s and their psychology

XXIII MARK TWAIN'S LOVE OF COLOUR IN ALL COSTUMING 276

Wrapped in a crimson silk dressing-gown
on a balcony of his Italian villa in Connecticut,
Mark Twain dilated on the value of brilliant
colour in man's costuming.--His creative,
picturing-making mind in action.--Other themes
followed

XXIV THE ARTIST AND HIS COSTUME 283

A God-given sense of the beautiful.--The
artist nature has always assumed poetic license
in the matter of dress.--Many so-called affectations
have _raison d'etre_.--Responding to texture,
colour and line as some do to music and
scenery.--How Japanese actors train themselves
to act women's parts by wearing woman's
costumes off the stage.--This cultivates the required
_feeling_ for the costumes.--The woman
devotee to sports when costumed.--Richard
Wagner's responsiveness to colour and texture.--Clyde
Fitch's sensitiveness to the same.--The
wearing of jewels by men.--King Edward
VII.--A remarkable topaz worn by a Spaniard.--Its
undoing as a decorative object through
its resetting

XXV IDIOSYNCRASIES IN COSTUME 292

Fashions in dress all powerful because they
seize upon the public mind.--They become the
symbol of manners and affect human psychology.--Affectations
of the youth of Athens.--Les
Merveilleux, Les Encroyables, the Illuminati.--Schiller
during the Storm and Stress
Period.--Venetian belles of the sixteenth century.--The
_Cavalier Servente_ of the seventeenth
century.--Mme. Recamier scandalised London
in eighteenth century by appearing costumed
a la Greque.--Mme. Jerome Bonaparte, a Baltimore
belle, followed suit in Philadelphia.--Hour-glass
waist-line and attendant "vapours"
were thought to be in the role of a high-born
Victorian miss.--Appropriateness the contribution
of our day to the story of woman's costuming

XXVI NATIONALITY IN COSTUME 296

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
misleading.--Having followed the evolution of
the costume of woman of fashion which comes
under the general head of European dress, before
closing we turn to quite another field, that
of national co