Beauty of form and grace of vesture . Fig. 6. figure of to-day has undoubtedly these curves in a stout woman maygive the satisfaction we take in the ro-bust bulge of an odd jug, or the squatof a quaintly shaped bottle. All this maybe pleasing or otherwise in baked clay,but is out of place in a living woman. To carry the idea farther, smooth,sheath-like garments may suggest theglaze of pottery. They may be beauti-ful in colour and texture,at the same timethat their rigidity is wholly unsuited to the undulatine movements of human beinirs. Fig. 6. 22 BEAUTY OF There is intri
Beauty of form and grace of vesture . Fig. 6. figure of to-day has undoubtedly these curves in a stout woman maygive the satisfaction we take in the ro-bust bulge of an odd jug, or the squatof a quaintly shaped bottle. All this maybe pleasing or otherwise in baked clay,but is out of place in a living woman. To carry the idea farther, smooth,sheath-like garments may suggest theglaze of pottery. They may be beauti-ful in colour and texture,at the same timethat their rigidity is wholly unsuited to the undulatine movements of human beinirs. Fig. 6. 22 BEAUTY OF There is intrinsic elegance in the long lines ofa costume. In order to secure that elegance,the mechanics who illustrate fashion-books, hav-ing sacrificed height bymaking a long, wasp-likewaist, endeavour to atone forthe blunder by adding un-natural length to the lowerlimbs, making their figuresnine and ten heads high,while classic models areonly seven and one half oreight heads proportions are ut-terly bad. Truth to nature is an essential qualityof every work of art. Whatever contradicts na-tural structure is unwarrantable, unjustifiable,intolerable. Fashion periodically proclaims fantastic man-dates, and women slavishly accept and conform.(See Fig. lO.) Have not these a sense of indispu-table supremacy? Are they not in the zenith ofaccomplished performance ? Do they not feelthat they have struggled, and conquered success,empty though it be ? In spite of their easy air ofsuperiority, are they quite comfortable? We see Fig. 6.
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Keywords: ., boo, bookcentury1800, bookdecade1890, booksubjectclothinganddress
