The Atlantic Monthly, Volume 04, No. 24, October, 1859

Grey. But from that point it begins to lose its semblance to a woman's shape, (as you will see by raising your eyes again to the Venus,) and after running two or three inches decidedly inward in a straight line, where it should turn outward with a gentle curve, its outlines break into a sharp angle, and it expands, with a sudden hyperbolical curve, into a monstrous and nameless figure that is not only unlike Nature, but has no relations whatever with Nature. The eye needs no cultivation, the brain no instruction, to perceive that such an outline cannot be produced by drapery upon a woman's form. It is clear, at a glance, that there is an artificial structure underneath that swelling skirt; that a scaffold, a framework, has been erected to support that dome of silk; and that the wearer is merely an automatic machine by which it is made to perambulate. A woman in this rig hangs in her skirts like a clapper in a bell; and I never meet one without being tempted to take her by the neck and ring her.

Mr. Key. Those belles like ringing well enough, but not exactly of that kind.

Grey. The costume is also faulty in two other most important respects: it is without pure, decided color of any tint, but is broken into patches and blotches of various mongrel hues,–

Mrs. Grey. Hear the man! that exquisite brocade!

Grey.–and whatever effect it might otherwise have had, of form or color, would be entirely frittered away by the multitudinous and multiform trimmings with which it is bedizened; and it is without a girdle of any kind.

Mrs. Grey. Oh, sweet Simplicity, hear and reward thy priest and prophet! What would your Highness have the woman wear?—a white muslin gown, with a blue sash, and a rose in her hair? That style went out on the day that Mesdames Shem, Ham, and Japhet left the ark.

Grey. And well it might,—for evening-dress, at least No,—my taste, or, if you will permit me to say it, good taste, craves rich colors, and ample, flowing lines,—colors which require taste to be shown in their arrangement and adaptation, and forms which show invention and knowledge in their design. Your woman who dresses in white, and your man who wears plain black, are safe from impeachment of their taste, just as people who say nothing are secure against an exhibition of folly or ignorance. They are the mutes of costume, and contribute nothing to the chromatic harmony of the social circle. They succeed in nothing but the avoidance of positive offence.

Miss Larches. Pray, then, Mr. Grey, what—shall—we—do? You have condemned enough, and told us what is wrong; can't you find in all this collection a single costume that is positively beautiful? and can't you tell us what is right, as well as what is wrong?

Grey. Both,—and will. The first, at once; the last, if you continue to desire it. Here are two costumes, quite unlike in composition and effect, and yet both beautiful;—the first, the fashions of 1811 and 1812 (for the variations, during that time, were so trifling, and in such unessential particulars, that the costume had but one character, as you will see by comparing the twenty-four plates for those years); the second, that worn by this peasant-girl of Normandy. Look first at the fashion-plates, and see the adaptation of that beautiful gown to all the purposes for which a gown is intended. How completely it clothes the entire figure, and with what ease and comfort to the wearer! There is not a line about it which indicates compression, or one expressive of that looseness and languishing abandonment that we remarked just now in the costume of La belle Hamilton. The entire person is concealed, except the tip of one foot, the hands, the head and throat, and just enough of the bust to confess the existence of its feminine charms, without exposing them; both limbs and trunk are amply draped; and yet how plainly it can be seen that there is a well-developed, untortured woman underneath those tissues! The waist, girdled in at the proper place, neither just beneath the breasts, as it was a few years before and after, nor just above the hips, as it has been for many years past, and as it was three hundred years ago, is of its natural size:—compare it with the Venus, and then look at those cruel cones, thrust, point downward, into mounds of silk and velvet, to which women adapted themselves about 1575, 1750, and 1830, and thence, with little mitigation, to the present day. How expressive the lines of one figure are of health, and grace, and bounteous fulness of life! and how poor, and sickly, and mean, and man-made the other creatures seem! See, too, in the former, that all the wearer's limbs are as free as air; she can even clasp her hands, with arms at full-length, above her head. Queen Bess, yonder, could do many things, but she could not do that; neither could your great-great-grandmothers, ladies, if they were people of the least pretensions to fashion, nor your mothers. Can you?

[Mrs. Grey, presuming upon her demi-toilette, with a look of arch defiance, lifts her hands quickly up above her head; but before they have approached each other, there is a sharp sound, as of rending and snapping; and, with a sudden flush and a little scream, she subsides into her crinoline.]

Miss Larches. Why, you foolish creature! you might have known you couldn't.

Mr. Key. A most ignominious failure! Mr. Grey, you had better announce a course of lectures on costume, with illustrations from the life. Your subjects will cost you nothing.

Grey. Except for silk- and mantua-making. I have no doubt that I could make such a course useful, and Mrs. Grey has shown that she could make it amusing. But we can get on very well as we are. Observe this figure again. Its chief beauty is, that the gown has, or seems to have, no form of its own; it adapts itself to the person, and, while that is entirely concealed, falls round it in lines of exquisite grace and softness, upon which the eye rests with untiring pleasure, and which, upon every movement of the wearer, must change only for others also beautiful. Notice also, that, although the gown forms an ample drapery, it yet follows the contour of the figure sufficiently to taper gracefully to the feet at the front, where it touches the floor lightly, and presents, as it should, the narrowest diameter of the whole figure,—not, contrary to Nature, (I beg pardon of your modistes, ladies,) the widest.

Tomes. You needn't apologize so ceremoniously to the ladies; for you've involved yourself in a flagrant contradiction. You said that these two costumes were equally beautiful; and here's the lady of 1812 with her dress all clinging in little wrinkles round her feet, while the peasant-girl's frock is wider at the bottom than it is anywhere else.

Grey. A most profound and logical objection, 0 Daniel! which in due time shall be considered. But I am not now to be diverted from two other very important elements of the beauty of these costumes of 1811 and 1812. They are in one or two, or, at most, three colors,—the tissues of the gowns, the outer garments, (when they are worn,) and the bonnets or head-dresses being of one unbroken tint; and they are almost entirely free from trimming, which appears only upon the principal seams and the edges of the garments, and then in very moderate quantity, though of rich quality.

Miss Larches. Why, so it is! I should not have noticed that.

Grey. You did not notice the lack of it, because it is not required to make the dress complete or give it character. It is only the presence of trimming that attracts attention; its absence is never felt in a well-designed costume.—Now turn to my pretty peasant-girl, who, although she is not in full holiday-costume, is unmistakably "dressed," as ladies call it; for we see that she is going to some slight merry-making, as she carries in her hands the shoes which are to cover those stockingless feet. She, too, is entirely at her ease and unconscious of her costume, except for a shy suspicion that it becomes her, and she, it. Her waist is of its natural size and in its proper place. Her shoulders are covered, and her arms have free play; and although her bodice is cut rather low, the rising chemise and the falling kerchief redeem it from all objection on that score.

Tomes. But how about the length, or rather the shortness, of that skirt? It seems to me to cry excelsior to the pink night-gown.

Grey. You are implacable as to this poor girl's petticoats. Don't you see that her arms are bare? and yet you make no objection. Now, a woman has legs as well as arms; and why, if it be the custom, should not one be seen as well as the other? That girl's grandmothers, to the tenth degree of greatness, wore skirts of just that length from their childhood to their dying day; and why should not she? She would as soon think of hiding her nose as her ankle; and why should she not? Besides, as you will see, her gown is not shorter than those our grandmothers wore, or our mothers, twenty-eight or thirty years ago; and that they were modest, which of us will deny? And now as to the width of these skirts. You will see that they reach only a little below the calf of the leg, and therefore it is both impossible and undesirable that they should fall so closely round the figure as in the case of the fashionable gowns of 1812 that we were just examining. And besides, in the case of our peasant-girl, we see that the lines of her gown are determined by the outline of her figure; and we also see her feet and the lower part of her legs. Her humanity is not extinguished, her means of locomotion are visible;—but in looking at a lady nowadays, we see nothing of the kind; from the waist down, she is a puzzle of silk and conic sections, a marvellous machine that moves in a mysterious way. See, again, how beautiful in color this peasant's costume is. The gown of a rich red, not glaring, but yet positive and pure; the apron, blue; she is a brunette, and so has wisely chosen to have that enviable little shawl or kerchief, the ends of which reach but just below her waist, of yellow; while that high head-dress, quaint and graceful, that serves her for a bonnet, and in fact is one, is of tender green.

Miss Larches. She is not troubled with trimming.

Grey. Not troubled with it; but she has it just where it should be,—on the bottom of her gown, which is edged with black,—in the flowered border of her kerchief,—on the edge of her bonnet, where there is a narrow line of yellow,—and in the lace or muslin ruffle of the cape which falls from it If she were a queen, or the wife of a Russian prince who owned thousands of girls like her, she might have trimming of greater cost and beauty, but not a shred more without deterioration of her costume, which, if she were court-lady to Eugenie and had the court-painter to help her, could not be in better taste.

Mrs. Grey. But, Stanford, don't you see? (just like a man!) you are charmed with these women, not with their dresses. These fashion-plates of fifty years ago are designed by very different hands from those which produce our niminy-piminy looking things,—by artists plainly; and your peasant-girl was seized upon by some errant knight of palette and brush, and painted for her beauty. These women are what you men call fine creatures. Their limbs are rounded and shapely, their figures full and lithe; they are what I've heard you say Homer calls Briseïs.

Grey. White-armed, deep-bosomed?

Mrs. Grey. Yes; and their necks rise from their shoulders like ivory towers. Any costume will look beautiful on such women. But how are poor, puny, ill-made women to dress in such fashions? They could not wear those dresses without exhibiting all those personal defects which our present fashion conceals. It's all very fine for perfectly beautiful women to have such fashions; but it's very cruel to those who are not beautiful. Don't you remember, at Mrs. Clarkson's party, just before we were married, you, and half a dozen other men just like you, went round raving about Mrs. Horn, and how elegantly she was dressed? and when I saw her, I found she had on only a plain pale-blue silk dress, that couldn't have cost a penny more than twelve shillings a yard, and not a thing beside. All the women were turning up their noses at her.

Grey. Because all the men were ready to bend down their heads to her?

Mrs. Grey. Yes.—No.—The upshot of it was, that the woman had the figure and complexion of Hebe, and this dress showed it and set it off; but the dress was nothing particular in itself.

Grey. That is, I suppose, it was not particularly fanciful or costly;—no detriment to its beauty. But as to the beauty of these costumes depending on the beauty of the women who wear them, and their unsuitableness to the needs of women who are without beauty,—It is undeniably true, that, to be beautiful in any costume, a woman must be—beautiful. This may be very cruel, but there is no help for it. Color may enhance the beauty of complexion, as in the case of Mrs. Horn's blue dress; but as to form and material, the most elaborate, the most costly, even the most beautiful costume ever devised, cannot make the woman that wears it be other than she is, or seem so, except to people who do not look at her, but at her clothes. What did all the ugly women in 1811 and '12 do? and what have all the ugly peasant-girls in Normandy done for hundreds of years past? Do you suppose that their beautiful costume made them look any uglier than ugly women do now and here? Not a whit. Ugliness may be covered, but it cannot be concealed. And does the fashion of our day so kindly veil the personal defects in the interest of which you plead? At parties I have thought differently, and sorrowed for the owners of arms and busts and shoulders that inexorable fashion condemns on such occasions to an exposure which, to say the least, is in many cases needless. No,—by flying in the face of fashion, a woman attracts attention to her person, which can be done with impunity only by the beautiful; but do you not see that an ugly woman, by conforming to fashion, obtains no advantage over other women, ugly or beautiful, who also conform to it? and consequently, that a set fashion for all rigidly preserves the contrasts of unequally developed Nature? If there were no fashion to which all felt that they must conform at peril of singularity, then, indeed, there would be some help for the unfortunate; for each individual might adopt a costume suited to his or her peculiarities of person. Yet, even then, there could only be a mitigation or humoring of blemishes, not a remedy for them. There is no way of making deformity or imperfection beautiful.

Mrs. Grey. But, Stanford, there are times when–

Grey. There are no times when woman's figure has not the charm of womanhood, unless she attempts to improve it by some monstrous contrivance of her own; no times when good taste and womanly tact cannot so drape it that it will possess some attraction peculiar to her sex. And were it not so, how irrational, how wrongful is it to extinguish, I will not say the beauty, but, in part, the very humanity of all women, at all times, for the sake of hiding for some women the sign of their perfected womanhood at certain times!

Mr. Key. It certainly results in most astonishing surprises. In fact, I was quite stultified the other day, when Mrs. Novamater, who only a week before had been out yachting with me–

Mrs. Grey. Declined going again. That was not strange. I fear that you did not take good care of her.

Mr. Key. I was not as tender of her as I might have been; but it was her fault, or that of my ignorance,—not really mine. But, Mr. Grey, why can't you boil all this talk down into an essay, or a paper, as you call it, for the "Oceanic"? You promised Miss Larches something of the sort just now. Miss Larches. Yes, Mr. Grey, do let us have it. We ladies would so like to have some masculine rules to dress by!

Tomes. Don't confine your endeavors to one sex. Think what an achievement it would be to teach me how to dress!

Grey. Unanimous, even in your irony! for I see that Mrs. Grey looks quizzical expectation. Well, I will. In fact, I'm as well prepared as a man whose health is drunk at a dinner given to him, and who is unexpectedly called upon for a speech,—or as Rosina, when Figaro begs for un biglietio to Almaviva. [Opens a drawer.] Eccolo quà! Here is something not long enough or elaborate enough to be called an essay nowadays, though it might have borne the name in Bacon's time. I will read it to you. I call it

THE RUDIMENTS OF DRESS

To dress the body is to put it into a right, proper, and becoming external condition. Comfort and decency are to be sought first in dress; next, fitness to the person and the condition of the wearer; last, beauty of form and color, and richness of material. But the last object is usually made the first, and thus all are perilled and often lost; for that which is not comfortable or decent or suitable cannot be completely beautiful. The two chief requisites of dress are easily attained. Only a sufficiency of suitable covering is necessary to them; and this varies according to climate and custom. The Hottentot has them both in his strip of cloth; the Esquimau, in his double case of skins over all except face and fingers;—the most elegant Parisian, the most prudish Shakeress, has no more.

The two principal objects of covering the body being so easily attainable, the others are immediately, almost simultaneously sought; and dress rises at the outset into one of those mixed arts which seek to combine the useful and the beautiful, and which thus hold a middle place between mechanic art and fine art. But of these mixed arts, dress is the lowest and the least important: the lowest, because perfection in it is most easily arrived at,—being within the reach of persons whose minds are uninformed and frivolous, whose souls are sensual and grovelling, and whose taste has little culture,—as in the case of many American, and more French women, who have had a brief experience of metropolitan life: the least important, because it has no intellectual or even emotional significance, and is thus without the slightest aesthetic purpose, having for its end (as an art) only the transient, sensuous gratification of an individual, or, at most, of the comparatively few persons by whom he may be seen in the course of not more than a single day; for every renovation of the dress is, in its kind, a new work of Art. As men emerge from the savage state and acquire mechanic skill, the distaff, the spindle, and the loom produce the earliest fruits of their advancement, and dress is the first decorative art in which they reach perfection. Indeed, it may be doubted whether the most beautiful articles of clothing, the most tasteful and comfortable costumes, have not been produced by people who are classed as barbarous, or, at best, as half-civilized. What fabrics surpass the shawls of India in tint or texture? What garment is more graceful or more serviceable than the Mexican poncho, or the Peruvian rebozo? What Frenchman is so comfortably or so beautifully dressed as a wealthy unsophisticated Turk? There seems to be an instinct about dress, which, joined to the diffusion of wealth and the reduced price of all textile fabrics, has caused it to be no longer any criterion of culture, social position, breeding, or even taste, except as regards itself.

Dress has, however, some importance in its relations to society and to the individual. It is always indicative of the temper of the time. This is notably true of the wanton ease of the costume of Charles the Second, and the meretricious artificiality of that of the middle of the last century. And in the deliberate double-skirted costliness of the female fashions of our own day,—fashions not intended for courts or wealthy aristocracies, but for everybody,—contrasted as they are with the sober-hued and unpretending habits which all men wear, and in which little more is sought than comfort and convenience, we have an expression of the laborious and the lavish spirit of the times,—the right hand gathering with painful, unremitting toil, the left scattering with splendid recklessness. Dress has an appreciable effect upon the mental condition of individuals, whatever their gravity or intelligence. There are few men not far advanced in years, and still fewer women, who do not feel more confidence in themselves, perhaps more self-respect, for the consciousness of being well-dressed, or, rather, when the knowledge that they are well-dressed relieves them of all consciousness upon the subject. To decide upon the costume which can secure this serene self-satisfaction is impossible. For to excellence in dress there are positive and relative conditions. A man cannot be positively well-dressed, whose costume does not suit the peculiarities of his person and position,—or relatively, whose exterior does not sufficiently conform to the fashion of his day (unless that should be very monstrous and ridiculous) to escape remark for eccentricity. The question is, therefore, complicated with the consideration of individual peculiarities and the fashion of the day, which are unknown and variable elements. But maxims of general application can be laid down, to which both fashions and individuals must conform at peril consequent upon violation of the laws of reason and beauty.

The comfort and decency needful to dress—the Esquimau's double case of skins and the Hottentot's cumberbund—need not be insisted on; for maxims are not made for idiots. But dress should not only secure these points, but seem to secure them; for, as to others than the wearer of a dress, what difference is there between shivering and seeming to shiver, sweltering and seeming to swelter?

Convenience, which is to be distinguished from mere bodily comfort, is the next essential of becoming dress. A man should not go partridge-shooting in a Spanish cloak; a woman should not enter an omnibus, that must carry twelve inside, with her skirts so expanded by steel ribs that the vehicle can comfortably hold but four of her,—or do the honors of a table in hanging-sleeves that threaten destruction to cups and saucers, and take toll of gravy from every dish that passes them. Hoops, borrowed by bankrupt invention from a bygone age to satisfy craving fickleness, suited the habits of their first wearers, who would as soon have swept the streets as driven through them, packed thirteen to the dozen, in a carriage common to every passenger who could pay six cents; and hanging-sleeves were fit for women who, instead of serving others, were served themselves by pages on the knee. No beauty of form or splendor of material in costume can compensate for manifest inconvenience to the wearer. It is partly from an intuitive recognition of this truth, that a gown which opens before seems, and is, more beautiful than one that opens behind. The lady's maid is invisible.

No dress is tolerable, by good taste, which does not permit, and seem to permit, the easy performance of any movement proper to the wearer's age and condition in life. Such a costume openly defies the first law of the mixed arts,—fitness. Thus, the dress of children should be simple, loose, and, whatever the condition of their parents, inexpensive. Let them not, girls or boys, except on rare, formal occasions, be tormented with the toilette. Give them clean skins, twice a day; and, for the rest, clothes that will protect them from the weather as they exercise their inalienable right to roll upon the grass and play in the dirt, and which it will trouble no one to see torn or soiled. Do this, if you have a prince's revenue,—unless you would be vulgar. For, although you may be able to afford to cast jewels into the mire or break the Portland vase for your amusement, if you do so, you are a Goth. Jewels were not made for the mire, vases to be broken, or handsome clothes to be soiled and torn.

Next to convenience is fitness to years and condition in life. A man can as soon, by taking thought, add a cubit to his stature as a woman take five years from her appearance by "dressing young." The attempt to make age look like youth only succeeds in depriving age of its peculiar and becoming beauty, and leaving it a bloated or a haggard sham.—Conditions of life have no political recognition, with us, yet they none the less exist. They are not higher and lower; they are different. The distinction between them is none the less real, that it is not written down, and they are not labelled. Reason and taste alike require that this difference should have outward expression. The abandonment of distinctive professional costume is associated with a movement of social progress, and so cannot be arrested; but it is much to be deplored in its effect upon the beauty, the keeping, and the harmonious contrast of external life.

Of the absolute beauty of dress form is the most important element, as it is of all arts which appeal to the eye. The lines of costume should, in every part, conform to those of Nature, or be in harmony with them. "Papa," said a little boy, who saw his father for the first time in complete walking-costume, "what a high hat! Does your head go up to the top of it?" The question touched the cardinal point of form in costume. Unbroken, flowing lines are essential to the beauty of dress; and fixed angles are monstrous, except where Nature has placed them, at the junction of the limbs with the trunk. The general outlines of the figure should be indicated; and no long garment which flows from the shoulders downward is complete without a girdle.[2 - Mr. Grey [in parenthesis, and by way of illustration]. The fashion for ladies' full dress during several years, and but recently abandoned, with its straight line cutting pitilessly across the rounded forms of the shoulders and bust, and making women seem painfully squeezed upward out of their gowns,—its berthe, concealing both the union of the arms with the trunk and the flowing lines of that part of the person, and adding another discordant straight line (its lower edge) to the costume,—its long, ungirdled waist, wrought into peaks before and behind, and its gathered swell below, is an instance in point, of utter disregard of Nature and deliberate violation of harmony, and the consequent attainment of discord and absurdity in every particular. It is rivalled only by the dress-coat, which, with quite unimportant variations, has been worn by gentlemen for fifty years. The collar of this, when stiff and high, quite equals the berthe in absurdity and ugliness; and the useless skirt is the converse in monstrosity to the hooped petticoat.]

As to distinctive forms of costume for the sexes, long robes, concealing the person from the waist to considerably below the knee, are required by the female figure, if only to veil certain inherent defects,—if those peculiarities may be called defects, which adapt it to its proper functions and do not diminish its sexual attractiveness. Woman's figure having its centre of gravity low, its breadth at the hip great, and, from the smallness of her feet, its base narrow, her natural movement in a costume which does not conceal the action of the hip and knee-joints is unavoidably awkward, though none the less attractive to the eye of the other sex.[3 - For instance, the movements of ballet-dancers, except the very artificial ones of the feet and hands.]

In color, the point of next importance, no fine effects of costume are to be attained without broad masses of pure and positive tints. These, however, may be enlivened with condimental garniture of broken and combined colors. But dresses striped, or, yet worse, plaided or checkered, are atrocious violations of good taste; indeed, party-colored costumes are worthy only of the fools and harlequins to whose official habits they were once set apart. The three primary, and the three secondary colors, red, yellow, and blue, orange, green, and purple, (though not in their highest intensity,) afford the best hues for costume, and are inexhaustible in their beautiful combinations. White and black have, in themselves, no costumal character; but they may be effectively used in combination with other colors. The various tints of so-called brown, that we find in Nature, may be employed with fine effect; but other colors, curiously sought out and without distinctive hue, have little beauty in themselves; and any richness of appearance which they may present is almost always due to the fabric to which they are imparted. Colors have harmonies and discords, like sounds, which must be carefully observed in composing a costume. Perception of these cannot be taught, more than perception of harmony in music; but, if possessed, it may be cultivated.

Extrinsic ornament or trimming should be avoided, except to indicate completeness, as at a hem,—or to blend forms and colors, as soft lace at the throat or wrists. The essential beauty of costume is in its fitness, form, and color; and the effect of this beauty may be entirely frittered away by trimmings. These, however costly, are in themselves mere petty accessories to dress; and the use of them, except to define its chief terminal outlines, or soften their infringement upon the flesh, is a confession of weakness in the main points of the costume, and an indication of a depraved and trivial taste. When used, they should have beauty in themselves, which is attainable only by a clearly marked design. Thus, the exquisite delicacy of fabric in some kinds of lace does not compensate for the blotchy confusion of the shapeless flower-patterns worked upon it. Not that lace or any other ornamental fabric should imitate exactly the forms of flowers or other natural objects, but that the conventional forms should be beautiful in themselves and clearly traced in the pattern.—Akin to trimmings are all other appendages to dress,—jewels, or humbler articles; and as every part of dress should have a function, and fulfil it, and seem to do so, and should not seem to do that which it does not, these should never be worn unless they serve a useful purpose,—as a brooch, a button, a chain, a signet or guard ring,—or have significance,—as a wedding-ring, an epaulet, or an order.[4 - Thus, it is the office of a bonnet or a hat to protect the head and face; and so a sun-shade carried by the wearer of a bonnet is a confession that the bonnet is a worthless thing, worn only for show: but an umbrella is no such confession; because it is not the office of the hat or bonnet to shelter the whole person from sun or rain.] But the brooch and the button must fasten, the chain suspend, the ring bear a device, or they sink into pretentious, vulgar shams. And there must be keeping between these articles and their offices. To use, for instance, a massive golden, or, worse, gilded chain to support a cheap silver watch is to reverse the order of reason and good taste.

The human head is the most beautiful object in Nature. It needs a covering at certain times; but to decorate it is superfluous; and any decoration, whether of flowers, or jewels, or the hair itself, that distorts its form or is in discord with its outlines, is an abomination.

Perfumes are hardly a part of dress; yet, as an addition to it often made, they merit censure, with slight exception, as deliberate contrivances to attract attention to the person, by appealing to the lowest and most sensuous of the senses. Next to no perfume at all, a faint odor of roses, or of lavender, obtained by scattering the leaves of those plants in clothes-presses, or of the very best Cologne-water, is most pleasant.

In its general expression, dress should be cheerful and enlivening, but, at least in the case of adults, not inconsistent with thoughtful earnestness. There is a radical and absurd incongruity between the real condition and the outward seeming of a man or woman who knows what life is, and purposes to discharge its duties, enjoy its joys, and bear its sorrows, and who is clad in a trivial, grotesque, or extravagant costume.—These, then, are the elementary requisites of dress: that it be comfortable and decent, convenient and suitable, beautiful in form and color, simple, genuine, harmonious with Nature and itself.

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