itness, background, and above all, one's own type. To know one's type,
and to have some knowledge of the principles underlying all good
dressing, is of serious economic value; it means a saving of time,
vitality and money.

The watchword of to-day is efficiency, and the keynote to modern
costuming, appropriateness. And so the spirit of the time records itself
in the interesting and charming subdivision of woman's attire.

One may follow Woman Decorative in the Orient on vase, fan, screen and
kakemono; as she struts in the stiff manner of Egyptian bas reliefs,
across walls of ancient ruins, or sits in angular serenity, gazing into
the future through the narrow slits of Egyptian eyes, oblivious of time;
woman, beautiful in the European sense, and decorative to the
superlative degree, on Greek vase and sculptured wall. Here in rhythmic
curves, she dandles lovely Cupid on her toe; serves as vestal virgin at
a woodland shrine; wears the bronze helmet of Minerva; makes laws, or as
Penelope, the wife, wearily awaits her roving lord. She moves in august
majesty, a sore-tried queen, and leaps in merry laughter as a care-free
slave; pipes, sings and plies the distaff. Sauntering on, down through
Gothic Europe, Tudor England, the adolescent Renaissance, Bourbon
France, into the picturesque changes of the eighteenth century, we ask,
can one possibly escape our theme--Woman as Decoration? No, for she is
carved in wood and stone; as Mother of God and Queen of Heaven gleams in
the jeweled windows of the church, looks down in placid serenity on
lighted altar; is woven in tapestry, in fact dominates all art,
painting, stucco or marble, throughout the ages.

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 Art. A knowledge of her costume frequently throws
light upon her age; a thorough knowledge of her age will throw light
upon her costume.

A study of the essentials of any costume, of any period, trains the eye
and mind to be expert in planning costumes for every-day use. One learns
quickly to discriminate between details which are ornaments, because
they have meaning, and those which are only illiterate superfluities;
and one learns to master many other points.

It is not within the province of this book to dwell at length upon
national costume, but rather to follow costume as it developed with and
reflected caste, aft