder line and distorts it4 ,anne of ,cleves1 or the progressive artist who painted her1 shows in a portrait the ,queen's flowing sleeves with mediaeval lines1 clasped by a broad band between elbow and shoulder1 and then pushed up until the sleeve forms an ugly puff4 ,a monstrous fashion1 this1 and one soon to appear in a thousand mad forms4 ,its first vicious departure is that small puffy1 senselessly insinuated line between arm-hole and top of sleeve in garments for men as well as women4 ,skirts button from point of basque to feet just before we see them1 in the seventeenth century1 parting down the front and separating to show a petticoat4 ,in ,queen ,elizabeth's time the acme of this style was reached by ,spanish women as we see in ,velasquez's portraits4 ,gradually the overskirt is looped back1 7at first only a few inches71 and tied with narrow ribbons4 ,,plate ,,xxiv ,mrs4 ,vernon ,castle in ,winter afternoon costume1 one which is so suited to her type and at the same time conservative as to outline and detail1 that it would have charm whether in style or not4 ,illustration3 ,victor ,georg--,chicago ,mrs4 ,vernon ,castle in ,afternoon ,costume--,winter ,the second quarter of the seventeenth century shows the waist line drawn in and bodice with skirts a few inches in depth4 ,these skirts are the hall-mark of a basque4 ,very short1 full coats flaring from under arms now appear4 ,after the skirt has been pushed back and held with ribbons1 we find gradually all fulness of upper skirt pushed to hips to form paniers1 and across the back to form a bustle effect1 until we have the ,marie ,antoinette type1 late eighteenth century4 ,far more graceful and seduisant than the costume of ,queen ,elizabeth's time4 ,the figures presented by ,marie ,antoinette and her court1 powdered wigs and patches1 paniers and enormous hats1 surmounting the horsehair erections1 heavy with powder and grease1 lace1 ribbon flowers and jewels1 are quaint1 delightful and diverting1 but not to be compared with the ,greek or mediaeval lines in woman's costume4 ,extremely extended skirts gave way to an interlude of full skirts1 but flowing lines in the eighteenth century ,english portraits4 ,the ,directoire reaction towards simplicity was influenced by ,english fashion4 ,empire formality under classic influence came next4 ,then ,victorian hoops which were succeeded by the ,victorian bustles1 pantalets1 black velvet at throat and wrists1 and lockets4 ,,chapter ,,xviii ,,eighteenth ,,century ,the eighteenth century is unique by reason of scientific discoveries1 mechanical inventions and chemical achievements1 coupled with the gigantic political upheaval of the ,french ,revolution4 ,it is unique1 distinguished and enormously fruitful4 ,for example1 the modern frenzy for chintz1 which has made our homes burst into bloom in endless variety1 had its origin in the eighteenth century looms at ,jouy1 near ,versailles1 under the direction of ,oberkampf4 ,before #agfj silks and velvets decorated man and his home4 ,royal patronage co-operating with the influence of such great decorators as ,percier and ,fontaine gave the creating of beautiful stuffs to the silk factories of ,lyons4 ,printed linens and painted wall papers appeared in ,france simultaneously1 and for the same reason4 ,the ,revolution set mass-taste 7which is often stronger than individual inclination71 toward unostentatious1 inexpensive materials for house furnishing and wearing apparel4 ,the ,revolution had driven out royalty and the high aristocracy who1 with changed names lived in seclusion4 ,society1 therefore1 to meet the mass-desire1 was driven to simple ways of living4 ,men gave up their silks and velvets and frills1 lace and jewels for cloth1 linen1 and sombre neck-cloths4 ,the women did the same2 they wore muslin gowns and their own hair1 and went to great length in the affectation of simplicity and patriotic fervour4 ,we hear that1 apropos of ,america having at this moment entered the great struggle with the ,central ,powers1 simplicity is decreed as smart for the coming season1 and that those who costume themselves extravagantly1 furnish their homes ostentatiously or allow their tables to be lavish1 will be frowned upon as bad form and unpatriotic4 ,these reactions are inevitable1 and come about with the regularity of tides in this world of perpetual repetition4 ,the belles of the ,directorate shook their heads and bobbed their pretty locks at the artificiality ,marie ,antoinette et cie had practised4 ,i fear they called it sinful art to deftly place a patch upon the face1 or make a head-dress in the image of a man-of-war4 ,mme4 de ,stael's familiar head-dress1 twisted and wrapped around her head a la ,turque1 is said to have had its origin in the improvisation of the court hairdresser4 ,desperately groping for another version of the top-heavy erection1 to humour the lovely queen1 he seized upon a piece of fine lace and muslin hanging on a chair at hand1 and twisting it1 wrapped the thing about the towering wig4 ,as it happened1 the chiffon was my lady's chemise6 ,we begin the eighteenth century with a full petticoat1 trimmed with rows of ruffles or bands2 an overskirt looped back into paniers to form the bustle effect2 the natural hair powdered2 and head-dress of lace1 standing out stiffly in front and drooping in a curtain behind4 ,it was not until the whim of ,marie ,antoinette decreed it so1 that the enormous powdered wigs appeared4 ,viennese temperament alone accounts for the moods of this lovely tragic queen1 who played at making butter1 in a cap and apron1 over simple muslin frocks1 but outdid her artificial age in love of artifice 7not ,art7 in dress4 ,this gay and dainty puppet of relentless ,fate propelled by varying moods must needs lose her lovely head at last1 as symbol of her time4 ,,plate ,,xxv ,mrs4 ,vernon ,castle in a summer afternoon costume appropriate for city or country and so adapted to the wearer's type that she is a picture1 whether in action2 seated on her own porch2 having tea at the country club2 or in the ,winter sun-parlour4 ,illustration3 ,mrs4 ,vernon ,castle in ,afternoon ,costume--,summer ,,chapter ,,xix ,,woman ,,in ,,the ,,victorian ,,period ,the first seventy years of the nineteenth century seem to us of #aiag absolutely incredible in regard to dress4 ,how our great-great-grandmothers ever got about on foot1 in a carriage or stage-coach1 moved in a crowd or even sat in any measure of serenity at home1 is a mystery to us of an age when comfort1 convenience1 fitness and chic have at last come to terms4 ,for a vivid picture of how our ,american society looked between #ahjj and #ahgj1 read ,miss ,elizabeth ,mc,clellan's ,historic ,dress in ,america1 published in #aiaj by ,george ,w4 ,jacobs ,co41 of ,philadelphia4 ,the book is fascinating and it not only amuses and informs1 but increases one's self-respect1 if a woman1 for modern woman dressed in accordance with her role4 ,we can see extravagant wives point out with glee to tyrant mates how1 in the span of years between #ahjj and #ahgj our maternal forebears made money fly1 even in the ,quaker ,city4 ,fancy paying in ,philadelphia at that time1 #aejj for a lace scarf1 #djj for a shawl1 #ajj for the average gown of silk1 and #ej for a ,french bonnet6 ,miss ,mc,clellan1 quoting from ,mrs4 ,roger ,pryor's ,memoirs1 tells how she1 ,mrs4 ,pryor1 as a young girl in ,washington1 was awakened at midnight by a note from the daughter of her ,french milliner to say that a box of bonnets had arrived from ,paris4 ,mamma had not yet unpacked them and if she would come at once1 she might have her pick of the treasures1 and ,mamma not know until too late to interfere4 ,and this was only back in the #ej's1 we should say4 ,then think of the hoops1 and wigs and absurdly furbished head-dresses2 paper-soled shoes1 some intended only to sit in2 bonnets enormous2 laces of cobweb2 shawls from ,india by camel and sailing craft2 rouge1 too1 and hair grease1 patches and powder2 laced waists and cramped feet2 low necks and short sleeves for children in school-rooms4 ,man was then still decorative here and in western ,europe4 ,to-day he is not decorative1 unless in sports clothes or military uniform2 woman's garments furnish all the colour4 ,whistler circumvented this fact when painting ,theodore ,duret 7,metropolitan ,museum7 in sombre black broadcloth1--modern evening attire1 by flinging over the arm of ,duret1 the delicate pink taffeta and chiffon cloak of a woman1 and in ,m4 ,duret's hand he places a closed fan of pomegranate red4 ,,chapter ,,xx ,,sex ,,in ,,costuming ,european dress is the term accepted to imply the costume of man and woman which is entirely cosmopolitan1 decrying continuity of types 7of costume7 and thoroughly plastic in the hands of fashion4 ,to-day1 we say parrot-like1 that certain materials1 lines and colours are masculine or feminine4 ,they are so merely by association4 ,the modern costuming of man the world over1 if he appear in ,european dress 7we except court regalia71 is confined to cloth1 linen or cotton1 in black1 white and inconspicuous colours2 a prescribed and simple type of neckwear1 footwear1 hat1 stick1 and hair cut4 ,the progenitor of the garments of modern men was the ,lutheran-,puritan-,revolutionary garb1 the hall-mark of democracy4 ,it is true that when silk was first introduced into ,europe1 from the ,orient1 the ,greeks and early ,romans considered it too effeminate for man's use1 but this had to do with the doctrine of austere denial for the good of the state4 ,to wear the costume of indolence implied inactivity and induced it4 ,as a matter of fact1 some of the master spirits of ,greece did wear silks4 ,in ,ancient ,egypt1 ,assyria1 ,media1 ,persia and the ,far ,east1 men and women wore the same materials1 as in ,china and ,japan to-day4 ,egyptian men and their contemporaries throughout ,byzantium1 wore gowns1 in outline identical with those of the women4 ,among the ,turks1 trousers were always considered as appropriate for women as for men1 and both men and women wore over the trousers1 a long garment not unlike those of the women in the ,gothic period4 ,thais wore a gilded wig1 but so did the men she knew1 and they added gilded false beards4 ,assyrian kings wore earrings1 bracelets and wonderful clasps with chains1 by which the folds of their draped garment1--cut like the woman's1 might be caught up and held securely1 leaving feet1 arms and hands free for action4 ,when the genius of the ,byzantine1 ,greek and ,venetian manufacturers of silks and velvets1 rich in texture and ablaze with colour1 were offered for sale to the ,romans1 whose passion for display had increased with their fortunes1 and consequent lives of dissipation1 we find there was no distinction made between the materials used by man and woman4 ,it is no exaggeration to say that the ,renaissance spells brocade4 ,great designs and small ones sprawled over the figures of man and woman alike4 ,lace was as much his as hers to use for wide1 elaborate collars and cuffs4 ,embroidery belonged to both1 and the men 7like the women7 of ,germany1 ,france1 ,italy and ,england wore many plumes on their big straw hats and metal helmets4 ,the intercommunication between the ,orient and all of the countries of the ,western ,hemisphere1 and the abundance and variety of human trappings bewildered and vitiated taste4 ,unfortunately the change in line of costume has not moved parallel to the line in furniture4 ,the revival of classic interior decoration in ,italy1 ,spain1 ,france1 ,germany1 ,england1 etc41 did not at once revive the classic lines in woman's clothes4 ,,plate ,,xxvi ,mrs4 ,vernon ,castle costumed a la guerre for a walk in the country4 ,the cap is after one worn by her aviator husband4 ,this is one of the costumes--there are many--being worn by women engaged in war work under the head of messengers1 chauffeurs1 etc4 ,the shoes are most decidedly not for service1 but they will be replaced when the time is at hand1 for others of stout leather with heavy soles and flat heels4 ,illustration3 ,mrs4 ,vernon ,castle ,costumed a la ,guerre for a ,walk ,,chapter ,,xxi ,,line ,,and ,,colour ,,of ,,costumes ,,in ,,hungary ,the idea that man decorative1 by reason of colour or line in costume1 is of necessity either masquerading or effeminate1 proceeds chiefly from the conventional nineteenth and twentieth century point of view in ,america and western ,europe4 ,but even in those parts of the world we are accustomed to colour in the uniforms of army and navy1 the crimson hood of the university doctor1 and red sash of the ,french ,legion of ,honour4 ,we accept colour as a dignified attribute of man's attire in the cases cited1 and we do not forget that our early nineteenth century ,american masculine forebears wore bright blue or vivid green coats1 silver and brass buttons and red or yellow waistcoats4 ,the gentleman sportsman of the early nineteenth century hunted in bright blue tailed coats with brass buttons1 scarlet waistcoat1 tight breeches and top hat6 ,we refer to the same class of man who to-day wears rough1 natural coloured tweeds1 leather coat and close cap that his prey may not see him4 ,in a sense1 colour is a sign of virility when used by man4 ,we have the ,north ,american ,indian with his gay feathers1 blankets and war paint1 and the ,european peasant in his gala costume4 ,in many cases colour is as much his as his woman's4 ,some years ago1 when collecting data concerning national characteristics as expressed in the art of the ,slavs1 ,magyars and ,czechs1 the writer studied these peoples in their native settings4 ,we went first to ,hungary and were disappointed to find ,buda ,pest far too cosmopolitan to be of value for the study of national costume1 music or drama4 ,the dominating and most artistic element in ,hungary is the ,magyar1 and we were there to study him4 ,but even the ,gypsies who played the ,magyar music in our hotel orchestra1 wore the black evening dress of western ,europe and patent leather shoes1 and the music they played was from the most modern operettas4 ,it was not until a world-famous ,hungarian violinist arrived to give concerts in ,buda ,pest that the national spirit of the ,gypsies was stirred to play the ,magyar airs in his honour4 7,gypsies take on the spirit of any adopted land74 ,we then realised what they could make of the ,recockzy march and other folk music4 ,the experience of that evening spurred us to penetrate into southern ,hungary1 the heart of ,magyar land1 armed with letters of introduction1 from one of the ministers of education1 to mayors of the peasant villages4 ,it was impossible to get on without an interpreter1 as usually even the mayors knew only the ,magyar language--not a word of ,german4 ,that was the perfect region for getting at ,magyar character expressed in the colour and line of costume1 manner of living1 point of view1 folk song and dance4 ,it is all still vividly clear to our mind's eye4 ,we saw the first ,magyar costumes in a village not far from ,buda ,pest4 ,to make the few miles quickly1 we had taken an electric trolley1 vastly superior to anything in ,new ,york at the time of which we speak2 and were let off in the centre of a group of small1 low thatched cottages1 white-washed1 and having a broad band of one1 two or three colours1 extending from the ground to about three feet above it1 and completely encircling the house4 ,the favourite combination seemed to be blue and red1 in parallel stripes4 ,near one of these houses we saw a very old woman with a long lashed whip in her hand1 guarding two or three dark1 curly1 long-legged ,hungarian pigs4 ,she wore high boots1 many short skirts1 a shawl and a head-kerchief4 ,presently two other figures caught our eye3 a man in a long cape to the tops of his boots1 made of sheepskin1 the wool inside1 the outside decorated with bright-coloured wools1 outlining crude designs4 ,the black fur collar was the skin of a small black lamb1 legs and tail showing1 as when stripped off the little animal4 ,the man wore a cone-shaped hat of black lamb and his hair reached to his shoulders4 ,he smoked a very long-stemmed pipe with a china bowl1 as he strolled along4 ,behind him a woman walked1 bowed by the weight of an immense sack4 ,she wore boots to the knees1 many full short skirts1 and a yellow and red silk head-kerchief4 ,by her head-covering we knew her to be a married woman4 ,they were a farmer and his wife6 ,among the ,magyars the man is very decidedly the peacock2 the woman is the pack-horse4 ,on market days he lounges in the sunshine1 wrapped in his long sheepskin cape1 and smokes1 while she plies the trade4 ,in the farmers' homes of southern ,hungary where we passed some time1 we1 as ,americans1 sat at table with the men of the house1 while wife and daughter served4 ,there was one large dish of food in the centre1 into which every one dipped6 ,the women of the peasant class never sit at table with their men2 they serve them and eat afterwards1 and they always address them in the second person as1 ,will your graciousness have a cup of coffee8 ,also they always walk behind the men4 ,at country dances we have seen young girls in bright1 very full skirts1 with many ribbons braided into the hair1 cluster shyly at a short distance from the dancing platform in the fair grounds1 waiting to be beckoned or whistled to by one of the sturdy youths with skin-tight trousers1 tucked into high boots1 who by right of might1 has stationed himself on the platform4 ,when they have danced1 generally a czardas1 the girl goes back to the group of women1 leaving the man on the platform in command of the situation6 ,yet already in #ahig women were being admitted to the ,university of ,buda ,pest4 ,there in ,hungary one could see woman run the whole gamut of her development1 from man's slave to man's equal4 ,,plate ,,xxvii ,mrs4 ,vernon ,castle in one of her dancing costumes4 ,she was snapped by the camera as she sprang into a pose of mere joyous abandon at the conclusion of a long series of more or less exacting poses4 ,mrs4 ,castle assures us that to repeat the effect produced here1 in which camera1 lucky chance and favourable wind combined1 would be well-nigh impossible4 ,illustration3 ,mrs4 ,vernon ,castle ,a ,fantasy ,we found the national colour scheme to have the same violent contrasts which characterise the folk music and the folk poetry of the ,magyars4 ,primitive man has no use for half-tones4 ,it was the same with the ,russian peasants and with the ,poles4 ,our first morning in ,krakau a great clattering of wheels and horses' hoofs on the cobbled court of our hotel1 accompanied by the cracking of a whip and voices1 drew us to our window4 ,at first we thought a strolling circus had arrived1 but no1 that man with the red crown to his black fur cap1 a peacock's feather fastened to it by a fantastic brooch1 was just an ordinary farmer in ,sunday garb4 ,in the neighbourhood of ,krakau the young men wear frock coats of white cloth1 over bright red1 short tight coats1 and their light-coloured skin-tight trousers1 worn inside knee boots1 are embroidered in black down the fronts4 ,one afternoon we were the guests of a ,polish painter1 who had married a pretty peasant1 his model4 ,he was a gentleman by birth and breeding1 had studied art in ,paris and spoke ,french1 ,german and ,english4 ,his wife1 a child of the soil1 knew only the dialect of her own province1 but with the sensitive response of a ,pole1 eagerly waited to have translated to her what the ,americans were saying of life among women in their country4 ,she served us with tea and liquor1 the red heels of her high boots clicking on the wooden floor as she moved about4 ,as colour and as line1 of a kind1 that young ,polish woman was a feast to the eye2 full scarlet skirt1 standing out over many petticoats and reaching only to the tops of her knee boots1 full white bodice1 a sleeveless jacket to the waist line1 made of brightly coloured cretonne1 outlined with coloured beads2 a bright yellow head-kerchief bound her soft brown hair2 her eyes were brown1 and her skin like a yellow peach4 ,on her neck hung strings of coral and amber beads4 ,there was indeed a decorative woman6 ,as for her background1 it was simple enough to throw into relief the brilliant vision that she was4 ,not1 however1 a scheme of interior decoration to copy6 ,the walls were whitewashed2 a large stove of masonry was built into one corner1 and four beds and a cradle stood on the other side of the room1 over which hung in a row five virgins1 the central one being the ,black ,virgin beloved by the ,poles4 ,the legend is that the original was painted during the life of the ,virgin1 on a panel of dark wood4 ,here1 too1 was the marriage chest1 decorated with a crude design in bright colours4 ,the children1 three or four of them1 ran about in the national costume1 miniatures of their mother1 but barefoot4 ,it was the same in ,hungary1 when we were taken by the mayor of a ,magyar town to visit the characteristic farmhouse of a highly prosperous farmer1 said to be worth two hundred thousand dollars4 ,the table was laid in the end of a room having four beds in it4 ,on inquiring later1 we were told that they were not ordinarily used by the family1 but were heaped with the reserve bedding4 ,in other words1 they were recognised by the natives as indicating a degree of affluence1 and were a bit of ostentation1 not the overcrowding of necessity4 ,,chapter ,,xxii ,,studying ,,line ,,and ,,colour ,,in ,,russia ,from ,hungary we continued our quest of line and colour of folk costume into ,russia4 ,strangely enough1 ,russia throws off the imperial yoke of autocracy1 declaring for democratic principles1 at the very moment we undertake to put into words the vivid picturesqueness resulting largely from the causes of this astounding revolution4 ,have you been in ,russia8 ,have you seen with your own eyes any phase of the violent contrasts which at last have caused the worm to turn8 ,our object being to study national characteristics as expressed in folk costume1 folk song1 folk dance1 traditional customs and fetes1 we consulted students of these subjects1 whom we chanced to meet in ,london1 ,paris1 ,vienna and ,buda ,pest1 with the result that we turned our faces toward southern or ,little ,russia1 as the part least affected by cosmopolitan influences4 ,kiev was our headquarters1 and it is well to say at once that we found what we sought1--ample opportunity to observe the genuine ,russian1 the sturdy1 dogged1 plodding son of toil1 who1 more than any other ,european peasant seems a part of the soil1 which in sullen persistency he tills4 ,we knew already the ,russians of ,petrograd and ,moscow2 one meets them in ,paris1 ,london1 ,vienna1 at ,german and ,austrian ,cures and on the ,riviera4 ,they are everywhere and always distinctive by reason of their ,slav temperament2 a magnetic race quality which is ,asiatic in its essence4 ,we recognise it1 we are stirred by it1 we are drawn to it in their literature1 their music1 their painting and in the ,russian people themselves4 ,the quality is an integral part of ,russian nature2 polishing merely increases its attraction as with a gem4 ,one instance of this is the folk melody as treated by ,tschaikowsky compared with its simple form as sung or danced by the peasant4 ,,plate ,,xxviii ,a skating costume worn by ,miss ,weld of ,boston1 holder of the ,woman's ,figure ,skating ,championship4 ,this photograph was taken in ,new ,york on ,march #bc1 #aiag1 when amateurs contested for the cup and ,miss ,weld won--this time over the men4 ,the costume of wine-coloured velvet trimmed with mole-skin1 a small close toque to match1 was one of the most appropriate and attractive models of #aiaf-aiag4 ,illustration3 ,courtesy of ,new ,york ,herald ,modern ,skating ,costume #aiag ,winner of ,amateur ,championship of ,fancy ,skating ,some of the ,russian women of the fashionable world are very decorative4 ,our first impression of this type was in ,paris1 at the ,russian ,church on ,christmas 7or was it some other holy day87 when to the amazement of the uninitiated the ,russian women of the aristocracy appeared at the morning service hatless and in full evening dress1 wearing jewels as if for a function at some secular court4 ,their masculine escorts appeared in full regalia1 the light of the altar candles adding mystery to the glitter of gold lace and jewels4 ,those occasions are picturesque in the extreme4 ,the congregation stands1 as in the ,jewish synagogues1 and those of highest rank are nearest the altar1 invariably ablaze with gold1 silver and precious stones1 while on occasions the priest wears cloth of gold4 ,in ,paris this background and the whole scene was accepted as a part of the pageant of that city1 but in ,kiev it was different4 ,there we got the other side of the picture2 the man and the woman who are really ,russia1 the element that finds an outlet in the folk music1 for its age-old rebellious submission4 ,one hears the soul of the ,russian pulsating in the continued reiteration of the same theme2 it is like the endless treadmill of a life without vistas4 ,we were looking at the ,russia of ,maxim ,gorky1 the ,russia that made ,tolstoy a reformer2 that has now forced its ,czar to abdicate4 ,we reached ,kiev just before the ,easter of the ,greek ,church1 the season when the pilgrims1 often as many as fifty thousand of them1 tramp over the frozen roads from all parts of the empire to expiate their sins1 kneeling at the shrine of one of their mummied1 sainted bishops4 ,the men and women alike1 clad in grimy sheepskin coats1 moved like cattle in straggling droves1 over the roads which lead to ,kiev4 ,from a distance one cannot tell man from woman1 but as they come closer1 one sees that the woman has a bright kerchief tied round her head1 and red or blue peasant embroidery dribbles below her sheepskin coat4 ,she is as stocky as a ,shetland pony and her face is weather-beaten1 with high cheekbones and brown eyes4 ,the man wears a black astrachan conical cap and his hair is long and bushy1 from rubbing bear grease into it4 ,he walks with a crooked staff1 biblical in style1 and carries his worldly goods in a small bundle flung over his shoulder4 ,the woman carries her own small burden4 ,as they shuffle past1 a stench arises from the human herd4 ,it comes from the sheepskin1 which is worked in1 slept in1 and1 what is more1 often inherited from a parent who had also worn it as his winter hide4 ,added to the smell of the sheepskin is that of an unwashed human1 and the reek of stale food1 for the poorest of the ,russian peasants have no chimneys to their houses4 ,they cannot afford to let the costly heat escape4 ,kiev1 the holy city and capital of ,ancient ,russia1 climbs from its ancestral beginnings1 on the banks of the ,river ,dneiper1 up the steep sides and over the summit of a commanding hilltop1 crowned by an immense gold cross1 illumined with electricity by night1 to flash its message of hope to foot-sore pilgrims4 ,the driver of our drosky drove us over the rough cobbles so rapidly1 despite the hill1 that we were almost overturned4 ,it is the manner of ,russian drosky drivers4 ,the cathedral1 our goal1 was snowy-white1 with frescoes on the outer walls1 onion-shaped domes of bronze turned green2 or gold1 or blue with stars of gold4 ,we entered and found the body of the church well filled by peasants1 women and men in sheepskin4 ,one poor doe-eyed creature crouched to press his forehead twenty times at least on the stone floor of the church4 ,eagerly1 like a flock of sheep1 they all pushed forward to where a richly-robed priest held a cross of gold for each to kiss1 taking their proffered kopeks4 ,the setting sun streamed through the ancient stained glass1 dyeing their dirty sheepskin crimson1 and purple1 and green1 until they looked like illuminations in old missals4 ,to the eye and the mind of western ,europe it was all incomprehensible4 ,yet those were the people of ,russia who are to-day her mass of armed defenders2 the element that has been counted on from the first by ,russia and her allies stood penniless before an altar laid over with gold and silver and precious stones4 ,just before we got to ,kiev1 one of those men in sheepskins with uncut hair and dogged expression1 who had a sense of values in human existence1 broke into the church and stole jeweled chalices from the altar4 ,they were traced to a pawnshop in a distant city and brought back4 ,it was a common thing to see men halt in the street and stand uncovered1 while a pitiful funeral cortege passed4 ,a wooly1 half-starved1 often lame horse1 was harnessed with rope to a simple four-wheeled farm wagon1 a long-haired peasant at his head1 women and children holding to the sides of the cart as they stumbled along in grief1 and inside a rough wooden coffin covered with a black pall1 on which was sewn the ,greek cross1 in white4 ,heartless1 hopeless1 weary and underfed1 those peasants were taking their dead to be blessed for a price1 by the priest in cloth of gold1 without whose blessing there could be no burial4 ,,chapter ,,xxiii ,,mark ,,twain',s ,,love ,,of ,,colour ,,in ,,all ,,costuming ,the public thinks of ,mark ,twain as being the apostle of white during the last years of his life1 but those who knew him well recall his delightfully original way of expressing an intense love for bright colours4 ,this brings to mind a week-end at ,mark ,twain's beautiful ,italian villa in ,reading1 ,connecticut1 when1 one night during dinner1 he held forth on the compelling fascination of colours and the ,american ,indian's superior judgment in wearing them4 ,after a lengthy elaboration--not to say exaggeration--of his theme1 he ended by declaring in uncompromising terms1 that colour1 and plenty of it1 crimson and yellow and blue1 wrapped around man1 as well as woman1 was an obligation shirked by humanity4 ,it was all put as only ,mark ,twain could have put it1 with that serious vein showing through broad humour4 ,this quality combined with an unmatched originality1 made every moment passed in his company a memory to treasure4 ,it was not alone his theme1 but how he dealt with it1 that fascinated one4 ,,plate ,,xxix ,one of the #aiag silhouettes4 ,naturally1 since woman to-day dresses for her occupation--work or play--the characteristic silhouettes are many4 ,this one is reproduced to illustrate our point that outline can be affected by the smallest detail4 ,the sketch is by ,elisabeth ,searcy4 ,illustration3 ,drawn from ,life by ,elisabeth ,searcy ,a ,modern ,silhouette--#aiag ,tailor-made ,mark ,twain was elemental and at the same time a great artist1--the embodiment of extreme contradictions1 and his flair for gay colour was one proof of his elemental strain4 ,we laughed that night as he made word pictures of how men and women should dress4 ,next morning1 toward noon1 on looking out of a window1 we saw standing in the middle of the driveway a figure wrapped in crimson silk1 his white hair flying in the wind1 while smoke from a pipe encircled his head4 ,yes1 it was ,mark ,twain1 who in the midst of his writing1 had been suddenly struck with the thought that the road needed mending1 and had gone out to have another look at it6 ,it was a blustering day in ,spring1 and cold1 so one of the household was sent to persuade him to come in4 ,we can see him now1 returning reluctantly1 wind-blown and vehement1 gesticulating1 and stopping every few steps to express his opinion of the men who had made that road6 ,the flaming red silk robe he wore was one his daughter had brought him from ,liberty's1 in ,london1 and he adored it4 ,still wrapped in it1 and seemingly unconscious of his unusual appearance1 he joined us on the balcony1 to resume a conversation of the night before4 ,the red-robed figure seated itself in a wicker chair and berated the idea that mortal man ever could be generous1--act without selfish motives4 ,with the greatest reverence in his tone1 sitting there in his whimsical costume of bright red silk1 at high noon1--an immaculate ,french butler waiting at the door to announce lunch1 ,mark ,twain concluded an analysis of modern religion with --why the ,god ,i believe in is too busy spinning spheres to have time to listen to human prayers4 ,how often his words have been in our mind since war has shaken our planet4 ,,chapter ,,xxiv ,,the ,,artist ,,and ,,his ,,costume ,the world has the habit of deriding that which it does not understand4 ,it is the most primitive way of bolstering one's limitations4 ,how often the woman or man with a ,god-given sense of the beautiful1 the fitting1 harmony between costume and setting1 is described as poseur or poseuse by those who lack the same instinct4 ,in a sense1 of course1 everything man does1 beyond obeying the rudimentary instincts of the savage1 is an affectation1 and it is not possible to claim that even our contemporary costuming of man or woman always has raison d'etre4 ,we accept as the natural1 unaffected raiment for woman and man that which custom has taught us to recognise as appropriate1 with or without reason for being4 ,for example1 the tall1 shiny1 inflexible silk hat of man1 and the tortuous high ,french heels of woman are in themselves neither beautiful1 fitting1 nor made to meet the special demands of any setting or circumstance4 ,both hat and heels are fashions1 unbeautiful and uncomfortable1 but to the eye of man to-day serve as insignia of formal dress1 decreed by society4 ,the artist nature has always assumed poetic license in the matter of dress1 and as a rule defied custom1 to follow an inborn feeling for beauty4 ,that much-maligned short velvet coat and soft loose tie of the painter or writer1 happen to have a most decided raison d'etre2 they represent comfort1 convenience1 and in the case of the velvet coat1 satisfy a sensitiveness to texture1 incomprehensible to other natures4 ,as for the long hair of some artists1 it can be a pose1 but it has in many cases been absorption in work1 or poverty--the actual lack of money for the conventional haircut4 ,in cities we consider long hair on a man as effeminate1 an indication of physical weakness1 but the ,russian peasant1 most sturdy of individuals1 wears his hair long1 and so do many others among extremely primitive masculine types1 who live their lives beyond the reach of ,fashion and barbers4 ,the short hair of the sincere woman artist is to save time at the toilette4 ,there is always a limited number of men and women who1 in ordinary acts of life1 respond to texture1 colour or line1 as others do to music or scenery1 and to be at their best in life1 must dress their parts as they feel them4 ,japanese actors who play the parts of women1 dress like women off the stage1 and live the lives of women as nearly as possible1 in order to acquire the feeling for women's garments2 they train their bodies to the proper feminine carriage1 counting upon this to perfect their interpretations4 ,the woman who rides1 hunts1 shoots1 fishes1 sails her own boat1 paddles1 golfs and plays tennis1 is very apt to look more at home in habit1 tweeds and flannels1 than she does in strictly feminine attire2 the muscles she has acquired in legs and arms1 from violent exercise1 give an actual1 not an assumed1 stride and a swing to the upper body4 ,in sports clothes1 or severely tailored costume1 this woman is at her best4 ,most trying for her will be demi-toilette 7house gowns74 ,she is beautiful at night because a certain balance1 dignity and grace are lent her by the decolletage and train of a dinner or ball gown4 ,english women who are devotees of sport1 demonstrate the above fact over and over again4 ,while on the subject of responsiveness to texture and colour we would remind the reader that ,richard ,wagner hung the room in which he worked at his operas with bright silks1 for the art stimulus he got from colour1 and it is a well-known fact that he derived great pleasure from wearing dressing gowns and other garments made from rich materials4 ,clyde ,fitch1 our ,american playwright1 when in his home1 often wore velvet or brocaded silks4 ,they were more sympathetic to his artist nature1 more in accord with his fondness for wearing jewelled studs1 buttons1 scarf-pins4 ,in his town and country houses the main scheme1 leading features and every smallest detail were the result of ,clyde ,fitch's personal taste and effort1 and he1 more than most men and women1 appreciated what a blot an inartistic human being can be on a room which of itself is a work of art4 ,,plate ,,xxx ,souvenirs of an artist designer's unique establishment1 in spirit and accomplishment vrai ,parisienne4 ,notice the long cape in the style of #ahbe4 ,tappe himself will tell you that all periods have had their beautiful lines and colours2 their interesting details2 that to find beauty one must first have the feeling for it2 that if one is not born with this subtle instinct1 there are manifold opportunities for cultivating it4 ,his claim is the same as that made in our ,art of ,interior ,decoration2 the connoisseur is one who has passed through the schooling to be acquired only by contact with masterpieces1--those treasures sifted by time and preserved for our education1 in great art collections4 ,tappe emphasises the necessity of knowing the background for a costume before planning it2 the value of line in the physique beneath the materials2 the interest to be woven into a woman's costume when her type is recognised1 and the modern insistence on appropriateness--that is1 the simple gown and close hat for the car1 vivid colours for field sports or beach2 a large fan for the woman who is mistress of sweeping lines1 etc41 etc4 ,tappe is absolutely ,french in his insistence upon the possible eloquence of line2 a single flower well poised and the chic which is dependent upon how a hat or gown is put on4 ,we have heard him say3 ,no1 ,i will not claim the hat in that photograph1 though ,i made it1 because it is mal pose4 ,illustration3 ,sketched for ,woman as ,decoration by ,thelma ,cudlipp ,tappe's ,creations ,in ,england1 and far more so in ,america1 men are put down as effeminate who wear jewelry to any marked extent4 ,but no less a person than ,king ,edward ,,vii always wore a chain bangle on his arm1 and one might cite countless men of the ,continent as thoroughly masculine--,spaniards in particular--who wear as many jewelled rings as women4 ,apropos of this1 a famous topaz1 worn as a ring for years by a distinguished ,spaniard was recently inherited by a relation in ,america--a woman4 ,the stone was of such importance as a gem1 that a record was kept of its passing from ,france into ,america4 ,as a man's ring it was impressive and the setting such as to do it honour1 but being a man's ring1 it was too heavy for a woman's use4 ,a pendant was made of the stone and a setting given it which turned out to be too trifling in character4 ,the consequence was1 the stone lost in value as a ,rubens' canvas would1 if placed in an art nouveau frame4 ,whether it is a precious stone1 a valued painting or a woman's costume--the effect produced depends upon the character of its setting4 ,,chapter ,,xxv ,,idiosyncrasies ,,in ,,costume ,fashions in dress as in manners1 religion1 art1 literature and drama1 are all powerful because they seize upon the public mind4 ,the ,chelsea group of revolutionary artists in ,new ,york doubtless see1--perhaps but dimly1 the same star that led ,goethe and ,schiller on1 in the storm and stress period of their time4 ,we smile now as we recall how ,schiller stood on the street corners of ,leipzig1 wearing a dressing-gown by day to defy custom2 but the youth of ,athens did the same in the last days of ,greece4 ,in fact then the darlings of the gilded world struck attitudes of abandon in order to look like the ,spartans4 ,they refused to cut their hair and they would not wash their hands1 and even boasted of their ragged clothes after fist fights in the streets4 ,yes1 the gentlemen did this4 ,in the fifteenth and sixteenth centuries there was a cult that wore furs in ,summer and thin clothes in ,winter1 to prove that love made them strong enough to resist the elements6 ,you will recall the ,euphuists of ,england1 the ,precieuses of ,france and the ,illuminati of the eighteenth century1 as well as ,les ,merveilleux and ,les ,encroyables4 ,the rich during the ,renaissance were great and wise collectors but some followed the fashion for collecting manuscripts even when unable to read them4 ,it is interesting to find that in the fourth and fifth centuries it was fashionable to be literary4 ,those with means for existence without labour1 wrote for their own edification1 copying the style of the ancient poets and philosophers4 ,as early as the fifteenth and sixteenth centuries ,venetian women were shown the ,paris fashions each ,ascension ,day on life-size dolls1 displayed by an enterprising importer4 ,it is true that fashions come and go1 not only in dress1 but how one should sit1 stand1 and walk2 how use the hands and feet and eyes4 ,to squint was once deemed a modest act4 ,women of the fifteenth and sixteenth centuries stood with their abdomens out1 and so did some in #aiaf6 ,there are also fashions in singing and speaking4 ,the poses in portraits express much4 ,compare the exactly prim ,copley miss1 with a recent portrait by ,cecilia ,beaux of a young girl seated1 with dainty satin-covered feet outstretched to full extent of the limbs1 in casual impertinence1--our age6 ,to return to the sixteenth century1 it is worthy of note that some ,venetian belles wore patines--that is1 shoes with blocks of wood1 sometimes two feet high1 fastened to the soles4 ,they could not move without a maid each side6 ,as it was an age when elemental passions were good form1 jealous husbands are blamed for these6 ,in the seventeenth century the idle dancing youth of to-day had his prototype in the ,cavalier ,servente1 who hovered at his lady's side1 affecting extravagant and effeminate manners4 ,the corrupt morals of the sixteenth century followed in the wake of social intercourse by travel1 literature1 art and styles for costumes4 ,mme4 ,recamier1 the exquisite embodiment of the ,directoire style as depicted by ,david in his famous portrait of her1 scandalised ,london by appearing in public1 clad in transparent ,greek draperies and scarfs4 ,later ,mme4 ,jerome ,bonaparte1 a ,baltimore belle1 quite upset ,philadelphia by repeating ,mme4 ,recamier's experiment in that city of brotherly love6 ,we are also told on good authority that one could have held ,madame's wedding gown in the palm of the hand4 ,victorian hoops for public conveyances1 paper-soled slippers in snow-drifts1 wigs immense and heavy with powder1 hair-oil and furbelows1 hour-glass waist lines producing the vapours fortunately are no more4 ,taken by and large1 we of the year #aiag seem to have reached the point where woman's psychology demands of dress fitness for each occasion1 that she may give herself to her task without a material handicap4 ,may the good work in this direction continue1 as the panorama of costumes for women moves on down the ages that are to come4 ,,chapter ,,xxvi ,,nationality ,,in ,,costume ,when seen in perspective1 the costumes of various periods1 as well as the architecture1 interior decoration and furnishings of the homes of men appear as distinct types1 though to the man or woman of any particular period the variations of the type are bewildering and misleading4 ,it is the same in physical types2 when visiting for the first time a foreign land one is immediately struck by a national cast of feature1 ,english1 ,french1 ,american1 ,russian1 etc4 ,but if we remain in the country for any length of time1 the differences between individuals impress us and we lose track of those features and characteristics the nation possesses in common4 ,to-day1 if asked what outline1 materials and colour schemes characterise our fashions1 some would say that almost anything in the way of line1 materials and colour were worn4 ,there is1 however1 always an epoch type1 and while more than ever before the law of appropriateness has dictated a certain silhouette for each occasion1--each occupation1--when recorded in costume books of the future we will be recognised as a distinct phase2 as distinct as the ,gothic1 ,elizabethan1 ,empire or ,victorian period4 ,,plate ,,xxxi ,costume of a ,red ,cross ,nurse1 worn while working in a ,french war hospital1 by ,miss ,elsie de ,wolfe1 of ,new ,york4 ,an example of woman costumed so as to be most efficient for the work in hand4 ,miss de ,wolfe's name has become synonymous with interior decoration1 throughout the length and breadth of our land1 but she established a reputation as one of the best-dressed women in ,america1 long before she left the stage to professionally decorate homes4 ,she has done an immeasurable amount toward moulding the good taste of ,america in several fields4 ,at present her energies are in part devoted to disseminating information concerning a cure for burns1 one of the many discoveries resulting from the exigencies of the present devastating war4 ,illustration3 ,miss ,elsie de ,wolfe in ,costume of ,red ,cross ,nurse ,as we have said1 in studying the history of woman decorative1 one finds two widely separated aspects of the subject1 which must be considered in turn4 ,there is the classifying of woman's apparel which comes under the head of ,european dress1 woman's costume affected by cosmopolitan influences2 costumes worn by that part of humanity which is in close intercommunication and reflecting the ebb and flow of currents--political1 geographical and artistic4 ,then we have quite another field for study1 that of national costumes1 by which we mean costumes peculiar to some one nation and worn by its men and women century after century4 ,it is interesting as well as depressing for the student of national characteristics to see the picturesque distinguishing lines and colours gradually disappear as railroads1 steamboats and electric trolleys penetrate remote districts4 ,with any influx of curious strangers there comes in time1 often all too quickly1 a regrettable self-consciousness1 which is followed at first by an awkward imitation of the cosmopolitan garb4 ,we recall our experience in ,hungary4 ,having been advised to visit the peasant villages and farms lying out on the puestas 7plains of southern ,hungary7 if we would see the veritable national costumes1 we set out hopefully with letters of introduction from a minister of education in ,buda ,pest1 directed to mayors of ,magyar villages4 ,one of these planned a visit to a local celebrity1 a ,magyar farmer1 very old1 very prosperous1 rich in herds of horses1 sheep and magnificent ,hungarian oxen1 large1 white and with almost straight1 spreading horns1 like the oxen of the ancient ,greeks4 ,there we met a man of the old school1 nearly eighty1 who had never in his life slept under cover1 his duty being to guard his flocks and herds by night as well as day1 though he had amassed what was for his station in life1 a great fortune4 ,he had never been seen in anything but the national costume1 the same as worn in his part of the world for several hundred years4 ,and so we went to see him in his home4 ,we were all expectation6 ,you can imagine our disappointment1 when1 upon arrival1 we found our host awaiting us1 painfully attired in the ordinary dark cloth coat and trousers of the modern farmer the world over4 ,he had donned the ugly things in our honour1 taking an hour to make his toilet1 as we were secretly informed by one of the household4 ,we tell this to show how one must persevere in the pursuit of artistic data4 ,this was the same occasion cited in ,the ,art of ,interior ,decoration1 when the highly decorative peasant tableware was banished by the women in the house1 to make room1 again in our honour1 for plain white ironstone china4 ,the feeling for line accredited to the ,french woman is equally the birthright of the ,magyar--woman and man4 ,one sees it in the dash of the court beauty who can carry off a mass of jewels1 barbaric in splendour1 where the average ,european or ,american would feel a ,christmas tree in the same4 ,and no man in ,europe wears his uniform as the ,hungarian officer of hussars does2 the astrachan-trimmed short coat1 slung over one shoulder1 cap trimmed with fur1 on the side of his head1 and skin-tight trousers inside of faultless1 spurred boots reaching to the knees4 ,one can go so far as to say there is something decorative in the very temperament of ,hungarian women1 a fiery abandon1 which makes line in a subtle way quite apart from the line of costume4 ,this quality is also possessed by the ,spanish woman1 and developed to a remarkable degree in the professional ,spanish dancer4 ,the ,gipsy woman has it too1--she brought it with her from ,asia1 as the ,magyar's forebears did4 ,speaking of the ,magyar1 nothing so perfectly expresses the national temperament as the czardas--that peasant dance which begins with calm1 stately repression1 and ends in a mad ecstasy of expression1 the rapid crescendo1 the whirl1 ending when the man seizes his partner and flings her high in the air4 ,watch the flash of the eyes and see that this is genuine temperament1 not acting1 but something inherent in the blood4 ,the crude colour of the national costume and the sharp contrast in the folk music are equally expressions of national character1 the various art expressions of which open up countless enticing vistas4 ,the contemplation of some of these vistas leads one to the conclusion that woman decorative is so1 either as an artist 7that is1 in the mastery of the science of line and colour1 more or less under the control of passing fashion71 or in the abandonment to the impulse of an untutored1 unconscious1 child of nature4 ,both can be beautiful2 the art which is so great as to conceal conscious effort by creating the illusion of spontaneity1 and the natural unconscious grace of the human being in youth or in the primitive state4 ,,chapter ,,xxvii ,,models ,an historical interest attaches to fashions in women's costuming1 which the practised eye is quick to distinguish1 but not always that of the novice4 ,of course the most casual and indifferent of mortals recognises the fact when woman's hat follows the lines of the ,french officer's cap1 or her coat reproduces the ,cossack's1 with even a feint at his cartridge belt2 but such echoes of the war are too obvious to call for comment4 ,,plate ,,xxxii ,madame ,geraldine ,farrar as ,carmen4 ,in each of the three presentations of ,madame ,farrar we have given her in character1 as suggestions for stage costumes or costume balls4 7,by courtesy of ,vanity ,fair47 ,illustration3 ,courtesy of ,vanity ,fair ,mme4 ,geraldine ,farrar in ,spanish ,costume as ,carmine ,it is one of the missions of art to make subtle the obvious1 and a distinguished example of this1 which will illustrate our theme1--history mirrored by dress1--was seen recently4 ,one of the most famous among the great couturieres of ,paris1 who has opened a ,new ,york branch within two years1 having just arrived with her ,spring and ,summer models1 was showing them to an appreciative woman1 a patron of many years4 ,it is not an exaggeration to say that in all that procession of costumes for cool days or hot1 ball-room1 salon1 boudoir or lawn1 not one was banal1 not one false in line or its colour-scheme4 ,whether the style was ,classic ,greek1 ,mediaeval or ,empire 7these prevail71 one felt the result1 first of an artist's instinct1 then a deep knowledge of the pictorial records of periods in dress1 and to crown all1 that conviction of the real artist1 which gives both courage and discretion in moulding textiles1--the output of modern genius1 to the purest classic lines4 ,for example1 one reads in every current fashion sheet that beads are in vogue as garniture for dresses4 ,so they are1 but note how your ,french woman treats them4 ,whether they are of jet1 steel1 pearl or crystal1 she presses them into service as so much colour1 massing them so that one is conscious only of a shimmering1 clinging1 wrapped-toga effect1 a la ,grecque1 beneath the skirt and bodice of which every line and curve of the woman's form is seen4 ,evidently some1 at least1 are to be gleaming ,tanagras4 ,even a dark-blue serge1 for the motor1 shopping or train1 had from hips to the bust parallel lines of very small tube-like jet beads1 sewn so close together that the effect was that of a shirt of mail4 ,the use of notes of vivid colour caught the eye4 ,in one case1 on a black satin afternoon gown1 a tiny nosegay of forget-me-not blue1 rose-pink and jessamine-white1 was made to decorate the one large patch-pocket on the skirt and a lapel of the sleeveless satin coat4 ,again on a dinner-dress of black ,chantilly lace1 over white chiffon 7,empire lines71 a very small1 deep pinkish-red rose had a white rose-bud bound close to it with a bit of blue ribbon4 ,this was placed under the bertha of cobweb lace1 and demurely in the middle of the short-waisted bodice4 ,again a robe d'interior of white satin charmeuse1 had a sleeveless coat of blue1 reaching to knees1 and a dashing bias sash of pinkish-red1 twice round the waist1 with its long ends reaching to skirt hem and heavily weighted4 ,not at once1 but only gradually1 did it dawn upon us that most of the gowns bore1 in some shade or form1 the tricolour of ,france6 ,,chapter ,,xxviii ,,woman ,,costumed ,,for ,,her ,,war ,,job ,every now and then a sex war is predicted1 and sometimes started1 usually by woman1 though some predicted that when the present ,european war is over and the men come home to their civilian tasks1 now being carried on by women1 man is going to take the initiative1 in the sex conflict4 ,we doubt it4 ,without deliberate design to prove this point1--that a complete collaboration of the sexes has always made the wheels of the universe revolve1 many of the illustrations studied showed woman with man as decoration1 in ,ancient ,egypt1 ,greece1 and during later periods4 ,the ,legend of ,life tells us that man can not live alone1 hence woman2 and the ,pageant of ,life shows that she has played opposite with consistency and success throughout the ages4 ,the ,sunday issue of the ,philadelphia ,public ,ledger for ,march #be1 #aiag1 has a headline1 ,trousers vs4 ,skirts1 and1 continues ,margaret ,davies1 the author of the article3 ,this war will change all things for ,european women4 ,military service1 of a sort1 has come for them in both ,france and ,england1 where they are replacing men employed in clerical and other non-combatant departments1 including motor driving4 ,the moment this was decided upon in ,england1 it was found that #cj1jjj men would be released for actual fighting1 with prospects of the release of more than #bjj1jjj more4 ,what the ,french demand will be is not known as ,i write1 but it will equal that of ,england4 ,how will these women dress8 ,will they be given military uniforms short of skirt or even skirtless8 ,of course they won't2 but the world on this side of the ocean would not gasp should this be done4 ,war industry already has worked a revolution4 ,study the pictures which accompany this article4 ,they are a new kind of women's 'fashion pictures'2 they are photographs of women dressed as ,european circumstances now compel them to dress4 ,note the trousers1 like a ,turkish woman's1 of the ,french girl munitions workers4 ,thousands of girls here in ,france are working in such trousers4 ,note the smart liveries of the girls who have taken the places of male carriage starters1 mechanics and elevator operators1 at a great ,london shop4 ,they are very natty1 aren't they8 ,almost like costumes from a comic opera4 ,well1 they are not operatic costumes4 ,they are every-day working liveries4 ,girls wear them in the most mixed ,london crowds--wear them because the man-shortage makes it necessary for these girls to do work which skirts do not fit4 ,all ,french trams and buses have 'conductresses4' ,the coming of women cabmen in ,london is inevitable--indeed1 it already has begun4 ,in ,paris they have been established sparsely for some time and have done well1 but they have not been used on taxis1 only on the horse cabs4 ,i have spent most of my time in ,paris for some months now1 and have ridden behind women drivers frequently4 ,they drive carefully and well and are much kinder to their horses than the old1 red-faced1 brutal ,french cochers are4 ,i like them4 ,they have a wonderful command of language1 not always entirely or even partially polite1 but they are accommodating and less greedy for tips than male drivers4 ,at ,selfridge's great store--the largest and most progressive in ,london1 operated on ,chicago lines--skirtless maidens are not rare enough to attract undue attention4 ,the first to be seen there1 indeed1 is not in the store at all1 but on the sidewalk1 outside of it1 engaged in the gentle art of directing customers to and from their cars and cabs and incidentally keeping the chauffeurs in order4 ,an extremely pretty girl she is1 too1 with her frock-coat coming to her knees1 her top-boots coming to the coat1 and now and then1 when the wind blows1 a glimpse of loose knickers4 ,she tells me that she's never had a man stare at her since she appeared in the new livery1 although women have been curious about it and even critical of it4 ,women have done all the staring to which she has been subjected4 ,within the store1 many girls engaged in various special employments1 are dressed conveniently for their work1 in perfectly frank trousers4 ,among these are the girls who operate the elevators4 ,there is no compromise about it4 ,these girls wear absolutely trousers every working hour of every working day in a great public store1 in a great crowded city1 rubbing elbows 7even touching trousered knees1 inevitably7 with hundreds of men daily4 ,,plate ,,xxxiii ,madame ,geraldine ,farrar4 ,the value of line was admirably illustrated in the opera ,madame ,butterfly as seen this winter at the ,metropolitan ,opera ,house4 ,have you chanced to ask yourself why the outline of the individual members of the chorus was so lacking in charm1 and ,madame ,farrar's so delightful8 ,the great point is that in putting on her kimono1 ,madame ,farrar kept in mind the characteristic silhouette of the ,japanese woman as shown in ,japanese art2 then she made a picture of herself1 and one in harmony with her ,japanese setting4 ,which brings us back to the keynote of our book--,woman as ,decoration--beautiful ,line4 ,illustration3 ,sketched for ,woman as ,decoration by ,thelma ,cudlipp ,mme4 ,geraldine ,farrar in ,japanese ,costume as ,madame ,butterfly ,and they like it4 ,they work better in the new uniforms than they used to in skirts and are less weary at each day's end4 ,and nobody worries them at all4 ,there has not been the faintest suspicion of an insult or an advance from any one of the thousands of men and boys of all classes whom they have ridden with upon their 'lifts1' sometimes in dense crowds1 sometimes in an involuntary tete-a-tete4 ,other employments which girls follow and dress for bifurcatedly in this great and progressive store are more astonishing than the operation of elevators4 ,a charming young plumber had made no compromise whatever with tradition4 ,she was in overalls like boy plumbers wear1 except that her trousers were not tight1 but they were well fitted4 ,a little cap of the same material as the suit1 completed her jaunty and attractive costume4 ,and cap and suit were professionally stained1 too1 with oil and things like that1 while her small hands showed the grime of an honest day's competent1 hard work4 ,the coming summer will see an immense amount of ,england's farming done by women and1 ,i think1 well done4 ,organisations already are under way whereby women propose to help decrease the food shortage by intelligent increase of the chicken and egg supply1 and this is being so well planned that undoubtedly it will succeed4 ,eggs and chickens will be cheap in ,england ere the summer ends4 ,i have met three ex-stenographers who now are at hard work1 two of them in munition factories 7making military engines of death7 and one of them on a farm4 ,i asked them how they liked the change4 ',i should hate to have to go back to work in the old long skirts1' one replied4 ',i should hate to go back to the old days of relying upon some one else for everything that really matters4 ,but--well1 ,i wish the war would end and ,i hope the casualty lists of fine young men will not grow longer1 day by day1 as ,spring approaches1 although everybody says they will4' ,mrs4 ,john ,bull takes girls in pantaloons quite calmly and approvingly1 now that she has learned that if there are enough of them1 dad and the boys will pay no more attention to them in trousers than they would pay to them in skirts4 ,we have preferred to quote the exact wording of the original article1 for the reason that while the facts are familiar to most of us1 the manner of putting them could not1 to our mind1 be more graphic4 ,some day1 when the ,wateaus of the future are painting the court ladies who again dance pavanes in sunlit glades1 wearing wigs and crinoline1 such data will amuse4 ,that the women of ,finland make worthy members of their parliament does not prove anything outside of ,finland4 ,that the exigencies of the present hour in ,england have made women equal to every task of men so far entrusted to them1 proves much for ,england4 ,women1 like men1 have untold1 untried abilities within them1 women and men alike are marvellous under fire--capable of development in every direction4 ,what human nature has done it can do again1 and infinitely more under the pressure of necessity which opens up brain cells1 steels the heart1 hardens the muscles1 and like magic fire1 licks up the dross of humanity1 aimlessly floating on the surface of life1 awaiting a leader to melt and mould it at ,fate's will into clearly defined personalities1 ready to serve4 ,this point has been magnificently proved by the war now waging in ,europe4 ,let us repeat2 that from the beginning the story of woman's costuming proves her many-sidedness1 the inexhaustible stock of her latent qualities which1 like man's1 await the call of the hour4 ,,in ,,conclusion ,the foregoing chapters have aimed at showing the decorative value of woman's costume as seen in the art of ,egypt1 ,greece1 ,gothic ,europe1 ,europe of the ,renaissance and during the seventeenth1 eighteenth and nineteenth centuries4 ,to prove the point that woman is a telling note in the interior decoration of to-day1 the vital spark in any setting1 we have not dwelt upon the fashions so much as decorative line1 colour-scheme and fitness for the occasion4 ,it is costume associated with caste which interests us more than folk costume4 ,we have shown that it is the modern insistence on efficiency that has led to appropriate dress for work and recreation1 and that our idea of the chic and the beautiful in costume is based on appropriateness4 ,also we have shown that line in costumes is in part the result of one's form--the absolute control of the body1 its carriage1 poise of the head1 action of legs1 arms1 hands and feet1 and that form means successful effort in any direction1 because through it the mind may control the physical medium4 ,it is the woman who knows what she should wear1 what she can wear and how to wear it1 who is most efficient in whatever she gives her mind to4 ,she it is who will expend the least time1 strength and money on her appearance1 and be the first to report for duty in connection with the next obligation in the business of life4 ,therefore let us keep in mind a few rules for the perfect costuming of woman3 ,appropriateness for each occasion so as to get efficiency1 or be as decorative as possible4 ,outline4--,fashion in silhouette adapted to your own type4 ,background4--,your setting4 ,colour scheme4--,fashionable colours chosen and combined to express your personality as well as to harmonise with the tone of setting1 or1 if preferred1 to be an agreeable contrast to it4 ,detail4--,trimming with raison d'etre1--not meaningless superfluities4 ,it is1 of course1 understood that the attainment of beauty in the costuming of woman is our aim when stating and applying the foregoing principles4 ,the art of interior decoration and the art of costuming woman are occasionally centred in the same individual1 but not often4 ,some of the most perfectly dressed women1 models for their less gifted sisters1 are not only ignorant as to the art of setting their stage1 but oblivious of the fact that it may need setting4 ,remember1 that while an inartistic room1 confused as to line and colour-scheme can absolutely destroy the effect of a perfect gown1 an inartistic1 though costly gown can likewise be a blot on a perfect room4