<h2><SPAN name="CHAPTER_XXVIII" id="CHAPTER_XXVIII" /><SPAN name="Page_313" id="Page_313"></SPAN>CHAPTER XXVIII</h2>
<h3>WOMAN COSTUMED FOR HER WAR JOB</h3>
<p><span class="big"><ANTIMG src="images/illus-e.jpg" width-obs="60" height-obs="60" alt="E" /><b>VERY</b></span>
now and then a sex war is predicted, and sometimes started,
usually by woman, though some predicted that when the present European
war is over and the men come home to their civilian tasks, now being
carried on by women, man is going to take the initiative, in the sex
conflict. We doubt it. Without deliberate design to prove this
point,—that a complete collaboration of the sexes has always made the
wheels of the universe revolve, many of the illustrations studied showed
woman with man as decoration, in Ancient Egypt, Greece, and during later
periods.</p>
<p>The Legend of Life tells us that man can not live alone, hence woman;
and the Pageant of Life shows that she has played opposite with
consistency and success throughout the ages.</p>
<p>The Sunday issue of the Philadelphia <i>Public <SPAN name="Page_314" id="Page_314"></SPAN>Ledger</i> for March 25,
1917, has a headline, "Trousers vs. Skirts," and, continues Margaret
Davies, the author of the article:</p>
<div class="blockquot"><p>"This war will change all things for European women.
Military service, of a sort, has come for them in both
France and England, where they are replacing men employed in
clerical and other non-combatant departments, including
motor driving. The moment this was decided upon in England,
it was found that 30,000 men would be released for actual
fighting, with prospects of the release of more than 200,000
more. What the French demand will be is not known as I
write, but it will equal that of England.</p>
<p> "How will these women dress? Will they be given military
uniforms short of skirt or even skirtless? Of course they
won't; but the world on this side of the ocean would not
gasp should this be done. War industry already has worked a
revolution.</p>
<p> "Study the pictures which accompany this article. They are a
new kind of women's 'fashion pictures'; they are photographs
of women dressed as European circumstances now compel them
to dress. Note the trousers, like a Turkish woman's, of the
French girl muni<SPAN name="Page_315" id="Page_315"></SPAN>tions workers. Thousands of girls here in
France are working in such trousers. Note the smart liveries
of the girls who have taken the places of male carriage
starters, mechanics and elevator operators, at a great
London shop. They are very natty, aren't they? Almost like
costumes from a comic opera. Well, they are not operatic
costumes. They are every-day working liveries. 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 fit. All French trams and buses have
'conductresses.'</p>
<p> "The coming of women cabmen in London is inevitable—indeed,
it already has begun. In Paris they have been established
sparsely for some time and have done well, but they have not
been used on taxis, only on the horse cabs.</p>
<p> "I have spent most of my time in Paris for some months now,
and have ridden behind women drivers frequently. They drive
carefully and well and are much kinder to their horses than
the old, red-faced, brutal French cochérs are. I like them.
They have a wonderful command of language, not always
entirely or even partially polite, but they are
accommodating and less greedy for tips than male drivers.</p>
<p> "At Selfridge's great store—the largest and <SPAN name="Page_316" id="Page_316"></SPAN>most
progressive in London, operated on Chicago lines—skirtless
maidens are not rare enough to attract undue attention. The
first to be seen there, indeed, is not in the store at all,
but on the sidewalk, outside of it, engaged in the gentle
art of directing customers to and from their cars and cabs
and incidentally keeping the chauffeurs in order.</p>
<p> "An extremely pretty girl she is, too, with her frock-coat
coming to her knees, her top-boots coming to the coat, and
now and then, when the wind blows, a glimpse of loose
knickers. She tells me that she's never had a man stare at
her since she appeared in the new livery, although women
have been curious about it and even critical of it. Women
have done all the staring to which she has been subjected.</p>
<p> "Within the store, many girls engaged in various special
employments, are dressed conveniently for their work, in
perfectly frank trousers. Among these are the girls who
operate the elevators. There is no compromise about it.
These girls wear absolutely trousers every working hour of
every working day in a great public store, in a great
crowded city, rubbing elbows (even touching trousered knees,
inevitably) with hundreds of men daily.</p>
</div>
<div class="block-illo"><h4>PLATE XXXIII<SPAN name="Page_317" id="Page_317"></SPAN></h4>
<p> <SPAN name="Page_318" id="Page_318"></SPAN>Madame Geraldine Farrar. The value of line was admirably
illustrated in the opera "Madame Butterfly" as seen this
winter at the Metropolitan Opera House. Have you chanced to
ask yourself why the outline of the individual members of
the chorus was so lacking in charm, and Madame Farrar's so
delightful? The great point is that in putting on her
kimono, Madame Farrar kept in mind the characteristic
silhouette of the Japanese woman as shown in Japanese art;
then she made a picture of herself, and one in harmony with
her Japanese setting. Which brings us back to the keynote of
our book—<i>Woman as Decoration</i>—beautiful <i>Line</i>.</p>
<div class="figcenter"> <SPAN href="images/illus_p319.jpg"><ANTIMG src="images/illus_p319-tb.jpg" width-obs="306" height-obs="400" alt="Mme. Geraldine Farrar in Japanese Costume as Madame Butterfly" title="Mme. Geraldine Farrar in Japanese Costume as Madame Butterfly" /></SPAN> <span class="caption"><SPAN name="Page_319" id="Page_319"></SPAN> <i>Sketched for "Woman as Decoration" by Thelma Cudlipp</i><br/>
<i>Mme. Geraldine Farrar in Japanese Costume as Madame Butterfly</i>
</span></div>
</div>
<div class="blockquot"><p>"And they like it. They work better in the new uniforms than<SPAN name="Page_320" id="Page_320"></SPAN><SPAN name="Page_321" id="Page_321"></SPAN>
they used to in skirts and are less weary at each day's end.
And nobody worries them at all. 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 'lifts,' sometimes in dense
crowds, sometimes in an involuntary tête-à-tête.</p>
<p> "Other employments which girls follow and dress for
bifurcatedly in this great and progressive store are more
astonishing than the operation of elevators. A charming
young plumber had made no compromise whatever with
tradition. She was in overalls like boy plumbers wear,
except that her trousers were not tight, but they were well
fitted. A little cap of the same material as the suit,
completed her jaunty and attractive costume. And cap and
suit were professionally stained, too, with oil and things
like that, while her small hands showed the grime of an
honest day's competent, hard work.</p>
<p> "The coming summer will see an immense amount of England's
farming done by women and, I think, well done. Organisations
already are under way whereby women propose to help decrease
the food shortage by intelligent increase of the chicken and
egg supply, and this is being so well planned that
undoubtedly it <SPAN name="Page_322" id="Page_322"></SPAN>will succeed. Eggs and chickens will be
cheap in England ere the summer ends.</p>
<p> "I have met three ex-stenographers who now are at hard work,
two of them in munition factories (making military engines
of death) and one of them on a farm. I asked them how they
liked the change.</p>
<p> "'I should hate to have to go back to work in the old long
skirts,' one replied. 'I should hate to go back to the old
days of relying upon some one else for everything that
really matters. But—well, I wish the war would end and I
hope the casualty lists of fine young men will not grow
longer, day by day, as Spring approaches, although everybody
says they will.'</p>
<p> "Mrs. John Bull takes girls in pantaloons quite calmly and
approvingly, now that she has learned that if there are
enough of them, dad and the boys will pay no more attention
to them in trousers than they would pay to them in skirts."</p>
</div>
<p>We have preferred to quote the exact wording of the original article,
for the reason that while the facts are familiar to most of us, the
manner of putting them could not, to our mind, be more graphic. Some
day, when the Wateaus of the future are painting the court ladies who
<SPAN name="Page_323" id="Page_323"></SPAN>again dance pavanes in sunlit glades, wearing wigs and crinoline, such
data will amuse.</p>
<p>That the women of Finland make worthy members of their parliament does
not prove anything outside of Finland. That the exigencies of the
present hour in England have made women equal to every task of men so
far entrusted to them, proves much for England. Women, like men, have
untold, untried abilities within them, women and men alike are
marvellous under fire—capable of development in every direction. What
human nature has done it can do again, and infinitely more under the
pressure of necessity which opens up brain cells, steels the heart,
hardens the muscles, and like magic fire, licks up the dross of
humanity, aimlessly floating on the surface of life, awaiting a leader
to melt and mould it at Fate's will into clearly defined personalities,
ready to serve. This point has been magnificently proved by the war now
waging in Europe.</p>
<p>Let us repeat; that from the beginning the story of woman's costuming
proves her many-sidedness, the inexhaustible stock of her latent
qualities which, like man's, await the call of the hour.</p>
<hr style="width: 65%;" />
<h2>IN CONCLUSION</h2>
<p>The foregoing chapters have aimed at showing the decorative value of
woman's costume as seen in the art of Egypt, Greece, Gothic Europe,
Europe of the Renaissance and during the seventeenth, eighteenth and
nineteenth centuries. To prove the point that woman is a telling note in
the interior decoration of to-day, the vital spark in any setting, we
have not dwelt upon the fashions so much as decorative line,
colour-scheme and fitness for the occasion.</p>
<p>It is costume associated with caste which interests us more than folk
costume. We have shown that it is the modern insistence on efficiency
that has led to appropriate dress for work and recreation, and that our
idea of the chic and the beautiful in costume is based on
<i>appropriateness</i>. Also we have shown that line in costumes is in part
the result of <SPAN name="Page_325" id="Page_325"></SPAN>one's "form"—the absolute control of the body, its
"carriage," poise of the head, action of legs, arms, hands and feet, and
that form means successful effort in any direction, because through it
the mind may control the physical medium.</p>
<p>It is the woman who knows what she should wear, what she can wear and
how to wear it, who is most efficient in whatever she gives her mind to.
She it is who will expend the least time, strength and money on her
appearance, and be the first to report for duty in connection with the
next obligation in the business of life.</p>
<p>Therefore let us keep in mind a few rules for the perfect costuming of
woman:</p>
<div class="blockquot"><p>Appropriateness for each occasion so as to get efficiency,
or be as decorative as possible.</p>
<p> Outline.—Fashion in silhouette adapted to your own type.</p>
<p> Background.—Your setting.</p>
<p> Colour scheme.—Fashionable colours chosen and combined to
express your personality as well as to harmonise with the
tone of setting, or, if preferred, to be an agreeable
contrast to it.</p>
<p> Detail.—Trimming with <i>raison d'être</i>,—not meaningless
superfluities.</p>
</div>
<p><SPAN name="Page_326" id="Page_326"></SPAN>It is, of course, understood that the attainment of <i>beauty</i> in the
costuming of woman is our aim when stating and applying the foregoing
principles.</p>
<p>The art of interior decoration and the art of costuming woman are
occasionally centred in the same individual, but not often. Some of the
most perfectly dressed women, models for their less gifted sisters, are
not only ignorant as to the art of setting their stage, but oblivious of
the fact that it may need setting.</p>
<p>Remember, that while an inartistic room, confused as to line and
colour-scheme can absolutely destroy the effect of a perfect gown, an
inartistic, though costly gown can likewise be a blot on a perfect room.</p>
<p> </p>
<p> </p>
<hr class="full" />
<SPAN name="plates"></SPAN>
<div class="block-illo"><h4>PLATE I</h4>
<p> Madame Geraldine Farrar as Thaïs in the opera of that name.
It is a sketch made from life for this book. Observe the
gilded wig and richly embroidered gown. They are after
descriptions of a costume worn by the real Thaïs. It is a
Greek type of costume but not the familiar classic Greek of
sculptured story. Thaïs was a reigning beauty and acted in
the theatre of Alexandria in the early Christian era.</p>
<div class="figcenter" style="width: 266px;">
<SPAN href="images/frontispiece.jpg"><ANTIMG src="images/frontispiece-tb.jpg" width="266" height="400" alt="An English Portrait" title="An English Portrait" /></SPAN>
<span class="caption"><i>Sketched for "Woman as Decoration" by Thelma Cudlipp<br />Mme. Geraldine Farrar in Greek Costume as Thaïs</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE II<SPAN name="Page_7" id="Page_7"></SPAN></h4>
<p><SPAN name="Page_8" id="Page_8"></SPAN>Woman in ancient Egyptian sculpture-relief about 1000
<span class="small">B.C.</span></p>
<p> We have here a husband and wife. (Metropolitan Museum.)</p>
<div class="figcenter" style="width: 305px;">
<SPAN href="images/illus_p009.jpg"><ANTIMG src="images/illus_p009-tb.jpg" width="305" height="400" alt="Woman in Ancient Egyptian Sculpture-Relief" title="Woman in Ancient Egyptian Sculpture-Relief" /></SPAN>
<span class="caption"><i>Metropolitan Museum of Art</i><br /><SPAN name="Page_9" id="Page_9"></SPAN>
<i>Woman in Ancient Egyptian<br />
Sculpture-Relief</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE III<SPAN name="Page_17" id="Page_17"></SPAN></h4>
<p> <SPAN name="Page_18" id="Page_18"></SPAN>A Greek vase. Dionysiac scenes about 460 <span class="small">B.C.</span>
Interesting costumes. (Metropolitan Museum.)</p>
<div class="figcenter" style="width: 358px;">
<SPAN href="images/illus_p019.jpg"><ANTIMG src="images/illus_p019-tb.jpg" width="358" height="400" alt="Woman on Greek Vase" title="Woman on Greek Vase" /></SPAN>
<span class="caption"><SPAN name="Page_19" id="Page_19"></SPAN><i>Metropolitan Museum of Art</i>
<i>Woman on Greek Vase</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE IV<SPAN name="Page_27" id="Page_27"></SPAN></h4>
<p><SPAN name="Page_28" id="Page_28"></SPAN>Greek Kylix. Signed by Hieron, about 400 <span class="small">B.C.</span>
Athenian. The woman wears one of the gowns Fortuny (Paris)
has reproduced as a modern tea gown. It is in two pieces.
The characteristic short tunic reaches just below waist line
in front and hangs in long, fine pleats (sometimes cascaded
folds) under the arms, the ends of which reach below knees.
The material is not cut to form sleeves; instead two oblong
pieces of material are held together by small fastenings at
short intervals, showing upper arm through intervening
spaces. The result in appearance is similar to a kimono
sleeve. (Metropolitan Museum.)</p>
<div class="figcenter" style="width: 329px;">
<SPAN name="Page_29" id="Page_29"></SPAN>
<SPAN href="images/illus_p029.jpg"><ANTIMG src="images/illus_p029-tb.jpg" width="329" height="400" alt="Woman in Greek Art about 400 B.C." title="Woman in Greek Art about 400 B.C." /></SPAN>
<span class="caption"><i>Metropolitan Museum of Art</i> <i>Woman in Greek
Art about 400 B.C.</i></span>
</div></div>
<div class="block-illo"><h4>PLATE V<SPAN name="Page_37" id="Page_37"></SPAN></h4>
<p> <SPAN name="Page_38" id="Page_38"></SPAN>Example of the pointed head-dress, carefully concealed hair
(in certain countries at certain periods of history, a sign
of modesty), round necklace and very long close sleeves
characteristic of fourteenth and fifteenth centuries.</p>
<p> Observe angle at which head-dress is worn.</p>
<div class="figcenter" style="width: 306px;">
<SPAN href="images/illus_p039.jpg"><ANTIMG src="images/illus_p039-tb.jpg" width="306" height="400" alt="Portrait showing pointed head-dress" title="Portrait showing pointed head-dress" /></SPAN>
<span class="caption"><i>Metropolitan Museum of Art</i><br /><SPAN name="Page_39" id="Page_39"></SPAN>
<i>Woman in Gothic Art<br />
Portrait showing pointed head-dress</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE VI<SPAN name="Page_47" id="Page_47"></SPAN></h4>
<p> <SPAN name="Page_48" id="Page_48"></SPAN>Fifteenth-century costume. "Virgin and Child" in painted
terra-cotta.</p>
<p> It is by Andrea Verrocchio, and now in Metropolitan Museum.
We have here an illustration of the costume, so often shown
on the person of the Virgin in the art of the Middle Ages.</p>
<div class="figcenter" style="width: 302px;">
<SPAN href="images/illus_p049.jpg"><ANTIMG src="images/illus_p049-tb.jpg" width="302" height="400" alt="Woman in Art of the Renaissance Sculpture-Relief in Terra-Cotta: The Virgin" title="Woman in Art of the Renaissance Sculpture-Relief in Terra-Cotta: The Virgin" /></SPAN>
<span class="caption"><SPAN name="Page_49" id="Page_49"></SPAN>
<i>Metropolitan Museum of Art</i> <i>Woman in Art of
the Renaissance Sculpture-Relief in Terra-Cotta: The
Virgin</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE VII<SPAN name="Page_57" id="Page_57"></SPAN></h4>
<p> <SPAN name="Page_58" id="Page_58"></SPAN>Fifteenth-century costumes on the Holy Women at the Tomb of
our Lord.</p>
<p> The sculpture relief is enamelled terra-cotta in white,
blue, green, yellow and manganese colours. It bears the date
1487.</p>
<p> Note character of head-dresses, arrangement of hair, capes
and gowns which are Early Renaissance. (Metropolitan
Museum.)</p>
<div class="figcenter" style="width: 400px;">
<SPAN href="images/illus_p059.jpg"><ANTIMG src="images/illus_p059-tb.jpg" width="400" height="250" alt="Sculpture-Relief in Terra-Cotta: Holy Women" title="Sculpture-Relief in Terra-Cotta: Holy Women" /></SPAN>
<span class="caption"><i>Metropolitan Museum of Art</i><br /><SPAN name="Page_59" id="Page_59"></SPAN>
<i>Woman in Art of the Renaissance<br />
Sculpture-Relief in Terra-Cotta: Holy Women</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE VIII<SPAN name="Page_67" id="Page_67"></SPAN></h4>
<p> <SPAN name="Page_68" id="Page_68"></SPAN>Queen Elizabeth in the absurdly elaborate costume of the
late Renaissance. Then crinoline, gaudy materials, and
ornamentations without meaning reached their high-water mark
in the costuming of women.</p>
<div class="figcenter" style="width: 328px;">
<SPAN href="images/illus_p069.jpg"><ANTIMG src="images/illus_p069-tb.jpg" width="328" height="400" alt="Portrait of Queen Elizabeth" title="Portrait of Queen Elizabeth" /></SPAN>
<span class="caption"><SPAN name="Page_69" id="Page_69"></SPAN><i>Metropolitan Museum of Art</i> <i>Tudor England
Portrait of Queen Elizabeth</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE IX<SPAN name="Page_77" id="Page_77"></SPAN></h4>
<p> <SPAN name="Page_78" id="Page_78"></SPAN>A Velasquez portrait of the Renaissance, 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 adornment, making mountains of poor
tottering human forms, all but lost beneath.</p>
<div class="figcenter" style="width: 339px;">
<SPAN href="images/illus_p079.jpg"><ANTIMG src="images/illus_p079-tb.jpg" width="339" height="400" alt="Spain-Velasquez Portrait" title="Spain-Velasquez Portrait" /></SPAN>
<span class="caption"><i>Vienna Hofmuseum</i><br /><SPAN name="Page_79" id="Page_79"></SPAN>
<i>Spain-Velasquez Portrait</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE X<SPAN name="Page_87" id="Page_87"></SPAN></h4>
<p> <SPAN name="Page_88" id="Page_88"></SPAN>An ideal example of the typical costume of fashionable
England in the eighteenth century, when picturesqueness, not
appropriateness, was the demand of the times.</p>
<p> This picture is known as <span class="smcap">The Morning Promenade: Squire
Hallet with His Lady</span>. Painted by Thomas Gainsborough
and now in the private collection of Lord Rothschild,
London.</p>
<div class="figcenter" style="width: 210px;">
<SPAN href="images/illus_p089.jpg"><ANTIMG src="images/illus_p089-tb.jpg" width="210" height="400" alt="Portrait by Thomas Gainsborough" title="Portrait by Thomas Gainsborough" /></SPAN>
<span class="caption"><i>Courtesy of Braun & Co., New York, London & Paris</i><br /><SPAN name="Page_89" id="Page_89"></SPAN>
<i>Eighteenth Century England<br />
Portrait by Thomas Gainsborough</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XI<SPAN name="Page_97" id="Page_97"></SPAN></h4>
<p> <SPAN name="Page_98" id="Page_98"></SPAN><span class="smcap">Marie Antoinette in a Portrait by Madame Vigée le
Brun</span>, one of the greatest portrait painters of the
eighteenth century. 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 style.</p>
<p> This portrait is in the Musée National, Versailles.</p>
<div class="figcenter" style="width: 308px;">
<SPAN href="images/illus_p099.jpg"><ANTIMG src="images/illus_p099-tb.jpg" width="308" height="400" alt="Bourbon France Marie Antoinette Portrait by Madame Vigee Le Brun" title="Bourbon France Marie Antoinette Portrait by Madame Vigee Le Brun" /></SPAN>
<span class="caption"><SPAN name="Page_99" id="Page_99"></SPAN><i>Courtesy of Braun & Co., New York, London &
Paris<br />Bourbon France Marie Antoinette Portrait by Madame
Vigée Le Brun</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XII<SPAN name="Page_107" id="Page_107"></SPAN></h4>
<p> <SPAN name="Page_108" id="Page_108"></SPAN>The portrait of an Englishwoman painted during the
Napoleonic period.</p>
<p> She wears the typical Empire gown, cloak, and bonnet.</p>
<p> The original of this portrait is the same referred to
elsewhere as having moistened her muslin gowns to make them
cling to her, in Grecian folds.</p>
<p> Among her admiring friends was Lord Byron.</p>
<p> A descendant who allows the use of the charming portrait,
explains that the fair lady insisted upon being painted in
her bonnet because her curling locks were short—a result of
typhoid fever.</p>
<div class="figcenter" style="width: 282px;">
<SPAN name="Page_109" id="Page_109"></SPAN>
<SPAN name="Page_110" id="Page_110"></SPAN>
<SPAN name="Page_111" id="Page_111"></SPAN>
<SPAN href="images/illus_p109.jpg"><ANTIMG src="images/illus_p109-tb.jpg" width="282" height="400" alt="An English Portrait" title="An English Portrait" /></SPAN>
<span class="caption"><i>Costume of Empire Period<br />
An English Portrait</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XIII<SPAN name="Page_117" id="Page_117"></SPAN></h4>
<p> <SPAN name="Page_118" id="Page_118"></SPAN>Portrait by Gilbert Stuart of Doña Matilda, Stoughton de
Jaudenes. (Metropolitan Museum.)</p>
<p> We use this portrait to illustrate the period when woman's
line was obliterated by the excessive decoration of her
costume.</p>
<p> The interest attached to this charming example of her time
lies in colour and detail. It is as if the bewitching Doña
Matilda were holding up her clothes with her person. Her
outline is that of a ruffled canary. How difficult for her
to forget her material trappings, when they are so many, and
yet she looks light of heart.</p>
<p> For sharp contrast we suggest that our reader turn at once
to the portrait by Sargent (<SPAN href="#Page_138">Plate XV</SPAN>) which is distinguished
for its clean-cut outline and also the distinction arrived
at through elimination of detail in the way of trimming. The
costume hangs on the woman, suspended by jewelled chains
from her shoulders.</p>
<p> The Sargent has the simplicity of the Classic Greek; the
Gilbert Stuart portrait, the amusing fascination of Marie
Antoinette detail.</p>
<p> The gown is white satin, with small gold flowers scattered
over its surface. The head-dress surmounting the powdered
hair is of white satin with seed-pearl ornaments.</p>
<p> The background is a dead-rose velvet curtain, draped to show
blue sky, veiled by clouds. The same dead-rose on table and
chair covering. The book on table has a softly toned calf
cover. Gilbert Stuart was fond of working in this particular
colour note.</p>
<div class="figcenter" style="width: 260px;">
<SPAN href="images/illus_p119.jpg"><ANTIMG src="images/illus_p119-tb.jpg" width="260" height="400" alt="Eighteenth Century Costume Portrait by Gilbert Stewart" title="Eighteenth Century Costume Portrait by Gilbert Stewart" /></SPAN>
<span class="caption"><SPAN name="Page_119" id="Page_119"></SPAN>
<i>Metropolitan Museum of Art</i><br />
<i>Eighteenth Century Costume Portrait by Gilbert Stewart</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XIV<SPAN name="Page_127" id="Page_127"></SPAN></h4>
<p> <SPAN name="Page_128" id="Page_128"></SPAN>Madame Adeline Genée, the greatest living exponent of the
art of toe dancing. She wears an early Victorian costume
(1840) made for a ballet she danced in London several
seasons ago. The writer did not see the costume and
neglected, until too late, to ask Madame Genée for a
description of its colouring, but judging by what we know of
1840 colours and textures as described by Miss McClellan
(<i>Historic Dress in America</i>) and other historians of the
period as well as from portraits, we feel safe in stating
that it may well have been a bonnet of pink uncut velvet,
trimmed with silk fringe and a band of braided velvet of the
same colour; or perhaps a white shirred satin; or
dove-coloured satin with pale pink and green figured ribbon.
For the dress, it may have been of dove-grey satin, or pink
flowered silk with a black taffeta cape and one of black
lace to change off with.</p>
<div class="figcenter" style="width: 338px;">
<SPAN href="images/illus_p129.jpg"><ANTIMG src="images/illus_p129-tb.jpg" width="338" height="400" alt="Mme. Adeline Genee in Costume" title="Mme. Adeline Genee in Costume" /></SPAN>
<span class="caption"><SPAN name="Page_129" id="Page_129"></SPAN>
<i>Victorian Period about 1840<br />
Mme. Adeline Genée in Costume</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XV<SPAN name="Page_137" id="Page_137"></SPAN></h4>
<p> <SPAN name="Page_138" id="Page_138"></SPAN>A portrait by John S. Sargent. (Metropolitan Museum,
painted about 1890.)</p>
<p> 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 ruffles,
ribbons and lace over hoops and bustle; curled hair and the
obvious cameo brooch, massive bracelets and chains.</p>
<div class="figcenter" style="width: 287px;">
<SPAN href="images/illus_p139.jpg"><ANTIMG src="images/illus_p139-tb.jpg" width="287" height="400" alt="A Portrait by John S. Sargent" title="A Portrait by John S. Sargent" /></SPAN>
<span class="caption"><SPAN name="Page_139" id="Page_139"></SPAN>
<i>Metropolitan Museum of Art</i><br />
<i>Late Nineteenth Century Costume about 1890<br />
A Portrait by John S. Sargent</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XVI<SPAN name="Page_147" id="Page_147"></SPAN></h4>
<p> <SPAN name="Page_148" id="Page_148"></SPAN>A portrait of Mrs. Thomas Hastings of New York painted by
the late John W. Alexander.</p>
<p> 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 line. Also we have
here a woman who carries herself with form. Mrs. Hastings is
an accomplished horsewoman. Her fine physique is poised so
as to give that individual movement which makes for type;
her colour—wonderful red hair and the complexion which goes
with it—are set off by a dull gold background; a gown in
another tone of gold, relieved by a note or two of turquoise
green; and the same green appearing as a shadow on the
Victory in the background.</p>
<p> We see the sitter, as she impressed an observer, transferred
to the canvas by the consummate skill of our deeply lamented
artist.</p>
<div class="figcenter" style="width: 315px;">
<SPAN href="images/illus_p149.jpg"><ANTIMG src="images/illus_p149-tb.jpg" width="315" height="400" alt="A Modern Portrait By John W. Alexander" title="A Modern Portrait By John W. Alexander" /></SPAN>
<span class="caption"><SPAN name="Page_149" id="Page_149"></SPAN>
<i>A Modern Portrait By John W. Alexander</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XVII<SPAN name="Page_157" id="Page_157"></SPAN></h4>
<p> <SPAN name="Page_158" id="Page_158"></SPAN>Portrait of Mrs. Philip M. Lydig, patron of the arts,
exhibited in New York at Duveen Galleries during Winter of
1916-1917 with the Zuloaga pictures. The exhibition was
arranged by Mrs. Lydig.</p>
<p> This portrait has been chosen to illustrate two points: that
a distinguished decorative quality is dependent upon line
which has primarily to do with form of one's own physique
(and not alone the cut of the costume); and the great value
of knowing one's own type.</p>
<p> Mrs. Lydig has been transferred to the canvas by the clever
technique of one of the greatest modern painters, Ignacio
Zuloaga, an artistic descendant of Velasquez. The delightful
movement is that of the subject, in this case kept alive
through its subtle translation into terms of art.</p>
<div class="figcenter" style="width: 260px;">
<SPAN href="images/illus_p159.jpg"><ANTIMG src="images/illus_p159-tb.jpg" width="260" height="400" alt="A Portrait of Mrs. Philip M. Lydig." title="A Portrait of Mrs. Philip M. Lydig." /></SPAN>
<span class="caption"><SPAN name="Page_159" id="Page_159"></SPAN>
<i>A Portrait of Mrs. Philip M. Lydig. <br />
By I. Zuloago</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XVIII<SPAN name="Page_167" id="Page_167"></SPAN></h4>
<p> <SPAN name="Page_168" id="Page_168"></SPAN>Mrs. Langtry (Lady de Bathe) who has been one of the
greatest beauties of modern times and a marked example of a
woman who has always understood her own type, to costume it.</p>
<p> She agrees that this photograph of her, in an evening wrap,
illustrates a point she has always laid emphasis on: that a
garment which has good lines—in which one is a
picture—continues wearable even when not the dernier cri of
fashion.</p>
<p> This wrap was worn by Mrs. Langtry about two years ago.</p>
<div class="figcenter" style="width: 279px;">
<SPAN href="images/illus_p169.jpg"><ANTIMG src="images/illus_p169-tb.jpg" width="279" height="400" alt="Mrs. Langtry (Lady de Bathe) in Evening Wrap" title="Mrs. Langtry (Lady de Bathe) in Evening Wrap" /></SPAN>
<span class="caption"><SPAN name="Page_169" id="Page_169"></SPAN>
<i>Mrs. Langtry (Lady de Bathe) in Evening Wrap</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XIX<SPAN name="Page_177" id="Page_177"></SPAN></h4>
<p> <SPAN name="Page_178" id="Page_178"></SPAN>Mrs. Condé Nast, artist and patron of the arts, noted for
her understanding of her own type and the successful
costuming of it.</p>
<p> Mrs. Nast was Miss Clarisse Coudert. Her French blood
accounts, in part, for her innate feeling for line and
colour. It is largely due to the keen interest and active
services of Mrs. Nast that <i>Vogue</i> and <i>Vanity Fair</i> have
become the popular mirrors and prophetic crystal balls of
fashion for the American woman.</p>
<p> Mrs. Nast is here shown in street costume. The photograph is
by Baron de Meyer, who has made a distinguished art of
photography.</p>
<p> We are here shown the value of a carefully considered
outline which is sharply registered on the background by
posing figure against the light, a method for suppressing
all details not effecting the outline.</p>
<div class="figcenter" style="width: 282px;">
<SPAN href="images/illus_p179.jpg"><ANTIMG src="images/illus_p179-tb.jpg" width="282" height="400" alt="Mrs. Conde Nast in Street Dress" title="Mrs. Conde Nast in Street Dress" /></SPAN>
<span class="caption"><SPAN name="Page_179" id="Page_179"></SPAN>
<i>Photograph by Baron de Meyer</i><br />
<i>Mrs. Condé Nast in Street Dress</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XX<SPAN name="Page_187" id="Page_187"></SPAN></h4>
<p> <SPAN name="Page_188" id="Page_188"></SPAN>Mrs. Condé Nast in an evening gown. Here again is a costume
the beauty of which evades the dictum of fashion in the
narrow sense of the term.</p>
<p> 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 perished.</p>
<div class="figcenter" style="width: 384px;">
<SPAN href="images/illus_p189.jpg"><ANTIMG src="images/illus_p189-tb.jpg" width="384" height="400" alt="Mrs. Conde Nast in Evening Dress" title="Mrs. Conde Nast in Evening Dress" /></SPAN>
<span class="caption"><SPAN name="Page_189" id="Page_189"></SPAN>
<i>Mrs. Condé Nast in Evening Dress</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXI<SPAN name="Page_197" id="Page_197"></SPAN></h4>
<p> <SPAN name="Page_198" id="Page_198"></SPAN>Mrs. Condé Nast in a garden costume. She wears a sun-hat
and carries a flower-basket, which are decorative as well as
useful.</p>
<p> 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 trimming.</p>
<p> This costume is so decorative that it gives distinction and
interest to the least pretentious of gardens.</p>
<div class="figcenter" style="width: 232px;">
<SPAN href="images/illus_p199.jpg"><ANTIMG src="images/illus_p199-tb.jpg" width="232" height="400" alt="Mrs. Conde Nast in Garden Costume" title="Mrs. Conde Nast in Garden Costume" /></SPAN>
<span class="caption"><SPAN name="Page_199" id="Page_199"></SPAN>
<i>Mrs. Condé Nast in Garden Costume</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXII<SPAN name="Page_207" id="Page_207"></SPAN></h4>
<p> <SPAN name="Page_208" id="Page_208"></SPAN>Mrs. Condé Nast wearing one of the famous Fortuny tea
gowns.</p>
<p> This one has no tunic but is finely pleated, in the Fortuny
manner, and falls in long lines, closely following the
figure, to the floor.</p>
<p> Observe the decorative value of the long string of beads.</p>
<div class="figcenter" style="width: 363px;">
<SPAN href="images/illus_p209.jpg"><ANTIMG src="images/illus_p209-tb.jpg" width="363" height="605" alt="Mrs. Conde Nast in a Fortuny Tea Gown" title="Mrs. Conde Nast in a Fortuny Tea Gown" /></SPAN>
<span class="caption"><SPAN name="Page_209" id="Page_209"></SPAN>
<i>Mrs. Condé Nast in a Fortuny Tea Gown</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXIII<SPAN name="Page_217" id="Page_217"></SPAN></h4>
<p> <SPAN name="Page_218" id="Page_218"></SPAN>Mrs. Vernon Castle who set to-day's fashion in outline of
costume and short hair for the young woman of America. For
this reason and because Mrs. Castle has form to a
superlative degree (correct carriage of the body) and the
clothes sense (knowledge of what she can wear and how to
wear it) we have selected her to illustrate several types of
costumes, characteristic of 1916 and 1917.</p>
<p> Another reason for asking Mrs. Castle to illustrate our text
is, that what Mrs. Castle's professional dancing has done to
develop and perfect her natural instinct for line, the
normal exercise of going about one's tasks and diversions
can do for any young woman, provided she keep in mind
correct carriage of body when in action or repose. Here we
see Mrs. Castle in ball costume.</p>
<div class="figcenter" style="width: 291px;">
<SPAN href="images/illus_p219.jpg"><ANTIMG src="images/illus_p219-tb.jpg" width="291" height="400" alt="Mrs. Vernon Castle in Ball Costume" title="Mrs. Vernon Castle in Ball Costume" /></SPAN>
<span class="caption"><SPAN name="Page_219" id="Page_219"></SPAN>
<i>Mrs. Vernon Castle in Ball Costume</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXIV<SPAN name="Page_227" id="Page_227"></SPAN></h4>
<p> <SPAN name="Page_228" id="Page_228"></SPAN>Mrs. Vernon Castle in Winter afternoon costume, one which
is so suited to her type and at the same time conservative
as to outline and detail, that it would have charm whether
in style or not.</p>
<div class="figcenter" style="width: 242px;">
<SPAN href="images/illus_p229.jpg"><ANTIMG src="images/illus_p229-tb.jpg" width="242" height="400" alt="Mrs. Vernon Castle in Afternoon Costume--Winter" title="Mrs. Vernon Castle in Afternoon Costume--Winter" /></SPAN>
<span class="caption"><SPAN name="Page_229" id="Page_229"></SPAN>
<i>Victor Georg—Chicago</i><br />
<i>Mrs. Vernon Castle in Afternoon Costume—Winter</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXV<SPAN name="Page_237" id="Page_237"></SPAN></h4>
<p><SPAN name="Page_238" id="Page_238"></SPAN>Mrs. Vernon Castle in a summer afternoon costume
appropriate for city or country and so adapted to the
wearer's type that she is a picture, whether in action;
seated on her own porch; having tea at the country club; or
in the Winter sun-parlour.</p>
<div class="figcenter" style="width: 169px;">
<SPAN href="images/illus_p239.jpg"><ANTIMG src="images/illus_p239-tb.jpg" width="169" height="400" alt="Mrs. Vernon Castle in Afternoon Costume--Summer" title="Mrs. Vernon Castle in Afternoon Costume--Summer" /></SPAN>
<span class="caption"><SPAN name="Page_239" id="Page_239"></SPAN>
<i>Mrs. Vernon Castle in Afternoon Costume—Summer</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXVI<SPAN name="Page_247" id="Page_247"></SPAN></h4>
<p> <SPAN name="Page_248" id="Page_248"></SPAN>Mrs. Vernon Castle costumed à la guerre for a walk in the
country.</p>
<p> The cap is after one worn by her aviator husband.</p>
<p> This is one of the costumes—there are many—being worn by
women engaged in war work under the head of messengers,
chauffeurs, etc.</p>
<p> The shoes are most decidedly not for service, but they will
be replaced when the time is at hand, for others of stout
leather with heavy soles and flat heels.</p>
<div class="figcenter" style="width: 271px;">
<SPAN href="images/illus_p249.jpg"><ANTIMG src="images/illus_p249-tb.jpg" width="271" height="400" alt="Mrs. Vernon Castle Costumed a la Guerre for a Walk" title="Mrs. Vernon Castle Costumed a la Guerre for a Walk" /></SPAN>
<span class="caption"><SPAN name="Page_249" id="Page_249"></SPAN>
<i>Mrs. Vernon Castle Costumed á la Guerre for a Walk</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXVII<SPAN name="Page_257" id="Page_257"></SPAN></h4>
<p> <SPAN name="Page_258" id="Page_258"></SPAN>Mrs. Vernon Castle in one of her dancing costumes.</p>
<p> 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 poses.</p>
<p> Mrs. Castle assures us that to repeat the effect produced
here, in which camera, lucky chance and favourable wind
combined, would be well-nigh impossible.</p>
<div class="figcenter" style="width: 359px;">
<SPAN href="images/illus_p259.jpg"><ANTIMG src="images/illus_p259-tb.jpg" width="359" height="400" alt="A Fantasy" title="A Fantasy" /></SPAN>
<span class="caption"><SPAN name="Page_259" id="Page_259"></SPAN>
<i>Mrs. Vernon Castle<br />
A Fantasy</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXVIII<SPAN name="Page_267" id="Page_267"></SPAN></h4>
<p> <SPAN name="Page_268" id="Page_268"></SPAN>A skating costume worn by Miss Weld of Boston, holder of
the Woman's Figure Skating Championship.</p>
<p> This photograph was taken in New York on March 23, 1917,
when amateurs contested for the cup and Miss Weld won—this
time over the men.</p>
<p> The costume of wine-coloured velvet trimmed with mole-skin,
a small close toque to match, was one of the most
appropriate and attractive models of 1916-1917.</p>
<div class="figcenter" style="width: 346px;">
<SPAN href="images/illus_p269.jpg"><ANTIMG src="images/illus_p269-tb.jpg" width="346" height="400" alt="Modern Skating Costume 1917 Winner of Amateur Championship of Fancy Skating" title="Modern Skating Costume 1917 Winner of Amateur Championship of Fancy Skating" /></SPAN>
<span class="caption"><SPAN name="Page_269" id="Page_269"></SPAN>
<i>Courtesy of New York Herald</i>
<i>Modern Skating Costume 1917 Winner of Amateur
Championship of Fancy Skating</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXIX<SPAN name="Page_277" id="Page_277"></SPAN></h4>
<p> <SPAN name="Page_278" id="Page_278"></SPAN>One of the 1917 silhouettes.</p>
<p> Naturally, since woman to-day dresses for her
occupation—work or play—the characteristic silhouettes are
many.</p>
<p> This one is reproduced to illustrate our point that outline
can be affected by the smallest detail.</p>
<p> The sketch is by Elisabeth Searcy.</p>
<div class="figcenter" style="width: 167px;">
<SPAN href="images/illus_p279.jpg"><ANTIMG src="images/illus_p279-tb.jpg" width="167" height="400" alt="A Modern Silhouette--1917 Tailor-made" title="A Modern Silhouette--1917 Tailor-made" /></SPAN>
<span class="caption"><SPAN name="Page_279" id="Page_279"></SPAN>
<i>Drawn from Life by Elisabeth Searcy</i>
<i>A Modern Silhouette—1917 Tailor-made</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXX<SPAN name="Page_287" id="Page_287"></SPAN></h4>
<p> <SPAN name="Page_288" id="Page_288"></SPAN>Souvenirs of an artist designer's unique establishment, in
spirit and accomplishment <i>vrai Parisienne</i>. Notice the long
cape in the style of 1825.</p>
<p> Tappé himself will tell you that all periods have had their
beautiful lines and colours; their interesting details; that
to find beauty one must first have the feeling for it; that
if one is not born with this subtle instinct, there are
manifold opportunities for cultivating it.</p>
<p> His claim is the same as that made in our <i>Art of Interior
Decoration</i>; the connoisseur is one who has passed through
the schooling to be acquired only by contact with
masterpieces,—those treasures sifted by time and preserved
for our education, in great art collections.</p>
<p> Tappé emphasises the necessity of knowing the background for
a costume before planning it; the value of line in the
physique beneath the materials; the interest to be woven
into a woman's costume when her type is recognised, and the
modern insistence on appropriateness—that is, the simple
gown and close hat for the car, vivid colours for field
sports or beach; a large fan for the woman who is mistress
of sweeping lines, etc., etc.</p>
<p> Tappé is absolutely French in his insistence upon the
possible eloquence of line; a single flower well poised and
the chic which is dependent upon <i>how a hat or gown is put
on</i>. We have heard him say: "No, I will not claim the hat in
that photograph, though I made it, because it is <i>mal
posé</i>."</p>
<div class="figcenter" style="width: 170px;">
<SPAN href="images/illus_p289.jpg"><ANTIMG src="images/illus_p289-tb.jpg" width="170" height="400" alt="Tappe's Creations" title="Tappe's Creations" /></SPAN>
<span class="caption"><SPAN name="Page_289" id="Page_289"></SPAN>
<i>Sketched for "Woman as Decoration" by Thelma Cudlipp</i><br />
<i>Tappé's Creations</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXXI<SPAN name="Page_297" id="Page_297"></SPAN></h4>
<p> <SPAN name="Page_298" id="Page_298"></SPAN>Costume of a Red Cross Nurse, worn while working in a
French war hospital, by Miss Elsie de Wolfe, of New York. An
example of woman costumed so as to be most efficient for the
work in hand.</p>
<p> Miss de Wolfe's name has become synonymous with interior
decoration, throughout the length and breadth of our land,
but she established a reputation as one of the best-dressed
women in America, long before she left the stage to
professionally decorate homes. She has done an immeasurable
amount toward moulding the good taste of America in several
fields. At present her energies are in part devoted to
disseminating information concerning a cure for burns, one
of the many discoveries resulting from the exigencies of the
present devastating war.</p>
<div class="figcenter" style="width: 338px;">
<SPAN href="images/illus_p299.jpg"><ANTIMG src="images/illus_p299-tb.jpg" width="338" height="400" alt="Miss Elsie de Wolfe in Costume of Red Cross Nurse" title="Miss Elsie de Wolfe in Costume of Red Cross Nurse" /></SPAN>
<span class="caption"><SPAN name="Page_299" id="Page_299"></SPAN>
<i>Miss Elsie de Wolfe in Costume of Red Cross Nurse</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXXII<SPAN name="Page_307" id="Page_307"></SPAN></h4>
<p> <SPAN name="Page_308" id="Page_308"></SPAN>Madame Geraldine Farrar as <i>Carmen</i>.</p>
<p> In each of the three presentations of Madame Farrar we have
given her in character, as suggestions for stage costumes or
costume balls. (By courtesy of <i>Vanity Fair</i>.)</p>
<div class="figcenter" style="width: 400px;">
<SPAN href="images/illus_p309.jpg"><ANTIMG src="images/illus_p309-tb.jpg" width="400" height="369" alt="Mme. Geraldine Farrar in Spanish Costume as Carmine" title="Mme. Geraldine Farrar in Spanish Costume as Carmine" /></SPAN>
<span class="caption"><SPAN name="Page_309" id="Page_309"></SPAN>
<i>Courtesy of Vanity Fair</i><br />
<i>Mme. Geraldine Farrar in Spanish Costume as Carmine</i></span>
</div>
</div>
<div class="block-illo"><h4>PLATE XXXIII<SPAN name="Page_317" id="Page_317"></SPAN></h4>
<p> <SPAN name="Page_318" id="Page_318"></SPAN>Madame Geraldine Farrar. The value of line was admirably
illustrated in the opera "Madame Butterfly" as seen this
winter at the Metropolitan Opera House. Have you chanced to
ask yourself why the outline of the individual members of
the chorus was so lacking in charm, and Madame Farrar's so
delightful? The great point is that in putting on her
kimono, Madame Farrar kept in mind the characteristic
silhouette of the Japanese woman as shown in Japanese art;
then she made a picture of herself, and one in harmony with
her Japanese setting. Which brings us back to the keynote of
our book—<i>Woman as Decoration</i>—beautiful <i>Line</i>.</p>
<div class="figcenter" style="width: 306px;">
<SPAN href="images/illus_p319.jpg"><ANTIMG src="images/illus_p319-tb.jpg" width="306" height="400" alt="Mme. Geraldine Farrar in Japanese Costume as Madame Butterfly" title="Mme. Geraldine Farrar in Japanese Costume as Madame Butterfly" /></SPAN>
<span class="caption"><SPAN name="Page_319" id="Page_319"></SPAN>
<i>Sketched for "Woman as Decoration" by Thelma Cudlipp</i><br />
<i>Mme. Geraldine Farrar in Japanese Costume as Madame Butterfly</i>
</span>
</div>
</div>
<SPAN name="endofbook"></SPAN>
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