initial commit of ebook 11078HEADmain

193 files changed, 9489 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/11078-0.txt b/11078-0.txt
new file mode 100644
index 0000000..de41957
--- /dev/null
+++ b/11078-0.txt
@@ -0,0 +1,1662 @@
+*** START OF THE PROJECT GUTENBERG EBOOK 11078 ***
+
+WHAT DRESS MAKES OF US
+
+By
+
+DOROTHY QUIGLEY
+
+
+Illustrations by
+ANNIE BLAKESLEE
+
+
+1897
+
+
+
+
+    I am indebted to the editors of the New York _Sun_ and
+    New York _Journal_ for kindly allowing me to include in
+    this book articles which I contributed to their
+    respective papers.
+
+
+
+
+PREFACE.
+
+Did you ever observe, dear comrade, what an element of caricature lurks
+in clothes? A short, round coat on a stout man seems to exaggerate his
+proportions to such a ridiculous degree that the profile of his manly
+form suggests "the robust bulge of an old jug."
+
+A bonnet decorated with loops of ribbon and sprays of grass, or flowers
+that fall aslant, may give a laughably tipsy air to the long face of a
+saintly matron of pious and conservative habits.
+
+A peaked hat and tight-fitting, long-skirted coat may so magnify the
+meagre physical endowments of a tall, slender girl that she attains the
+lank and longish look of a bottle of hock.
+
+Oh! the mocking diablery in strings, wisps of untidy hair, queer
+trimmings, and limp hats. Alas! that they should have such impish power
+to detract from the dignity of woman and render man absurd.
+
+Because of his comical attire, an eminent Oxford divine, whose life and
+works commanded reverence, was once mistaken for an ancient New England
+spinster in emancipated garments. His smoothly shaven face, framed in
+crinkly, gray locks, was surmounted by a soft, little, round hat, from
+the up-turned brim of which dangled a broken string. His long frock-coat
+reached to just above his loosely fitting gaiters.
+
+The fluttering string, whose only reason for being at all was to keep
+the queer head-gear from sailing away on the wind, gave a touch of the
+ludicrous to the boyish hat which, in its turn, lent more drollery than
+dignity to the sanctified face of the old theologian. Who has not seen
+just such, or a similar sight, and laughed? Who has not, with the
+generosity common to us all, concluded these were the mistakes and
+self-delusions of neighbors, relatives, and friends, in which we had no
+share?
+
+I understand how it is with you. I am one of you. Before I studied our
+common errors I smiled at my neighbor's lack of taste, reconstructed my
+friends, and cast contemptuous criticism upon my enemies. One day I took
+a look at myself, and realized that "I, too, am laughable on unsuspected
+occasions."
+
+The humbling knowledge of seeing myself objectively, gave me courage to
+speak to the heart of you certain home truths which concern us all, in
+homely language which we can all understand.
+
+That you may discern the comicality and waggery in ill-chosen clothes, I
+have endeavored to hint to you in these talks some of the ways gew-gaws
+and garments make game of us.
+
+May you discover that your dress is not making you a laughable object;
+but if, by any chance, you should note that your clothes are
+caricaturing you, take heart. Enjoy the joke with the mirth that heals
+and heartens, and speedily correct your mistakes.
+
+The lines of your form, the modelling of your face, are they not worthy
+of your discerning thought? Truly! Whatever detracts from them detracts
+from sculpture, painting, and poetry, and the world is the loser.
+
+A word to the thinking is sufficient.
+
+D.Q.
+
+
+
+
+CONTENTS.
+
+
+PREFACE
+
+
+CHAPTER I.
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR
+
+    Style for Wedge-Shaped Faces
+    Style for Heavy Jaws
+    Style for Eyes Set Too High
+    Style for Eyes Set Too Low
+    Style for Long Faces with Long Noses
+    For Faces with Protruding Noses
+
+
+CHAPTER II.
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR
+
+    The Magic of the Bonnet
+    Style for Women with Broad Face and Heavy Chin
+    Style for Women with Tapering Chin
+    Hat for the Chubby Woman
+    For Women Who Have Sharp and Prominent Profiles
+    For the Woman with an Angular Face
+    Women Who should Not Wear Horns
+
+
+CHAPTER III.
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES
+
+    Style for Tall Slender Women
+    The Coat the Short Stout Women should Wear
+    The Cloak or Cape for a Tall Women
+
+
+CHAPTER IV.
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED
+
+
+CHAPTER V.
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS
+
+
+CHAPTER VI.
+
+HINTS ON DRESS FOR ELDERLY WOMEN
+
+
+CHAPTER VII.
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES
+
+
+
+
+WHAT DRESS MAKES OF US.
+
+       *       *       *       *       *
+
+CHAPTER I.
+
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.
+
+The pleasing, but somewhat audacious statement of the clever writer who
+asserted, "In the merciful scheme of nature, there are no plain women,"
+is not as disputable as it may seem. Honest husbands, to be sure, greet
+the information with dissenting guffaws; gay deceivers reflect upon its
+truth by gallantly assenting to it, with a mocking little twinkle in
+their eyes; and pretty women, upon hearing it, remark sententiously
+"Blind men and fools may think so." Discerning students of womankind,
+however, know that if every woman would make the best of her
+possibilities, physically, mentally, and spiritually, it would be
+delightfully probable that "in the merciful scheme of nature" there need
+be no plain women.
+
+Have we not Lord Chesterfield's word for it, that "No woman is ugly when
+she is dressed"?
+
+It is no unworthy study to learn to make the best of, and to do justice
+to, one's self. Apropos of this, to begin--where all fascinating
+subjects should begin--at the head, it behooves every woman who wishes
+to appear at her best, to study the modelling of her face that she may
+understand both its defective and perfect lines. By a proper arrangement
+of her hair a woman can do much to obscure or soften her bad features,
+and heighten the charm of her good ones.
+
+Romancers have written, and poets have sung, of the bewitchment in
+nut-brown locks, golden tresses, and jetty curls. Every woman, if so
+inclined, may prove for herself the transfiguring effect in a becoming
+coiffure. In fact, the beauty of a woman's face and her apparent age are
+greatly affected by the way she wears her hair.
+
+A most important detail that too few consider, is, the proper direction
+in which to comb the hair. Women literally toss their tresses together
+without any attention to the natural inclination of the individual
+strands or fibres. They comb their hair "against the grain." Those who
+do so never have beautifully and smoothly arranged coiffures. Each
+little hirsute filament has a rebellious tendency to go in the direction
+nature intended it should, and refuses to "stay where it is put," giving
+the head in consequence, an unkempt and what is termed an "unladylike"
+appearance. The criss-cross effect resulting from combing and arranging
+the hair contrary to "the grain" is conspicuously apparent in the
+coiffure of no less a personage than Eleanora Duse, who, as may be seen
+from the picture, pays little attention to the natural tendency of the
+dark tresses that cover her shapely head. The bang has the dishevelled
+appearance of a pile of jack-straws. The side-locks instead of being
+combed or brushed to follow the contour of the head, fall loosely and
+fly in opposite directions.
+
+[Illustration: NO. 2]
+
+The difference in appearance between the women of the smart sets in
+America and those of less fashionable circles is due, in a great
+measure, to the beautifully dressed coiffures of the former. A
+hair-dresser arranges, at least once a week, the hair of the modish
+woman if her maid does not understand the art of hair-dressing. Many
+women of the wealthy world have their maids taught by a French coiffeur.
+
+A wise woman will adopt a prevailing mode with discretion, for, what may
+be essentially appropriate for one, may be fatally inappropriate for
+another. In adjusting her "crown of glory" a woman must consider the
+proportions of her face. She should be able to discern whether her eyes
+are too near the top of her head or, too far below; whether she has a
+square or wedge-shaped chin; a lean, long face, or a round and
+bountifully curved one. She should be alert to her defects and study
+never to emphasize nor exaggerate them.
+
+Why, through stupidity or carelessness, make a cartoon of yourself,
+when with a proper appreciation of your possibilities you can be a
+pleasing picture? It is just as glorious to be a fine picture or a poem
+as it is to paint the one, or write the other. Indeed, a woman who
+harmoniously develops the best within her has the charm of an exquisite
+poem and inspires poets to sing; and if by the grace and beauty of her
+dress she enhances her natural endowments and makes herself a pleasing
+picture, the world becomes her debtor.
+
+In the important matter of becomingly arranging the hair, the following
+sketches and suggestions may hint to bright, thinking, women what
+styles to choose or avoid.
+
+
+For Wedge-Shaped Faces.
+
+[Illustration: NO. 3]
+
+[Illustration: NO. 4]
+
+The least-discerning eye can see that the wedge-Shaped face No. 3 is
+caricatured, and its triangular proportions made more evident, by
+allowing the hair to extend in curls or a fluffy bang on either side of
+the head. Women with delicately modelled faces with peaked chins should
+avoid these broad effects above their brows.
+
+It is obvious in the sketch No. 4, that the wedge-shaped face is
+perceptibly improved by wearing the hair in soft waves, or curls closely
+confined to the head and by arranging a coil or high puff just above and
+in front of the crown. This arrangement gives a desirable oval effect to
+the face, the sharp prominence of the chin being counteracted by the
+surmounting puffs.
+
+
+For Heavy Jaws.
+
+It may readily be seen that a woman with the square, heavy-jawed face
+pictured by No. 5, should not adopt a straight, or nearly straight,
+bang, nor wear her hair low on her forehead, nor adjust the greater
+portion of her hair so that the coil cannot be seen above the crown of
+her head. The low bang brings into striking relief all the hard lines of
+her face and gives the impression that she has pugilistic tendencies.
+
+[Illustration: NO. 5]
+
+To insure artistic balance to her countenance, and bring out the womanly
+strength and vital power of her face, her hair should be arranged in
+coils, puffs, or braids that will give breadth to the top of her head as
+shown by No. 6. A fluffy, softly curled bang adds grace to the forehead
+and gives it the necessary broadness it needs to lessen and lighten the
+heaviness of the lower part of the face. A bow of ribbon, or an aigrette
+of feathers, will add effectively the crown of braids or puffs which a
+wise woman with a square jaw will surmount her brow if she wishes to
+subdue the too aggressive, fighting qualities of her strong chin.
+
+[Illustration: NO. 6]
+
+
+For Short Faces.
+
+The sisterhood who have short, chubby faces should, in a measure,
+observe certain rules that apply in a small degree to those who have
+heavy chins.
+
+As may be observed even with a casual glance, the little short-faced
+woman depicted by No. 7, causes her round facial disk to appear much
+shorter than it really is by allowing her hair to come so far down on
+her forehead. She further detracts from her facial charms by wearing
+"water-waves." Water-waves are scarcely to be commended for any type of
+face, and they are especially unbecoming to the woman who is
+conspicuously "roly-poly." The round eyes, knobby nose, and round mouth
+are brought into unattractive distinctness by being re-duplicated in the
+circular effects of the hair. This mode of dressing the hair makes a
+short face look common and insignificant.
+
+[Illustration: NO. 7]
+
+Do you not see that this type is immensely improved by the arrangement
+of the coiffure in No. 8? By combing her hair off her forehead her face
+acquires a look of alertness and intelligence, besides being apparently
+lengthened. She can wear her bang in soft crimps brushed back from her
+brow, if this plain arrangement is too severe.
+
+[Illustration: NO. 8]
+
+
+For Eyes Set Too High.
+
+A low forehead is supposed to be a sign of beauty in woman. The brows of
+the famous Venuses are low and broad. Perhaps for this reason many women
+wear their hair arranged low upon their foreheads. Whether the hair
+should be worn low on the brow depends chiefly on two things,--"the
+setting of the eyes, and the quality of the face."
+
+[Illustration: NO. 8-1/2]
+
+A good rule to observe is the artistic one, to the effect that "the eyes
+of a woman should be in the middle of her head." That is, if an
+imaginary line were drawn across the top of the head and another below
+the chin, exactly midway between the two the eyes should be set.
+
+The Japanese type of woman should carefully observe the foregoing hint.
+
+Observe No. 8-1/2. Nature has not been artistic. The eyes are too near
+the top of the head. The defect is exaggerated and emphasized by the
+wearing of the hair low on the forehead. In some faces of this type the
+face is brutalized in appearance by this arrangement. The expression and
+whole quality of the countenance can be greatly improved by arranging
+the hair as shown by No. 9, which is the soft Pompadour style. The
+Duchess of Marlborough, formerly Consuelo Vanderbilt, frames her naïve,
+winsome face, which is of the Japanese type, in a style somewhat like
+this. Her dark hair forms an aureole above her brow, and brings into
+relief the dainty, oval form of her face. Even simply brushing the hair
+off the forehead without crimp or roll will improve the appearance of
+this type of face and give it a better artistic balance.
+
+[Illustration: NO. 9]
+
+[Illustration: NO. 10]
+
+
+For Eyes Set Too Low.
+
+Women whose eyes are set too far down in their faces should adopt a mode
+of arranging their hair exactly the opposite of those whose eyes are set
+too near the top of their heads.
+
+It is apparent that No. 10 exaggerates the distance of her eyes from the
+crown of her head, and makes them appear to be set lower than they
+really are by building her hair high, and by brushing her bang back so
+severely from her brow. A bald forehead is rarely becoming to any
+woman. A few stray curls or soft waves lend grace to even the most
+perfect of brows.
+
+[Illustration: NO. 11]
+
+By bringing the hair down over the forehead, as suggested in No. 11, a
+woman with this type of face can easily improve her appearance. By this
+graceful arrangement her face loses the childish and sometimes stupid
+expression that is peculiar to the type, as may be discerned in No. 10.
+When the hair is properly arranged this element of childlikeness lends a
+certain appealing sweetness not unattractive even in the faces of
+matured matrons. By dressing the hair low so the coil does not appear
+above the crown, as in No. 11, the eyes are apparently properly placed.
+
+
+For Long Faces with Long Noses.
+
+The woman who wears her silken tresses arranged on either side of her
+head, draped like curtains from a central parting, is to be envied if
+she can do it and yet look young and pretty. She is the Madonna type and
+seems to possess all the attributes of gentleness, modesty, and
+meekness, and angelic sweetness that are supposed to characterize the
+distinctively feminine woman. This is the ideal style of coiffure much
+bepraised by man, because, according to a bright modern Amazon, "it
+makes a woman look so meek."
+
+[Illustration: NO. 12]
+
+The only type to which it is really becoming is the Italian. The type
+with _matte_ complexion, soft eyes, finely chiselled nose, and
+delicately oval chin, look ideally sweet and feminine with the hair
+arranged _à la_ Madonna.
+
+[Illustration: NO. 13]
+
+Long faces of the form pictured by No. 12 exaggerate the longness and
+leanness of their faces by wearing their locks like looped curtains. A
+long nose with two long lines on either side of the cheek seems longer
+than it is, as the observer may discern three lines instead of only the
+nasal one, and the impression of longness is emphasized. Not only is
+the length of the countenance made more noticeable, but years and years
+are apparently added to the actual age.
+
+That No. 13, which shows a parting and soft waves that do not come below
+the ears, is to be preferred by a woman whose features are of this
+character need hardly be explained. The improvement in looks is quite
+obvious.
+
+[Illustration: NOS. 14 AND 15]
+
+No. 14 is an example of a misguided woman of the pudgy type who, for
+some inexplicable reason, arranges her hair in the Madonna style. It is
+utterly unsuited to her face. Unless her ears are deformed this style of
+hirsute lambrequins should not be worn by a full, round-faced woman.
+The arrangement sketched in No 15 adds effectively to her appearance,
+not only making her look younger, but less inane.
+
+[Illustration: NO. 16]
+
+
+For Faces with Protruding Noses.
+
+Women with decidedly protruding, or irregular, tip-tilted noses should
+be especially careful in arranging their coiffures.
+
+Any woman who arranges her hair as in sketch No. 16 caricatures her
+facial defects by increasing the too protuberant lines of her nose. The
+distance from the end of her nose and the tip of the topmost knot of
+hair is too long for either beauty or intelligence. The shape of her
+head acquires idiotic proportions, and her nose is placed entirely "out
+of drawing" and is obtrusively conspicuous when seen in profile. This
+type of woman is generally classified among the inquisitive, bright, and
+energetic. She should aim to modify the unhappy angularity of her
+profile as well as to repress her gossipy tendencies. The graduated coil
+of hair and waved coiffure, shown by No. 17, are most felicitous in
+their effect on this type of face.
+
+[Illustration: NO. 17]
+
+[Illustration: NO. 18]
+
+No. 18 reveals an error in an opposite direction. The snubbed-nose girl,
+by fixing her hair in a bun-like coil, gives the impression that her
+coiffure is held by invisible strings by her nose, which gets a more
+elevated look than it otherwise would have, because of the bad angle at
+which the coil is placed.
+
+[Illustration: NO. 19]
+
+No. 19, which is a picturesque variation of the popular coif, manifestly
+improves this type of face, and makes the nose appear less obtrusive.
+
+A woman should carefully study the contour of her head from every side;
+the modelling of her face; the length and inclination of her nose; the
+setting of her eyes; and the breadth and form of her brow, and adopt a
+becoming coiffure that will give artistic balance to her face, and never
+absolutely change the style whatever the mode in hair-dressing may be.
+In England, the court hair-dresser years ago studied the character of
+the head and face of the Princess of Wales, and designed a coiffure for
+her which she has never varied until recently; then she merely arranged
+her fringe lower down on her forehead than she has ever worn it before.
+The general style, however, she preserves intact, and wears her hair,
+and has for many years, as is shown in the picture--No. 20. Her
+daughters, who have faces the same shape as hers, dress their coiffures
+similarly. In never changing the style of arranging her hair, the
+Princess of Wales owes in no small degree her apparent air of
+youthfulness.
+
+[Illustration: NO. 20]
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER II.
+
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR.
+
+Closely allied to the subject of hair-dressing is that of head-gear.
+Indeed many of the hints regarding appropriate coiffures for certain
+styles of faces are equally applicable to the selection of suitable hats
+and bonnets. The choosing of millinery is the more momentous of the two,
+of course, for I need scarcely remind you that Nature left us no choice
+in hair. No matter what its color or texture we desire to keep it and if
+we are wise we will make the best of it.
+
+In regard to hats we are personally responsible and our follies are upon
+our own heads.
+
+The power of caricature being greater in hats than in hair-dressing, is
+it not fit that we should give careful and intelligent consideration to
+the selection of our millinery that the ugly lines in our otherwise
+beautiful faces may not be at the mercy of mocking bunches of ribbons,
+comically tilted straws, or floppy bits of lace?
+
+The Magic of The Bonnet.
+
+Once upon a time, I think that was the exact date, there was a man
+distinguished in a certain kingdom as the ugliest person in the realm.
+According to a blithe romancer, he was so distinctively unpleasing in
+form and feature that he challenged the attention of the king who, in
+whimsical mood, made him a royal retainer. The man so conspicuously
+lacking in beauty enjoyed his eminent position and privileges for some
+time. But even ugliness, if it attain distinction, will excite envy in
+the low-minded. A former associate of the unbeautiful man in invidious
+temper brought the news one day to the king, that there was an old
+woman in his domain that was uglier than the lowly-born man who by
+kingly favor held so high a place. "Bring her to the court. Judges shall
+be called to decide. If she is uglier she shall stay and he shall go,"
+was the royal mandate. When the old woman appeared she was easily
+decided to be by far the uglier of the two. At the critical moment when
+the king was upon the eve of dismissing the man from his retinue, a
+friend of the unfortunate shouted, "Put her bonnet on him!" This was
+done, and lo! a fearful change was wrought. By unanimous acclamation he
+was declared to be "the ugliest creature on earth."
+
+The old woman, true to the instincts of her sex, refused to wear her
+bonnet again. Like many of her sisters of modern times, she had not
+before discovered the possibilities in a bonnet to enhance the beauty of
+the face or decrease its charms.
+
+If woman could see themselves objectively, as did the old woman, they
+would keenly realize the necessity of considering the lines of hat or
+bonnet in relation to those of their faces, and would learn to obscure
+defects and bring into prominence their prettiest features.
+
+As there are a few rules to govern what each type should select, every
+one of the fair sisterhood has an equal opportunity to improve her
+appearance by selecting in the millinery line the distinctive adornment
+suited to her individual style.
+
+[Illustration: NO. 22]
+
+
+For Women with Broad Face and Heavy Chin.
+
+By a curious law of contrariety the woman with a broad, heavy chin seems
+to have an ungovernable penchant for trig little round bonnets, or trim
+turbans with perky aigrettes, like that in sketch No. 22. By obeying
+this wilful preference she obscures whatever delicacy may be in the
+modelling of her features and brings into conspicuous relief the
+ugliest lines of her face. Her chin is apparently increased in heaviness
+and the broadness of her face is made prominent. She could easily have
+restored the artistic balance to her facial lines by wearing a large
+hat, rather heavily trimmed, as in No. 23, thus effectively modifying
+the strong curves of the chin and signally improving her appearance. If
+a woman's face is fairly proportioned, not too short for its breadth,
+and she can not afford plumes, this type of woman can still give a
+becoming balance to her face by adopting hats that are trimmed with
+flamboyant bows that flare horizontally across the hat, diverging from a
+central knot in the from.
+
+[Illustration: NO. 23]
+
+
+For the Woman with Tapering Chin.
+
+[Illustration: NO. 24]
+
+The woman who is the exact opposite of the type with the ample lower
+jaw, but whose chief disadvantage lies in her broad, manly brow and tiny
+tapering chin, should avoid all horizontal trimmings, bows or broad
+hat-brims. It is clear, in No. 24, that such trimmings increase the
+wedge-like appearance of the face and give it the grotesque suggestion
+of an ordinary flower-pot in which grows a sickly plant. This type can
+perceptibly improve upon nature by choosing the style of hat and
+neck-gear shown by No. 25.
+
+[Illustration: NO. 25]
+
+The crinkly ovals that form the brim of the hat, and the soft, graceful
+arrangement of the hair in front that decreases the too broad effect of
+the brow, and the full fluffy ruff snuggled up closely to the chin,
+produce a pleasing transformation of the meagre-looking original that
+to the uninitiated seems little short of magical. The broad, cravat-like
+bows, and the flaring ones known as "incroyables," were beneficently
+wedge-like faces and throats that have lost the seductive curves of
+youth.
+
+
+Hat for the Chubby Woman.
+
+[Illustration: NO. 26]
+
+That amiable type of woman formed conspicuously upon the circular plan
+often unconsciously impresses the fact of her fatal tendency to
+rotundity by repeating the roundness of her globular eyes, the disk-like
+appearance of her snub nose and the circle of her round mouth, and the
+fulness of her face by wearing a little, round hat in the style
+portrayed by No. 26.
+
+[Illustration: NO. 27]
+
+The curls of her bang, the feathers in her hat, the high collar of her
+jacket make more significant the fact that her lines are not artistic
+and that her face is unbeautifully round. She can enhance her charms and
+apparently decrease the too spherical cut of her countenance by adopting
+the mode illustrated in No. 27. The angular bows on the hat, the
+geometric lines of the broad hat-brim, the precise cut of the lapels on
+the corsage, the neat throat-band and V-shaped vesture--all insinuate in
+a most engaging way a dignity and fine, high-bred poise totally
+obliterated by the circular style of dress erroneously adopted by the
+misguided woman in No. 26.
+
+[Illustration: NO. 28]
+
+
+For Women Who Have Sharp and Prominent Profiles.
+
+In buying a hat many of the "unfair sex"--as the modern wag dubs the
+progressive sisters who wish to have all man's rights and privileges and
+keep their own besides--never seem to consider their heads but from a
+front point of view. In consequence, as sketch No 28 hints, a head seen
+from the side frequently appears, if not idiotically, very
+inartistically, proportioned.
+
+[Illustration: NO. 29]
+
+Occasionally a hat presents as comical an effect in a from as in a side
+view, as may be seen in No. 29. The wearer was an elderly woman with
+gray hair which hung down in a half-curled bang on either side of her
+thin face. Her hat which was simply "dripping" with feathers suggested a
+fanciful letter "T" and exaggerated the thinness of her face in a
+remarkably funny way. The feathers overhanging the brim increased the
+broadness of the hat, and looked singularly waggish fluttering against
+the spriggy-looking projections of gray hair. The rules for the
+wedge-shaped face, as may readily be discerned, apply here.
+
+[Illustration: NOS. 30 AND 31]
+
+Women who have sharp and prominently outlined profiles have a curious
+tendency to choose hats, the brims of which project too far forward in
+front, and turn up too abruptly and ungracefully in the back.
+
+As shown in No. 30 the protruding brim gives the head and face the
+unattractive proportions of the capital letter "F." The length of the
+nose is emphasized by the line of the hat-rim above it and it appears
+unduly obtrusive. The flat arrangement of the hair and the curve of the
+hat-brim in the back also exaggerate the obtrusive qualities of the
+features. By choosing a hat somewhat similar to the one sketched in No.
+31, the unattractive sharpness of the profile is modified, and the
+alert, agreeable quality of the face, that was obscured by the
+shelf-like brim, becomes apparent. The observer feels, if he does not
+voice it, that it is a progressive spirit advancing forward instead of
+an ungainly head-piece that looks like a curious trowel.
+
+
+For the Woman with an Angular Face.
+
+[Illustration: NOS. 32 AND 33]
+
+The woman with the angular features presented in No. 32 should not wear
+a sailor-hat or any hat with a perfectly straight rim.
+
+The sailor-hat or any style bordering on it should be selected with
+utmost discrimination. This mode is unbecoming to a woman more than
+forty; or, to one who through grief or worry prematurely attains a look
+of age, or to one whose features are irregular. The straight brim across
+the face is very trying. It casts a shadow deepening the "old marks"
+and instead of being a frame to set off, it seems to cut off, the face
+at an inartistic angle.
+
+The woman with angular features, as may be seen by No. 33, can wear with
+impunity, and always should wear, a hat the brim of which is waved,
+turned, twisted, or curved in graceful lines. The uneven brim of her hat
+makes an effective complement to the angularity of her chin, which is
+further softened by the feathery ruff that encircles her throat. The
+curves of the ostrich plumes, and the studied carelessness of the
+arrangement of her coiffure, subdue the angles of her face which are
+brought out in unbecoming prominence by the sailor-hat.
+
+
+Women Who should Not Wear Horns.
+
+The velvet horns on either side of a hat, the steeple-like central
+adornments that were once much in favor, and the Mercury wings that
+ornament the coiffure for evening dress, produce some startling,
+disagreeable, and amusing effects not altogether uninteresting to
+consider.
+
+Faces in which the eyes are set too near the forehead acquire a scared
+look by being surmounted by a bonnet upon which the trimming gravitates
+to a point in an arrangement not unsuggestive of a reversed fan, horns,
+or a steeple.
+
+The most unpleasing developments result from the wearing of the
+horn-like trimmings either in velvet or jet. If the face above which
+they flare has less of the spiritual than the coarse propensities in it,
+the grotesque turns and twists in the head-gear emphasize the animality
+in the lines characteristic of low-bred tendencies, and the whole
+countenance is vulgarized. One face acquires the look of a fox, another
+of a certain type of dog, and so on.
+
+The most amusing exaggerations of distinctive facial lines are produced
+by Mercury wings. The good-natured woman of the familiar type depicted
+in No. 34 brings every bovine attribute of her placid countenance into
+conspicuous relief by surmounting her face with the wings of the
+fleet-footed god. The cow-like form and serenity of her features are
+made laughably obvious.
+
+[Illustration: NO. 34]
+
+Short, delicately-faced women can adorn their coiffures with Mercury
+wings with most charming results. Wings, or perpendicular bows, add
+length to the lines of the short face, giving it a certain suggestion
+of refinement and distinction that is wholly destroyed by the wearing of
+any trimmings that show at the sides.
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER III.
+
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES.
+
+Mme. La Mode, much misrepresented as are all who are embarrassed with
+world-wide popularity always considers when designing fashions that
+women vary in form, as in mood. She suits all needs, although this fact
+has never been cast to her credit. With a beautiful sense of
+adjustment--as obvious as that in Nature, that projects the huge
+watermelon to ripen on a slender vine on the ground and swings a
+greengage plum on the stout stem of a tree to mature in storm or
+shine--Mme. La Mode, arbiter of styles, balances her fashions.
+
+Never came the big hat without the small bonnet. Accompanying the long
+cloak is the never-failing short cape. Side by side may be found the
+long coat and the short, natty jacket. This equilibrium in wearing
+apparel may be traced through all the vagaries of fashion.
+
+Everybody's need has been considered, but everybody has not considered
+her need.
+
+The short, stout woman passes by the long coat better adapted to her
+and seizes a short jacket--a homeopathic tendency of like suiting like,
+sometimes efficacious in medicine, but fatal in style.
+
+
+Style for Tall Slender Woman.
+
+The very tall, slender woman frequently ignores a jaunty jacket and
+takes a long coat like that shown in No. 36.
+
+To even the sluggish fancy of an unimaginative observer she suggests a
+champagne bottle, and to the ready wit she hints of no end of amusing
+possibilities for caricature.
+
+The very tall woman should know that long lines from shoulder to foot
+give height, and she must discerningly strive to avoid length of line
+in her garments until she dons the raiment of the angels.
+
+[Illustration: NOS. 36 AND 37]
+
+Horizontal lines crossing the figure seem to decrease height, and should
+be used as much as possible in the arranging and trimming of the tall
+woman's garments.
+
+By selecting a shorter coat equally modish, as shown by No. 37, the too
+tall woman shortens her figure perceptibly.
+
+The belt cuts off from her height in a felicitous way, and the collar,
+also horizontal, materially improves the size of her throat. The high
+collar, such as finishes the coat, in No. 36, adds to the length. Those
+who have too long arms can use horizontal bands on sleeves most
+advantageously.
+
+
+The Coat the Short Stout Woman should Wear.
+
+The short jacket that so graciously improved the appearance of the
+slender specimen of femininity is sinister in its effect on the short,
+stout woman, in sketch No. 38. It should be the study of her life to
+avoid horizontal lines. Length of limb is to be desired because it adds
+distinction. Her belt, the horizontal effect of the skirt of the jacket,
+the horizontal trimming of the bottom of the skirt, all apparently
+shortening her height, tend to make her ordinary and commonplace in
+appearance.
+
+[Illustration: NOS. 38 AND 39]
+
+If her hips are not too pronounced she can wear the long coat, shown in
+picture No. 39. The V-shaped vesture gives her a longer waist, and the
+long lines of the revers add to the length of her skirt. If her hips are
+too prominent, she should avoid having any tight-fitting garments that
+bring the fact into relief. She should not wear the long coat, but she
+can effectively modify it to suit her needs, by only having a skirt, or
+tabs, or finishing straps in the back. If her jacket or basque is
+finished off with a skirt effect, it is best to have the little skirt
+swerve away just at the hip-line, half revealing and half concealing it.
+
+The front should be made in a jacket effect, finishing just at the
+waist-line and opening over a blouse front that will conceal the
+waist-line. It is best for the too short, stout woman to obscure her
+waist-line as much as possible, to apparently give her increase of
+height.
+
+To put the waist-line high up adds to length of limb, and, of course, is
+to be desired, but the fact that what is added below is taken from above
+the waist, should impel careful discrimination in the arrangement of
+this equatorial band.
+
+
+The Cloak or Cape for a Tall Woman.
+
+The long circular cloak is another graceful garment that can be worn
+with charming effect by the woman of classic height, but should never be
+in the wardrobe of a very tall woman except for use at the opera, when
+its service is chiefly required in the carriage, or when its wearer is
+sitting. It is so obvious, in sketch No. 40, that the vertical lines the
+folds of the cloak naturally fall into give a steeple-like appearance to
+the tall woman it enfolds, that it is scarcely necessary to comment upon
+it.
+
+[Illustration: NO. 40]
+
+That her judicious selection should have been the short cape, which
+comes, as all capes should, to be artistic, well below the elbows, is
+clearly illustrated in picture No. 41. The horizontal trimming very
+becomingly plays its part in the generally improving effect.
+
+[Illustration: NO. 41]
+
+The one who can wear the long cloak in an unchallengeable manner is the
+short, stout woman, shown in sketch No. 42.
+
+By wearing the short cape with circular, fluffy collarette, sketched in
+No. 43, she gives herself the look of a smothered, affrighted Cochin
+China chicken; or, as an imaginative school-girl remarked of her mother
+who wore a cape of similar style, "she looks as if her neck were
+encircled by bunches of asparagus."
+
+[Illustration: NOS. 42 AND 43]
+
+The military dignity she acquires by wearing the long cape is becoming
+to a degree, and gives her distinction in form.
+
+By remembering that horizontal trimmings apparently decrease the
+height, and that vertical lines add to it, those who desire to appear at
+their best will use discernment in dividing their basques with yokes, or
+corsage mountings at the bust-line or frills at the hip-line.
+
+A flounce on the corsage at the bust-line, another at the hip-line, and
+yet another at the bottom of the shirt, increases the impression of
+bulkiness most aggressively and gives a barrel-like appearance to the
+form of a stout woman that is decidedly funny, as may be seen in sketch
+No. 44.
+
+A study of the lines of the form will not only aid one in adopting a
+more becoming style of dress, but will sharpen the artistic
+perceptions, thus adding to the joy of life.
+
+[Illustration: NO. 44]
+
+"A beautiful form is better than a beautiful face" and should be clothed
+so that its lines may appear at their best, and not be exaggerated and
+caricatured. The figure is seen many more times than the face, and the
+defects of the former are more conspicuous than those of the latter.
+
+Do not be unjust to your beautiful body, the temple of your soul; above
+all, do not caricature it by selecting your clothes with
+indiscriminating taste.
+
+NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER IV.
+
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.
+
+She was from the middle-West, and despite the fact that she was married,
+and that twenty-one half-blown blush roses had enwreathed her last
+birthday cake, she had the alert, quizzical brightness of a child who
+challenges everybody and everything that passes with the
+countersign--"Why?" She investigated New York with unabashed interest,
+and, like many another superior provincial, she freely expressed her
+likes and dislikes for its traditions, show-places, and people with a
+commanding and amusing audacity.
+
+Her objections were numerous. The chief one that made a deep impression
+upon her metropolitan friends was her disapproval of Sarah Bernhardt's
+acting. The middle-Westerner, instead of becoming ecstatic in her
+admiration, and at a loss for adjectives at the appearance of the divine
+Sarah, merely perked at the great French artist for some time and then
+demanded, querulously: "What's the matter with her? Why does she play
+so much with her back to the audience? I don't like it."
+
+It was a shock to the adorers of Sarah Bernhardt to hear her so
+irreverently criticised. They loyally united in her defence, and sought
+to squelch the revolter by loftily explaining that the actress turned
+her back so often to the audience because she had such a noble, generous
+nature and desired to give the other actors a chance. "She lets them
+take the centre of the stage, as they say in the profession," remarked
+one of the party, who prided herself upon being versed in the _argot_ of
+the theatre.
+
+"But she plays with her back to the audience when she is speaking and
+acting, and everybody else on the stage is still but herself,"
+petulantly insisted the Western Philistine, showing no signs of defeat.
+
+The situation was not wholly agreeable. The worshippers of Sarah could
+say nothing more in justification of her turning her back on them, but,
+with true feminine logic, concluded, "If Sarah Bernhardt turns her back
+on the audience it is right, and that is all there is to say."
+
+Just at this dramatic moment a voice from the adjoining row
+providentially interposed. The voice belonged to a well-known exponent
+of physical culture, who was never so happy as when instructing the
+intellectually needy. She said: "I will tell you why she plays with her
+back towards the audience more than any other actress upon the stage
+to-day." The middle-Westerner, no less impressed than her metropolitan
+friends, listened eagerly.
+
+The exponent of straight backs and high chests explained didactically:
+"The back is wonderfully expressive; indeed it is full of vital
+expression. Bernhardt knows this better than any other actress because
+she has studied statuary with the passion of a sculptor, and because she
+understands that, not only the face, but the entire physical structure,
+is capable of expressing dramatic emotions. Strong feeling and action
+may be strikingly revealed by the back. Imprecations, denunciations,
+even prayers, seem to be charged with more force when an actress
+delivers them with her back turned, or half-turned to the audience.
+
+"Bernhardt's back expresses a storm of fury when she imprecates
+vengeance," said the voice of authority. "Not only on the stage is the
+expression of the back discernible, and a knowledge of its character
+valuable, but in every-day life in drawing-room and street. How many
+women consider their backs when they dress? Look at the backs here
+deformed by laces and fallals," she went on contemptuously. "The
+majority of women never look below their chins and I believe not one in
+ten ever looks thoughtfully at her back," she said emphatically.
+
+The dramatic value of a well-poised, expressive back may only concern
+the thousands of young women who are aspiring to be a Sarah Bernhardt or
+a Rachel; but a knowledge of what constitutes a properly and
+artistically clothed back should be of interest to all women in
+civilized countries.
+
+That there is much truth in the assertion that "the majority of women
+never look below their chins, and not one in ten ever looks
+thoughtfully at her back," every observer of womankind might testify.
+
+[Illustration: NO. 45]
+
+The open placket-hole and sagging waist-band, sketched in No. 45, is an
+all too familiar sight that advertises the fact that too few women take
+even a cursory look at their backs. Fathers and brothers who wish to
+protect their womankind from adverse criticism frequently give impromptu
+lectures upon this very subject, as this slovenly arrangement of skirt
+and basque is not only seen in Grand Street, Second Avenue, and equally
+unfashionable quarters, but in Fifth Avenue where the modish set are _en
+évidence_. If the dainty safety-pin displayed in No. 46, goes out of
+vogue, the time-honored custom of sewing hooks to the waist-band of the
+dress, is always in fashion. Indeed, many women prefer this way of
+connecting separate skirt and waist to using a conspicuous pin. This is
+almost too trivial a detail to discourse upon, but it is as true that
+details make dress as it is that "trifles make life"--and neither life
+nor dress is a trifle.
+
+[Illustration: NO. 46]
+
+The offence in No. 45 is more the result of untidiness than of a lack of
+artistic discrimination. Nos. 46-1/2 and 47, on the contrary, outrage
+the laws of art, and display ignorance of the value and beauty of lines.
+
+No. 46-1/2 might serve to conceal a deformity of the shoulders. That
+really seems its only excuse for being. The full, ugly, straight pleat
+that falls to just below the waist-line lends neither grace nor style to
+the figure. It is too short to give the distinction and dignity that
+handsome wraps with long lines almost invariably do, although they seem
+to add age to the form. There is a hint of youth in this ungraceful
+jacket to be sure, but it is not especially attractive in its suggestion
+of youthfulness.
+
+[Illustration: NO. 46-1/2]
+
+[Illustration: NO. 47]
+
+No. 47, with a line at the neck-band, crossed bands in the centre of the
+shoulders, and lines across the back, is obviously inartistic. The back
+of a Venus, even, would be detracted from by such criss-crossed effects.
+Happy the woman who has so shapely a back she can afford to allow her
+waist to fit smoothly and plainly, unbroken by any conspicuous lines. If
+bands must be used to remedy the deficiencies of ungenerous Nature, let
+them be at the neck and waist; and if the back is unconscionably long, a
+band, or fold, or ruffle across the shoulders is to be commended.
+
+[Illustration: NO. 48]
+
+No. 48 reveals a glaring error frequently made by the thin sisterhood. A
+tall, slender woman with a long waist, should not emphasize her length
+of lines by wearing pointed or V-shaped effects. The V-shaped
+arrangement, either in cut or trimmings, apparently increases her
+"longness and leanness." She should aim to shorten her waist instead of
+lengthening it as the basque finished with a point obviously does. The
+drooping sleeves elongate her shoulder-lines, and bring into clearer
+relief her meagre proportions. She can easily improve her appearance by
+adopting either style of gown portrayed by Nos. 49, or 50. The broad
+belt at the waist-line in No. 49, and the flamboyant lace or braided
+piece that adorns the shoulders, perceptibly adds to her breadth and
+decreases her length.
+
+[Illustration: NO. 49]
+
+[Illustration: NO. 50]
+
+No. 50 is a felicitous cut for a street dress for a slim sister. The
+jaunty bloused waist smartly conceals deficiencies in fine points.
+
+The tall, thin sisterhood should eschew pointed effects and study to
+attain apparent breadth by using trimmings arranged horizontally. Bands
+of velvet, braid in waved lines, ruffles, and not too deeply cut
+scallops, may be used effectively by the very slender, who sometimes
+appear as if they are "without form and void," as the earth was "in the
+beginning."
+
+[Illustration: NO. 51]
+
+No. 51 is an exposition of the mistake made by the sturdy sisterhood of
+stout and pendulous proportions. It is plain to be seen that the fluffy
+ruche at the throat-band, and the ruffle at the shoulder, and the
+spreading bow at the waist, and the trimmed sleeves, add bulkiness to a
+form already too generously endowed with flabby rotundity. Corpulent
+women must forego the swagger little basques or any sort of short,
+flounced effects below the waist-line.
+
+[Illustration: NO. 52]
+
+[Illustration: NO. 53]
+
+Nos. 52 and 53 are eminently adapted to the matron of ample dimensions.
+One observer of beauty-giving effects has not unadvisedly called the
+waist-line "the danger-line." A stout sister, above all others, should
+not accentuate the waist-line. She should conceal it as much as
+possible. The coat back of No. 52 apparently lengthens the waist.
+
+The same effect is produced by the arrangement of ribbons in No. 53, and
+by the long-pointed basque. V-shaped effects and long-pointed basques
+are as becoming to those burdened with flesh as they are unbecoming to
+tall, thin women.
+
+Long, graceful folds and draperies are admirable for the stout
+sisterhood, who should avoid short sacques and tight-fitting garments
+that give the on-looker an uncomfortable impression; there is too much
+in a small space. Very light colors and thin textures that billow and
+float should be eschewed by the large, fleshy woman who wishes to give
+the impression that she possesses the lines of a finely modelled statue.
+She should avoid puffs and any suggestion of the pulpy and clumsy, and
+be careful not to sub-divide the body of her dress by plaits or braids
+laid on horizontally across or above the bust, or below the hips.
+Horizontal lines invariably decrease the height; for that reason stout
+women should not wear dresses cut square in the neck, but should adhere
+to the graceful V-or heart-shaped cut which has a tendency to give
+length.
+
+The rotund woman with a short waist, sketched in No. 54, may improve her
+figure, as shown in No. 55, by choosing belts and collars the exact
+shade of her shirt-waists in summer, and by not cutting off her height
+by any sort of outside belt on winter gowns.
+
+[Illustration: NO. 54]
+
+[Illustration: NO. 55]
+
+Tall, stout women should forego high heels on their shoes, high hats,
+and striped dresses. Although stripes increase the effect of height,
+they also add to that of breadth. A plain cloth basque and skirt of
+striped material make a happy compromise and can be worn with becoming
+effect by a stout woman.
+
+[Illustration: NO. 56]
+
+A basque cut high behind and on the shoulders apparently gives height.
+
+A very stout woman should never wear double skirts or tunics or dresses
+with large sprawling patterns, such as depicted by cut No. 56, which
+suggests furniture stuffs. A large woman who had a fancy for wearing
+rich brocades figured with immense floral designs was familiarly called
+by her kind friends "the escaped sofa."
+
+White, or very light colors, should never be worn by the stout; they
+greatly increase the apparent size. Large plaids should also be
+eschewed. Small checks and plaids may sometimes be becoming.
+
+Neither the too thin nor the too stout should adopt a style of gown
+that caricatures the form as does the voluminous wrapper, finished with
+a box-pleat, as shown in No. 57. There is no grace in straight lines.
+
+[Illustration: NOS. 57 AND 58]
+
+No. 58, which accentuates the height of the over-tall, thin woman, is
+better adapted to enhance the charms of a woman of finer proportions.
+The bony and scrawny, of the type of No. 58, seem to have a perverse
+desire to wear what makes their poverty in physical charms only more
+conspicuous. A woman of distinction in Boston, who is exceedingly thin
+and tall, wore Watteau pleats so frequently, even on reception and
+evening gowns that she was dubbed by a wag "the fire-escape," a title
+which so strikingly characterized her style, that the term was adopted
+by all her friends when they exchanged confidences concerning her.
+
+The garment with the Watteau pleat is not unlike the princesse gown
+which is a very trying style except to handsomely proportioned women. A
+tall, well-developed woman, such as shown in sketch No. 59, adorns the
+princesse gown and attains in it a statuesque beauty. In suggesting
+statuary it fulfils the true ideal of dress, which should hint of
+poetry, art, sculpture, painting. The massing of colors; the arrangement
+of lines, the quality of textures, the grace and poise of the wearer--do
+not these hint of picture, statue, music?
+
+
+
+
+CHAPTER V.
+
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS.
+
+Despite the traditional belief that a décolleté corsage is a tyrannous
+necessity of evening dress, a woman not graciously endowed with a
+beautifully modelled throat and shoulders may, with perfect propriety,
+conceal her infelicitous lines from the derisive gaze of a critical
+public.
+
+Women are indebted to that gentle genius, La Duse, for the suggestion
+that a veiled throat and bust may charmingly fulfil the requirements of
+evening dress, and also satisfy that sense of delicacy peculiar to some
+women who have not inherited from their great-great-grandmothers the
+certain knowledge that a low-necked gown is absolutely decorous.
+
+The women who does not possess delicate personal charms commends herself
+to the beauty-loving by forbearing to expose her physical deficiencies.
+Unless it is because they are enslaved by custom, it is quite
+incomprehensible why some women will glaringly display gaunt
+proportions that signally lack the exquisite lines of firm and solid
+flesh.
+
+A throat like a ten-stringed instrument, surmounting square shoulders
+that end in knobs that obtrude above unfilled hollows, is an unpleasing
+vision that looms up conspicuously too often in opera-box and
+drawing-room.
+
+[Illustration: NO. 61]
+
+The unattractive exhibition 61, is a familiar sight in the social world.
+How insufferably ugly such uncovered anatomy appears in the scenery of a
+rich and dainty music-room may be readily imagined by those who have
+been spared the unpleasing display. It is so obvious that shoulders
+like these should always be covered that it seems superfluous to remark
+that this type should never wear any sleeve that falls below the
+shoulder-line.
+
+[Illustration: NO. 62]
+
+The sleeve falling off the shoulder was invented for the classic
+contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are
+needed to enhance the perfect beauty of a fine, slender, white throat,
+and the felicitous curves of sloping shoulders.
+
+One whose individual endowments are as meagre as are those presented in
+No. 61 may improve her defects by adopting either style of corsage,
+shown in sketches Nos. 63 and 64.
+
+A woman's throat may lack a certain desirable roundness, and her
+shoulders may recede in awkward lines, and yet between these defective
+features the curves may have a not unpleasing daintiness and delicacy in
+modelling that can be advantageously revealed. A modish velvet
+throat-band, such as is shown by No. 63, is one of the most graceful
+conceits of fashion. The too slim throat encircled by velvet or
+ornamented with a jewelled buckle or brooch is effectively framed. The
+unsightly lines of the shoulders are covered, and just enough
+individual robustness is disclosed to suggest with becoming propriety
+the conventional décolleté corsage. The Princess of Wales is as constant
+to her velvet or pearl neck-band, as to her especial style of coiffure.
+Her throat, in evening dress, never appears unadorned by one or the
+other of these beautiful bands that so cleverly conceal defects and
+seem to bring out more richly the texture and coloring of handsome bare
+shoulders.
+
+[Illustration: NO. 63]
+
+[Illustration: NO. 64]
+
+Those who do not approve of the décolleté style of dress, or whose
+ungraceful proportions might well be entirely concealed, can wear with
+appropriateness and benefit the corsage shown in No. 64. This has much
+in its favor for a slender body. The upper part of the waist may be made
+of chiffon or crêpe, which is beautifully--one might say
+benignly--translucent. It has an insinuating transparency that neither
+reveals nor conceals too much. The neck-band of velvet or satin, full
+and soft, apparently enlarges the throat. The sleeves may be in whatever
+style in cut prevails. This costume carries perfectly into effect the
+requirements of evening dress, and may be worn with equal fitness to
+formal functions or to informal affairs. A coat-sleeve of lace, crêpe,
+or chiffon, beflounced at the wrist, may be inserted under the short
+satin sleeves when the occasion does not require gloves. The soft, white
+setting of thin textures around the throat and shoulders clears the
+complexion and brings into relief the pretty, delicate lines of a
+refined face.
+
+[Illustration: NOS. 65 and 66]
+
+It is plain to be seen that the unattractive specimen of femininity,
+No. 65., with the long, wrinkled neck and sharply lined face is
+unbecomingly costumed in the V-shaped basque and corsage which
+apparently elongate her natural lankness. A charming and always
+fashionable yoke-effect that she can wear to advantage is shown by No.
+66. This style of corsage is equally effective for a too thin or a too
+muscular neck. The filling is of tulle.
+
+A square-cut corsage is most becoming to the woman whose narrow
+shoulders have a consumptive droop. The angular cut apparently heightens
+the shoulders and decreases their too steeple-like inclination. The
+round cut, if it frames a full throat, is also an effective style for
+sloping shoulders. The V-shaped cut is most becoming to the short-necked
+woman, whose aim should be to increase the length of her throat.
+
+It is not only the too thin neck that needs to be clothed with
+discrimination. Throats and shoulders that are too robust are improved
+by being covered. The arms and shoulders, however, are often the chief
+beauty of a fleshy woman, and it is to her advantage to give them as
+effective a setting as possible.
+
+[Illustration: NO. 68]
+
+[Illustration: NO. 67]
+
+As is obvious in No. 67, the stout woman apparently increases her
+breadth by wearing a flamboyant corsage, and she hides the most
+exquisite lines of her arm with her sleeves.
+
+The princesse style of gown, in No. 68, gives her apparent length of
+waist. The modest lace flounce that falls in vertical folds decreases
+her formidable corsage. The knotted twist of silk reveals the full
+beauty of her arm.
+
+[Illustration: NO. 69]
+
+In dressing the throat there are a few rules to be remembered. A too
+long, stem-like neck may be apparently shortened by a standing ruff or a
+full, soft band of velvet. The tight, plain band of velvet should never
+be worn by a woman with a very slim neck, as is plainly discernible in
+sketch No. 69.
+
+[Illustration: NO. 70]
+
+The plain, military collar emphasizes the thinness of the slender
+woman's throat; but the soft crushed fold of velvet apparently enlarges
+the pipe-like proportions of the thin woman's neck, as may be seen in
+sketch No. 70. The tight-fitting collar should not be worn by the
+corpulent woman with a thick neck, as is shown by sketch No. 71.
+
+[Illustration: NO. 71]
+
+The thickness of the throat of the woman pictured in No. 72 may seem due
+to the folds of the velvet, which give a pleasing hint of a slender
+throat, a delusion not to be despised by the woman burdened with flesh.
+
+[Illustration: NO. 72]
+
+All the sisterhood,--stout, thin, long-throated, or short,--should know
+the hour when the withering touch of age begins to shrink the soft,
+round curves distinctive of the full, sweet throat of healthful youth.
+No regretful vanity should be allowed to glamour their eyes to the fact
+that Time has them by the throat, to put it melodramatically. The wise
+woman will not please herself with a fatal delusion. She will realize it
+is illusion she needs-yards of it--lace or velvet, or any beautifying
+texture that will conceal the deadly lines of age.
+
+
+
+
+CHAPTER VI.
+
+
+HINTS ON DRESS FOR ELDERLY WOMEN.
+
+Dress has much to do with a youthful or aged appearance. Shawls and long
+mantles that fall from the shoulders give even youthful figures a look
+of age, because the lines are long and dignified and without especial
+grace. Beautiful wraps, or coats that do not come very far below the
+hip-line, can be worn becomingly by elderly ladies, neither emphasizing
+their years nor making them appear too frivolously attired. There is a
+smack of truth in the maxim, _As a woman grows old the dress material
+should increase in richness and decrease in brightness_. Handsome
+brocades, soft, elegant silks, woollen textures, and velvets are
+eminently suitable and becoming to women who are growing old.
+
+Black, and black-and-white, soft white chiffon veiled in lace,
+cashmeres, and such refined tissues should be selected by those in "the
+first wrinkles of youth." Grays combined with filmy white material, dull
+bronzes lightened with cream-tinted lace, are also charmingly
+appropriate. Pale blue veiled in chiffon is another grateful
+combination.
+
+White should be worn more than it is by old ladies. It is so suggestive
+of all that is clean, bright, and dainty; and if there is anything an
+old lady should strive to be in her personal appearance it is dainty.
+Exquisite cleanliness is one of the most necessary attributes of
+attractive old age, and any texture that in its quality and color
+emphasizes the idea of cleanliness should commend itself to those in
+their "advanced youth."
+
+Little old thin women, large ones too, for that matter, who are wrinkled
+and colorless, should not wear diamonds. The dazzling white gems with
+pitiless brilliancy bring out the pasty look of the skin. The soft glow
+of pearls, the cloudlike effects of the opal, the unobtrusive lights of
+the moonstone harmonize with the tints of hair and skin of the aged.
+
+Elderly women should not wear bright flowers on their bonnets or hats.
+Fresh-looking roses above a face that has lost its first youthfulness
+only make that fact more obvious. Forget-me-nots, mignonettes, certain
+pretty white flowers, the palest of pink roses, or the most delicate
+tint of yellow veiled with lace are not inappropriate for those who do
+not enjoy wearing sombre bonnets and hats which are composed only of
+rich, black textures. Lace cleverly intermingled with velvet and
+jewelled ornaments of dull, rich shades are exceedingly effective on the
+head-gear of the old.
+
+Those who are gray-haired--and indeed all women as they grow old--should
+wear red above their brows instead of under their chins. A glint of rich
+cardinal velvet, or a rosette of the same against gray hair is
+beautiful.
+
+Lace! Lace! Lace! and still more Lace for the old. _Lace is an essential
+to the dress of a woman more than forty years of age_. Jabots, ruches,
+yokes, cascades, vests, and gowns of lace, black or white, are all for
+the old. Rich lace has an exquisitely softening effect on the
+complexion. Thin women with necks that look like the strings of a violin
+should swathe, smother, decorate, and adorn their throats with lace or
+gossamer fabrics that have the same quality as lace. These airy
+textures, in which light and shadow can so beautifully shift, subdue
+roughnesses of the skin and harshness in lines. Old Dame Nature is the
+prime teacher of these bewitching artifices. Note her fine effects with
+mists and cobwebs, with lace-like moss on sturdy old oaks, the bloom on
+the peach and the grape. Nature produces her most enchanting colorings
+with dust and age. Laces, gauzes, mulls, chiffons, net, and gossamer
+throw the same beautiful glamour over the face and they are fit and
+charming accompaniments of gray hair, which is a wonderful softener of
+defective complexions and hard facial lines.
+
+Too much cannot be written upon the proper arrangement in the neck-gear
+of the aged. The disfiguring wrinkles that make many necks unsightly may
+be kept in obeyance by massaging. No matter what the fashion in
+neck-gear, the aged must modify it to suit their needs. An old lady
+with a thin, pipe-stem neck should adopt a full ruche and fluffy, soft
+collar-bands. I cannot forbear repeating that tulle as light as thistle
+bubbles, either white or gray or black, is exquisitely effective for
+thin, scrawny necks. The fleshy, red neck should be softened with powder
+and discreetly veiled in chemisettes of chiffon and delicate net.
+
+Old ladies may keep in the style, thus being in the picture of the hour;
+but it is one of the divine privileges of age that it can make its own
+modes. Absolute cleanliness, cleanliness as exacting as that proper
+nurses prescribe for babies, is the first and most important factor in
+making old age attractive. Rich dress, in artistic colors, soft, misty,
+esthetic, comes next; then the idealizing scarfs, collars, jabots, and
+fichus of lace and tulles. Old people becomingly and artistically
+attired have the charm of rare old pictures. If they have soul-illumined
+faces they are precious masterpieces.
+
+
+
+
+CHAPTER VII.
+
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.
+
+Although in the dress of man there are fewer possibilities of caricature
+than in that of woman, yet, "the masterpieces of creation" frequently
+exaggerate in a laughable--and sometimes a pitiable--way, certain
+physical characteristics by an injudicious choice of clothes.
+
+As the fashion in hair-dressing does not grant man the privilege of
+enhancing his facial attractions; nor of obscuring his defects by a
+becomingly arranged coiffure; and, as the modes in neck-gear are such
+that he cannot modify the blemishes of a defective complexion by
+encircling his athletic or scrawny throat with airy tulle, or dainty
+lace, that arch-idealizer of pasty-looking faces; and as he has forsworn
+soft, trailing garments that conceal unclassic curves and uninspiring
+lines of nether limbs, it behooves him to be more exactingly particular
+even than woman in the selection of his wearing apparel.
+
+Far be it from me, however, to remind man of his many limitations--in
+dress. That he can never know the rapture of donning a becoming spring
+bonnet, nor the pleasure of possessing "real lace" things, nor the
+sensuous charm of being enwrapped in caressing furs, or sleazy, silken
+garments as exquisite in color and texture as beautiful, fresh flowers,
+only delicate consideration for his feelings constrains me from
+expatiating upon at length.
+
+I would rather be able to remind him that he can make his limitations
+his advantages, than reveal to him what he misses in not being a woman.
+
+To treat of this important subject adequately and convincingly, one
+would require the masterly discernment of a skillful and accomplished
+tailor, the experienced knowledge of a well-dressed man, and the alertly
+critical perception of a loving woman who, even in the matter of
+clothes, wishes the dearest of men to her, to do full justice to himself
+and her ideal of him on all occasions.
+
+Although certain of the foregoing qualifications must needs be lacking,
+nevertheless this timorous pen, with more trepidation than courage it
+must be confessed, begs to call attention to a few obvious details in
+masculine attire that caricature, more or less, peculiarities in the
+forms and features of men.
+
+To be sure, in the matter of head-gear man is not conspicuously at the
+mercy of burlesquing ribbons, flowers, and feathers, and he has fewer
+opportunities than women to make himself ridiculous, yet a few
+suggestions regarding certain shapes of head-gear for certain types of
+faces, applicable to women are equally applicable to him.
+
+The same rule that applies to the women of the wedge-shaped type of face
+applies to the man of the wedge-shaped type, as may be seen in sketches
+Nos. 75 and 76. It is obvious that the youth depicted in No. 75
+detracts from the manliness of his face and emphasizes the pointed
+appearance of his countenance by wearing a hat with a broad brim
+projecting over his ears. This style of hat appears more frequently in
+straw than in any other texture, but the effect of a wide, projecting
+rim is the same in any material. No. 76, it is plain, improves the
+appearance of the long, slim-faced man. An alpine hat would not be
+unbecoming to him, the high oval of the crown forming a balance for the
+lower part of the face.
+
+[Illustration: NO. 75]
+
+[Illustration: NO. 76]
+
+The man with a pugilistic chin should endeavor to select a hat that will
+not make his heavy jaw as prominent as does the stiff derby, in No. 77.
+
+[Illustration: NO. 77]
+
+A soft alpine hat, or one somewhat of the style of No. 78, improves his
+appearance. The high crown and wide, gracefully rolling brim
+counter-balance the weight and prominence of the jaw.
+
+[Illustration: NO. 78]
+
+Apropos of the minor details of man's garments, the button as a feature
+of clothes has never been fully done justice to. It is a sustaining
+thing we know, something we can hang to, fasten to, and even tie to.
+That properly placed buttons contribute to our mental poise and
+therefore to our physical repose, is hinted in that absurdly engaging
+story, anent the smart boy who was the envy of his spelling-class,
+because he always stood first. You remember, no doubt, that an envious
+but keen-eyed classmate observed that the smart speller worked off his
+nervous apprehensiveness by twirling the top button of his coat as he
+correctly spelled word after word, day in and day out; and how the
+keen-eyed one played the part of a stealthy villain and surreptitiously
+cut the button off the coat. And do you remember the dramatic ending?
+How the smart one on the fatal day sought to "press the button" and
+finding it gone, lost his wits completely and failed ignominiously? Many
+of us when we have lost a sustaining button, have we not felt as
+ridiculously helpless and wit-benumbed as the smart speller?
+
+[Illustration: NO. 79]
+
+We all sub-consciously acknowledge our dependence upon buttons, but not
+many of us, evidently, have observed that even buttons have a certain
+possibility of caricature in them; and that they may add to, or detract
+from, the appearance of manly forms. The consideration of properly
+placed buttons may seem trivial to you, but if you will observe sketches
+Nos. 79 and 80, you may discern that a thin man may apparently increase
+his breadth and add a certain manly touch to his figure, by changing the
+buttons at the waist-line of his coat. The buttons placed so near
+together, in No. 79, really make his toothpick proportions too obvious.
+His back is made to look broader by placing the buttons wider apart, as
+shown in No. 80, and changing the cut of his coat-tail.
+
+[Illustration: NO. 80]
+
+That the fat man may also present a more attractive back to his enemies
+by considering the placing of his buttons, may be seen in drawings Nos.
+81 and 82. The buttons decorating No. 81 are placed so far apart that
+they increase in an ungainly way the breadth of the back at the
+waist-line. If they are placed nearer together, and the seams graduated
+to meet them, they give the illusion of better and more desirable
+proportions, as may be seen in No. 82.
+
+[Illustration: NO. 81]
+
+[Illustration: NO. 82]
+
+That the thin man may also present a more imposing and broader front to
+the world, is suggested in sketches Nos. 83 and 84. The contracted look
+of the coat in No. 83 is somewhat due to the buttons of his
+double-breasted coat being placed too closely together. The slender man
+who wishes to give the impression of being broad-chested may have the
+buttons on his coat placed a little farther apart than fashion may
+allow, as shown in sketch 84. The proportions may be easily preserved by
+a careful adjustment of the shoulder-seams and the seams under the arms.
+
+[Illustration: NO. 83]
+
+[Illustration: NO. 84]
+
+[Illustration: NO. 85]
+
+The waist-line is not so much "a danger line" to man as to woman, yet
+man should not wholly ignore his equator. If he is long-waisted he can
+apparently balance his proportions by having his skirt shortened, as in
+No. 85, and his waist-line raised the merest bit. If he is too
+short-waisted he can lengthen his skirt and lower his waist-line, as
+shown in No. 86. In the one he escapes appearing too long and lanky in
+body, and in the other he obscures a lack of becoming inches that tends
+to give him a dumpy appearance.
+
+[Illustration: NO. 86]
+
+If you study your fellow-men you will observe that few are really
+perfectly proportioned. One man will have the body of a viking on the
+legs of a dwarf, or one will have the legs of an Apollo supporting the
+short body of a pigmy. The man who has a kingly body, too broad in
+proportion to his legs, as shown in sketch No. 87, should endeavor to
+modify his physical defect by the careful selection of his coats. He
+should have his coats cut to give him as much length of leg as possible.
+A skilful tailor will know just what subtle changes and adjustments to
+make. The improvement in appearance and gain in height is pictured in
+sketch 88. The coat being shorter and the waist of the trousers being
+raised a trifle, the man's limbs seem longer, which is an improvement.
+Long lines tend to give elegance and grace in bearing. Another thing for
+the too robust type of man to consider is the style of his trousers. No.
+87 hints what he must not choose. Such brazen plaids only make him
+appear offensively aggressive in size. Long, fine lines, such as shown
+in No. 88, give an impression of length and apparently lessen the width.
+
+[Illustration: NO. 87]
+
+Too long lines, however, are almost as undesirable as too short ones.
+Over-tall, thin men sometimes make themselves look like telegraph poles
+or flagstaffs by wearing short coats that expose in a graceless way the
+whole length of their limbs. They suggest cranes and other fowl that
+give the impression of being "all legs."
+
+[Illustration: NO. 88]
+
+When the legs are proportioned more like a stick of macaroni or a lead
+pencil than the shapely limbs of an Adonis, they appear exceedingly
+funny when surmounted by a short coat, such as pictured in No. 89. A
+famous general in the Civil War did not despise cotton as a
+fortification to protect him from the onslaught of the enemy. The
+over-tall, thin man, who is not unsuggestive of a picket, should not be
+ashamed to fortify himself with cotton or any other sort of padding that
+intelligent tailors keep in stock. He should build his shoulders up a
+bit and be generally, but most carefully and artistically, enlarged. His
+coat should be lengthened, as in sketch go, to cut off just as much of
+the longness of limb as can possibly be allowed without destroying
+artistic proportions. The very tall, thin man who unthinkingly wears a
+very short coat should be brave and never turn his back to his enemy.
+
+[Illustration: NO. 89]
+
+If he wears black and white check trousers and a short blue coat, he
+should travel with a screen. A man in just such a rig attracted no end
+of comment in a fashionable hotel. The caricaturing effect of his
+trousers and coat were unspeakably comical. The wearer had a face as
+grave as an undertaker's and the air of a serious-minded college
+professor; but he had the nondescript look of a scarecrow composed of
+whatever available garments could be obtained from the cast-off wardrobe
+of summer boarders in a farmhouse.
+
+[Illustration: NO. 90]
+
+Coats assuredly have the power of making cartoons--living, jocular
+cartoons--of their wearers. It would hardly seem necessary to call
+attention to the fact that a man of huge dimensions should not wear a
+short coat, such as shown in sketch No. 91, yet his type is too
+frequently seen attired in this style. A man so dressed certainly seems
+the living exemplification of the definition of a jug, namely, "a vessel
+usually with a swelling belly, narrow mouth, and a handle, for holding
+liquors." It cannot be reiterated too often that a large, stout man
+should aim to acquire the distinction and dignity given by long lines.
+If his body is proportioned so he really has neither length of torso nor
+of limb he must pay more attention to the cut of his clothes and attain
+length in whatever artistic way he can. The long coat, as may be seen
+in sketch No. 92, not only apparently adds length but it conceals too
+protuberant curves.
+
+[Illustration: NOS. 91 and 92]
+
+Of course, character counts far more than clothes, we will all agree to
+that, but at first glance it is a man's clothes that impress people.
+Clothes affect our behavior somewhat. For instance, "When the young
+European emigrant, after a summer's labor puts on for the first time a
+new coat, he puts on much more. His good and becoming clothes put him on
+thinking that he must behave like people who are so dressed; and
+silently and steadily his behavior mends." Of course, there is an
+uplifting truth in George Herbert's maxim, "This coat with my discretion
+will be brave," yet, I am inclined to think that the majority of men who
+will stop to consider will agree with Emerson, who says, "If a man has
+not firm nerves and has keen sensibility, it is perhaps a wise economy
+to go to a good shop and dress himself irreproachably. He can then
+dismiss all care from his mind, and may easily find that performance an
+addition of confidence, a fortification that turns the scale in social
+encounters, and allows him to go gayly into conversations where else he
+had been dry and embarrassed. I am not ignorant,--I have heard with
+admiring submission the experience of the lady who declared 'that the
+sense of being perfectly well dressed gives a feeling of inward
+tranquillity which religion is powerless to bestow.'"
+
+A popular clothier in New York, understanding this trait of his
+fellow-men, voices this same sentiment in his advertisement in this
+succinct way: "Seriously now. Have you ever stopped to think that if you
+wear good clothing it adds much to that independent, easy feeling you
+should have when you come in contact with other men?"
+
+I think it was Lord Chesterfield who said: "A man is received according
+to his appearance, and dismissed according to his merits." There is a
+bit of truth in this we would all admit, I have no doubt, if we studied
+the question. Clothes affect our own poise, ease, and attitude toward
+others and the expression of others toward us, but, after all, we rely
+upon the man or woman instead of upon the impression we receive from the
+clothes. The garments, after we have noticed them in a superficial way,
+are chiefly interesting to us, because they are arch-betrayers of the
+physical and mental poise of the man. No matter what the cut of the
+cloth, no matter what _cachet_ of a fashionable tailor a suit may have,
+or what its richness of material, the attitude "à la decadence" of No.
+93 would make the best clothes in Christendom look shabby and
+unattractive.
+
+[Illustration: NO. 93]
+
+This too familiar carriage of the American man makes one wish to have
+the power to reverse the faces--as Dante did those of the false
+prophets, so those who stand "à la decadence" might see what ridiculous
+figures they cut in drawing-room and street. The curved backs and
+rounded-out shoulders would make fair-looking chests, and the flat
+chests would represent respectable-looking backs.
+
+A man owes it to the spirit within him not to stand or walk in such an
+attitude. He should brace up and keep bracing up persistently,
+unremittently, until he attains a more manly bearing.
+
+[Illustration: NO. 94]
+
+The wholly alive fellow pictured in sketch No. 94 would make homespun
+look elegant. His chest is forward. He does not sag in front at the
+waist, protruding his abdomen in not only an inartistic, but an
+unhealthy manner; but he strides masterfully forward with an air of
+inspiriting "aliveness." The perfect poise of his attitude is not
+unsuggestive of the Apollo Belvedere--the model for all men--a picture
+of which every college boy should have to place beside the prettiest
+girl in his collection of pretty girls, to constantly remind him to
+carry himself like a young god.
+
+
+
+
+
+End of Project Gutenberg's What Dress Makes of Us, by Dorothy Quigley
+
+*** END OF THE PROJECT GUTENBERG EBOOK 11078 ***
diff --git a/11078-h/11078-h.htm b/11078-h/11078-h.htm
new file mode 100644
index 0000000..5228fc8
--- /dev/null
+++ b/11078-h/11078-h.htm
@@ -0,0 +1,1598 @@
+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+<meta name="generator" content=
+"HTML Tidy for Windows (vers 1st November 2003), see www.w3.org">
+<meta http-equiv="Content-Type" content=
+"text/html; charset=UTF-8">
+<title>The Project Gutenberg eBook of WHAT DRESS MAKES OF US, by
+DOROTHY QUIGLEY.</title>
+
+<style type="text/css">
+    <!--
+    * {  font-family: Times;}
+    P {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em; }
+    H1,H2,H3,H4,H5,H6 {  text-align: center; }
+    HR { width: 33%;
+        margin-top: 1em;
+        margin-bottom: 1em;}
+    BODY{margin-left: 10%;
+         margin-right: 10%;}
+    .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */
+    .note {margin-left: 2em; margin-right: 2em; margin-bottom: 1em;} /* block indent */
+    .pagenum {position: absolute; left: 92%; right: 100%; font-size: 8pt; justify: right;} /* page numbers */
+    IMG {margin:15px; padding:10px;border: 10px;}
+    // -->
+</style>
+</head>
+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 11078 ***</div>
+
+<h1>WHAT DRESS MAKES OF US</h1>
+<h4>By</h4>
+<h2>DOROTHY QUIGLEY</h2>
+<br>
+<br>
+<h4>Illustrations by</h4>
+<h3>ANNIE BLAKESLEE</h3>
+<br>
+<br>
+<h3>1897</h3>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<div style="blockquote">I am indebted to the editors of the New
+York <i>Sun</i> and New York <i>Journal</i> for kindly allowing me
+to include in this book articles which I contributed to their
+respective papers.</div>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<a name="PREFACE."></a>
+<h2>PREFACE.</h2>
+<img src="images/005.jpg" align="left" alt="[Illustration]">
+<img src="images/007-1.jpg" align="right" alt="[Illustration]">
+<p>Did you ever observe, dear comrade, what an element of
+caricature lurks in clothes? A short, round coat on a stout man
+seems to exaggerate his proportions to such a ridiculous degree
+that the profile of his manly form suggests "the robust bulge of an
+old jug."</p>
+<p>A bonnet decorated with loops of ribbon and sprays of grass, or
+flowers that fall aslant, may give a laughably tipsy air to the
+long face of a saintly matron of pious and conservative habits.</p>
+<p>A peaked hat and tight-fitting, long-skirted coat may so magnify
+the meagre physical endowments of a tall, slender girl that she
+attains the lank and longish look of a bottle of hock.</p>
+<p>Oh! the mocking diablery in strings, wisps of untidy hair, queer
+trimmings, and limp hats. Alas! that they should have such impish
+power to detract from the dignity of woman and render man
+absurd.</p>
+<img src="images/007-2.jpg" align="left" alt="[Illustration]">
+<p>Because of his comical attire, an eminent Oxford divine, whose
+life and works commanded reverence, was once mistaken for an
+ancient New England spinster in emancipated garments. His smoothly
+shaven face, framed in crinkly, gray locks, was surmounted by a
+soft, little, round hat, from the up-turned brim of which dangled a
+broken string. His long frock-coat reached to just above his
+loosely fitting gaiters.</p>
+<img src="images/008.jpg" align="right" alt="[Illustration]">
+<p>The fluttering string, whose only reason for being at all was to
+keep the queer head-gear from sailing away on the wind, gave a
+touch of the ludicrous to the boyish hat which, in its turn, lent
+more drollery than dignity to the sanctified face of the old
+theologian. Who has not seen just such, or a similar sight, and
+laughed? Who has not, with the generosity common to us all,
+concluded these were the mistakes and self-delusions of neighbors,
+relatives, and friends, in which we had no share?</p>
+<p>I understand how it is with you. I am one of you. Before I
+studied our common errors I smiled at my neighbor's lack of taste,
+reconstructed my friends, and cast contemptuous criticism upon my
+enemies. One day I took a look at myself, and realized that "I,
+too, am laughable on unsuspected occasions."</p>
+<p>The humbling knowledge of seeing myself objectively, gave me
+courage to speak to the heart of you certain home truths which
+concern us all, in homely language which we can all understand.</p>
+<p>That you may discern the comicality and waggery in ill-chosen
+clothes, I have endeavored to hint to you in these talks some of
+the ways gew-gaws and garments make game of us.</p>
+<p>May you discover that your dress is not making you a laughable
+object; but if, by any chance, you should note that your clothes
+are caricaturing you, take heart. Enjoy the joke with the mirth
+that heals and heartens, and speedily correct your mistakes.</p>
+<p>The lines of your form, the modelling of your face, are they not
+worthy of your discerning thought? Truly! Whatever detracts from
+them detracts from sculpture, painting, and poetry, and the world
+is the loser.</p>
+<p>A word to the thinking is sufficient.</p>
+<p>D.Q.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h2>CONTENTS.</h2>
+<br>
+<p>PREFACE</p>
+<br>
+<p>CHAPTER I.</p>
+<p><a href="#chap1">HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR
+HAIR</a></p>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Wedge-Shaped Faces</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Heavy Jaws</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Eyes Set Too High</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Eyes Set Too Low</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Long Faces with Long Noses</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">For Faces
+with Protruding Noses</span><br>
+<br>
+<p>CHAPTER II.</p>
+<p><a href="#chap2">HINTS FOR THE SELECTION OF BECOMING AND
+APPROPRIATE STYLES IN HEAD-GEAR</a></p>
+<span style="layout-flow: horizontal; margin-left: 1em;">The Magic
+of the Bonnet</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Women with Broad Face and Heavy Chin</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Women with Tapering Chin</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Hat for
+the Chubby Woman</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">For Women
+Who Have Sharp and Prominent Profiles</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">For the
+Woman with an Angular Face</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Women Who
+should Not Wear Horns</span><br>
+<br>
+<p>CHAPTER III.</p>
+<p><a href="#chap3">LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED
+IN MAKING COSTUMES</a></p>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Tall Slender Women</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">The Coat
+the Short Stout Women should Wear</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">The Cloak
+or Cape for a Tall Women</span><br>
+<br>
+<p>CHAPTER IV.</p>
+<p><a href="#chap4">HOW PLUMP AND THIN BACKS SHOULD BE
+CLOTHED</a></p>
+<br>
+<p>CHAPTER V.</p>
+<p><a href="#chap5">CORSAGES APPROPRIATE FOR WOMEN WITH
+UNBEAUTIFULLY MODELLED THROATS AND SHOULDERS</a></p>
+<br>
+<p>CHAPTER VI.</p>
+<p><a href="#chap6">HINTS ON DRESS FOR ELDERLY WOMEN</a></p>
+<br>
+<p>CHAPTER VII.</p>
+<p><a href="#chap7">HOW MEN CARICATURE THEMSELVES WITH THEIR
+CLOTHES</a></p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h2>WHAT DRESS MAKES OF US.</h2>
+<br>
+<hr style="width: 45%;">
+<a name="chap1"></a>
+<h4><img src="images/chap1.jpg" alt="chapter 1"></h4>
+<h3>CHAPTER I.</h3>
+<br>
+<p>HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.</p>
+<p>The pleasing, but somewhat audacious statement of the clever
+writer who asserted, "In the merciful scheme of nature, there are
+no plain women," is not as disputable as it may seem. Honest
+husbands, to be sure, greet the information with dissenting
+guffaws; gay deceivers reflect upon its truth by gallantly
+assenting to it, with a mocking little twinkle in their eyes; and
+pretty women, upon hearing it, remark sententiously "Blind men and
+fools may think so." Discerning students of womankind, however,
+know that if every woman would make the best of her possibilities,
+physically, mentally, and spiritually, it would be delightfully
+probable that "in the merciful scheme of nature" there need be no
+plain women.</p>
+<p>Have we not Lord Chesterfield's word for it, that "No woman is
+ugly when she is dressed"?</p>
+<p>It is no unworthy study to learn to make the best of, and to do
+justice to, one's self. Apropos of this, to begin&mdash;where all
+fascinating subjects should begin&mdash;at the head, it behooves
+every woman who wishes to appear at her best, to study the
+modelling of her face that she may understand both its defective
+and perfect lines. By a proper arrangement of her hair a woman can
+do much to obscure or soften her bad features, and heighten the
+charm of her good ones.</p>
+<p>Romancers have written, and poets have sung, of the bewitchment
+in nut-brown locks, golden tresses, and jetty curls. Every woman,
+if so inclined, may prove for herself the transfiguring effect in a
+becoming coiffure. In fact, the beauty of a woman's face and her
+apparent age are greatly affected by the way she wears her
+hair.</p>
+<p>A most important detail that too few consider, is, the proper
+direction in which to comb the hair. Women literally toss their
+tresses together without any attention to the natural inclination
+of the individual strands or fibres. They comb their hair "against
+the grain." Those who do so never have beautifully and smoothly
+arranged coiffures. Each little hirsute filament has a rebellious
+tendency to go in the direction nature intended it should, and
+refuses to "stay where it is put," giving the head in consequence,
+an unkempt and what is termed an "unladylike" appearance. The
+criss-cross effect resulting from combing and arranging the hair
+contrary to "the grain" is conspicuously apparent in the coiffure
+of no less a personage than Eleanora Duse, who, as may be seen from
+the picture, pays little attention to the natural tendency of the
+dark tresses that cover her shapely head. The bang has the
+dishevelled appearance of a pile of jack-straws. The side-locks
+instead of being combed or brushed to follow the contour of the
+head, fall loosely and fly in opposite directions.</p>
+<img src="images/no02.jpg" align="left" alt=
+"[Illustration: NO. 2]">
+<p>The difference in appearance between the women of the smart sets
+in America and those of less fashionable circles is due, in a great
+measure, to the beautifully dressed coiffures of the former. A
+hair-dresser arranges, at least once a week, the hair of the modish
+woman if her maid does not understand the art of hair-dressing.
+Many women of the wealthy world have their maids taught by a French
+coiffeur.</p>
+<p>A wise woman will adopt a prevailing mode with discretion, for,
+what may be essentially appropriate for one, may be fatally
+inappropriate for another. In adjusting her "crown of glory" a
+woman must consider the proportions of her face. She should be able
+to discern whether her eyes are too near the top of her head or,
+too far below; whether she has a square or wedge-shaped chin; a
+lean, long face, or a round and bountifully curved one. She should
+be alert to her defects and study never to emphasize nor exaggerate
+them.</p>
+<p>Why, through stupidity or carelessness, make a cartoon of
+yourself, when with a proper appreciation of your possibilities you
+can be a pleasing picture? It is just as glorious to be a fine
+picture or a poem as it is to paint the one, or write the other.
+Indeed, a woman who harmoniously develops the best within her has
+the charm of an exquisite poem and inspires poets to sing; and if
+by the grace and beauty of her dress she enhances her natural
+endowments and makes herself a pleasing picture, the world becomes
+her debtor.</p>
+<p>In the important matter of becomingly arranging the hair, the
+following sketches and suggestions may hint to bright, thinking,
+women what styles to choose or avoid.</p>
+<br>
+<p>For Wedge-Shaped Faces.</p>
+<img src="images/no03.jpg" align="left" alt=
+"[Illustration: NO. 3]">
+<p>The least-discerning eye can see that the wedge-Shaped face No.
+3 is caricatured, and its triangular proportions made more evident,
+by allowing the hair to extend in curls or a fluffy bang on either
+side of the head. Women with delicately modelled faces with peaked
+chins should avoid these broad effects above their brows.</p>
+<img src="images/no04.jpg" align="right" alt=
+"[Illustration: NO. 4]">
+<p>It is obvious in the sketch No. 4, that the wedge-shaped face is
+perceptibly improved by wearing the hair in soft waves, or curls
+closely confined to the head and by arranging a coil or high puff
+just above and in front of the crown. This arrangement gives a
+desirable oval effect to the face, the sharp prominence of the chin
+being counteracted by the surmounting puffs.</p>
+<br>
+<p>For Heavy Jaws.</p>
+<img src="images/no05.jpg" align="left" alt=
+"[Illustration: NO. 5]">
+<p>It may readily be seen that a woman with the square, heavy-jawed
+face pictured by No. 5, should not adopt a straight, or nearly
+straight, bang, nor wear her hair low on her forehead, nor adjust
+the greater portion of her hair so that the coil cannot be seen
+above the crown of her head. The low bang brings into striking
+relief all the hard lines of her face and gives the impression that
+she has pugilistic tendencies.</p>
+<img src="images/no06.jpg" align="right" alt=
+"[Illustration: NO. 6]">
+<p>To insure artistic balance to her countenance, and bring out the
+womanly strength and vital power of her face, her hair should be
+arranged in coils, puffs, or braids that will give breadth to the
+top of her head as shown by No. 6. A fluffy, softly curled bang
+adds grace to the forehead and gives it the necessary broadness it
+needs to lessen and lighten the heaviness of the lower part of the
+face. A bow of ribbon, or an aigrette of feathers, will add
+effectively the crown of braids or puffs which a wise woman with a
+square jaw will surmount her brow if she wishes to subdue the too
+aggressive, fighting qualities of her strong chin.</p>
+<br>
+<p>For Short Faces.</p>
+<p>The sisterhood who have short, chubby faces should, in a
+measure, observe certain rules that apply in a small degree to
+those who have heavy chins.</p>
+<img src="images/no07.jpg" align="left" alt=
+"[Illustration: NO. 7]">
+<p>As may be observed even with a casual glance, the little
+short-faced woman depicted by No. 7, causes her round facial disk
+to appear much shorter than it really is by allowing her hair to
+come so far down on her forehead. She further detracts from her
+facial charms by wearing "water-waves." Water-waves are scarcely to
+be commended for any type of face, and they are especially
+unbecoming to the woman who is conspicuously "roly-poly." The round
+eyes, knobby nose, and round mouth are brought into unattractive
+distinctness by being re-duplicated in the circular effects of the
+hair. This mode of dressing the hair makes a short face look common
+and insignificant.</p>
+<img src="images/no08.jpg" align="right" alt=
+"[Illustration: NO. 8]">
+<p>Do you not see that this type is immensely improved by the
+arrangement of the coiffure in No. 8? By combing her hair off her
+forehead her face acquires a look of alertness and intelligence,
+besides being apparently lengthened. She can wear her bang in soft
+crimps brushed back from her brow, if this plain arrangement is too
+severe.</p>
+<br>
+<p>For Eyes Set Too High.</p>
+<p>A low forehead is supposed to be a sign of beauty in woman. The
+brows of the famous Venuses are low and broad. Perhaps for this
+reason many women wear their hair arranged low upon their
+foreheads. Whether the hair should be worn low on the brow depends
+chiefly on two things,&mdash;"the setting of the eyes, and the
+quality of the face."</p>
+<p>A good rule to observe is the artistic one, to the effect that
+"the eyes of a woman should be in the middle of her head." That is,
+if an imaginary line were drawn across the top of the head and
+another below the chin, exactly midway between the two the eyes
+should be set.</p>
+<p>The Japanese type of woman should carefully observe the
+foregoing hint.</p>
+<img src="images/no08.5.jpg" align="left" alt=
+"[Illustration: NO. 8-1/2]"> <img src="images/no09.jpg" align=
+"right" alt="[Illustration: NO. 9]">
+<p>Observe No. 8-1/2. Nature has not been artistic. The eyes are
+too near the top of the head. The defect is exaggerated and
+emphasized by the wearing of the hair low on the forehead. In some
+faces of this type the face is brutalized in appearance by this
+arrangement. The expression and whole quality of the countenance
+can be greatly improved by arranging the hair as shown by No. 9,
+which is the soft Pompadour style. The Duchess of Marlborough,
+formerly Consuelo Vanderbilt, frames her na&iuml;ve, winsome face,
+which is of the Japanese type, in a style somewhat like this. Her
+dark hair forms an aureole above her brow, and brings into relief
+the dainty, oval form of her face. Even simply brushing the hair
+off the forehead without crimp or roll will improve the appearance
+of this type of face and give it a better artistic balance.</p>
+<br>
+<p>For Eyes Set Too Low.</p>
+<p>Women whose eyes are set too far down in their faces should
+adopt a mode of arranging their hair exactly the opposite of those
+whose eyes are set too near the top of their heads.</p>
+<img src="images/no10.jpg" align="left" alt=
+"[Illustration: NO. 10]">
+<p>It is apparent that No. 10 exaggerates the distance of her eyes
+from the crown of her head, and makes them appear to be set lower
+than they really are by building her hair high, and by brushing her
+bang back so severely from her brow. A bald forehead is rarely
+becoming to any woman. A few stray curls or soft waves lend grace
+to even the most perfect of brows.</p>
+<img src="images/no11.jpg" align="right" alt=
+"[Illustration: NO. 11]">
+<p>By bringing the hair down over the forehead, as suggested in No.
+11, a woman with this type of face can easily improve her
+appearance. By this graceful arrangement her face loses the
+childish and sometimes stupid expression that is peculiar to the
+type, as may be discerned in No. 10. When the hair is properly
+arranged this element of childlikeness lends a certain appealing
+sweetness not unattractive even in the faces of matured matrons. By
+dressing the hair low so the coil does not appear above the crown,
+as in No. 11, the eyes are apparently properly placed.</p>
+<br>
+<p>For Long Faces with Long Noses.</p>
+<p>The woman who wears her silken tresses arranged on either side
+of her head, draped like curtains from a central parting, is to be
+envied if she can do it and yet look young and pretty. She is the
+Madonna type and seems to possess all the attributes of gentleness,
+modesty, and meekness, and angelic sweetness that are supposed to
+characterize the distinctively feminine woman. This is the ideal
+style of coiffure much bepraised by man, because, according to a
+bright modern Amazon, "it makes a woman look so meek."</p>
+<p>The only type to which it is really becoming is the Italian. The
+type with <i>matte</i> complexion, soft eyes, finely chiselled
+nose, and delicately oval chin, look ideally sweet and feminine
+with the hair arranged <i>&agrave; la</i> Madonna.</p>
+<img src="images/no14-15.jpg" align="left" alt=
+"[Illustration: NOS. 14 AND 15]"> <img src="images/no12.jpg" align=
+"left" alt="[Illustration: NO. 12]"> <img src="images/no13.jpg"
+align="right" alt="[Illustration: NO. 13]">
+<p>Long faces of the form pictured by No. 12 exaggerate the
+longness and leanness of their faces by wearing their locks like
+looped curtains. A long nose with two long lines on either side of
+the cheek seems longer than it is, as the observer may discern
+three lines instead of only the nasal one, and the impression of
+longness is emphasized. Not only is the length of the countenance
+made more noticeable, but years and years are apparently added to
+the actual age.</p>
+<p>That No. 13, which shows a parting and soft waves that do not
+come below the ears, is to be preferred by a woman whose features
+are of this character need hardly be explained. The improvement in
+looks is quite obvious.</p>
+<p>No. 14 is an example of a misguided woman of the pudgy type who,
+for some inexplicable reason, arranges her hair in the Madonna
+style. It is utterly unsuited to her face. Unless her ears are
+deformed this style of hirsute lambrequins should not be worn by a
+full, round-faced woman. The arrangement sketched in No 15 adds
+effectively to her appearance, not only making her look younger,
+but less inane.</p>
+<br>
+<p>For Faces with Protruding Noses.</p>
+<p>Women with decidedly protruding, or irregular, tip-tilted noses
+should be especially careful in arranging their coiffures.</p>
+<img src="images/no16.jpg" align="left" alt=
+"[Illustration: NO. 16]"> <img src="images/no17.jpg" align="right"
+alt="[Illustration: NO. 17]">
+<p>Any woman who arranges her hair as in sketch No. 16 caricatures
+her facial defects by increasing the too protuberant lines of her
+nose. The distance from the end of her nose and the tip of the
+topmost knot of hair is too long for either beauty or intelligence.
+The shape of her head acquires idiotic proportions, and her nose is
+placed entirely "out of drawing" and is obtrusively conspicuous
+when seen in profile. This type of woman is generally classified
+among the inquisitive, bright, and energetic. She should aim to
+modify the unhappy angularity of her profile as well as to repress
+her gossipy tendencies. The graduated coil of hair and waved
+coiffure, shown by No. 17, are most felicitous in their effect on
+this type of face.</p>
+<img src="images/no18.jpg" align="left" alt=
+"[Illustration: NO. 18]"> <img src="images/no20.jpg" align="right"
+alt="[Illustration: NO. 20]"> <img src="images/no19.jpg" align=
+"right" alt="[Illustration: NO. 19]">
+<p>No. 18 reveals an error in an opposite direction. The
+snubbed-nose girl, by fixing her hair in a bun-like coil, gives the
+impression that her coiffure is held by invisible strings by her
+nose, which gets a more elevated look than it otherwise would have,
+because of the bad angle at which the coil is placed.</p>
+<p>No. 19, which is a picturesque variation of the popular coif,
+manifestly improves this type of face, and makes the nose appear
+less obtrusive.</p>
+<p>A woman should carefully study the contour of her head from
+every side; the modelling of her face; the length and inclination
+of her nose; the setting of her eyes; and the breadth and form of
+her brow, and adopt a becoming coiffure that will give artistic
+balance to her face, and never absolutely change the style whatever
+the mode in hair-dressing may be. In England, the court
+hair-dresser years ago studied the character of the head and face
+of the Princess of Wales, and designed a coiffure for her which she
+has never varied until recently; then she merely arranged her
+fringe lower down on her forehead than she has ever worn it before.
+The general style, however, she preserves intact, and wears her
+hair, and has for many years, as is shown in the picture&mdash;No.
+20. Her daughters, who have faces the same shape as hers, dress
+their coiffures similarly. In never changing the style of arranging
+her hair, the Princess of Wales owes in no small degree her
+apparent air of youthfulness.</p>
+<p>NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE
+PRACTICALLY APPLIED.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap2.jpg" alt="chapter 2"></h4>
+<a name="chap2"></a>
+<h3>CHAPTER II.</h3>
+<br>
+<p>HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN
+HEAD-GEAR.</p>
+<p>Closely allied to the subject of hair-dressing is that of
+head-gear. Indeed many of the hints regarding appropriate coiffures
+for certain styles of faces are equally applicable to the selection
+of suitable hats and bonnets. The choosing of millinery is the more
+momentous of the two, of course, for I need scarcely remind you
+that Nature left us no choice in hair. No matter what its color or
+texture we desire to keep it and if we are wise we will make the
+best of it.</p>
+<p>In regard to hats we are personally responsible and our follies
+are upon our own heads.</p>
+<p>The power of caricature being greater in hats than in
+hair-dressing, is it not fit that we should give careful and
+intelligent consideration to the selection of our millinery that
+the ugly lines in our otherwise beautiful faces may not be at the
+mercy of mocking bunches of ribbons, comically tilted straws, or
+floppy bits of lace?</p>
+<p>The Magic of The Bonnet.</p>
+<p>Once upon a time, I think that was the exact date, there was a
+man distinguished in a certain kingdom as the ugliest person in the
+realm. According to a blithe romancer, he was so distinctively
+unpleasing in form and feature that he challenged the attention of
+the king who, in whimsical mood, made him a royal retainer. The man
+so conspicuously lacking in beauty enjoyed his eminent position and
+privileges for some time. But even ugliness, if it attain
+distinction, will excite envy in the low-minded. A former associate
+of the unbeautiful man in invidious temper brought the news one day
+to the king, that there was an old woman in his domain that was
+uglier than the lowly-born man who by kingly favor held so high a
+place. "Bring her to the court. Judges shall be called to decide.
+If she is uglier she shall stay and he shall go," was the royal
+mandate. When the old woman appeared she was easily decided to be
+by far the uglier of the two. At the critical moment when the king
+was upon the eve of dismissing the man from his retinue, a friend
+of the unfortunate shouted, "Put her bonnet on him!" This was done,
+and lo! a fearful change was wrought. By unanimous acclamation he
+was declared to be "the ugliest creature on earth."</p>
+<p>The old woman, true to the instincts of her sex, refused to wear
+her bonnet again. Like many of her sisters of modern times, she had
+not before discovered the possibilities in a bonnet to enhance the
+beauty of the face or decrease its charms.</p>
+<p>If woman could see themselves objectively, as did the old woman,
+they would keenly realize the necessity of considering the lines of
+hat or bonnet in relation to those of their faces, and would learn
+to obscure defects and bring into prominence their prettiest
+features.</p>
+<p>As there are a few rules to govern what each type should select,
+every one of the fair sisterhood has an equal opportunity to
+improve her appearance by selecting in the millinery line the
+distinctive adornment suited to her individual style.</p>
+<br>
+<p>For Women with Broad Face and Heavy Chin.</p>
+<img src="images/no22.jpg" align="left" alt=
+"[Illustration: NO. 22]"> <img src="images/no23.jpg" align="right"
+alt="[Illustration: NO. 23]">
+<p>By a curious law of contrariety the woman with a broad, heavy
+chin seems to have an ungovernable penchant for trig little round
+bonnets, or trim turbans with perky aigrettes, like that in sketch
+No. 22. By obeying this wilful preference she obscures whatever
+delicacy may be in the modelling of her features and brings into
+conspicuous relief the ugliest lines of her face. Her chin is
+apparently increased in heaviness and the broadness of her face is
+made prominent. She could easily have restored the artistic balance
+to her facial lines by wearing a large hat, rather heavily trimmed,
+as in No. 23, thus effectively modifying the strong curves of the
+chin and signally improving her appearance. If a woman's face is
+fairly proportioned, not too short for its breadth, and she can not
+afford plumes, this type of woman can still give a becoming balance
+to her face by adopting hats that are trimmed with flamboyant bows
+that flare horizontally across the hat, diverging from a central
+knot in the from.</p>
+<br>
+<p>For the Woman with Tapering Chin.</p>
+<img src="images/no24.jpg" align="left" alt=
+"[Illustration: NO. 24]"> <img src="images/no25.jpg" align="right"
+alt="[Illustration: NO. 25]">
+<p>The woman who is the exact opposite of the type with the ample
+lower jaw, but whose chief disadvantage lies in her broad, manly
+brow and tiny tapering chin, should avoid all horizontal trimmings,
+bows or broad hat-brims. It is clear, in No. 24, that such
+trimmings increase the wedge-like appearance of the face and give
+it the grotesque suggestion of an ordinary flower-pot in which
+grows a sickly plant. This type can perceptibly improve upon nature
+by choosing the style of hat and neck-gear shown by No. 25.</p>
+<p>The crinkly ovals that form the brim of the hat, and the soft,
+graceful arrangement of the hair in front that decreases the too
+broad effect of the brow, and the full fluffy ruff snuggled up
+closely to the chin, produce a pleasing transformation of the
+meagre-looking original that to the uninitiated seems little short
+of magical. The broad, cravat-like bows, and the flaring ones known
+as "incroyables," were beneficently wedge-like faces and throats
+that have lost the seductive curves of youth.</p>
+<br>
+<p>Hat for the Chubby Woman.</p>
+<img src="images/no26.jpg" align="left" alt=
+"[Illustration: NO. 26]"> <img src="images/no27.jpg" align="right"
+alt="[Illustration: NO. 27]">
+<p>That amiable type of woman formed conspicuously upon the
+circular plan often unconsciously impresses the fact of her fatal
+tendency to rotundity by repeating the roundness of her globular
+eyes, the disk-like appearance of her snub nose and the circle of
+her round mouth, and the fulness of her face by wearing a little,
+round hat in the style portrayed by No. 26.</p>
+<p>The curls of her bang, the feathers in her hat, the high collar
+of her jacket make more significant the fact that her lines are not
+artistic and that her face is unbeautifully round. She can enhance
+her charms and apparently decrease the too spherical cut of her
+countenance by adopting the mode illustrated in No. 27. The angular
+bows on the hat, the geometric lines of the broad hat-brim, the
+precise cut of the lapels on the corsage, the neat throat-band and
+V-shaped vesture&mdash;all insinuate in a most engaging way a
+dignity and fine, high-bred poise totally obliterated by the
+circular style of dress erroneously adopted by the misguided woman
+in No. 26.</p>
+<br>
+<p>For Women Who Have Sharp and Prominent Profiles.</p>
+<img src="images/no28.jpg" align="left" alt=
+"[Illustration: NO. 28]"> <img src="images/no29.jpg" align="right"
+alt="[Illustration: NO. 29]">
+<p>In buying a hat many of the "unfair sex"&mdash;as the modern wag
+dubs the progressive sisters who wish to have all man's rights and
+privileges and keep their own besides&mdash;never seem to consider
+their heads but from a front point of view. In consequence, as
+sketch No 28 hints, a head seen from the side frequently appears,
+if not idiotically, very inartistically, proportioned.</p>
+<p>Occasionally a hat presents as comical an effect in a from as in
+a side view, as may be seen in No. 29. The wearer was an elderly
+woman with gray hair which hung down in a half-curled bang on
+either side of her thin face. Her hat which was simply "dripping"
+with feathers suggested a fanciful letter "T" and exaggerated the
+thinness of her face in a remarkably funny way. The feathers
+overhanging the brim increased the broadness of the hat, and looked
+singularly waggish fluttering against the spriggy-looking
+projections of gray hair. The rules for the wedge-shaped face, as
+may readily be discerned, apply here.</p>
+<img src="images/no30-31.jpg" align="right" alt=
+"[Illustration: NO. 30 and 31]">
+<p>Women who have sharp and prominently outlined profiles have a
+curious tendency to choose hats, the brims of which project too far
+forward in front, and turn up too abruptly and ungracefully in the
+back.</p>
+<p>As shown in No. 30 the protruding brim gives the head and face
+the unattractive proportions of the capital letter "F." The length
+of the nose is emphasized by the line of the hat-rim above it and
+it appears unduly obtrusive. The flat arrangement of the hair and
+the curve of the hat-brim in the back also exaggerate the obtrusive
+qualities of the features. By choosing a hat somewhat similar to
+the one sketched in No. 31, the unattractive sharpness of the
+profile is modified, and the alert, agreeable quality of the face,
+that was obscured by the shelf-like brim, becomes apparent. The
+observer feels, if he does not voice it, that it is a progressive
+spirit advancing forward instead of an ungainly head-piece that
+looks like a curious trowel.</p>
+<br>
+<p>For the Woman with an Angular Face.</p>
+<img src="images/no32-33.jpg" align="right" alt=
+"[Illustration: NOS. 32 AND 33]">
+<p>The woman with the angular features presented in No. 32 should
+not wear a sailor-hat or any hat with a perfectly straight rim.</p>
+<p>The sailor-hat or any style bordering on it should be selected
+with utmost discrimination. This mode is unbecoming to a woman more
+than forty; or, to one who through grief or worry prematurely
+attains a look of age, or to one whose features are irregular. The
+straight brim across the face is very trying. It casts a shadow
+deepening the "old marks" and instead of being a frame to set off,
+it seems to cut off, the face at an inartistic angle.</p>
+<p>The woman with angular features, as may be seen by No. 33, can
+wear with impunity, and always should wear, a hat the brim of which
+is waved, turned, twisted, or curved in graceful lines. The uneven
+brim of her hat makes an effective complement to the angularity of
+her chin, which is further softened by the feathery ruff that
+encircles her throat. The curves of the ostrich plumes, and the
+studied carelessness of the arrangement of her coiffure, subdue the
+angles of her face which are brought out in unbecoming prominence
+by the sailor-hat.</p>
+<br>
+<p>Women Who should Not Wear Horns.</p>
+<p>The velvet horns on either side of a hat, the steeple-like
+central adornments that were once much in favor, and the Mercury
+wings that ornament the coiffure for evening dress, produce some
+startling, disagreeable, and amusing effects not altogether
+uninteresting to consider.</p>
+<p>Faces in which the eyes are set too near the forehead acquire a
+scared look by being surmounted by a bonnet upon which the trimming
+gravitates to a point in an arrangement not unsuggestive of a
+reversed fan, horns, or a steeple.</p>
+<img src="images/no34.jpg" align="left" alt=
+"[Illustration: NO. 34]">
+<p>The most unpleasing developments result from the wearing of the
+horn-like trimmings either in velvet or jet. If the face above
+which they flare has less of the spiritual than the coarse
+propensities in it, the grotesque turns and twists in the head-gear
+emphasize the animality in the lines characteristic of low-bred
+tendencies, and the whole countenance is vulgarized. One face
+acquires the look of a fox, another of a certain type of dog, and
+so on.</p>
+<p>The most amusing exaggerations of distinctive facial lines are
+produced by Mercury wings. The good-natured woman of the familiar
+type depicted in No. 34 brings every bovine attribute of her placid
+countenance into conspicuous relief by surmounting her face with
+the wings of the fleet-footed god. The cow-like form and serenity
+of her features are made laughably obvious.</p>
+<p>Short, delicately-faced women can adorn their coiffures with
+Mercury wings with most charming results. Wings, or perpendicular
+bows, add length to the lines of the short face, giving it a
+certain suggestion of refinement and distinction that is wholly
+destroyed by the wearing of any trimmings that show at the
+sides.</p>
+<p>NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE
+PRACTICALLY APPLIED.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap3.jpg" alt="chapter31"></h4>
+<a name="chap3"></a>
+<h3>CHAPTER III.</h3>
+<br>
+<p>LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING
+COSTUMES.</p>
+<p>Mme. La Mode, much misrepresented as are all who are embarrassed
+with world-wide popularity always considers when designing fashions
+that women vary in form, as in mood. She suits all needs, although
+this fact has never been cast to her credit. With a beautiful sense
+of adjustment&mdash;as obvious as that in Nature, that projects the
+huge watermelon to ripen on a slender vine on the ground and swings
+a greengage plum on the stout stem of a tree to mature in storm or
+shine&mdash;Mme. La Mode, arbiter of styles, balances her
+fashions.</p>
+<p>Never came the big hat without the small bonnet. Accompanying
+the long cloak is the never-failing short cape. Side by side may be
+found the long coat and the short, natty jacket. This equilibrium
+in wearing apparel may be traced through all the vagaries of
+fashion.</p>
+<p>Everybody's need has been considered, but everybody has not
+considered her need.</p>
+<p>The short, stout woman passes by the long coat better adapted to
+her and seizes a short jacket&mdash;a homeopathic tendency of like
+suiting like, sometimes efficacious in medicine, but fatal in
+style.</p>
+<br>
+<p>Style for Tall Slender Woman.</p>
+<img src="images/no36.jpg" align="left" alt=
+"[Illustration: NO. 36]"> <img src="images/no37.jpg" align="right"
+alt="[Illustration: NO. 37]">
+<p>The very tall, slender woman frequently ignores a jaunty jacket
+and takes a long coat like that shown in No. 36.</p>
+<p>To even the sluggish fancy of an unimaginative observer she
+suggests a champagne bottle, and to the ready wit she hints of no
+end of amusing possibilities for caricature.</p>
+<p>The very tall woman should know that long lines from shoulder to
+foot give height, and she must discerningly strive to avoid length
+of line in her garments until she dons the raiment of the
+angels.</p>
+<p>Horizontal lines crossing the figure seem to decrease height,
+and should be used as much as possible in the arranging and
+trimming of the tall woman's garments.</p>
+<p>By selecting a shorter coat equally modish, as shown by No. 37,
+the too tall woman shortens her figure perceptibly.</p>
+<p>The belt cuts off from her height in a felicitous way, and the
+collar, also horizontal, materially improves the size of her
+throat. The high collar, such as finishes the coat, in No. 36, adds
+to the length. Those who have too long arms can use horizontal
+bands on sleeves most advantageously.</p>
+<br>
+<p>The Coat the Short Stout Woman should Wear.</p>
+<img src="images/no38-39.jpg" align="left" alt=
+"[Illustration: NOS. 38 AND 39]">
+<p>The short jacket that so graciously improved the appearance of
+the slender specimen of femininity is sinister in its effect on the
+short, stout woman, in sketch No. 38. It should be the study of her
+life to avoid horizontal lines. Length of limb is to be desired
+because it adds distinction. Her belt, the horizontal effect of the
+skirt of the jacket, the horizontal trimming of the bottom of the
+skirt, all apparently shortening her height, tend to make her
+ordinary and commonplace in appearance.</p>
+<p>If her hips are not too pronounced she can wear the long coat,
+shown in picture No. 39. The V-shaped vesture gives her a longer
+waist, and the long lines of the revers add to the length of her
+skirt. If her hips are too prominent, she should avoid having any
+tight-fitting garments that bring the fact into relief. She should
+not wear the long coat, but she can effectively modify it to suit
+her needs, by only having a skirt, or tabs, or finishing straps in
+the back. If her jacket or basque is finished off with a skirt
+effect, it is best to have the little skirt swerve away just at the
+hip-line, half revealing and half concealing it.</p>
+<p>The front should be made in a jacket effect, finishing just at
+the waist-line and opening over a blouse front that will conceal
+the waist-line. It is best for the too short, stout woman to
+obscure her waist-line as much as possible, to apparently give her
+increase of height.</p>
+<p>To put the waist-line high up adds to length of limb, and, of
+course, is to be desired, but the fact that what is added below is
+taken from above the waist, should impel careful discrimination in
+the arrangement of this equatorial band.</p>
+<br>
+<p>The Cloak or Cape for a Tall Woman.</p>
+<img src="images/no40.jpg" align="left" alt=
+"[Illustration: NO. 40]">
+<p>The long circular cloak is another graceful garment that can be
+worn with charming effect by the woman of classic height, but
+should never be in the wardrobe of a very tall woman except for use
+at the opera, when its service is chiefly required in the carriage,
+or when its wearer is sitting. It is so obvious, in sketch No. 40,
+that the vertical lines the folds of the cloak naturally fall into
+give a steeple-like appearance to the tall woman it enfolds, that
+it is scarcely necessary to comment upon it.</p>
+<img src="images/no41.jpg" align="right" alt=
+"[Illustration: NO. 41]">
+<p>That her judicious selection should have been the short cape,
+which comes, as all capes should, to be artistic, well below the
+elbows, is clearly illustrated in picture No. 41. The horizontal
+trimming very becomingly plays its part in the generally improving
+effect.</p>
+<p>The one who can wear the long cloak in an unchallengeable manner
+is the short, stout woman, shown in sketch No. 42.</p>
+<p>By wearing the short cape with circular, fluffy collarette,
+sketched in No. 43, she gives herself the look of a smothered,
+affrighted Cochin China chicken; or, as an imaginative school-girl
+remarked of her mother who wore a cape of similar style, "she looks
+as if her neck were encircled by bunches of asparagus."</p>
+<img src="images/no42-43.jpg" align="left" alt=
+"[Illustration: NOS. 42-43]">
+<p>The military dignity she acquires by wearing the long cape is
+becoming to a degree, and gives her distinction in form.</p>
+<p>By remembering that horizontal trimmings apparently decrease the
+height, and that vertical lines add to it, those who desire to
+appear at their best will use discernment in dividing their basques
+with yokes, or corsage mountings at the bust-line or frills at the
+hip-line.</p>
+<img src="images/no44.jpg" align="right" alt=
+"[Illustration: NO. 44]">
+<p>A flounce on the corsage at the bust-line, another at the
+hip-line, and yet another at the bottom of the shirt, increases the
+impression of bulkiness most aggressively and gives a barrel-like
+appearance to the form of a stout woman that is decidedly funny, as
+may be seen in sketch No. 44.</p>
+<p>A study of the lines of the form will not only aid one in
+adopting a more becoming style of dress, but will sharpen the
+artistic perceptions, thus adding to the joy of life.</p>
+<p>"A beautiful form is better than a beautiful face" and should be
+clothed so that its lines may appear at their best, and not be
+exaggerated and caricatured. The figure is seen many more times
+than the face, and the defects of the former are more conspicuous
+than those of the latter.</p>
+<p>Do not be unjust to your beautiful body, the temple of your
+soul; above all, do not caricature it by selecting your clothes
+with indiscriminating taste.</p>
+<p>NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE
+PRACTICALLY APPLIED.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap4.jpg" alt="chapter 4"></h4>
+<a name="chap4"></a>
+<h3>CHAPTER IV.</h3>
+<br>
+<p>HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.</p>
+<p>She was from the middle-West, and despite the fact that she was
+married, and that twenty-one half-blown blush roses had enwreathed
+her last birthday cake, she had the alert, quizzical brightness of
+a child who challenges everybody and everything that passes with
+the countersign&mdash;"Why?" She investigated New York with
+unabashed interest, and, like many another superior provincial, she
+freely expressed her likes and dislikes for its traditions,
+show-places, and people with a commanding and amusing audacity.</p>
+<p>Her objections were numerous. The chief one that made a deep
+impression upon her metropolitan friends was her disapproval of
+Sarah Bernhardt's acting. The middle-Westerner, instead of becoming
+ecstatic in her admiration, and at a loss for adjectives at the
+appearance of the divine Sarah, merely perked at the great French
+artist for some time and then demanded, querulously: "What's the
+matter with her? Why does she play so much with her back to the
+audience? I don't like it."</p>
+<p>It was a shock to the adorers of Sarah Bernhardt to hear her so
+irreverently criticised. They loyally united in her defence, and
+sought to squelch the revolter by loftily explaining that the
+actress turned her back so often to the audience because she had
+such a noble, generous nature and desired to give the other actors
+a chance. "She lets them take the centre of the stage, as they say
+in the profession," remarked one of the party, who prided herself
+upon being versed in the <i>argot</i> of the theatre.</p>
+<p>"But she plays with her back to the audience when she is
+speaking and acting, and everybody else on the stage is still but
+herself," petulantly insisted the Western Philistine, showing no
+signs of defeat.</p>
+<p>The situation was not wholly agreeable. The worshippers of Sarah
+could say nothing more in justification of her turning her back on
+them, but, with true feminine logic, concluded, "If Sarah Bernhardt
+turns her back on the audience it is right, and that is all there
+is to say."</p>
+<p>Just at this dramatic moment a voice from the adjoining row
+providentially interposed. The voice belonged to a well-known
+exponent of physical culture, who was never so happy as when
+instructing the intellectually needy. She said: "I will tell you
+why she plays with her back towards the audience more than any
+other actress upon the stage to-day." The middle-Westerner, no less
+impressed than her metropolitan friends, listened eagerly.</p>
+<p>The exponent of straight backs and high chests explained
+didactically: "The back is wonderfully expressive; indeed it is
+full of vital expression. Bernhardt knows this better than any
+other actress because she has studied statuary with the passion of
+a sculptor, and because she understands that, not only the face,
+but the entire physical structure, is capable of expressing
+dramatic emotions. Strong feeling and action may be strikingly
+revealed by the back. Imprecations, denunciations, even prayers,
+seem to be charged with more force when an actress delivers them
+with her back turned, or half-turned to the audience.</p>
+<p>"Bernhardt's back expresses a storm of fury when she imprecates
+vengeance," said the voice of authority. "Not only on the stage is
+the expression of the back discernible, and a knowledge of its
+character valuable, but in every-day life in drawing-room and
+street. How many women consider their backs when they dress? Look
+at the backs here deformed by laces and fallals," she went on
+contemptuously. "The majority of women never look below their chins
+and I believe not one in ten ever looks thoughtfully at her back,"
+she said emphatically.</p>
+<p>The dramatic value of a well-poised, expressive back may only
+concern the thousands of young women who are aspiring to be a Sarah
+Bernhardt or a Rachel; but a knowledge of what constitutes a
+properly and artistically clothed back should be of interest to all
+women in civilized countries.</p>
+<img src="images/no45.jpg" align="left" alt=
+"[Illustration: NO. 45]">
+<p>That there is much truth in the assertion that "the majority of
+women never look below their chins, and not one in ten ever looks
+thoughtfully at her back," every observer of womankind might
+testify.</p>
+<img src="images/no46.jpg" align="right" alt=
+"[Illustration: NO. 46]">
+<p>The open placket-hole and sagging waist-band, sketched in No.
+45, is an all too familiar sight that advertises the fact that too
+few women take even a cursory look at their backs. Fathers and
+brothers who wish to protect their womankind from adverse criticism
+frequently give impromptu lectures upon this very subject, as this
+slovenly arrangement of skirt and basque is not only seen in Grand
+Street, Second Avenue, and equally unfashionable quarters, but in
+Fifth Avenue where the modish set are <i>en &eacute;vidence</i>. If
+the dainty safety-pin displayed in No. 46, goes out of vogue, the
+time-honored custom of sewing hooks to the waist-band of the dress,
+is always in fashion. Indeed, many women prefer this way of
+connecting separate skirt and waist to using a conspicuous pin.
+This is almost too trivial a detail to discourse upon, but it is as
+true that details make dress as it is that "trifles make
+life"&mdash;and neither life nor dress is a trifle.</p>
+<img src="images/no46.5.jpg" align="left" alt=
+"[Illustration: NO. 46-1/2]">
+<p>The offence in No. 45 is more the result of untidiness than of a
+lack of artistic discrimination. Nos. 46-1/2 and 47, on the
+contrary, outrage the laws of art, and display ignorance of the
+value and beauty of lines.</p>
+<img src="images/no47.jpg" align="right" alt=
+"[Illustration: NO. 47]">
+<p>No. 46-1/2 might serve to conceal a deformity of the shoulders.
+That really seems its only excuse for being. The full, ugly,
+straight pleat that falls to just below the waist-line lends
+neither grace nor style to the figure. It is too short to give the
+distinction and dignity that handsome wraps with long lines almost
+invariably do, although they seem to add age to the form. There is
+a hint of youth in this ungraceful jacket to be sure, but it is not
+especially attractive in its suggestion of youthfulness.</p>
+<p>No. 47, with a line at the neck-band, crossed bands in the
+centre of the shoulders, and lines across the back, is obviously
+inartistic. The back of a Venus, even, would be detracted from by
+such criss-crossed effects. Happy the woman who has so shapely a
+back she can afford to allow her waist to fit smoothly and plainly,
+unbroken by any conspicuous lines. If bands must be used to remedy
+the deficiencies of ungenerous Nature, let them be at the neck and
+waist; and if the back is unconscionably long, a band, or fold, or
+ruffle across the shoulders is to be commended.</p>
+<img src="images/no48.jpg" align="left" alt=
+"[Illustration: NO. 48]"> <img src="images/no49.jpg" align="right"
+alt="[Illustration: NO. 49]">
+<p>No. 48 reveals a glaring error frequently made by the thin
+sisterhood. A tall, slender woman with a long waist, should not
+emphasize her length of lines by wearing pointed or V-shaped
+effects. The V-shaped arrangement, either in cut or trimmings,
+apparently increases her "longness and leanness." She should aim to
+shorten her waist instead of lengthening it as the basque finished
+with a point obviously does. The drooping sleeves elongate her
+shoulder-lines, and bring into clearer relief her meagre
+proportions. She can easily improve her appearance by adopting
+either style of gown portrayed by Nos. 49, or 50. The broad belt at
+the waist-line in No. 49, and the flamboyant lace or braided piece
+that adorns the shoulders, perceptibly adds to her breadth and
+decreases her length.</p>
+<p>No. 50 is a felicitous cut for a street dress for a slim sister.
+The jaunty bloused waist smartly conceals deficiencies in fine
+points.</p>
+<img src="images/no50.jpg" align="left" alt=
+"[Illustration: NO. 50]"> <img src="images/no51.jpg" align="right"
+alt="[Illustration: NO. 51]">
+<p>The tall, thin sisterhood should eschew pointed effects and
+study to attain apparent breadth by using trimmings arranged
+horizontally. Bands of velvet, braid in waved lines, ruffles, and
+not too deeply cut scallops, may be used effectively by the very
+slender, who sometimes appear as if they are "without form and
+void," as the earth was "in the beginning."</p>
+<p>No. 51 is an exposition of the mistake made by the sturdy
+sisterhood of stout and pendulous proportions. It is plain to be
+seen that the fluffy ruche at the throat-band, and the ruffle at
+the shoulder, and the spreading bow at the waist, and the trimmed
+sleeves, add bulkiness to a form already too generously endowed
+with flabby rotundity. Corpulent women must forego the swagger
+little basques or any sort of short, flounced effects below the
+waist-line.</p>
+<img src="images/no52.jpg" align="left" alt=
+"[Illustration: NO. 52]"> <img src="images/no53.jpg" align="right"
+alt="[Illustration: NO. 53]">
+<p>Nos. 52 and 53 are eminently adapted to the matron of ample
+dimensions. One observer of beauty-giving effects has not
+unadvisedly called the waist-line "the danger-line." A stout
+sister, above all others, should not accentuate the waist-line. She
+should conceal it as much as possible. The coat back of No. 52
+apparently lengthens the waist.</p>
+<p>The same effect is produced by the arrangement of ribbons in No.
+53, and by the long-pointed basque. V-shaped effects and
+long-pointed basques are as becoming to those burdened with flesh
+as they are unbecoming to tall, thin women.</p>
+<p>Long, graceful folds and draperies are admirable for the stout
+sisterhood, who should avoid short sacques and tight-fitting
+garments that give the on-looker an uncomfortable impression; there
+is too much in a small space. Very light colors and thin textures
+that billow and float should be eschewed by the large, fleshy woman
+who wishes to give the impression that she possesses the lines of a
+finely modelled statue. She should avoid puffs and any suggestion
+of the pulpy and clumsy, and be careful not to sub-divide the body
+of her dress by plaits or braids laid on horizontally across or
+above the bust, or below the hips. Horizontal lines invariably
+decrease the height; for that reason stout women should not wear
+dresses cut square in the neck, but should adhere to the graceful
+V-or heart-shaped cut which has a tendency to give length.</p>
+<img src="images/no54.jpg" align="left" alt=
+"[Illustration: NO. 54]"> <img src="images/no55.jpg" align="right"
+alt="[Illustration: NO. 55]">
+<p>The rotund woman with a short waist, sketched in No. 54, may
+improve her figure, as shown in No. 55, by choosing belts and
+collars the exact shade of her shirt-waists in summer, and by not
+cutting off her height by any sort of outside belt on winter
+gowns.</p>
+<p>Tall, stout women should forego high heels on their shoes, high
+hats, and striped dresses. Although stripes increase the effect of
+height, they also add to that of breadth. A plain cloth basque and
+skirt of striped material make a happy compromise and can be worn
+with becoming effect by a stout woman.</p>
+<p>A basque cut high behind and on the shoulders apparently gives
+height.</p>
+<img src="images/no56.jpg" align="left" alt=
+"[Illustration: NO. 56]">
+<p>A very stout woman should never wear double skirts or tunics or
+dresses with large sprawling patterns, such as depicted by cut No.
+56, which suggests furniture stuffs. A large woman who had a fancy
+for wearing rich brocades figured with immense floral designs was
+familiarly called by her kind friends "the escaped sofa."</p>
+<p>White, or very light colors, should never be worn by the stout;
+they greatly increase the apparent size. Large plaids should also
+be eschewed. Small checks and plaids may sometimes be becoming.</p>
+<img src="images/no57-58.jpg" align="right" alt=
+"[Illustration: NOS. 57 AND 58]">
+<p>Neither the too thin nor the too stout should adopt a style of
+gown that caricatures the form as does the voluminous wrapper,
+finished with a box-pleat, as shown in No. 57. There is no grace in
+straight lines.</p>
+<p>No. 58, which accentuates the height of the over-tall, thin
+woman, is better adapted to enhance the charms of a woman of finer
+proportions. The bony and scrawny, of the type of No. 58, seem to
+have a perverse desire to wear what makes their poverty in physical
+charms only more conspicuous. A woman of distinction in Boston, who
+is exceedingly thin and tall, wore Watteau pleats so frequently,
+even on reception and evening gowns that she was dubbed by a wag
+"the fire-escape," a title which so strikingly characterized her
+style, that the term was adopted by all her friends when they
+exchanged confidences concerning her.</p>
+<p>The garment with the Watteau pleat is not unlike the princesse
+gown which is a very trying style except to handsomely proportioned
+women. A tall, well-developed woman, such as shown in sketch No.
+59, adorns the princesse gown and attains in it a statuesque
+beauty. In suggesting statuary it fulfils the true ideal of dress,
+which should hint of poetry, art, sculpture, painting. The massing
+of colors; the arrangement of lines, the quality of textures, the
+grace and poise of the wearer&mdash;do not these hint of picture,
+statue, music?</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap5.jpg" alt="chapter 5"></h4>
+<a name="chap5"></a>
+<h3>CHAPTER V.</h3>
+<br>
+<p>CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED
+THROATS AND SHOULDERS.</p>
+<p>Despite the traditional belief that a d&eacute;collet&eacute;
+corsage is a tyrannous necessity of evening dress, a woman not
+graciously endowed with a beautifully modelled throat and shoulders
+may, with perfect propriety, conceal her infelicitous lines from
+the derisive gaze of a critical public.</p>
+<p>Women are indebted to that gentle genius, La Duse, for the
+suggestion that a veiled throat and bust may charmingly fulfil the
+requirements of evening dress, and also satisfy that sense of
+delicacy peculiar to some women who have not inherited from their
+great-great-grandmothers the certain knowledge that a low-necked
+gown is absolutely decorous.</p>
+<p>The women who does not possess delicate personal charms commends
+herself to the beauty-loving by forbearing to expose her physical
+deficiencies. Unless it is because they are enslaved by custom, it
+is quite incomprehensible why some women will glaringly display
+gaunt proportions that signally lack the exquisite lines of firm
+and solid flesh.</p>
+<img src="images/no61.jpg" align="left" alt=
+"[Illustration: NO. 61]"> <img src="images/no62.jpg" align="right"
+alt="[Illustration: NO. 62]">
+<p>A throat like a ten-stringed instrument, surmounting square
+shoulders that end in knobs that obtrude above unfilled hollows, is
+an unpleasing vision that looms up conspicuously too often in
+opera-box and drawing-room.</p>
+<p>The unattractive exhibition 61, is a familiar sight in the
+social world. How insufferably ugly such uncovered anatomy appears
+in the scenery of a rich and dainty music-room may be readily
+imagined by those who have been spared the unpleasing display. It
+is so obvious that shoulders like these should always be covered
+that it seems superfluous to remark that this type should never
+wear any sleeve that falls below the shoulder-line.</p>
+<p>The sleeve falling off the shoulder was invented for the classic
+contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are
+needed to enhance the perfect beauty of a fine, slender, white
+throat, and the felicitous curves of sloping shoulders.</p>
+<p>One whose individual endowments are as meagre as are those
+presented in No. 61 may improve her defects by adopting either
+style of corsage, shown in sketches Nos. 63 and 64.</p>
+<img src="images/no63-64.jpg" align="right" alt=
+"[Illustration: NOS. 63 AND 64]">
+<p>A woman's throat may lack a certain desirable roundness, and her
+shoulders may recede in awkward lines, and yet between these
+defective features the curves may have a not unpleasing daintiness
+and delicacy in modelling that can be advantageously revealed. A
+modish velvet throat-band, such as is shown by No. 63, is one of
+the most graceful conceits of fashion. The too slim throat
+encircled by velvet or ornamented with a jewelled buckle or brooch
+is effectively framed. The unsightly lines of the shoulders are
+covered, and just enough individual robustness is disclosed to
+suggest with becoming propriety the conventional
+d&eacute;collet&eacute; corsage. The Princess of Wales is as
+constant to her velvet or pearl neck-band, as to her especial style
+of coiffure. Her throat, in evening dress, never appears unadorned
+by one or the other of these beautiful bands that so cleverly
+conceal defects and seem to bring out more richly the texture and
+coloring of handsome bare shoulders.</p>
+<p>Those who do not approve of the d&eacute;collet&eacute; style of
+dress, or whose ungraceful proportions might well be entirely
+concealed, can wear with appropriateness and benefit the corsage
+shown in No. 64. This has much in its favor for a slender body. The
+upper part of the waist may be made of chiffon or cr&ecirc;pe,
+which is beautifully&mdash;one might say
+benignly&mdash;translucent. It has an insinuating transparency that
+neither reveals nor conceals too much. The neck-band of velvet or
+satin, full and soft, apparently enlarges the throat. The sleeves
+may be in whatever style in cut prevails. This costume carries
+perfectly into effect the requirements of evening dress, and may be
+worn with equal fitness to formal functions or to informal affairs.
+A coat-sleeve of lace, cr&ecirc;pe, or chiffon, beflounced at the
+wrist, may be inserted under the short satin sleeves when the
+occasion does not require gloves. The soft, white setting of thin
+textures around the throat and shoulders clears the complexion and
+brings into relief the pretty, delicate lines of a refined
+face.</p>
+<img src="images/no65-66.jpg" align="left" alt=
+"[Illustration: NOS. 65 AND 66]">
+<p>It is plain to be seen that the unattractive specimen of
+femininity, No. 65., with the long, wrinkled neck and sharply lined
+face is unbecomingly costumed in the V-shaped basque and corsage
+which apparently elongate her natural lankness. A charming and
+always fashionable yoke-effect that she can wear to advantage is
+shown by No. 66. This style of corsage is equally effective for a
+too thin or a too muscular neck. The filling is of tulle.</p>
+<img src="images/no67-68.jpg" align="right" alt=
+"[Illustration: NOS. 67 AND 68]">
+<p>A square-cut corsage is most becoming to the woman whose narrow
+shoulders have a consumptive droop. The angular cut apparently
+heightens the shoulders and decreases their too steeple-like
+inclination. The round cut, if it frames a full throat, is also an
+effective style for sloping shoulders. The V-shaped cut is most
+becoming to the short-necked woman, whose aim should be to increase
+the length of her throat.</p>
+<p>It is not only the too thin neck that needs to be clothed with
+discrimination. Throats and shoulders that are too robust are
+improved by being covered. The arms and shoulders, however, are
+often the chief beauty of a fleshy woman, and it is to her
+advantage to give them as effective a setting as possible.</p>
+<p>As is obvious in No. 67, the stout woman apparently increases
+her breadth by wearing a flamboyant corsage, and she hides the most
+exquisite lines of her arm with her sleeves.</p>
+<img src="images/no69.jpg" align="left" alt=
+"[Illustration: NO. 69]"> <img src="images/no70.jpg" align="right"
+alt="[Illustration: NO. 70]">
+<p>The princesse style of gown, in No. 68, gives her apparent
+length of waist. The modest lace flounce that falls in vertical
+folds decreases her formidable corsage. The knotted twist of silk
+reveals the full beauty of her arm.</p>
+<p>In dressing the throat there are a few rules to be remembered. A
+too long, stem-like neck may be apparently shortened by a standing
+ruff or a full, soft band of velvet. The tight, plain band of
+velvet should never be worn by a woman with a very slim neck, as is
+plainly discernible in sketch No. 69.</p>
+<p>The plain, military collar emphasizes the thinness of the
+slender woman's throat; but the soft crushed fold of velvet
+apparently enlarges the pipe-like proportions of the thin woman's
+neck, as may be seen in sketch No. 70. The tight-fitting collar
+should not be worn by the corpulent woman with a thick neck, as is
+shown by sketch No. 71.</p>
+<img src="images/no71.jpg" align="left" alt=
+"[Illustration: NO. 71]"> <img src="images/no72.jpg" align="right"
+alt="[Illustration: NO. 72]">
+<p>The thickness of the throat of the woman pictured in No. 72 may
+seem due to the folds of the velvet, which give a pleasing hint of
+a slender throat, a delusion not to be despised by the woman
+burdened with flesh.</p>
+<p>All the sisterhood,&mdash;stout, thin, long-throated, or
+short,&mdash;should know the hour when the withering touch of age
+begins to shrink the soft, round curves distinctive of the full,
+sweet throat of healthful youth. No regretful vanity should be
+allowed to glamour their eyes to the fact that Time has them by the
+throat, to put it melodramatically. The wise woman will not please
+herself with a fatal delusion. She will realize it is illusion she
+needs-yards of it&mdash;lace or velvet, or any beautifying texture
+that will conceal the deadly lines of age.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap6.jpg" alt="chapter 6"></h4>
+<a name="chap6"></a>
+<h3>CHAPTER VI.</h3>
+<br>
+<p>HINTS ON DRESS FOR ELDERLY WOMEN.</p>
+<p>Dress has much to do with a youthful or aged appearance. Shawls
+and long mantles that fall from the shoulders give even youthful
+figures a look of age, because the lines are long and dignified and
+without especial grace. Beautiful wraps, or coats that do not come
+very far below the hip-line, can be worn becomingly by elderly
+ladies, neither emphasizing their years nor making them appear too
+frivolously attired. There is a smack of truth in the maxim, <i>As
+a woman grows old the dress material should increase in richness
+and decrease in brightness</i>. Handsome brocades, soft, elegant
+silks, woollen textures, and velvets are eminently suitable and
+becoming to women who are growing old.</p>
+<p>Black, and black-and-white, soft white chiffon veiled in lace,
+cashmeres, and such refined tissues should be selected by those in
+"the first wrinkles of youth." Grays combined with filmy white
+material, dull bronzes lightened with cream-tinted lace, are also
+charmingly appropriate. Pale blue veiled in chiffon is another
+grateful combination.</p>
+<p>White should be worn more than it is by old ladies. It is so
+suggestive of all that is clean, bright, and dainty; and if there
+is anything an old lady should strive to be in her personal
+appearance it is dainty. Exquisite cleanliness is one of the most
+necessary attributes of attractive old age, and any texture that in
+its quality and color emphasizes the idea of cleanliness should
+commend itself to those in their "advanced youth."</p>
+<p>Little old thin women, large ones too, for that matter, who are
+wrinkled and colorless, should not wear diamonds. The dazzling
+white gems with pitiless brilliancy bring out the pasty look of the
+skin. The soft glow of pearls, the cloudlike effects of the opal,
+the unobtrusive lights of the moonstone harmonize with the tints of
+hair and skin of the aged.</p>
+<p>Elderly women should not wear bright flowers on their bonnets or
+hats. Fresh-looking roses above a face that has lost its first
+youthfulness only make that fact more obvious. Forget-me-nots,
+mignonettes, certain pretty white flowers, the palest of pink
+roses, or the most delicate tint of yellow veiled with lace are not
+inappropriate for those who do not enjoy wearing sombre bonnets and
+hats which are composed only of rich, black textures. Lace cleverly
+intermingled with velvet and jewelled ornaments of dull, rich
+shades are exceedingly effective on the head-gear of the old.</p>
+<p>Those who are gray-haired&mdash;and indeed all women as they
+grow old&mdash;should wear red above their brows instead of under
+their chins. A glint of rich cardinal velvet, or a rosette of the
+same against gray hair is beautiful.</p>
+<p>Lace! Lace! Lace! and still more Lace for the old. <i>Lace is an
+essential to the dress of a woman more than forty years of age</i>.
+Jabots, ruches, yokes, cascades, vests, and gowns of lace, black or
+white, are all for the old. Rich lace has an exquisitely softening
+effect on the complexion. Thin women with necks that look like the
+strings of a violin should swathe, smother, decorate, and adorn
+their throats with lace or gossamer fabrics that have the same
+quality as lace. These airy textures, in which light and shadow can
+so beautifully shift, subdue roughnesses of the skin and harshness
+in lines. Old Dame Nature is the prime teacher of these bewitching
+artifices. Note her fine effects with mists and cobwebs, with
+lace-like moss on sturdy old oaks, the bloom on the peach and the
+grape. Nature produces her most enchanting colorings with dust and
+age. Laces, gauzes, mulls, chiffons, net, and gossamer throw the
+same beautiful glamour over the face and they are fit and charming
+accompaniments of gray hair, which is a wonderful softener of
+defective complexions and hard facial lines.</p>
+<p>Too much cannot be written upon the proper arrangement in the
+neck-gear of the aged. The disfiguring wrinkles that make many
+necks unsightly may be kept in obeyance by massaging. No matter
+what the fashion in neck-gear, the aged must modify it to suit
+their needs. An old lady with a thin, pipe-stem neck should adopt a
+full ruche and fluffy, soft collar-bands. I cannot forbear
+repeating that tulle as light as thistle bubbles, either white or
+gray or black, is exquisitely effective for thin, scrawny necks.
+The fleshy, red neck should be softened with powder and discreetly
+veiled in chemisettes of chiffon and delicate net.</p>
+<p>Old ladies may keep in the style, thus being in the picture of
+the hour; but it is one of the divine privileges of age that it can
+make its own modes. Absolute cleanliness, cleanliness as exacting
+as that proper nurses prescribe for babies, is the first and most
+important factor in making old age attractive. Rich dress, in
+artistic colors, soft, misty, esthetic, comes next; then the
+idealizing scarfs, collars, jabots, and fichus of lace and tulles.
+Old people becomingly and artistically attired have the charm of
+rare old pictures. If they have soul-illumined faces they are
+precious masterpieces.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap7.jpg" alt="chapter 7"></h4>
+<a name="chap7"></a>
+<h3>CHAPTER VII.</h3>
+<br>
+<p>HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.</p>
+<p>Although in the dress of man there are fewer possibilities of
+caricature than in that of woman, yet, "the masterpieces of
+creation" frequently exaggerate in a laughable&mdash;and sometimes
+a pitiable&mdash;way, certain physical characteristics by an
+injudicious choice of clothes.</p>
+<p>As the fashion in hair-dressing does not grant man the privilege
+of enhancing his facial attractions; nor of obscuring his defects
+by a becomingly arranged coiffure; and, as the modes in neck-gear
+are such that he cannot modify the blemishes of a defective
+complexion by encircling his athletic or scrawny throat with airy
+tulle, or dainty lace, that arch-idealizer of pasty-looking faces;
+and as he has forsworn soft, trailing garments that conceal
+unclassic curves and uninspiring lines of nether limbs, it behooves
+him to be more exactingly particular even than woman in the
+selection of his wearing apparel.</p>
+<p>Far be it from me, however, to remind man of his many
+limitations&mdash;in dress. That he can never know the rapture of
+donning a becoming spring bonnet, nor the pleasure of possessing
+"real lace" things, nor the sensuous charm of being enwrapped in
+caressing furs, or sleazy, silken garments as exquisite in color
+and texture as beautiful, fresh flowers, only delicate
+consideration for his feelings constrains me from expatiating upon
+at length.</p>
+<p>I would rather be able to remind him that he can make his
+limitations his advantages, than reveal to him what he misses in
+not being a woman.</p>
+<p>To treat of this important subject adequately and convincingly,
+one would require the masterly discernment of a skillful and
+accomplished tailor, the experienced knowledge of a well-dressed
+man, and the alertly critical perception of a loving woman who,
+even in the matter of clothes, wishes the dearest of men to her, to
+do full justice to himself and her ideal of him on all
+occasions.</p>
+<p>Although certain of the foregoing qualifications must needs be
+lacking, nevertheless this timorous pen, with more trepidation than
+courage it must be confessed, begs to call attention to a few
+obvious details in masculine attire that caricature, more or less,
+peculiarities in the forms and features of men.</p>
+<p>To be sure, in the matter of head-gear man is not conspicuously
+at the mercy of burlesquing ribbons, flowers, and feathers, and he
+has fewer opportunities than women to make himself ridiculous, yet
+a few suggestions regarding certain shapes of head-gear for certain
+types of faces, applicable to women are equally applicable to
+him.</p>
+<img src="images/no75.jpg" align="left" alt=
+"[Illustration: NO. 75]"> <img src="images/no76.jpg" align="right"
+alt="[Illustration: NO. 76]">
+<p>The same rule that applies to the women of the wedge-shaped type
+of face applies to the man of the wedge-shaped type, as may be seen
+in sketches Nos. 75 and 76. It is obvious that the youth depicted
+in No. 75 detracts from the manliness of his face and emphasizes
+the pointed appearance of his countenance by wearing a hat with a
+broad brim projecting over his ears. This style of hat appears more
+frequently in straw than in any other texture, but the effect of a
+wide, projecting rim is the same in any material. No. 76, it is
+plain, improves the appearance of the long, slim-faced man. An
+alpine hat would not be unbecoming to him, the high oval of the
+crown forming a balance for the lower part of the face.</p>
+<p>The man with a pugilistic chin should endeavor to select a hat
+that will not make his heavy jaw as prominent as does the stiff
+derby, in No. 77.</p>
+<img src="images/no77.jpg" align="left" alt=
+"[Illustration: NO. 77]"> <img src="images/no78.jpg" align="right"
+alt="[Illustration: NO. 78]">
+<p>A soft alpine hat, or one somewhat of the style of No. 78,
+improves his appearance. The high crown and wide, gracefully
+rolling brim counter-balance the weight and prominence of the
+jaw.</p>
+<p>Apropos of the minor details of man's garments, the button as a
+feature of clothes has never been fully done justice to. It is a
+sustaining thing we know, something we can hang to, fasten to, and
+even tie to. That properly placed buttons contribute to our mental
+poise and therefore to our physical repose, is hinted in that
+absurdly engaging story, anent the smart boy who was the envy of
+his spelling-class, because he always stood first. You remember, no
+doubt, that an envious but keen-eyed classmate observed that the
+smart speller worked off his nervous apprehensiveness by twirling
+the top button of his coat as he correctly spelled word after word,
+day in and day out; and how the keen-eyed one played the part of a
+stealthy villain and surreptitiously cut the button off the coat.
+And do you remember the dramatic ending? How the smart one on the
+fatal day sought to "press the button" and finding it gone, lost
+his wits completely and failed ignominiously? Many of us when we
+have lost a sustaining button, have we not felt as ridiculously
+helpless and witbenumbed as the smart speller?</p>
+<img src="images/no79.jpg" align="left" alt=
+"[Illustration: NO. 79]"> <img src="images/no80.jpg" align="right"
+alt="[Illustration: NO. 80]">
+<p>We all sub-consciously acknowledge our dependence upon buttons,
+but not many of us, evidently, have observed that even buttons have
+a certain possibility of caricature in them; and that they may add
+to, or detract from, the appearance of manly forms. The
+consideration of properly placed buttons may seem trivial to you,
+but if you will observe sketches Nos. 79 and 80, you may discern
+that a thin man may apparently increase his breadth and add a
+certain manly touch to his figure, by changing the buttons at the
+waist-line of his coat. The buttons placed so near together, in No.
+79, really make his toothpick proportions too obvious. His back is
+made to look broader by placing the buttons wider apart, as shown
+in No. 80, and changing the cut of his coat-tail.</p>
+<br clear="all">
+<img src="images/no81.jpg" align="left" alt=
+"[Illustration: NO. 81]"> <img src="images/no82.jpg" align="right"
+alt="[Illustration: NO. 82]">
+<p>That the fat man may also present a more attractive back to his
+enemies by considering the placing of his buttons, may be seen in
+drawings Nos. 81 and 82. The buttons decorating No. 81 are placed
+so far apart that they increase in an ungainly way the breadth of
+the back at the waist-line. If they are placed nearer together, and
+the seams graduated to meet them, they give the illusion of better
+and more desirable proportions, as may be seen in No. 82.</p>
+<br clear="all">
+<img src="images/no83.jpg" align="left" alt=
+"[Illustration: NO. 83]"> <img src="images/no84.jpg" align="right"
+alt="[Illustration: NO. 84]">
+<p>That the thin man may also present a more imposing and broader
+front to the world, is suggested in sketches Nos. 83 and 84. The
+contracted look of the coat in No. 83 is somewhat due to the
+buttons of his double-breasted coat being placed too closely
+together. The slender man who wishes to give the impression of
+being broad-chested may have the buttons on his coat placed a
+little farther apart than fashion may allow, as shown in sketch 84.
+The proportions may be easily preserved by a careful adjustment of
+the shoulder-seams and the seams under the arms.</p>
+<br clear="all">
+<img src="images/no85.jpg" align="left" alt=
+"[Illustration: NO. 85]"> <img src="images/no86.jpg" align="right"
+alt="[Illustration: NO. 86]">
+<p>The waist-line is not so much "a danger line" to man as to
+woman, yet man should not wholly ignore his equator. If he is
+long-waisted he can apparently balance his proportions by having
+his skirt shortened, as in No. 85, and his waist-line raised the
+merest bit. If he is too short-waisted he can lengthen his skirt
+and lower his waist-line, as shown in No. 86. In the one he escapes
+appearing too long and lanky in body, and in the other he obscures
+a lack of becoming inches that tends to give him a dumpy
+appearance.</p>
+<br clear="all">
+<img src="images/no87.jpg" align="left" alt=
+"[Illustration: NO. 87]"> <img src="images/no88.jpg" align="right"
+alt="[Illustration: NO. 88]">
+<p>If you study your fellow-men you will observe that few are
+really perfectly proportioned. One man will have the body of a
+viking on the legs of a dwarf, or one will have the legs of an
+Apollo supporting the short body of a pigmy. The man who has a
+kingly body, too broad in proportion to his legs, as shown in
+sketch No. 87, should endeavor to modify his physical defect by the
+careful selection of his coats. He should have his coats cut to
+give him as much length of leg as possible. A skilful tailor will
+know just what subtle changes and adjustments to make. The
+improvement in appearance and gain in height is pictured in sketch
+88. The coat being shorter and the waist of the trousers being
+raised a trifle, the man's limbs seem longer, which is an
+improvement. Long lines tend to give elegance and grace in bearing.
+Another thing for the too robust type of man to consider is the
+style of his trousers. No. 87 hints what he must not choose. Such
+brazen plaids only make him appear offensively aggressive in size.
+Long, fine lines, such as shown in No. 88, give an impression of
+length and apparently lessen the width.</p>
+<p>Too long lines, however, are almost as undesirable as too short
+ones. Over-tall, thin men sometimes make themselves look like
+telegraph poles or flagstaffs by wearing short coats that expose in
+a graceless way the whole length of their limbs. They suggest
+cranes and other fowl that give the impression of being "all
+legs."</p>
+<img src="images/no89.jpg" align="left" alt=
+"[Illustration: NO. 89]"> <img src="images/no90.jpg" align="right"
+alt="[Illustration: NO. 90]">
+<p>When the legs are proportioned more like a stick of macaroni or
+a lead pencil than the shapely limbs of an Adonis, they appear
+exceedingly funny when surmounted by a short coat, such as pictured
+in No. 89. A famous general in the Civil War did not despise cotton
+as a fortification to protect him from the onslaught of the enemy.
+The over-tall, thin man, who is not unsuggestive of a picket,
+should not be ashamed to fortify himself with cotton or any other
+sort of padding that intelligent tailors keep in stock. He should
+build his shoulders up a bit and be generally, but most carefully
+and artistically, enlarged. His coat should be lengthened, as in
+sketch go, to cut off just as much of the longness of limb as can
+possibly be allowed without destroying artistic proportions. The
+very tall, thin man who unthinkingly wears a very short coat should
+be brave and never turn his back to his enemy.</p>
+<p>If he wears black and white check trousers and a short blue
+coat, he should travel with a screen. A man in just such a rig
+attracted no end of comment in a fashionable hotel. The
+caricaturing effect of his trousers and coat were unspeakably
+comical. The wearer had a face as grave as an undertaker's and the
+air of a serious-minded college professor; but he had the
+nondescript look of a scarecrow composed of whatever available
+garments could be obtained from the cast-off wardrobe of summer
+boarders in a farmhouse.</p>
+<p>Coats assuredly have the power of making cartoons&mdash;living,
+jocular cartoons&mdash;of their wearers. It would hardly seem
+necessary to call attention to the fact that a man of huge
+dimensions should not wear a short coat, such as shown in sketch
+No. 91, yet his type is too frequently seen attired in this style.
+A man so dressed certainly seems the living exemplification of the
+definition of a jug, namely, "a vessel usually with a swelling
+belly, narrow mouth, and a handle, for holding liquors." It cannot
+be reiterated too often that a large, stout man should aim to
+acquire the distinction and dignity given by long lines. If his
+body is proportioned so he really has neither length of torso nor
+of limb he must pay more attention to the cut of his clothes and
+attain length in whatever artistic way he can. The long coat, as
+may be seen in sketch No. 92, not only apparently adds length but
+it conceals too protuberant curves.</p>
+<img src="images/no91-92.jpg" align="right" alt=
+"[Illustration: NOS. 91 AND 92]">
+<p>Of course, character counts far more than clothes, we will all
+agree to that, but at first glance it is a man's clothes that
+impress people. Clothes affect our behavior somewhat. For instance,
+"When the young European emigrant, after a summer's labor puts on
+for the first time a new coat, he puts on much more. His good and
+becoming clothes put him on thinking that he must behave like
+people who are so dressed; and silently and steadily his behavior
+mends." Of course, there is an uplifting truth in George Herbert's
+maxim, "This coat with my discretion will be brave," yet, I am
+inclined to think that the majority of men who will stop to
+consider will agree with Emerson, who says, "If a man has not firm
+nerves and has keen sensibility, it is perhaps a wise economy to go
+to a good shop and dress himself irreproachably. He can then
+dismiss all care from his mind, and may easily find that
+performance an addition of confidence, a fortification that turns
+the scale in social encounters, and allows him to go gayly into
+conversations where else he had been dry and embarrassed. I am not
+ignorant,&mdash;I have heard with admiring submission the
+experience of the lady who declared 'that the sense of being
+perfectly well dressed gives a feeling of inward tranquillity which
+religion is powerless to bestow.'"</p>
+<p>A popular clothier in New York, understanding this trait of his
+fellow-men, voices this same sentiment in his advertisement in this
+succinct way: "Seriously now. Have you ever stopped to think that
+if you wear good clothing it adds much to that independent, easy
+feeling you should have when you come in contact with other
+men?"</p>
+<img src="images/no93.jpg" align="left" alt=
+"[Illustration: NO. 93]">
+<p>I think it was Lord Chesterfield who said: "A man is received
+according to his appearance, and dismissed according to his
+merits." There is a bit of truth in this we would all admit, I have
+no doubt, if we studied the question. Clothes affect our own poise,
+ease, and attitude toward others and the expression of others
+toward us, but, after all, we rely upon the man or woman instead of
+upon the impression we receive from the clothes. The garments,
+after we have noticed them in a superficial way, are chiefly
+interesting to us, because they are arch-betrayers of the physical
+and mental poise of the man. No matter what the cut of the cloth,
+no matter what <i>cachet</i> of a fashionable tailor a suit may
+have, or what its richness of material, the attitude "&agrave; la
+decadence" of No. 93 would make the best clothes in Christendom
+look shabby and unattractive.</p>
+<img src="images/no94.jpg" align="right" alt=
+"[Illustration: NO. 94]">
+<p>This too familiar carriage of the American man makes one wish to
+have the power to reverse the faces&mdash;as Dante did those of the
+false prophets, so those who stand "&agrave; la decadence" might
+see what ridiculous figures they cut in drawing-room and street.
+The curved backs and rounded-out shoulders would make fair-looking
+chests, and the flat chests would represent respectable-looking
+backs.</p>
+<p>A man owes it to the spirit within him not to stand or walk in
+such an attitude. He should brace up and keep bracing up
+persistently, unremittently, until he attains a more manly
+bearing.</p>
+<p>The wholly alive fellow pictured in sketch No. 94 would make
+homespun look elegant. His chest is forward. He does not sag in
+front at the waist, protruding his abdomen in not only an
+inartistic, but an unhealthy manner; but he strides masterfully
+forward with an air of inspiriting "aliveness." The perfect poise
+of his attitude is not unsuggestive of the Apollo
+Belvedere&mdash;the model for all men&mdash;a picture of which
+every college boy should have to place beside the prettiest girl in
+his collection of pretty girls, to constantly remind him to carry
+himself like a young god.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 11078 ***</div>
+</body>
+</html>
diff --git a/11078-h/images/005.jpg b/11078-h/images/005.jpg
new file mode 100644
index 0000000..28cbf76
--- /dev/null
+++ b/11078-h/images/005.jpg
diff --git a/11078-h/images/007-1.jpg b/11078-h/images/007-1.jpg
new file mode 100644
index 0000000..12c8408
--- /dev/null
+++ b/11078-h/images/007-1.jpg
diff --git a/11078-h/images/007-2.jpg b/11078-h/images/007-2.jpg
new file mode 100644
index 0000000..aa4e2c5
--- /dev/null
+++ b/11078-h/images/007-2.jpg
diff --git a/11078-h/images/008.jpg b/11078-h/images/008.jpg
new file mode 100644
index 0000000..0c689e0
--- /dev/null
+++ b/11078-h/images/008.jpg
diff --git a/11078-h/images/chap1.jpg b/11078-h/images/chap1.jpg
new file mode 100644
index 0000000..c5128c8
--- /dev/null
+++ b/11078-h/images/chap1.jpg
diff --git a/11078-h/images/chap2.jpg b/11078-h/images/chap2.jpg
new file mode 100644
index 0000000..9cfa5e9
--- /dev/null
+++ b/11078-h/images/chap2.jpg
diff --git a/11078-h/images/chap3.jpg b/11078-h/images/chap3.jpg
new file mode 100644
index 0000000..c2a02ec
--- /dev/null
+++ b/11078-h/images/chap3.jpg
diff --git a/11078-h/images/chap4.jpg b/11078-h/images/chap4.jpg
new file mode 100644
index 0000000..eb1bca5
--- /dev/null
+++ b/11078-h/images/chap4.jpg
diff --git a/11078-h/images/chap5.jpg b/11078-h/images/chap5.jpg
new file mode 100644
index 0000000..ace9c74
--- /dev/null
+++ b/11078-h/images/chap5.jpg
diff --git a/11078-h/images/chap6.jpg b/11078-h/images/chap6.jpg
new file mode 100644
index 0000000..ff7e1fe
--- /dev/null
+++ b/11078-h/images/chap6.jpg
diff --git a/11078-h/images/chap7.jpg b/11078-h/images/chap7.jpg
new file mode 100644
index 0000000..68dd66c
--- /dev/null
+++ b/11078-h/images/chap7.jpg
diff --git a/11078-h/images/no02.jpg b/11078-h/images/no02.jpg
new file mode 100644
index 0000000..135482f
--- /dev/null
+++ b/11078-h/images/no02.jpg
diff --git a/11078-h/images/no03.jpg b/11078-h/images/no03.jpg
new file mode 100644
index 0000000..b2bbdb5
--- /dev/null
+++ b/11078-h/images/no03.jpg
diff --git a/11078-h/images/no04.jpg b/11078-h/images/no04.jpg
new file mode 100644
index 0000000..693f6da
--- /dev/null
+++ b/11078-h/images/no04.jpg
diff --git a/11078-h/images/no05.jpg b/11078-h/images/no05.jpg
new file mode 100644
index 0000000..ea44f52
--- /dev/null
+++ b/11078-h/images/no05.jpg
diff --git a/11078-h/images/no06.jpg b/11078-h/images/no06.jpg
new file mode 100644
index 0000000..c09754c
--- /dev/null
+++ b/11078-h/images/no06.jpg
diff --git a/11078-h/images/no07.jpg b/11078-h/images/no07.jpg
new file mode 100644
index 0000000..5bd45e7
--- /dev/null
+++ b/11078-h/images/no07.jpg
diff --git a/11078-h/images/no08.5.jpg b/11078-h/images/no08.5.jpg
new file mode 100644
index 0000000..6727127
--- /dev/null
+++ b/11078-h/images/no08.5.jpg
diff --git a/11078-h/images/no08.jpg b/11078-h/images/no08.jpg
new file mode 100644
index 0000000..2d88c54
--- /dev/null
+++ b/11078-h/images/no08.jpg
diff --git a/11078-h/images/no09.jpg b/11078-h/images/no09.jpg
new file mode 100644
index 0000000..bddb19e
--- /dev/null
+++ b/11078-h/images/no09.jpg
diff --git a/11078-h/images/no10.jpg b/11078-h/images/no10.jpg
new file mode 100644
index 0000000..7e5f64c
--- /dev/null
+++ b/11078-h/images/no10.jpg
diff --git a/11078-h/images/no11.jpg b/11078-h/images/no11.jpg
new file mode 100644
index 0000000..4a2b304
--- /dev/null
+++ b/11078-h/images/no11.jpg
diff --git a/11078-h/images/no12.jpg b/11078-h/images/no12.jpg
new file mode 100644
index 0000000..39d0bad
--- /dev/null
+++ b/11078-h/images/no12.jpg
diff --git a/11078-h/images/no13.jpg b/11078-h/images/no13.jpg
new file mode 100644
index 0000000..109c1d4
--- /dev/null
+++ b/11078-h/images/no13.jpg
diff --git a/11078-h/images/no14-15.jpg b/11078-h/images/no14-15.jpg
new file mode 100644
index 0000000..09608a7
--- /dev/null
+++ b/11078-h/images/no14-15.jpg
diff --git a/11078-h/images/no16.jpg b/11078-h/images/no16.jpg
new file mode 100644
index 0000000..b700940
--- /dev/null
+++ b/11078-h/images/no16.jpg
diff --git a/11078-h/images/no17.jpg b/11078-h/images/no17.jpg
new file mode 100644
index 0000000..7d4054c
--- /dev/null
+++ b/11078-h/images/no17.jpg
diff --git a/11078-h/images/no18.jpg b/11078-h/images/no18.jpg
new file mode 100644
index 0000000..526d600
--- /dev/null
+++ b/11078-h/images/no18.jpg
diff --git a/11078-h/images/no19.jpg b/11078-h/images/no19.jpg
new file mode 100644
index 0000000..78abdc6
--- /dev/null
+++ b/11078-h/images/no19.jpg
diff --git a/11078-h/images/no20.jpg b/11078-h/images/no20.jpg
new file mode 100644
index 0000000..1119c02
--- /dev/null
+++ b/11078-h/images/no20.jpg
diff --git a/11078-h/images/no22.jpg b/11078-h/images/no22.jpg
new file mode 100644
index 0000000..b64031b
--- /dev/null
+++ b/11078-h/images/no22.jpg
diff --git a/11078-h/images/no23.jpg b/11078-h/images/no23.jpg
new file mode 100644
index 0000000..a14ea7d
--- /dev/null
+++ b/11078-h/images/no23.jpg
diff --git a/11078-h/images/no24.jpg b/11078-h/images/no24.jpg
new file mode 100644
index 0000000..8988e45
--- /dev/null
+++ b/11078-h/images/no24.jpg
diff --git a/11078-h/images/no25.jpg b/11078-h/images/no25.jpg
new file mode 100644
index 0000000..6ea1afd
--- /dev/null
+++ b/11078-h/images/no25.jpg
diff --git a/11078-h/images/no26.jpg b/11078-h/images/no26.jpg
new file mode 100644
index 0000000..e5a611f
--- /dev/null
+++ b/11078-h/images/no26.jpg
diff --git a/11078-h/images/no27.jpg b/11078-h/images/no27.jpg
new file mode 100644
index 0000000..d5ed0b7
--- /dev/null
+++ b/11078-h/images/no27.jpg
diff --git a/11078-h/images/no28.jpg b/11078-h/images/no28.jpg
new file mode 100644
index 0000000..c44cbff
--- /dev/null
+++ b/11078-h/images/no28.jpg
diff --git a/11078-h/images/no29.jpg b/11078-h/images/no29.jpg
new file mode 100644
index 0000000..d47ee94
--- /dev/null
+++ b/11078-h/images/no29.jpg
diff --git a/11078-h/images/no30-31.jpg b/11078-h/images/no30-31.jpg
new file mode 100644
index 0000000..eaf2b4e
--- /dev/null
+++ b/11078-h/images/no30-31.jpg
diff --git a/11078-h/images/no32-33.jpg b/11078-h/images/no32-33.jpg
new file mode 100644
index 0000000..3227827
--- /dev/null
+++ b/11078-h/images/no32-33.jpg
diff --git a/11078-h/images/no34.jpg b/11078-h/images/no34.jpg
new file mode 100644
index 0000000..8964f4b
--- /dev/null
+++ b/11078-h/images/no34.jpg
diff --git a/11078-h/images/no36.jpg b/11078-h/images/no36.jpg
new file mode 100644
index 0000000..6a6fc50
--- /dev/null
+++ b/11078-h/images/no36.jpg
diff --git a/11078-h/images/no37.jpg b/11078-h/images/no37.jpg
new file mode 100644
index 0000000..a440e74
--- /dev/null
+++ b/11078-h/images/no37.jpg
diff --git a/11078-h/images/no38-39.jpg b/11078-h/images/no38-39.jpg
new file mode 100644
index 0000000..0df247c
--- /dev/null
+++ b/11078-h/images/no38-39.jpg
diff --git a/11078-h/images/no40.jpg b/11078-h/images/no40.jpg
new file mode 100644
index 0000000..bc8626f
--- /dev/null
+++ b/11078-h/images/no40.jpg
diff --git a/11078-h/images/no41.jpg b/11078-h/images/no41.jpg
new file mode 100644
index 0000000..fb893b2
--- /dev/null
+++ b/11078-h/images/no41.jpg
diff --git a/11078-h/images/no42-43.jpg b/11078-h/images/no42-43.jpg
new file mode 100644
index 0000000..a21a6c0
--- /dev/null
+++ b/11078-h/images/no42-43.jpg
diff --git a/11078-h/images/no44.jpg b/11078-h/images/no44.jpg
new file mode 100644
index 0000000..88b8177
--- /dev/null
+++ b/11078-h/images/no44.jpg
diff --git a/11078-h/images/no45.jpg b/11078-h/images/no45.jpg
new file mode 100644
index 0000000..69e27f6
--- /dev/null
+++ b/11078-h/images/no45.jpg
diff --git a/11078-h/images/no46.5.jpg b/11078-h/images/no46.5.jpg
new file mode 100644
index 0000000..b6a03fe
--- /dev/null
+++ b/11078-h/images/no46.5.jpg
diff --git a/11078-h/images/no46.jpg b/11078-h/images/no46.jpg
new file mode 100644
index 0000000..916c8f3
--- /dev/null
+++ b/11078-h/images/no46.jpg
diff --git a/11078-h/images/no47.jpg b/11078-h/images/no47.jpg
new file mode 100644
index 0000000..1a672c2
--- /dev/null
+++ b/11078-h/images/no47.jpg
diff --git a/11078-h/images/no48.jpg b/11078-h/images/no48.jpg
new file mode 100644
index 0000000..227940c
--- /dev/null
+++ b/11078-h/images/no48.jpg
diff --git a/11078-h/images/no49.jpg b/11078-h/images/no49.jpg
new file mode 100644
index 0000000..89d376f
--- /dev/null
+++ b/11078-h/images/no49.jpg
diff --git a/11078-h/images/no50.jpg b/11078-h/images/no50.jpg
new file mode 100644
index 0000000..91fb87a
--- /dev/null
+++ b/11078-h/images/no50.jpg
diff --git a/11078-h/images/no51.jpg b/11078-h/images/no51.jpg
new file mode 100644
index 0000000..0019505
--- /dev/null
+++ b/11078-h/images/no51.jpg
diff --git a/11078-h/images/no52.jpg b/11078-h/images/no52.jpg
new file mode 100644
index 0000000..b378d78
--- /dev/null
+++ b/11078-h/images/no52.jpg
diff --git a/11078-h/images/no53.jpg b/11078-h/images/no53.jpg
new file mode 100644
index 0000000..d84d0eb
--- /dev/null
+++ b/11078-h/images/no53.jpg
diff --git a/11078-h/images/no54.jpg b/11078-h/images/no54.jpg
new file mode 100644
index 0000000..73799ea
--- /dev/null
+++ b/11078-h/images/no54.jpg
diff --git a/11078-h/images/no55.jpg b/11078-h/images/no55.jpg
new file mode 100644
index 0000000..43d0af6
--- /dev/null
+++ b/11078-h/images/no55.jpg
diff --git a/11078-h/images/no56.jpg b/11078-h/images/no56.jpg
new file mode 100644
index 0000000..3ea6ac3
--- /dev/null
+++ b/11078-h/images/no56.jpg
diff --git a/11078-h/images/no57-58.jpg b/11078-h/images/no57-58.jpg
new file mode 100644
index 0000000..2bfc777
--- /dev/null
+++ b/11078-h/images/no57-58.jpg
diff --git a/11078-h/images/no59.jpg b/11078-h/images/no59.jpg
new file mode 100644
index 0000000..6ac4b73
--- /dev/null
+++ b/11078-h/images/no59.jpg
diff --git a/11078-h/images/no61.jpg b/11078-h/images/no61.jpg
new file mode 100644
index 0000000..814d283
--- /dev/null
+++ b/11078-h/images/no61.jpg
diff --git a/11078-h/images/no62.jpg b/11078-h/images/no62.jpg
new file mode 100644
index 0000000..afdaf03
--- /dev/null
+++ b/11078-h/images/no62.jpg
diff --git a/11078-h/images/no63-64.jpg b/11078-h/images/no63-64.jpg
new file mode 100644
index 0000000..06c37a6
--- /dev/null
+++ b/11078-h/images/no63-64.jpg
diff --git a/11078-h/images/no65-66.jpg b/11078-h/images/no65-66.jpg
new file mode 100644
index 0000000..f6025d1
--- /dev/null
+++ b/11078-h/images/no65-66.jpg
diff --git a/11078-h/images/no67-68.jpg b/11078-h/images/no67-68.jpg
new file mode 100644
index 0000000..a6f831b
--- /dev/null
+++ b/11078-h/images/no67-68.jpg
diff --git a/11078-h/images/no69.jpg b/11078-h/images/no69.jpg
new file mode 100644
index 0000000..c826385
--- /dev/null
+++ b/11078-h/images/no69.jpg
diff --git a/11078-h/images/no70.jpg b/11078-h/images/no70.jpg
new file mode 100644
index 0000000..d2b2b5e
--- /dev/null
+++ b/11078-h/images/no70.jpg
diff --git a/11078-h/images/no71.jpg b/11078-h/images/no71.jpg
new file mode 100644
index 0000000..dc48fdf
--- /dev/null
+++ b/11078-h/images/no71.jpg
diff --git a/11078-h/images/no72.jpg b/11078-h/images/no72.jpg
new file mode 100644
index 0000000..24397af
--- /dev/null
+++ b/11078-h/images/no72.jpg
diff --git a/11078-h/images/no75.jpg b/11078-h/images/no75.jpg
new file mode 100644
index 0000000..2f2ca48
--- /dev/null
+++ b/11078-h/images/no75.jpg
diff --git a/11078-h/images/no76.jpg b/11078-h/images/no76.jpg
new file mode 100644
index 0000000..cc6dd08
--- /dev/null
+++ b/11078-h/images/no76.jpg
diff --git a/11078-h/images/no77.jpg b/11078-h/images/no77.jpg
new file mode 100644
index 0000000..cbed588
--- /dev/null
+++ b/11078-h/images/no77.jpg
diff --git a/11078-h/images/no78.jpg b/11078-h/images/no78.jpg
new file mode 100644
index 0000000..197bd70
--- /dev/null
+++ b/11078-h/images/no78.jpg
diff --git a/11078-h/images/no79.jpg b/11078-h/images/no79.jpg
new file mode 100644
index 0000000..ec22eb8
--- /dev/null
+++ b/11078-h/images/no79.jpg
diff --git a/11078-h/images/no80.jpg b/11078-h/images/no80.jpg
new file mode 100644
index 0000000..53111a6
--- /dev/null
+++ b/11078-h/images/no80.jpg
diff --git a/11078-h/images/no81.jpg b/11078-h/images/no81.jpg
new file mode 100644
index 0000000..8b8a2a4
--- /dev/null
+++ b/11078-h/images/no81.jpg
diff --git a/11078-h/images/no82.jpg b/11078-h/images/no82.jpg
new file mode 100644
index 0000000..b998639
--- /dev/null
+++ b/11078-h/images/no82.jpg
diff --git a/11078-h/images/no83.jpg b/11078-h/images/no83.jpg
new file mode 100644
index 0000000..af1051d
--- /dev/null
+++ b/11078-h/images/no83.jpg
diff --git a/11078-h/images/no84.jpg b/11078-h/images/no84.jpg
new file mode 100644
index 0000000..9f751a1
--- /dev/null
+++ b/11078-h/images/no84.jpg
diff --git a/11078-h/images/no85.jpg b/11078-h/images/no85.jpg
new file mode 100644
index 0000000..55d3262
--- /dev/null
+++ b/11078-h/images/no85.jpg
diff --git a/11078-h/images/no86.jpg b/11078-h/images/no86.jpg
new file mode 100644
index 0000000..e61e808
--- /dev/null
+++ b/11078-h/images/no86.jpg
diff --git a/11078-h/images/no87.jpg b/11078-h/images/no87.jpg
new file mode 100644
index 0000000..7bb02b3
--- /dev/null
+++ b/11078-h/images/no87.jpg
diff --git a/11078-h/images/no88.jpg b/11078-h/images/no88.jpg
new file mode 100644
index 0000000..4a40ae2
--- /dev/null
+++ b/11078-h/images/no88.jpg
diff --git a/11078-h/images/no89.jpg b/11078-h/images/no89.jpg
new file mode 100644
index 0000000..60389ed
--- /dev/null
+++ b/11078-h/images/no89.jpg
diff --git a/11078-h/images/no90.jpg b/11078-h/images/no90.jpg
new file mode 100644
index 0000000..ae37ede
--- /dev/null
+++ b/11078-h/images/no90.jpg
diff --git a/11078-h/images/no91-92.jpg b/11078-h/images/no91-92.jpg
new file mode 100644
index 0000000..7dd006e
--- /dev/null
+++ b/11078-h/images/no91-92.jpg
diff --git a/11078-h/images/no93.jpg b/11078-h/images/no93.jpg
new file mode 100644
index 0000000..f42c61b
--- /dev/null
+++ b/11078-h/images/no93.jpg
diff --git a/11078-h/images/no94.jpg b/11078-h/images/no94.jpg
new file mode 100644
index 0000000..a3833cb
--- /dev/null
+++ b/11078-h/images/no94.jpg
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..ae424ac
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #11078 (https://www.gutenberg.org/ebooks/11078)
diff --git a/old/11078-8.txt b/old/11078-8.txt
new file mode 100644
index 0000000..eaa6d41
--- /dev/null
+++ b/old/11078-8.txt
@@ -0,0 +1,2084 @@
+The Project Gutenberg EBook of What Dress Makes of Us, by Dorothy Quigley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: What Dress Makes of Us
+
+Author: Dorothy Quigley
+
+Release Date: February 13, 2004 [EBook #11078]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+
+
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+WHAT DRESS MAKES OF US
+
+By
+
+DOROTHY QUIGLEY
+
+
+Illustrations by
+ANNIE BLAKESLEE
+
+
+1897
+
+
+
+
+    I am indebted to the editors of the New York _Sun_ and
+    New York _Journal_ for kindly allowing me to include in
+    this book articles which I contributed to their
+    respective papers.
+
+
+
+
+PREFACE.
+
+Did you ever observe, dear comrade, what an element of caricature lurks
+in clothes? A short, round coat on a stout man seems to exaggerate his
+proportions to such a ridiculous degree that the profile of his manly
+form suggests "the robust bulge of an old jug."
+
+A bonnet decorated with loops of ribbon and sprays of grass, or flowers
+that fall aslant, may give a laughably tipsy air to the long face of a
+saintly matron of pious and conservative habits.
+
+A peaked hat and tight-fitting, long-skirted coat may so magnify the
+meagre physical endowments of a tall, slender girl that she attains the
+lank and longish look of a bottle of hock.
+
+Oh! the mocking diablery in strings, wisps of untidy hair, queer
+trimmings, and limp hats. Alas! that they should have such impish power
+to detract from the dignity of woman and render man absurd.
+
+Because of his comical attire, an eminent Oxford divine, whose life and
+works commanded reverence, was once mistaken for an ancient New England
+spinster in emancipated garments. His smoothly shaven face, framed in
+crinkly, gray locks, was surmounted by a soft, little, round hat, from
+the up-turned brim of which dangled a broken string. His long frock-coat
+reached to just above his loosely fitting gaiters.
+
+The fluttering string, whose only reason for being at all was to keep
+the queer head-gear from sailing away on the wind, gave a touch of the
+ludicrous to the boyish hat which, in its turn, lent more drollery than
+dignity to the sanctified face of the old theologian. Who has not seen
+just such, or a similar sight, and laughed? Who has not, with the
+generosity common to us all, concluded these were the mistakes and
+self-delusions of neighbors, relatives, and friends, in which we had no
+share?
+
+I understand how it is with you. I am one of you. Before I studied our
+common errors I smiled at my neighbor's lack of taste, reconstructed my
+friends, and cast contemptuous criticism upon my enemies. One day I took
+a look at myself, and realized that "I, too, am laughable on unsuspected
+occasions."
+
+The humbling knowledge of seeing myself objectively, gave me courage to
+speak to the heart of you certain home truths which concern us all, in
+homely language which we can all understand.
+
+That you may discern the comicality and waggery in ill-chosen clothes, I
+have endeavored to hint to you in these talks some of the ways gew-gaws
+and garments make game of us.
+
+May you discover that your dress is not making you a laughable object;
+but if, by any chance, you should note that your clothes are
+caricaturing you, take heart. Enjoy the joke with the mirth that heals
+and heartens, and speedily correct your mistakes.
+
+The lines of your form, the modelling of your face, are they not worthy
+of your discerning thought? Truly! Whatever detracts from them detracts
+from sculpture, painting, and poetry, and the world is the loser.
+
+A word to the thinking is sufficient.
+
+D.Q.
+
+
+
+
+CONTENTS.
+
+
+PREFACE
+
+
+CHAPTER I.
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR
+
+    Style for Wedge-Shaped Faces
+    Style for Heavy Jaws
+    Style for Eyes Set Too High
+    Style for Eyes Set Too Low
+    Style for Long Faces with Long Noses
+    For Faces with Protruding Noses
+
+
+CHAPTER II.
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR
+
+    The Magic of the Bonnet
+    Style for Women with Broad Face and Heavy Chin
+    Style for Women with Tapering Chin
+    Hat for the Chubby Woman
+    For Women Who Have Sharp and Prominent Profiles
+    For the Woman with an Angular Face
+    Women Who should Not Wear Horns
+
+
+CHAPTER III.
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES
+
+    Style for Tall Slender Women
+    The Coat the Short Stout Women should Wear
+    The Cloak or Cape for a Tall Women
+
+
+CHAPTER IV.
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED
+
+
+CHAPTER V.
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS
+
+
+CHAPTER VI.
+
+HINTS ON DRESS FOR ELDERLY WOMEN
+
+
+CHAPTER VII.
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES
+
+
+
+
+WHAT DRESS MAKES OF US.
+
+       *       *       *       *       *
+
+CHAPTER I.
+
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.
+
+The pleasing, but somewhat audacious statement of the clever writer who
+asserted, "In the merciful scheme of nature, there are no plain women,"
+is not as disputable as it may seem. Honest husbands, to be sure, greet
+the information with dissenting guffaws; gay deceivers reflect upon its
+truth by gallantly assenting to it, with a mocking little twinkle in
+their eyes; and pretty women, upon hearing it, remark sententiously
+"Blind men and fools may think so." Discerning students of womankind,
+however, know that if every woman would make the best of her
+possibilities, physically, mentally, and spiritually, it would be
+delightfully probable that "in the merciful scheme of nature" there need
+be no plain women.
+
+Have we not Lord Chesterfield's word for it, that "No woman is ugly when
+she is dressed"?
+
+It is no unworthy study to learn to make the best of, and to do justice
+to, one's self. Apropos of this, to begin--where all fascinating
+subjects should begin--at the head, it behooves every woman who wishes
+to appear at her best, to study the modelling of her face that she may
+understand both its defective and perfect lines. By a proper arrangement
+of her hair a woman can do much to obscure or soften her bad features,
+and heighten the charm of her good ones.
+
+Romancers have written, and poets have sung, of the bewitchment in
+nut-brown locks, golden tresses, and jetty curls. Every woman, if so
+inclined, may prove for herself the transfiguring effect in a becoming
+coiffure. In fact, the beauty of a woman's face and her apparent age are
+greatly affected by the way she wears her hair.
+
+A most important detail that too few consider, is, the proper direction
+in which to comb the hair. Women literally toss their tresses together
+without any attention to the natural inclination of the individual
+strands or fibres. They comb their hair "against the grain." Those who
+do so never have beautifully and smoothly arranged coiffures. Each
+little hirsute filament has a rebellious tendency to go in the direction
+nature intended it should, and refuses to "stay where it is put," giving
+the head in consequence, an unkempt and what is termed an "unladylike"
+appearance. The criss-cross effect resulting from combing and arranging
+the hair contrary to "the grain" is conspicuously apparent in the
+coiffure of no less a personage than Eleanora Duse, who, as may be seen
+from the picture, pays little attention to the natural tendency of the
+dark tresses that cover her shapely head. The bang has the dishevelled
+appearance of a pile of jack-straws. The side-locks instead of being
+combed or brushed to follow the contour of the head, fall loosely and
+fly in opposite directions.
+
+[Illustration: NO. 2]
+
+The difference in appearance between the women of the smart sets in
+America and those of less fashionable circles is due, in a great
+measure, to the beautifully dressed coiffures of the former. A
+hair-dresser arranges, at least once a week, the hair of the modish
+woman if her maid does not understand the art of hair-dressing. Many
+women of the wealthy world have their maids taught by a French coiffeur.
+
+A wise woman will adopt a prevailing mode with discretion, for, what may
+be essentially appropriate for one, may be fatally inappropriate for
+another. In adjusting her "crown of glory" a woman must consider the
+proportions of her face. She should be able to discern whether her eyes
+are too near the top of her head or, too far below; whether she has a
+square or wedge-shaped chin; a lean, long face, or a round and
+bountifully curved one. She should be alert to her defects and study
+never to emphasize nor exaggerate them.
+
+Why, through stupidity or carelessness, make a cartoon of yourself,
+when with a proper appreciation of your possibilities you can be a
+pleasing picture? It is just as glorious to be a fine picture or a poem
+as it is to paint the one, or write the other. Indeed, a woman who
+harmoniously develops the best within her has the charm of an exquisite
+poem and inspires poets to sing; and if by the grace and beauty of her
+dress she enhances her natural endowments and makes herself a pleasing
+picture, the world becomes her debtor.
+
+In the important matter of becomingly arranging the hair, the following
+sketches and suggestions may hint to bright, thinking, women what
+styles to choose or avoid.
+
+
+For Wedge-Shaped Faces.
+
+[Illustration: NO. 3]
+
+[Illustration: NO. 4]
+
+The least-discerning eye can see that the wedge-Shaped face No. 3 is
+caricatured, and its triangular proportions made more evident, by
+allowing the hair to extend in curls or a fluffy bang on either side of
+the head. Women with delicately modelled faces with peaked chins should
+avoid these broad effects above their brows.
+
+It is obvious in the sketch No. 4, that the wedge-shaped face is
+perceptibly improved by wearing the hair in soft waves, or curls closely
+confined to the head and by arranging a coil or high puff just above and
+in front of the crown. This arrangement gives a desirable oval effect to
+the face, the sharp prominence of the chin being counteracted by the
+surmounting puffs.
+
+
+For Heavy Jaws.
+
+It may readily be seen that a woman with the square, heavy-jawed face
+pictured by No. 5, should not adopt a straight, or nearly straight,
+bang, nor wear her hair low on her forehead, nor adjust the greater
+portion of her hair so that the coil cannot be seen above the crown of
+her head. The low bang brings into striking relief all the hard lines of
+her face and gives the impression that she has pugilistic tendencies.
+
+[Illustration: NO. 5]
+
+To insure artistic balance to her countenance, and bring out the womanly
+strength and vital power of her face, her hair should be arranged in
+coils, puffs, or braids that will give breadth to the top of her head as
+shown by No. 6. A fluffy, softly curled bang adds grace to the forehead
+and gives it the necessary broadness it needs to lessen and lighten the
+heaviness of the lower part of the face. A bow of ribbon, or an aigrette
+of feathers, will add effectively the crown of braids or puffs which a
+wise woman with a square jaw will surmount her brow if she wishes to
+subdue the too aggressive, fighting qualities of her strong chin.
+
+[Illustration: NO. 6]
+
+
+For Short Faces.
+
+The sisterhood who have short, chubby faces should, in a measure,
+observe certain rules that apply in a small degree to those who have
+heavy chins.
+
+As may be observed even with a casual glance, the little short-faced
+woman depicted by No. 7, causes her round facial disk to appear much
+shorter than it really is by allowing her hair to come so far down on
+her forehead. She further detracts from her facial charms by wearing
+"water-waves." Water-waves are scarcely to be commended for any type of
+face, and they are especially unbecoming to the woman who is
+conspicuously "roly-poly." The round eyes, knobby nose, and round mouth
+are brought into unattractive distinctness by being re-duplicated in the
+circular effects of the hair. This mode of dressing the hair makes a
+short face look common and insignificant.
+
+[Illustration: NO. 7]
+
+Do you not see that this type is immensely improved by the arrangement
+of the coiffure in No. 8? By combing her hair off her forehead her face
+acquires a look of alertness and intelligence, besides being apparently
+lengthened. She can wear her bang in soft crimps brushed back from her
+brow, if this plain arrangement is too severe.
+
+[Illustration: NO. 8]
+
+
+For Eyes Set Too High.
+
+A low forehead is supposed to be a sign of beauty in woman. The brows of
+the famous Venuses are low and broad. Perhaps for this reason many women
+wear their hair arranged low upon their foreheads. Whether the hair
+should be worn low on the brow depends chiefly on two things,--"the
+setting of the eyes, and the quality of the face."
+
+[Illustration: NO. 8-1/2]
+
+A good rule to observe is the artistic one, to the effect that "the eyes
+of a woman should be in the middle of her head." That is, if an
+imaginary line were drawn across the top of the head and another below
+the chin, exactly midway between the two the eyes should be set.
+
+The Japanese type of woman should carefully observe the foregoing hint.
+
+Observe No. 8-1/2. Nature has not been artistic. The eyes are too near
+the top of the head. The defect is exaggerated and emphasized by the
+wearing of the hair low on the forehead. In some faces of this type the
+face is brutalized in appearance by this arrangement. The expression and
+whole quality of the countenance can be greatly improved by arranging
+the hair as shown by No. 9, which is the soft Pompadour style. The
+Duchess of Marlborough, formerly Consuelo Vanderbilt, frames her naïve,
+winsome face, which is of the Japanese type, in a style somewhat like
+this. Her dark hair forms an aureole above her brow, and brings into
+relief the dainty, oval form of her face. Even simply brushing the hair
+off the forehead without crimp or roll will improve the appearance of
+this type of face and give it a better artistic balance.
+
+[Illustration: NO. 9]
+
+[Illustration: NO. 10]
+
+
+For Eyes Set Too Low.
+
+Women whose eyes are set too far down in their faces should adopt a mode
+of arranging their hair exactly the opposite of those whose eyes are set
+too near the top of their heads.
+
+It is apparent that No. 10 exaggerates the distance of her eyes from the
+crown of her head, and makes them appear to be set lower than they
+really are by building her hair high, and by brushing her bang back so
+severely from her brow. A bald forehead is rarely becoming to any
+woman. A few stray curls or soft waves lend grace to even the most
+perfect of brows.
+
+[Illustration: NO. 11]
+
+By bringing the hair down over the forehead, as suggested in No. 11, a
+woman with this type of face can easily improve her appearance. By this
+graceful arrangement her face loses the childish and sometimes stupid
+expression that is peculiar to the type, as may be discerned in No. 10.
+When the hair is properly arranged this element of childlikeness lends a
+certain appealing sweetness not unattractive even in the faces of
+matured matrons. By dressing the hair low so the coil does not appear
+above the crown, as in No. 11, the eyes are apparently properly placed.
+
+
+For Long Faces with Long Noses.
+
+The woman who wears her silken tresses arranged on either side of her
+head, draped like curtains from a central parting, is to be envied if
+she can do it and yet look young and pretty. She is the Madonna type and
+seems to possess all the attributes of gentleness, modesty, and
+meekness, and angelic sweetness that are supposed to characterize the
+distinctively feminine woman. This is the ideal style of coiffure much
+bepraised by man, because, according to a bright modern Amazon, "it
+makes a woman look so meek."
+
+[Illustration: NO. 12]
+
+The only type to which it is really becoming is the Italian. The type
+with _matte_ complexion, soft eyes, finely chiselled nose, and
+delicately oval chin, look ideally sweet and feminine with the hair
+arranged _à la_ Madonna.
+
+[Illustration: NO. 13]
+
+Long faces of the form pictured by No. 12 exaggerate the longness and
+leanness of their faces by wearing their locks like looped curtains. A
+long nose with two long lines on either side of the cheek seems longer
+than it is, as the observer may discern three lines instead of only the
+nasal one, and the impression of longness is emphasized. Not only is
+the length of the countenance made more noticeable, but years and years
+are apparently added to the actual age.
+
+That No. 13, which shows a parting and soft waves that do not come below
+the ears, is to be preferred by a woman whose features are of this
+character need hardly be explained. The improvement in looks is quite
+obvious.
+
+[Illustration: NOS. 14 AND 15]
+
+No. 14 is an example of a misguided woman of the pudgy type who, for
+some inexplicable reason, arranges her hair in the Madonna style. It is
+utterly unsuited to her face. Unless her ears are deformed this style of
+hirsute lambrequins should not be worn by a full, round-faced woman.
+The arrangement sketched in No 15 adds effectively to her appearance,
+not only making her look younger, but less inane.
+
+[Illustration: NO. 16]
+
+
+For Faces with Protruding Noses.
+
+Women with decidedly protruding, or irregular, tip-tilted noses should
+be especially careful in arranging their coiffures.
+
+Any woman who arranges her hair as in sketch No. 16 caricatures her
+facial defects by increasing the too protuberant lines of her nose. The
+distance from the end of her nose and the tip of the topmost knot of
+hair is too long for either beauty or intelligence. The shape of her
+head acquires idiotic proportions, and her nose is placed entirely "out
+of drawing" and is obtrusively conspicuous when seen in profile. This
+type of woman is generally classified among the inquisitive, bright, and
+energetic. She should aim to modify the unhappy angularity of her
+profile as well as to repress her gossipy tendencies. The graduated coil
+of hair and waved coiffure, shown by No. 17, are most felicitous in
+their effect on this type of face.
+
+[Illustration: NO. 17]
+
+[Illustration: NO. 18]
+
+No. 18 reveals an error in an opposite direction. The snubbed-nose girl,
+by fixing her hair in a bun-like coil, gives the impression that her
+coiffure is held by invisible strings by her nose, which gets a more
+elevated look than it otherwise would have, because of the bad angle at
+which the coil is placed.
+
+[Illustration: NO. 19]
+
+No. 19, which is a picturesque variation of the popular coif, manifestly
+improves this type of face, and makes the nose appear less obtrusive.
+
+A woman should carefully study the contour of her head from every side;
+the modelling of her face; the length and inclination of her nose; the
+setting of her eyes; and the breadth and form of her brow, and adopt a
+becoming coiffure that will give artistic balance to her face, and never
+absolutely change the style whatever the mode in hair-dressing may be.
+In England, the court hair-dresser years ago studied the character of
+the head and face of the Princess of Wales, and designed a coiffure for
+her which she has never varied until recently; then she merely arranged
+her fringe lower down on her forehead than she has ever worn it before.
+The general style, however, she preserves intact, and wears her hair,
+and has for many years, as is shown in the picture--No. 20. Her
+daughters, who have faces the same shape as hers, dress their coiffures
+similarly. In never changing the style of arranging her hair, the
+Princess of Wales owes in no small degree her apparent air of
+youthfulness.
+
+[Illustration: NO. 20]
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER II.
+
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR.
+
+Closely allied to the subject of hair-dressing is that of head-gear.
+Indeed many of the hints regarding appropriate coiffures for certain
+styles of faces are equally applicable to the selection of suitable hats
+and bonnets. The choosing of millinery is the more momentous of the two,
+of course, for I need scarcely remind you that Nature left us no choice
+in hair. No matter what its color or texture we desire to keep it and if
+we are wise we will make the best of it.
+
+In regard to hats we are personally responsible and our follies are upon
+our own heads.
+
+The power of caricature being greater in hats than in hair-dressing, is
+it not fit that we should give careful and intelligent consideration to
+the selection of our millinery that the ugly lines in our otherwise
+beautiful faces may not be at the mercy of mocking bunches of ribbons,
+comically tilted straws, or floppy bits of lace?
+
+The Magic of The Bonnet.
+
+Once upon a time, I think that was the exact date, there was a man
+distinguished in a certain kingdom as the ugliest person in the realm.
+According to a blithe romancer, he was so distinctively unpleasing in
+form and feature that he challenged the attention of the king who, in
+whimsical mood, made him a royal retainer. The man so conspicuously
+lacking in beauty enjoyed his eminent position and privileges for some
+time. But even ugliness, if it attain distinction, will excite envy in
+the low-minded. A former associate of the unbeautiful man in invidious
+temper brought the news one day to the king, that there was an old
+woman in his domain that was uglier than the lowly-born man who by
+kingly favor held so high a place. "Bring her to the court. Judges shall
+be called to decide. If she is uglier she shall stay and he shall go,"
+was the royal mandate. When the old woman appeared she was easily
+decided to be by far the uglier of the two. At the critical moment when
+the king was upon the eve of dismissing the man from his retinue, a
+friend of the unfortunate shouted, "Put her bonnet on him!" This was
+done, and lo! a fearful change was wrought. By unanimous acclamation he
+was declared to be "the ugliest creature on earth."
+
+The old woman, true to the instincts of her sex, refused to wear her
+bonnet again. Like many of her sisters of modern times, she had not
+before discovered the possibilities in a bonnet to enhance the beauty of
+the face or decrease its charms.
+
+If woman could see themselves objectively, as did the old woman, they
+would keenly realize the necessity of considering the lines of hat or
+bonnet in relation to those of their faces, and would learn to obscure
+defects and bring into prominence their prettiest features.
+
+As there are a few rules to govern what each type should select, every
+one of the fair sisterhood has an equal opportunity to improve her
+appearance by selecting in the millinery line the distinctive adornment
+suited to her individual style.
+
+[Illustration: NO. 22]
+
+
+For Women with Broad Face and Heavy Chin.
+
+By a curious law of contrariety the woman with a broad, heavy chin seems
+to have an ungovernable penchant for trig little round bonnets, or trim
+turbans with perky aigrettes, like that in sketch No. 22. By obeying
+this wilful preference she obscures whatever delicacy may be in the
+modelling of her features and brings into conspicuous relief the
+ugliest lines of her face. Her chin is apparently increased in heaviness
+and the broadness of her face is made prominent. She could easily have
+restored the artistic balance to her facial lines by wearing a large
+hat, rather heavily trimmed, as in No. 23, thus effectively modifying
+the strong curves of the chin and signally improving her appearance. If
+a woman's face is fairly proportioned, not too short for its breadth,
+and she can not afford plumes, this type of woman can still give a
+becoming balance to her face by adopting hats that are trimmed with
+flamboyant bows that flare horizontally across the hat, diverging from a
+central knot in the from.
+
+[Illustration: NO. 23]
+
+
+For the Woman with Tapering Chin.
+
+[Illustration: NO. 24]
+
+The woman who is the exact opposite of the type with the ample lower
+jaw, but whose chief disadvantage lies in her broad, manly brow and tiny
+tapering chin, should avoid all horizontal trimmings, bows or broad
+hat-brims. It is clear, in No. 24, that such trimmings increase the
+wedge-like appearance of the face and give it the grotesque suggestion
+of an ordinary flower-pot in which grows a sickly plant. This type can
+perceptibly improve upon nature by choosing the style of hat and
+neck-gear shown by No. 25.
+
+[Illustration: NO. 25]
+
+The crinkly ovals that form the brim of the hat, and the soft, graceful
+arrangement of the hair in front that decreases the too broad effect of
+the brow, and the full fluffy ruff snuggled up closely to the chin,
+produce a pleasing transformation of the meagre-looking original that
+to the uninitiated seems little short of magical. The broad, cravat-like
+bows, and the flaring ones known as "incroyables," were beneficently
+wedge-like faces and throats that have lost the seductive curves of
+youth.
+
+
+Hat for the Chubby Woman.
+
+[Illustration: NO. 26]
+
+That amiable type of woman formed conspicuously upon the circular plan
+often unconsciously impresses the fact of her fatal tendency to
+rotundity by repeating the roundness of her globular eyes, the disk-like
+appearance of her snub nose and the circle of her round mouth, and the
+fulness of her face by wearing a little, round hat in the style
+portrayed by No. 26.
+
+[Illustration: NO. 27]
+
+The curls of her bang, the feathers in her hat, the high collar of her
+jacket make more significant the fact that her lines are not artistic
+and that her face is unbeautifully round. She can enhance her charms and
+apparently decrease the too spherical cut of her countenance by adopting
+the mode illustrated in No. 27. The angular bows on the hat, the
+geometric lines of the broad hat-brim, the precise cut of the lapels on
+the corsage, the neat throat-band and V-shaped vesture--all insinuate in
+a most engaging way a dignity and fine, high-bred poise totally
+obliterated by the circular style of dress erroneously adopted by the
+misguided woman in No. 26.
+
+[Illustration: NO. 28]
+
+
+For Women Who Have Sharp and Prominent Profiles.
+
+In buying a hat many of the "unfair sex"--as the modern wag dubs the
+progressive sisters who wish to have all man's rights and privileges and
+keep their own besides--never seem to consider their heads but from a
+front point of view. In consequence, as sketch No 28 hints, a head seen
+from the side frequently appears, if not idiotically, very
+inartistically, proportioned.
+
+[Illustration: NO. 29]
+
+Occasionally a hat presents as comical an effect in a from as in a side
+view, as may be seen in No. 29. The wearer was an elderly woman with
+gray hair which hung down in a half-curled bang on either side of her
+thin face. Her hat which was simply "dripping" with feathers suggested a
+fanciful letter "T" and exaggerated the thinness of her face in a
+remarkably funny way. The feathers overhanging the brim increased the
+broadness of the hat, and looked singularly waggish fluttering against
+the spriggy-looking projections of gray hair. The rules for the
+wedge-shaped face, as may readily be discerned, apply here.
+
+[Illustration: NOS. 30 AND 31]
+
+Women who have sharp and prominently outlined profiles have a curious
+tendency to choose hats, the brims of which project too far forward in
+front, and turn up too abruptly and ungracefully in the back.
+
+As shown in No. 30 the protruding brim gives the head and face the
+unattractive proportions of the capital letter "F." The length of the
+nose is emphasized by the line of the hat-rim above it and it appears
+unduly obtrusive. The flat arrangement of the hair and the curve of the
+hat-brim in the back also exaggerate the obtrusive qualities of the
+features. By choosing a hat somewhat similar to the one sketched in No.
+31, the unattractive sharpness of the profile is modified, and the
+alert, agreeable quality of the face, that was obscured by the
+shelf-like brim, becomes apparent. The observer feels, if he does not
+voice it, that it is a progressive spirit advancing forward instead of
+an ungainly head-piece that looks like a curious trowel.
+
+
+For the Woman with an Angular Face.
+
+[Illustration: NOS. 32 AND 33]
+
+The woman with the angular features presented in No. 32 should not wear
+a sailor-hat or any hat with a perfectly straight rim.
+
+The sailor-hat or any style bordering on it should be selected with
+utmost discrimination. This mode is unbecoming to a woman more than
+forty; or, to one who through grief or worry prematurely attains a look
+of age, or to one whose features are irregular. The straight brim across
+the face is very trying. It casts a shadow deepening the "old marks"
+and instead of being a frame to set off, it seems to cut off, the face
+at an inartistic angle.
+
+The woman with angular features, as may be seen by No. 33, can wear with
+impunity, and always should wear, a hat the brim of which is waved,
+turned, twisted, or curved in graceful lines. The uneven brim of her hat
+makes an effective complement to the angularity of her chin, which is
+further softened by the feathery ruff that encircles her throat. The
+curves of the ostrich plumes, and the studied carelessness of the
+arrangement of her coiffure, subdue the angles of her face which are
+brought out in unbecoming prominence by the sailor-hat.
+
+
+Women Who should Not Wear Horns.
+
+The velvet horns on either side of a hat, the steeple-like central
+adornments that were once much in favor, and the Mercury wings that
+ornament the coiffure for evening dress, produce some startling,
+disagreeable, and amusing effects not altogether uninteresting to
+consider.
+
+Faces in which the eyes are set too near the forehead acquire a scared
+look by being surmounted by a bonnet upon which the trimming gravitates
+to a point in an arrangement not unsuggestive of a reversed fan, horns,
+or a steeple.
+
+The most unpleasing developments result from the wearing of the
+horn-like trimmings either in velvet or jet. If the face above which
+they flare has less of the spiritual than the coarse propensities in it,
+the grotesque turns and twists in the head-gear emphasize the animality
+in the lines characteristic of low-bred tendencies, and the whole
+countenance is vulgarized. One face acquires the look of a fox, another
+of a certain type of dog, and so on.
+
+The most amusing exaggerations of distinctive facial lines are produced
+by Mercury wings. The good-natured woman of the familiar type depicted
+in No. 34 brings every bovine attribute of her placid countenance into
+conspicuous relief by surmounting her face with the wings of the
+fleet-footed god. The cow-like form and serenity of her features are
+made laughably obvious.
+
+[Illustration: NO. 34]
+
+Short, delicately-faced women can adorn their coiffures with Mercury
+wings with most charming results. Wings, or perpendicular bows, add
+length to the lines of the short face, giving it a certain suggestion
+of refinement and distinction that is wholly destroyed by the wearing of
+any trimmings that show at the sides.
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER III.
+
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES.
+
+Mme. La Mode, much misrepresented as are all who are embarrassed with
+world-wide popularity always considers when designing fashions that
+women vary in form, as in mood. She suits all needs, although this fact
+has never been cast to her credit. With a beautiful sense of
+adjustment--as obvious as that in Nature, that projects the huge
+watermelon to ripen on a slender vine on the ground and swings a
+greengage plum on the stout stem of a tree to mature in storm or
+shine--Mme. La Mode, arbiter of styles, balances her fashions.
+
+Never came the big hat without the small bonnet. Accompanying the long
+cloak is the never-failing short cape. Side by side may be found the
+long coat and the short, natty jacket. This equilibrium in wearing
+apparel may be traced through all the vagaries of fashion.
+
+Everybody's need has been considered, but everybody has not considered
+her need.
+
+The short, stout woman passes by the long coat better adapted to her
+and seizes a short jacket--a homeopathic tendency of like suiting like,
+sometimes efficacious in medicine, but fatal in style.
+
+
+Style for Tall Slender Woman.
+
+The very tall, slender woman frequently ignores a jaunty jacket and
+takes a long coat like that shown in No. 36.
+
+To even the sluggish fancy of an unimaginative observer she suggests a
+champagne bottle, and to the ready wit she hints of no end of amusing
+possibilities for caricature.
+
+The very tall woman should know that long lines from shoulder to foot
+give height, and she must discerningly strive to avoid length of line
+in her garments until she dons the raiment of the angels.
+
+[Illustration: NOS. 36 AND 37]
+
+Horizontal lines crossing the figure seem to decrease height, and should
+be used as much as possible in the arranging and trimming of the tall
+woman's garments.
+
+By selecting a shorter coat equally modish, as shown by No. 37, the too
+tall woman shortens her figure perceptibly.
+
+The belt cuts off from her height in a felicitous way, and the collar,
+also horizontal, materially improves the size of her throat. The high
+collar, such as finishes the coat, in No. 36, adds to the length. Those
+who have too long arms can use horizontal bands on sleeves most
+advantageously.
+
+
+The Coat the Short Stout Woman should Wear.
+
+The short jacket that so graciously improved the appearance of the
+slender specimen of femininity is sinister in its effect on the short,
+stout woman, in sketch No. 38. It should be the study of her life to
+avoid horizontal lines. Length of limb is to be desired because it adds
+distinction. Her belt, the horizontal effect of the skirt of the jacket,
+the horizontal trimming of the bottom of the skirt, all apparently
+shortening her height, tend to make her ordinary and commonplace in
+appearance.
+
+[Illustration: NOS. 38 AND 39]
+
+If her hips are not too pronounced she can wear the long coat, shown in
+picture No. 39. The V-shaped vesture gives her a longer waist, and the
+long lines of the revers add to the length of her skirt. If her hips are
+too prominent, she should avoid having any tight-fitting garments that
+bring the fact into relief. She should not wear the long coat, but she
+can effectively modify it to suit her needs, by only having a skirt, or
+tabs, or finishing straps in the back. If her jacket or basque is
+finished off with a skirt effect, it is best to have the little skirt
+swerve away just at the hip-line, half revealing and half concealing it.
+
+The front should be made in a jacket effect, finishing just at the
+waist-line and opening over a blouse front that will conceal the
+waist-line. It is best for the too short, stout woman to obscure her
+waist-line as much as possible, to apparently give her increase of
+height.
+
+To put the waist-line high up adds to length of limb, and, of course, is
+to be desired, but the fact that what is added below is taken from above
+the waist, should impel careful discrimination in the arrangement of
+this equatorial band.
+
+
+The Cloak or Cape for a Tall Woman.
+
+The long circular cloak is another graceful garment that can be worn
+with charming effect by the woman of classic height, but should never be
+in the wardrobe of a very tall woman except for use at the opera, when
+its service is chiefly required in the carriage, or when its wearer is
+sitting. It is so obvious, in sketch No. 40, that the vertical lines the
+folds of the cloak naturally fall into give a steeple-like appearance to
+the tall woman it enfolds, that it is scarcely necessary to comment upon
+it.
+
+[Illustration: NO. 40]
+
+That her judicious selection should have been the short cape, which
+comes, as all capes should, to be artistic, well below the elbows, is
+clearly illustrated in picture No. 41. The horizontal trimming very
+becomingly plays its part in the generally improving effect.
+
+[Illustration: NO. 41]
+
+The one who can wear the long cloak in an unchallengeable manner is the
+short, stout woman, shown in sketch No. 42.
+
+By wearing the short cape with circular, fluffy collarette, sketched in
+No. 43, she gives herself the look of a smothered, affrighted Cochin
+China chicken; or, as an imaginative school-girl remarked of her mother
+who wore a cape of similar style, "she looks as if her neck were
+encircled by bunches of asparagus."
+
+[Illustration: NOS. 42 AND 43]
+
+The military dignity she acquires by wearing the long cape is becoming
+to a degree, and gives her distinction in form.
+
+By remembering that horizontal trimmings apparently decrease the
+height, and that vertical lines add to it, those who desire to appear at
+their best will use discernment in dividing their basques with yokes, or
+corsage mountings at the bust-line or frills at the hip-line.
+
+A flounce on the corsage at the bust-line, another at the hip-line, and
+yet another at the bottom of the shirt, increases the impression of
+bulkiness most aggressively and gives a barrel-like appearance to the
+form of a stout woman that is decidedly funny, as may be seen in sketch
+No. 44.
+
+A study of the lines of the form will not only aid one in adopting a
+more becoming style of dress, but will sharpen the artistic
+perceptions, thus adding to the joy of life.
+
+[Illustration: NO. 44]
+
+"A beautiful form is better than a beautiful face" and should be clothed
+so that its lines may appear at their best, and not be exaggerated and
+caricatured. The figure is seen many more times than the face, and the
+defects of the former are more conspicuous than those of the latter.
+
+Do not be unjust to your beautiful body, the temple of your soul; above
+all, do not caricature it by selecting your clothes with
+indiscriminating taste.
+
+NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER IV.
+
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.
+
+She was from the middle-West, and despite the fact that she was married,
+and that twenty-one half-blown blush roses had enwreathed her last
+birthday cake, she had the alert, quizzical brightness of a child who
+challenges everybody and everything that passes with the
+countersign--"Why?" She investigated New York with unabashed interest,
+and, like many another superior provincial, she freely expressed her
+likes and dislikes for its traditions, show-places, and people with a
+commanding and amusing audacity.
+
+Her objections were numerous. The chief one that made a deep impression
+upon her metropolitan friends was her disapproval of Sarah Bernhardt's
+acting. The middle-Westerner, instead of becoming ecstatic in her
+admiration, and at a loss for adjectives at the appearance of the divine
+Sarah, merely perked at the great French artist for some time and then
+demanded, querulously: "What's the matter with her? Why does she play
+so much with her back to the audience? I don't like it."
+
+It was a shock to the adorers of Sarah Bernhardt to hear her so
+irreverently criticised. They loyally united in her defence, and sought
+to squelch the revolter by loftily explaining that the actress turned
+her back so often to the audience because she had such a noble, generous
+nature and desired to give the other actors a chance. "She lets them
+take the centre of the stage, as they say in the profession," remarked
+one of the party, who prided herself upon being versed in the _argot_ of
+the theatre.
+
+"But she plays with her back to the audience when she is speaking and
+acting, and everybody else on the stage is still but herself,"
+petulantly insisted the Western Philistine, showing no signs of defeat.
+
+The situation was not wholly agreeable. The worshippers of Sarah could
+say nothing more in justification of her turning her back on them, but,
+with true feminine logic, concluded, "If Sarah Bernhardt turns her back
+on the audience it is right, and that is all there is to say."
+
+Just at this dramatic moment a voice from the adjoining row
+providentially interposed. The voice belonged to a well-known exponent
+of physical culture, who was never so happy as when instructing the
+intellectually needy. She said: "I will tell you why she plays with her
+back towards the audience more than any other actress upon the stage
+to-day." The middle-Westerner, no less impressed than her metropolitan
+friends, listened eagerly.
+
+The exponent of straight backs and high chests explained didactically:
+"The back is wonderfully expressive; indeed it is full of vital
+expression. Bernhardt knows this better than any other actress because
+she has studied statuary with the passion of a sculptor, and because she
+understands that, not only the face, but the entire physical structure,
+is capable of expressing dramatic emotions. Strong feeling and action
+may be strikingly revealed by the back. Imprecations, denunciations,
+even prayers, seem to be charged with more force when an actress
+delivers them with her back turned, or half-turned to the audience.
+
+"Bernhardt's back expresses a storm of fury when she imprecates
+vengeance," said the voice of authority. "Not only on the stage is the
+expression of the back discernible, and a knowledge of its character
+valuable, but in every-day life in drawing-room and street. How many
+women consider their backs when they dress? Look at the backs here
+deformed by laces and fallals," she went on contemptuously. "The
+majority of women never look below their chins and I believe not one in
+ten ever looks thoughtfully at her back," she said emphatically.
+
+The dramatic value of a well-poised, expressive back may only concern
+the thousands of young women who are aspiring to be a Sarah Bernhardt or
+a Rachel; but a knowledge of what constitutes a properly and
+artistically clothed back should be of interest to all women in
+civilized countries.
+
+That there is much truth in the assertion that "the majority of women
+never look below their chins, and not one in ten ever looks
+thoughtfully at her back," every observer of womankind might testify.
+
+[Illustration: NO. 45]
+
+The open placket-hole and sagging waist-band, sketched in No. 45, is an
+all too familiar sight that advertises the fact that too few women take
+even a cursory look at their backs. Fathers and brothers who wish to
+protect their womankind from adverse criticism frequently give impromptu
+lectures upon this very subject, as this slovenly arrangement of skirt
+and basque is not only seen in Grand Street, Second Avenue, and equally
+unfashionable quarters, but in Fifth Avenue where the modish set are _en
+évidence_. If the dainty safety-pin displayed in No. 46, goes out of
+vogue, the time-honored custom of sewing hooks to the waist-band of the
+dress, is always in fashion. Indeed, many women prefer this way of
+connecting separate skirt and waist to using a conspicuous pin. This is
+almost too trivial a detail to discourse upon, but it is as true that
+details make dress as it is that "trifles make life"--and neither life
+nor dress is a trifle.
+
+[Illustration: NO. 46]
+
+The offence in No. 45 is more the result of untidiness than of a lack of
+artistic discrimination. Nos. 46-1/2 and 47, on the contrary, outrage
+the laws of art, and display ignorance of the value and beauty of lines.
+
+No. 46-1/2 might serve to conceal a deformity of the shoulders. That
+really seems its only excuse for being. The full, ugly, straight pleat
+that falls to just below the waist-line lends neither grace nor style to
+the figure. It is too short to give the distinction and dignity that
+handsome wraps with long lines almost invariably do, although they seem
+to add age to the form. There is a hint of youth in this ungraceful
+jacket to be sure, but it is not especially attractive in its suggestion
+of youthfulness.
+
+[Illustration: NO. 46-1/2]
+
+[Illustration: NO. 47]
+
+No. 47, with a line at the neck-band, crossed bands in the centre of the
+shoulders, and lines across the back, is obviously inartistic. The back
+of a Venus, even, would be detracted from by such criss-crossed effects.
+Happy the woman who has so shapely a back she can afford to allow her
+waist to fit smoothly and plainly, unbroken by any conspicuous lines. If
+bands must be used to remedy the deficiencies of ungenerous Nature, let
+them be at the neck and waist; and if the back is unconscionably long, a
+band, or fold, or ruffle across the shoulders is to be commended.
+
+[Illustration: NO. 48]
+
+No. 48 reveals a glaring error frequently made by the thin sisterhood. A
+tall, slender woman with a long waist, should not emphasize her length
+of lines by wearing pointed or V-shaped effects. The V-shaped
+arrangement, either in cut or trimmings, apparently increases her
+"longness and leanness." She should aim to shorten her waist instead of
+lengthening it as the basque finished with a point obviously does. The
+drooping sleeves elongate her shoulder-lines, and bring into clearer
+relief her meagre proportions. She can easily improve her appearance by
+adopting either style of gown portrayed by Nos. 49, or 50. The broad
+belt at the waist-line in No. 49, and the flamboyant lace or braided
+piece that adorns the shoulders, perceptibly adds to her breadth and
+decreases her length.
+
+[Illustration: NO. 49]
+
+[Illustration: NO. 50]
+
+No. 50 is a felicitous cut for a street dress for a slim sister. The
+jaunty bloused waist smartly conceals deficiencies in fine points.
+
+The tall, thin sisterhood should eschew pointed effects and study to
+attain apparent breadth by using trimmings arranged horizontally. Bands
+of velvet, braid in waved lines, ruffles, and not too deeply cut
+scallops, may be used effectively by the very slender, who sometimes
+appear as if they are "without form and void," as the earth was "in the
+beginning."
+
+[Illustration: NO. 51]
+
+No. 51 is an exposition of the mistake made by the sturdy sisterhood of
+stout and pendulous proportions. It is plain to be seen that the fluffy
+ruche at the throat-band, and the ruffle at the shoulder, and the
+spreading bow at the waist, and the trimmed sleeves, add bulkiness to a
+form already too generously endowed with flabby rotundity. Corpulent
+women must forego the swagger little basques or any sort of short,
+flounced effects below the waist-line.
+
+[Illustration: NO. 52]
+
+[Illustration: NO. 53]
+
+Nos. 52 and 53 are eminently adapted to the matron of ample dimensions.
+One observer of beauty-giving effects has not unadvisedly called the
+waist-line "the danger-line." A stout sister, above all others, should
+not accentuate the waist-line. She should conceal it as much as
+possible. The coat back of No. 52 apparently lengthens the waist.
+
+The same effect is produced by the arrangement of ribbons in No. 53, and
+by the long-pointed basque. V-shaped effects and long-pointed basques
+are as becoming to those burdened with flesh as they are unbecoming to
+tall, thin women.
+
+Long, graceful folds and draperies are admirable for the stout
+sisterhood, who should avoid short sacques and tight-fitting garments
+that give the on-looker an uncomfortable impression; there is too much
+in a small space. Very light colors and thin textures that billow and
+float should be eschewed by the large, fleshy woman who wishes to give
+the impression that she possesses the lines of a finely modelled statue.
+She should avoid puffs and any suggestion of the pulpy and clumsy, and
+be careful not to sub-divide the body of her dress by plaits or braids
+laid on horizontally across or above the bust, or below the hips.
+Horizontal lines invariably decrease the height; for that reason stout
+women should not wear dresses cut square in the neck, but should adhere
+to the graceful V-or heart-shaped cut which has a tendency to give
+length.
+
+The rotund woman with a short waist, sketched in No. 54, may improve her
+figure, as shown in No. 55, by choosing belts and collars the exact
+shade of her shirt-waists in summer, and by not cutting off her height
+by any sort of outside belt on winter gowns.
+
+[Illustration: NO. 54]
+
+[Illustration: NO. 55]
+
+Tall, stout women should forego high heels on their shoes, high hats,
+and striped dresses. Although stripes increase the effect of height,
+they also add to that of breadth. A plain cloth basque and skirt of
+striped material make a happy compromise and can be worn with becoming
+effect by a stout woman.
+
+[Illustration: NO. 56]
+
+A basque cut high behind and on the shoulders apparently gives height.
+
+A very stout woman should never wear double skirts or tunics or dresses
+with large sprawling patterns, such as depicted by cut No. 56, which
+suggests furniture stuffs. A large woman who had a fancy for wearing
+rich brocades figured with immense floral designs was familiarly called
+by her kind friends "the escaped sofa."
+
+White, or very light colors, should never be worn by the stout; they
+greatly increase the apparent size. Large plaids should also be
+eschewed. Small checks and plaids may sometimes be becoming.
+
+Neither the too thin nor the too stout should adopt a style of gown
+that caricatures the form as does the voluminous wrapper, finished with
+a box-pleat, as shown in No. 57. There is no grace in straight lines.
+
+[Illustration: NOS. 57 AND 58]
+
+No. 58, which accentuates the height of the over-tall, thin woman, is
+better adapted to enhance the charms of a woman of finer proportions.
+The bony and scrawny, of the type of No. 58, seem to have a perverse
+desire to wear what makes their poverty in physical charms only more
+conspicuous. A woman of distinction in Boston, who is exceedingly thin
+and tall, wore Watteau pleats so frequently, even on reception and
+evening gowns that she was dubbed by a wag "the fire-escape," a title
+which so strikingly characterized her style, that the term was adopted
+by all her friends when they exchanged confidences concerning her.
+
+The garment with the Watteau pleat is not unlike the princesse gown
+which is a very trying style except to handsomely proportioned women. A
+tall, well-developed woman, such as shown in sketch No. 59, adorns the
+princesse gown and attains in it a statuesque beauty. In suggesting
+statuary it fulfils the true ideal of dress, which should hint of
+poetry, art, sculpture, painting. The massing of colors; the arrangement
+of lines, the quality of textures, the grace and poise of the wearer--do
+not these hint of picture, statue, music?
+
+
+
+
+CHAPTER V.
+
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS.
+
+Despite the traditional belief that a décolleté corsage is a tyrannous
+necessity of evening dress, a woman not graciously endowed with a
+beautifully modelled throat and shoulders may, with perfect propriety,
+conceal her infelicitous lines from the derisive gaze of a critical
+public.
+
+Women are indebted to that gentle genius, La Duse, for the suggestion
+that a veiled throat and bust may charmingly fulfil the requirements of
+evening dress, and also satisfy that sense of delicacy peculiar to some
+women who have not inherited from their great-great-grandmothers the
+certain knowledge that a low-necked gown is absolutely decorous.
+
+The women who does not possess delicate personal charms commends herself
+to the beauty-loving by forbearing to expose her physical deficiencies.
+Unless it is because they are enslaved by custom, it is quite
+incomprehensible why some women will glaringly display gaunt
+proportions that signally lack the exquisite lines of firm and solid
+flesh.
+
+A throat like a ten-stringed instrument, surmounting square shoulders
+that end in knobs that obtrude above unfilled hollows, is an unpleasing
+vision that looms up conspicuously too often in opera-box and
+drawing-room.
+
+[Illustration: NO. 61]
+
+The unattractive exhibition 61, is a familiar sight in the social world.
+How insufferably ugly such uncovered anatomy appears in the scenery of a
+rich and dainty music-room may be readily imagined by those who have
+been spared the unpleasing display. It is so obvious that shoulders
+like these should always be covered that it seems superfluous to remark
+that this type should never wear any sleeve that falls below the
+shoulder-line.
+
+[Illustration: NO. 62]
+
+The sleeve falling off the shoulder was invented for the classic
+contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are
+needed to enhance the perfect beauty of a fine, slender, white throat,
+and the felicitous curves of sloping shoulders.
+
+One whose individual endowments are as meagre as are those presented in
+No. 61 may improve her defects by adopting either style of corsage,
+shown in sketches Nos. 63 and 64.
+
+A woman's throat may lack a certain desirable roundness, and her
+shoulders may recede in awkward lines, and yet between these defective
+features the curves may have a not unpleasing daintiness and delicacy in
+modelling that can be advantageously revealed. A modish velvet
+throat-band, such as is shown by No. 63, is one of the most graceful
+conceits of fashion. The too slim throat encircled by velvet or
+ornamented with a jewelled buckle or brooch is effectively framed. The
+unsightly lines of the shoulders are covered, and just enough
+individual robustness is disclosed to suggest with becoming propriety
+the conventional décolleté corsage. The Princess of Wales is as constant
+to her velvet or pearl neck-band, as to her especial style of coiffure.
+Her throat, in evening dress, never appears unadorned by one or the
+other of these beautiful bands that so cleverly conceal defects and
+seem to bring out more richly the texture and coloring of handsome bare
+shoulders.
+
+[Illustration: NO. 63]
+
+[Illustration: NO. 64]
+
+Those who do not approve of the décolleté style of dress, or whose
+ungraceful proportions might well be entirely concealed, can wear with
+appropriateness and benefit the corsage shown in No. 64. This has much
+in its favor for a slender body. The upper part of the waist may be made
+of chiffon or crêpe, which is beautifully--one might say
+benignly--translucent. It has an insinuating transparency that neither
+reveals nor conceals too much. The neck-band of velvet or satin, full
+and soft, apparently enlarges the throat. The sleeves may be in whatever
+style in cut prevails. This costume carries perfectly into effect the
+requirements of evening dress, and may be worn with equal fitness to
+formal functions or to informal affairs. A coat-sleeve of lace, crêpe,
+or chiffon, beflounced at the wrist, may be inserted under the short
+satin sleeves when the occasion does not require gloves. The soft, white
+setting of thin textures around the throat and shoulders clears the
+complexion and brings into relief the pretty, delicate lines of a
+refined face.
+
+[Illustration: NOS. 65 and 66]
+
+It is plain to be seen that the unattractive specimen of femininity,
+No. 65., with the long, wrinkled neck and sharply lined face is
+unbecomingly costumed in the V-shaped basque and corsage which
+apparently elongate her natural lankness. A charming and always
+fashionable yoke-effect that she can wear to advantage is shown by No.
+66. This style of corsage is equally effective for a too thin or a too
+muscular neck. The filling is of tulle.
+
+A square-cut corsage is most becoming to the woman whose narrow
+shoulders have a consumptive droop. The angular cut apparently heightens
+the shoulders and decreases their too steeple-like inclination. The
+round cut, if it frames a full throat, is also an effective style for
+sloping shoulders. The V-shaped cut is most becoming to the short-necked
+woman, whose aim should be to increase the length of her throat.
+
+It is not only the too thin neck that needs to be clothed with
+discrimination. Throats and shoulders that are too robust are improved
+by being covered. The arms and shoulders, however, are often the chief
+beauty of a fleshy woman, and it is to her advantage to give them as
+effective a setting as possible.
+
+[Illustration: NO. 68]
+
+[Illustration: NO. 67]
+
+As is obvious in No. 67, the stout woman apparently increases her
+breadth by wearing a flamboyant corsage, and she hides the most
+exquisite lines of her arm with her sleeves.
+
+The princesse style of gown, in No. 68, gives her apparent length of
+waist. The modest lace flounce that falls in vertical folds decreases
+her formidable corsage. The knotted twist of silk reveals the full
+beauty of her arm.
+
+[Illustration: NO. 69]
+
+In dressing the throat there are a few rules to be remembered. A too
+long, stem-like neck may be apparently shortened by a standing ruff or a
+full, soft band of velvet. The tight, plain band of velvet should never
+be worn by a woman with a very slim neck, as is plainly discernible in
+sketch No. 69.
+
+[Illustration: NO. 70]
+
+The plain, military collar emphasizes the thinness of the slender
+woman's throat; but the soft crushed fold of velvet apparently enlarges
+the pipe-like proportions of the thin woman's neck, as may be seen in
+sketch No. 70. The tight-fitting collar should not be worn by the
+corpulent woman with a thick neck, as is shown by sketch No. 71.
+
+[Illustration: NO. 71]
+
+The thickness of the throat of the woman pictured in No. 72 may seem due
+to the folds of the velvet, which give a pleasing hint of a slender
+throat, a delusion not to be despised by the woman burdened with flesh.
+
+[Illustration: NO. 72]
+
+All the sisterhood,--stout, thin, long-throated, or short,--should know
+the hour when the withering touch of age begins to shrink the soft,
+round curves distinctive of the full, sweet throat of healthful youth.
+No regretful vanity should be allowed to glamour their eyes to the fact
+that Time has them by the throat, to put it melodramatically. The wise
+woman will not please herself with a fatal delusion. She will realize it
+is illusion she needs-yards of it--lace or velvet, or any beautifying
+texture that will conceal the deadly lines of age.
+
+
+
+
+CHAPTER VI.
+
+
+HINTS ON DRESS FOR ELDERLY WOMEN.
+
+Dress has much to do with a youthful or aged appearance. Shawls and long
+mantles that fall from the shoulders give even youthful figures a look
+of age, because the lines are long and dignified and without especial
+grace. Beautiful wraps, or coats that do not come very far below the
+hip-line, can be worn becomingly by elderly ladies, neither emphasizing
+their years nor making them appear too frivolously attired. There is a
+smack of truth in the maxim, _As a woman grows old the dress material
+should increase in richness and decrease in brightness_. Handsome
+brocades, soft, elegant silks, woollen textures, and velvets are
+eminently suitable and becoming to women who are growing old.
+
+Black, and black-and-white, soft white chiffon veiled in lace,
+cashmeres, and such refined tissues should be selected by those in "the
+first wrinkles of youth." Grays combined with filmy white material, dull
+bronzes lightened with cream-tinted lace, are also charmingly
+appropriate. Pale blue veiled in chiffon is another grateful
+combination.
+
+White should be worn more than it is by old ladies. It is so suggestive
+of all that is clean, bright, and dainty; and if there is anything an
+old lady should strive to be in her personal appearance it is dainty.
+Exquisite cleanliness is one of the most necessary attributes of
+attractive old age, and any texture that in its quality and color
+emphasizes the idea of cleanliness should commend itself to those in
+their "advanced youth."
+
+Little old thin women, large ones too, for that matter, who are wrinkled
+and colorless, should not wear diamonds. The dazzling white gems with
+pitiless brilliancy bring out the pasty look of the skin. The soft glow
+of pearls, the cloudlike effects of the opal, the unobtrusive lights of
+the moonstone harmonize with the tints of hair and skin of the aged.
+
+Elderly women should not wear bright flowers on their bonnets or hats.
+Fresh-looking roses above a face that has lost its first youthfulness
+only make that fact more obvious. Forget-me-nots, mignonettes, certain
+pretty white flowers, the palest of pink roses, or the most delicate
+tint of yellow veiled with lace are not inappropriate for those who do
+not enjoy wearing sombre bonnets and hats which are composed only of
+rich, black textures. Lace cleverly intermingled with velvet and
+jewelled ornaments of dull, rich shades are exceedingly effective on the
+head-gear of the old.
+
+Those who are gray-haired--and indeed all women as they grow old--should
+wear red above their brows instead of under their chins. A glint of rich
+cardinal velvet, or a rosette of the same against gray hair is
+beautiful.
+
+Lace! Lace! Lace! and still more Lace for the old. _Lace is an essential
+to the dress of a woman more than forty years of age_. Jabots, ruches,
+yokes, cascades, vests, and gowns of lace, black or white, are all for
+the old. Rich lace has an exquisitely softening effect on the
+complexion. Thin women with necks that look like the strings of a violin
+should swathe, smother, decorate, and adorn their throats with lace or
+gossamer fabrics that have the same quality as lace. These airy
+textures, in which light and shadow can so beautifully shift, subdue
+roughnesses of the skin and harshness in lines. Old Dame Nature is the
+prime teacher of these bewitching artifices. Note her fine effects with
+mists and cobwebs, with lace-like moss on sturdy old oaks, the bloom on
+the peach and the grape. Nature produces her most enchanting colorings
+with dust and age. Laces, gauzes, mulls, chiffons, net, and gossamer
+throw the same beautiful glamour over the face and they are fit and
+charming accompaniments of gray hair, which is a wonderful softener of
+defective complexions and hard facial lines.
+
+Too much cannot be written upon the proper arrangement in the neck-gear
+of the aged. The disfiguring wrinkles that make many necks unsightly may
+be kept in obeyance by massaging. No matter what the fashion in
+neck-gear, the aged must modify it to suit their needs. An old lady
+with a thin, pipe-stem neck should adopt a full ruche and fluffy, soft
+collar-bands. I cannot forbear repeating that tulle as light as thistle
+bubbles, either white or gray or black, is exquisitely effective for
+thin, scrawny necks. The fleshy, red neck should be softened with powder
+and discreetly veiled in chemisettes of chiffon and delicate net.
+
+Old ladies may keep in the style, thus being in the picture of the hour;
+but it is one of the divine privileges of age that it can make its own
+modes. Absolute cleanliness, cleanliness as exacting as that proper
+nurses prescribe for babies, is the first and most important factor in
+making old age attractive. Rich dress, in artistic colors, soft, misty,
+esthetic, comes next; then the idealizing scarfs, collars, jabots, and
+fichus of lace and tulles. Old people becomingly and artistically
+attired have the charm of rare old pictures. If they have soul-illumined
+faces they are precious masterpieces.
+
+
+
+
+CHAPTER VII.
+
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.
+
+Although in the dress of man there are fewer possibilities of caricature
+than in that of woman, yet, "the masterpieces of creation" frequently
+exaggerate in a laughable--and sometimes a pitiable--way, certain
+physical characteristics by an injudicious choice of clothes.
+
+As the fashion in hair-dressing does not grant man the privilege of
+enhancing his facial attractions; nor of obscuring his defects by a
+becomingly arranged coiffure; and, as the modes in neck-gear are such
+that he cannot modify the blemishes of a defective complexion by
+encircling his athletic or scrawny throat with airy tulle, or dainty
+lace, that arch-idealizer of pasty-looking faces; and as he has forsworn
+soft, trailing garments that conceal unclassic curves and uninspiring
+lines of nether limbs, it behooves him to be more exactingly particular
+even than woman in the selection of his wearing apparel.
+
+Far be it from me, however, to remind man of his many limitations--in
+dress. That he can never know the rapture of donning a becoming spring
+bonnet, nor the pleasure of possessing "real lace" things, nor the
+sensuous charm of being enwrapped in caressing furs, or sleazy, silken
+garments as exquisite in color and texture as beautiful, fresh flowers,
+only delicate consideration for his feelings constrains me from
+expatiating upon at length.
+
+I would rather be able to remind him that he can make his limitations
+his advantages, than reveal to him what he misses in not being a woman.
+
+To treat of this important subject adequately and convincingly, one
+would require the masterly discernment of a skillful and accomplished
+tailor, the experienced knowledge of a well-dressed man, and the alertly
+critical perception of a loving woman who, even in the matter of
+clothes, wishes the dearest of men to her, to do full justice to himself
+and her ideal of him on all occasions.
+
+Although certain of the foregoing qualifications must needs be lacking,
+nevertheless this timorous pen, with more trepidation than courage it
+must be confessed, begs to call attention to a few obvious details in
+masculine attire that caricature, more or less, peculiarities in the
+forms and features of men.
+
+To be sure, in the matter of head-gear man is not conspicuously at the
+mercy of burlesquing ribbons, flowers, and feathers, and he has fewer
+opportunities than women to make himself ridiculous, yet a few
+suggestions regarding certain shapes of head-gear for certain types of
+faces, applicable to women are equally applicable to him.
+
+The same rule that applies to the women of the wedge-shaped type of face
+applies to the man of the wedge-shaped type, as may be seen in sketches
+Nos. 75 and 76. It is obvious that the youth depicted in No. 75
+detracts from the manliness of his face and emphasizes the pointed
+appearance of his countenance by wearing a hat with a broad brim
+projecting over his ears. This style of hat appears more frequently in
+straw than in any other texture, but the effect of a wide, projecting
+rim is the same in any material. No. 76, it is plain, improves the
+appearance of the long, slim-faced man. An alpine hat would not be
+unbecoming to him, the high oval of the crown forming a balance for the
+lower part of the face.
+
+[Illustration: NO. 75]
+
+[Illustration: NO. 76]
+
+The man with a pugilistic chin should endeavor to select a hat that will
+not make his heavy jaw as prominent as does the stiff derby, in No. 77.
+
+[Illustration: NO. 77]
+
+A soft alpine hat, or one somewhat of the style of No. 78, improves his
+appearance. The high crown and wide, gracefully rolling brim
+counter-balance the weight and prominence of the jaw.
+
+[Illustration: NO. 78]
+
+Apropos of the minor details of man's garments, the button as a feature
+of clothes has never been fully done justice to. It is a sustaining
+thing we know, something we can hang to, fasten to, and even tie to.
+That properly placed buttons contribute to our mental poise and
+therefore to our physical repose, is hinted in that absurdly engaging
+story, anent the smart boy who was the envy of his spelling-class,
+because he always stood first. You remember, no doubt, that an envious
+but keen-eyed classmate observed that the smart speller worked off his
+nervous apprehensiveness by twirling the top button of his coat as he
+correctly spelled word after word, day in and day out; and how the
+keen-eyed one played the part of a stealthy villain and surreptitiously
+cut the button off the coat. And do you remember the dramatic ending?
+How the smart one on the fatal day sought to "press the button" and
+finding it gone, lost his wits completely and failed ignominiously? Many
+of us when we have lost a sustaining button, have we not felt as
+ridiculously helpless and wit-benumbed as the smart speller?
+
+[Illustration: NO. 79]
+
+We all sub-consciously acknowledge our dependence upon buttons, but not
+many of us, evidently, have observed that even buttons have a certain
+possibility of caricature in them; and that they may add to, or detract
+from, the appearance of manly forms. The consideration of properly
+placed buttons may seem trivial to you, but if you will observe sketches
+Nos. 79 and 80, you may discern that a thin man may apparently increase
+his breadth and add a certain manly touch to his figure, by changing the
+buttons at the waist-line of his coat. The buttons placed so near
+together, in No. 79, really make his toothpick proportions too obvious.
+His back is made to look broader by placing the buttons wider apart, as
+shown in No. 80, and changing the cut of his coat-tail.
+
+[Illustration: NO. 80]
+
+That the fat man may also present a more attractive back to his enemies
+by considering the placing of his buttons, may be seen in drawings Nos.
+81 and 82. The buttons decorating No. 81 are placed so far apart that
+they increase in an ungainly way the breadth of the back at the
+waist-line. If they are placed nearer together, and the seams graduated
+to meet them, they give the illusion of better and more desirable
+proportions, as may be seen in No. 82.
+
+[Illustration: NO. 81]
+
+[Illustration: NO. 82]
+
+That the thin man may also present a more imposing and broader front to
+the world, is suggested in sketches Nos. 83 and 84. The contracted look
+of the coat in No. 83 is somewhat due to the buttons of his
+double-breasted coat being placed too closely together. The slender man
+who wishes to give the impression of being broad-chested may have the
+buttons on his coat placed a little farther apart than fashion may
+allow, as shown in sketch 84. The proportions may be easily preserved by
+a careful adjustment of the shoulder-seams and the seams under the arms.
+
+[Illustration: NO. 83]
+
+[Illustration: NO. 84]
+
+[Illustration: NO. 85]
+
+The waist-line is not so much "a danger line" to man as to woman, yet
+man should not wholly ignore his equator. If he is long-waisted he can
+apparently balance his proportions by having his skirt shortened, as in
+No. 85, and his waist-line raised the merest bit. If he is too
+short-waisted he can lengthen his skirt and lower his waist-line, as
+shown in No. 86. In the one he escapes appearing too long and lanky in
+body, and in the other he obscures a lack of becoming inches that tends
+to give him a dumpy appearance.
+
+[Illustration: NO. 86]
+
+If you study your fellow-men you will observe that few are really
+perfectly proportioned. One man will have the body of a viking on the
+legs of a dwarf, or one will have the legs of an Apollo supporting the
+short body of a pigmy. The man who has a kingly body, too broad in
+proportion to his legs, as shown in sketch No. 87, should endeavor to
+modify his physical defect by the careful selection of his coats. He
+should have his coats cut to give him as much length of leg as possible.
+A skilful tailor will know just what subtle changes and adjustments to
+make. The improvement in appearance and gain in height is pictured in
+sketch 88. The coat being shorter and the waist of the trousers being
+raised a trifle, the man's limbs seem longer, which is an improvement.
+Long lines tend to give elegance and grace in bearing. Another thing for
+the too robust type of man to consider is the style of his trousers. No.
+87 hints what he must not choose. Such brazen plaids only make him
+appear offensively aggressive in size. Long, fine lines, such as shown
+in No. 88, give an impression of length and apparently lessen the width.
+
+[Illustration: NO. 87]
+
+Too long lines, however, are almost as undesirable as too short ones.
+Over-tall, thin men sometimes make themselves look like telegraph poles
+or flagstaffs by wearing short coats that expose in a graceless way the
+whole length of their limbs. They suggest cranes and other fowl that
+give the impression of being "all legs."
+
+[Illustration: NO. 88]
+
+When the legs are proportioned more like a stick of macaroni or a lead
+pencil than the shapely limbs of an Adonis, they appear exceedingly
+funny when surmounted by a short coat, such as pictured in No. 89. A
+famous general in the Civil War did not despise cotton as a
+fortification to protect him from the onslaught of the enemy. The
+over-tall, thin man, who is not unsuggestive of a picket, should not be
+ashamed to fortify himself with cotton or any other sort of padding that
+intelligent tailors keep in stock. He should build his shoulders up a
+bit and be generally, but most carefully and artistically, enlarged. His
+coat should be lengthened, as in sketch go, to cut off just as much of
+the longness of limb as can possibly be allowed without destroying
+artistic proportions. The very tall, thin man who unthinkingly wears a
+very short coat should be brave and never turn his back to his enemy.
+
+[Illustration: NO. 89]
+
+If he wears black and white check trousers and a short blue coat, he
+should travel with a screen. A man in just such a rig attracted no end
+of comment in a fashionable hotel. The caricaturing effect of his
+trousers and coat were unspeakably comical. The wearer had a face as
+grave as an undertaker's and the air of a serious-minded college
+professor; but he had the nondescript look of a scarecrow composed of
+whatever available garments could be obtained from the cast-off wardrobe
+of summer boarders in a farmhouse.
+
+[Illustration: NO. 90]
+
+Coats assuredly have the power of making cartoons--living, jocular
+cartoons--of their wearers. It would hardly seem necessary to call
+attention to the fact that a man of huge dimensions should not wear a
+short coat, such as shown in sketch No. 91, yet his type is too
+frequently seen attired in this style. A man so dressed certainly seems
+the living exemplification of the definition of a jug, namely, "a vessel
+usually with a swelling belly, narrow mouth, and a handle, for holding
+liquors." It cannot be reiterated too often that a large, stout man
+should aim to acquire the distinction and dignity given by long lines.
+If his body is proportioned so he really has neither length of torso nor
+of limb he must pay more attention to the cut of his clothes and attain
+length in whatever artistic way he can. The long coat, as may be seen
+in sketch No. 92, not only apparently adds length but it conceals too
+protuberant curves.
+
+[Illustration: NOS. 91 and 92]
+
+Of course, character counts far more than clothes, we will all agree to
+that, but at first glance it is a man's clothes that impress people.
+Clothes affect our behavior somewhat. For instance, "When the young
+European emigrant, after a summer's labor puts on for the first time a
+new coat, he puts on much more. His good and becoming clothes put him on
+thinking that he must behave like people who are so dressed; and
+silently and steadily his behavior mends." Of course, there is an
+uplifting truth in George Herbert's maxim, "This coat with my discretion
+will be brave," yet, I am inclined to think that the majority of men who
+will stop to consider will agree with Emerson, who says, "If a man has
+not firm nerves and has keen sensibility, it is perhaps a wise economy
+to go to a good shop and dress himself irreproachably. He can then
+dismiss all care from his mind, and may easily find that performance an
+addition of confidence, a fortification that turns the scale in social
+encounters, and allows him to go gayly into conversations where else he
+had been dry and embarrassed. I am not ignorant,--I have heard with
+admiring submission the experience of the lady who declared 'that the
+sense of being perfectly well dressed gives a feeling of inward
+tranquillity which religion is powerless to bestow.'"
+
+A popular clothier in New York, understanding this trait of his
+fellow-men, voices this same sentiment in his advertisement in this
+succinct way: "Seriously now. Have you ever stopped to think that if you
+wear good clothing it adds much to that independent, easy feeling you
+should have when you come in contact with other men?"
+
+I think it was Lord Chesterfield who said: "A man is received according
+to his appearance, and dismissed according to his merits." There is a
+bit of truth in this we would all admit, I have no doubt, if we studied
+the question. Clothes affect our own poise, ease, and attitude toward
+others and the expression of others toward us, but, after all, we rely
+upon the man or woman instead of upon the impression we receive from the
+clothes. The garments, after we have noticed them in a superficial way,
+are chiefly interesting to us, because they are arch-betrayers of the
+physical and mental poise of the man. No matter what the cut of the
+cloth, no matter what _cachet_ of a fashionable tailor a suit may have,
+or what its richness of material, the attitude "à la decadence" of No.
+93 would make the best clothes in Christendom look shabby and
+unattractive.
+
+[Illustration: NO. 93]
+
+This too familiar carriage of the American man makes one wish to have
+the power to reverse the faces--as Dante did those of the false
+prophets, so those who stand "à la decadence" might see what ridiculous
+figures they cut in drawing-room and street. The curved backs and
+rounded-out shoulders would make fair-looking chests, and the flat
+chests would represent respectable-looking backs.
+
+A man owes it to the spirit within him not to stand or walk in such an
+attitude. He should brace up and keep bracing up persistently,
+unremittently, until he attains a more manly bearing.
+
+[Illustration: NO. 94]
+
+The wholly alive fellow pictured in sketch No. 94 would make homespun
+look elegant. His chest is forward. He does not sag in front at the
+waist, protruding his abdomen in not only an inartistic, but an
+unhealthy manner; but he strides masterfully forward with an air of
+inspiriting "aliveness." The perfect poise of his attitude is not
+unsuggestive of the Apollo Belvedere--the model for all men--a picture
+of which every college boy should have to place beside the prettiest
+girl in his collection of pretty girls, to constantly remind him to
+carry himself like a young god.
+
+
+
+
+
+End of Project Gutenberg's What Dress Makes of Us, by Dorothy Quigley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+***** This file should be named 11078-8.txt or 11078-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/1/0/7/11078/
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+     https://www.gutenberg.org/etext06
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+     https://www.gutenberg.org/1/0/2/3/10234
+
+or filename 24689 would be found at:
+     https://www.gutenberg.org/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+     https://www.gutenberg.org/GUTINDEX.ALL
+
+
diff --git a/old/11078-8.zip b/old/11078-8.zip
new file mode 100644
index 0000000..bebde47
--- /dev/null
+++ b/old/11078-8.zip
diff --git a/old/11078-h.zip b/old/11078-h.zip
new file mode 100644
index 0000000..3799a28
--- /dev/null
+++ b/old/11078-h.zip
diff --git a/old/11078-h/11078-h.htm b/old/11078-h/11078-h.htm
new file mode 100644
index 0000000..f475450
--- /dev/null
+++ b/old/11078-h/11078-h.htm
@@ -0,0 +1,2045 @@
+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+<head>
+<meta name="generator" content=
+"HTML Tidy for Windows (vers 1st November 2003), see www.w3.org">
+<meta http-equiv="Content-Type" content=
+"text/html; charset=ISO-8859-1">
+<title>The Project Gutenberg eBook of WHAT DRESS MAKES OF US, by
+DOROTHY QUIGLEY.</title>
+
+<style type="text/css">
+    <!--
+    * {  font-family: Times;}
+    P {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em; }
+    H1,H2,H3,H4,H5,H6 {  text-align: center; }
+    HR { width: 33%;
+        margin-top: 1em;
+        margin-bottom: 1em;}
+    BODY{margin-left: 10%;
+         margin-right: 10%;}
+    .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */
+    .note {margin-left: 2em; margin-right: 2em; margin-bottom: 1em;} /* block indent */
+    .pagenum {position: absolute; left: 92%; right: 100%; font-size: 8pt; justify: right;} /* page numbers */
+    IMG {margin:15px; padding:10px;border: 10px;}
+    // -->
+</style>
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of What Dress Makes of Us, by Dorothy Quigley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: What Dress Makes of Us
+
+Author: Dorothy Quigley
+
+Release Date: February 13, 2004 [EBook #11078]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+
+
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+
+</pre>
+
+<h1>WHAT DRESS MAKES OF US</h1>
+<h4>By</h4>
+<h2>DOROTHY QUIGLEY</h2>
+<br>
+<br>
+<h4>Illustrations by</h4>
+<h3>ANNIE BLAKESLEE</h3>
+<br>
+<br>
+<h3>1897</h3>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<div style="blockquote">I am indebted to the editors of the New
+York <i>Sun</i> and New York <i>Journal</i> for kindly allowing me
+to include in this book articles which I contributed to their
+respective papers.</div>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<a name="PREFACE."></a>
+<h2>PREFACE.</h2>
+<img src="images/005.jpg" align="left" alt="[Illustration]">
+<img src="images/007-1.jpg" align="right" alt="[Illustration]">
+<p>Did you ever observe, dear comrade, what an element of
+caricature lurks in clothes? A short, round coat on a stout man
+seems to exaggerate his proportions to such a ridiculous degree
+that the profile of his manly form suggests "the robust bulge of an
+old jug."</p>
+<p>A bonnet decorated with loops of ribbon and sprays of grass, or
+flowers that fall aslant, may give a laughably tipsy air to the
+long face of a saintly matron of pious and conservative habits.</p>
+<p>A peaked hat and tight-fitting, long-skirted coat may so magnify
+the meagre physical endowments of a tall, slender girl that she
+attains the lank and longish look of a bottle of hock.</p>
+<p>Oh! the mocking diablery in strings, wisps of untidy hair, queer
+trimmings, and limp hats. Alas! that they should have such impish
+power to detract from the dignity of woman and render man
+absurd.</p>
+<img src="images/007-2.jpg" align="left" alt="[Illustration]">
+<p>Because of his comical attire, an eminent Oxford divine, whose
+life and works commanded reverence, was once mistaken for an
+ancient New England spinster in emancipated garments. His smoothly
+shaven face, framed in crinkly, gray locks, was surmounted by a
+soft, little, round hat, from the up-turned brim of which dangled a
+broken string. His long frock-coat reached to just above his
+loosely fitting gaiters.</p>
+<img src="images/008.jpg" align="right" alt="[Illustration]">
+<p>The fluttering string, whose only reason for being at all was to
+keep the queer head-gear from sailing away on the wind, gave a
+touch of the ludicrous to the boyish hat which, in its turn, lent
+more drollery than dignity to the sanctified face of the old
+theologian. Who has not seen just such, or a similar sight, and
+laughed? Who has not, with the generosity common to us all,
+concluded these were the mistakes and self-delusions of neighbors,
+relatives, and friends, in which we had no share?</p>
+<p>I understand how it is with you. I am one of you. Before I
+studied our common errors I smiled at my neighbor's lack of taste,
+reconstructed my friends, and cast contemptuous criticism upon my
+enemies. One day I took a look at myself, and realized that "I,
+too, am laughable on unsuspected occasions."</p>
+<p>The humbling knowledge of seeing myself objectively, gave me
+courage to speak to the heart of you certain home truths which
+concern us all, in homely language which we can all understand.</p>
+<p>That you may discern the comicality and waggery in ill-chosen
+clothes, I have endeavored to hint to you in these talks some of
+the ways gew-gaws and garments make game of us.</p>
+<p>May you discover that your dress is not making you a laughable
+object; but if, by any chance, you should note that your clothes
+are caricaturing you, take heart. Enjoy the joke with the mirth
+that heals and heartens, and speedily correct your mistakes.</p>
+<p>The lines of your form, the modelling of your face, are they not
+worthy of your discerning thought? Truly! Whatever detracts from
+them detracts from sculpture, painting, and poetry, and the world
+is the loser.</p>
+<p>A word to the thinking is sufficient.</p>
+<p>D.Q.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h2>CONTENTS.</h2>
+<br>
+<p>PREFACE</p>
+<br>
+<p>CHAPTER I.</p>
+<p><a href="#chap1">HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR
+HAIR</a></p>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Wedge-Shaped Faces</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Heavy Jaws</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Eyes Set Too High</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Eyes Set Too Low</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Long Faces with Long Noses</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">For Faces
+with Protruding Noses</span><br>
+<br>
+<p>CHAPTER II.</p>
+<p><a href="#chap2">HINTS FOR THE SELECTION OF BECOMING AND
+APPROPRIATE STYLES IN HEAD-GEAR</a></p>
+<span style="layout-flow: horizontal; margin-left: 1em;">The Magic
+of the Bonnet</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Women with Broad Face and Heavy Chin</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Women with Tapering Chin</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Hat for
+the Chubby Woman</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">For Women
+Who Have Sharp and Prominent Profiles</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">For the
+Woman with an Angular Face</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">Women Who
+should Not Wear Horns</span><br>
+<br>
+<p>CHAPTER III.</p>
+<p><a href="#chap3">LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED
+IN MAKING COSTUMES</a></p>
+<span style="layout-flow: horizontal; margin-left: 1em;">Style for
+Tall Slender Women</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">The Coat
+the Short Stout Women should Wear</span><br>
+<span style="layout-flow: horizontal; margin-left: 1em;">The Cloak
+or Cape for a Tall Women</span><br>
+<br>
+<p>CHAPTER IV.</p>
+<p><a href="#chap4">HOW PLUMP AND THIN BACKS SHOULD BE
+CLOTHED</a></p>
+<br>
+<p>CHAPTER V.</p>
+<p><a href="#chap5">CORSAGES APPROPRIATE FOR WOMEN WITH
+UNBEAUTIFULLY MODELLED THROATS AND SHOULDERS</a></p>
+<br>
+<p>CHAPTER VI.</p>
+<p><a href="#chap6">HINTS ON DRESS FOR ELDERLY WOMEN</a></p>
+<br>
+<p>CHAPTER VII.</p>
+<p><a href="#chap7">HOW MEN CARICATURE THEMSELVES WITH THEIR
+CLOTHES</a></p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h2>WHAT DRESS MAKES OF US.</h2>
+<br>
+<hr style="width: 45%;">
+<a name="chap1"></a>
+<h4><img src="images/chap1.jpg" alt="chapter 1"></h4>
+<h3>CHAPTER I.</h3>
+<br>
+<p>HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.</p>
+<p>The pleasing, but somewhat audacious statement of the clever
+writer who asserted, "In the merciful scheme of nature, there are
+no plain women," is not as disputable as it may seem. Honest
+husbands, to be sure, greet the information with dissenting
+guffaws; gay deceivers reflect upon its truth by gallantly
+assenting to it, with a mocking little twinkle in their eyes; and
+pretty women, upon hearing it, remark sententiously "Blind men and
+fools may think so." Discerning students of womankind, however,
+know that if every woman would make the best of her possibilities,
+physically, mentally, and spiritually, it would be delightfully
+probable that "in the merciful scheme of nature" there need be no
+plain women.</p>
+<p>Have we not Lord Chesterfield's word for it, that "No woman is
+ugly when she is dressed"?</p>
+<p>It is no unworthy study to learn to make the best of, and to do
+justice to, one's self. Apropos of this, to begin&mdash;where all
+fascinating subjects should begin&mdash;at the head, it behooves
+every woman who wishes to appear at her best, to study the
+modelling of her face that she may understand both its defective
+and perfect lines. By a proper arrangement of her hair a woman can
+do much to obscure or soften her bad features, and heighten the
+charm of her good ones.</p>
+<p>Romancers have written, and poets have sung, of the bewitchment
+in nut-brown locks, golden tresses, and jetty curls. Every woman,
+if so inclined, may prove for herself the transfiguring effect in a
+becoming coiffure. In fact, the beauty of a woman's face and her
+apparent age are greatly affected by the way she wears her
+hair.</p>
+<p>A most important detail that too few consider, is, the proper
+direction in which to comb the hair. Women literally toss their
+tresses together without any attention to the natural inclination
+of the individual strands or fibres. They comb their hair "against
+the grain." Those who do so never have beautifully and smoothly
+arranged coiffures. Each little hirsute filament has a rebellious
+tendency to go in the direction nature intended it should, and
+refuses to "stay where it is put," giving the head in consequence,
+an unkempt and what is termed an "unladylike" appearance. The
+criss-cross effect resulting from combing and arranging the hair
+contrary to "the grain" is conspicuously apparent in the coiffure
+of no less a personage than Eleanora Duse, who, as may be seen from
+the picture, pays little attention to the natural tendency of the
+dark tresses that cover her shapely head. The bang has the
+dishevelled appearance of a pile of jack-straws. The side-locks
+instead of being combed or brushed to follow the contour of the
+head, fall loosely and fly in opposite directions.</p>
+<img src="images/no02.jpg" align="left" alt=
+"[Illustration: NO. 2]">
+<p>The difference in appearance between the women of the smart sets
+in America and those of less fashionable circles is due, in a great
+measure, to the beautifully dressed coiffures of the former. A
+hair-dresser arranges, at least once a week, the hair of the modish
+woman if her maid does not understand the art of hair-dressing.
+Many women of the wealthy world have their maids taught by a French
+coiffeur.</p>
+<p>A wise woman will adopt a prevailing mode with discretion, for,
+what may be essentially appropriate for one, may be fatally
+inappropriate for another. In adjusting her "crown of glory" a
+woman must consider the proportions of her face. She should be able
+to discern whether her eyes are too near the top of her head or,
+too far below; whether she has a square or wedge-shaped chin; a
+lean, long face, or a round and bountifully curved one. She should
+be alert to her defects and study never to emphasize nor exaggerate
+them.</p>
+<p>Why, through stupidity or carelessness, make a cartoon of
+yourself, when with a proper appreciation of your possibilities you
+can be a pleasing picture? It is just as glorious to be a fine
+picture or a poem as it is to paint the one, or write the other.
+Indeed, a woman who harmoniously develops the best within her has
+the charm of an exquisite poem and inspires poets to sing; and if
+by the grace and beauty of her dress she enhances her natural
+endowments and makes herself a pleasing picture, the world becomes
+her debtor.</p>
+<p>In the important matter of becomingly arranging the hair, the
+following sketches and suggestions may hint to bright, thinking,
+women what styles to choose or avoid.</p>
+<br>
+<p>For Wedge-Shaped Faces.</p>
+<img src="images/no03.jpg" align="left" alt=
+"[Illustration: NO. 3]">
+<p>The least-discerning eye can see that the wedge-Shaped face No.
+3 is caricatured, and its triangular proportions made more evident,
+by allowing the hair to extend in curls or a fluffy bang on either
+side of the head. Women with delicately modelled faces with peaked
+chins should avoid these broad effects above their brows.</p>
+<img src="images/no04.jpg" align="right" alt=
+"[Illustration: NO. 4]">
+<p>It is obvious in the sketch No. 4, that the wedge-shaped face is
+perceptibly improved by wearing the hair in soft waves, or curls
+closely confined to the head and by arranging a coil or high puff
+just above and in front of the crown. This arrangement gives a
+desirable oval effect to the face, the sharp prominence of the chin
+being counteracted by the surmounting puffs.</p>
+<br>
+<p>For Heavy Jaws.</p>
+<img src="images/no05.jpg" align="left" alt=
+"[Illustration: NO. 5]">
+<p>It may readily be seen that a woman with the square, heavy-jawed
+face pictured by No. 5, should not adopt a straight, or nearly
+straight, bang, nor wear her hair low on her forehead, nor adjust
+the greater portion of her hair so that the coil cannot be seen
+above the crown of her head. The low bang brings into striking
+relief all the hard lines of her face and gives the impression that
+she has pugilistic tendencies.</p>
+<img src="images/no06.jpg" align="right" alt=
+"[Illustration: NO. 6]">
+<p>To insure artistic balance to her countenance, and bring out the
+womanly strength and vital power of her face, her hair should be
+arranged in coils, puffs, or braids that will give breadth to the
+top of her head as shown by No. 6. A fluffy, softly curled bang
+adds grace to the forehead and gives it the necessary broadness it
+needs to lessen and lighten the heaviness of the lower part of the
+face. A bow of ribbon, or an aigrette of feathers, will add
+effectively the crown of braids or puffs which a wise woman with a
+square jaw will surmount her brow if she wishes to subdue the too
+aggressive, fighting qualities of her strong chin.</p>
+<br>
+<p>For Short Faces.</p>
+<p>The sisterhood who have short, chubby faces should, in a
+measure, observe certain rules that apply in a small degree to
+those who have heavy chins.</p>
+<img src="images/no07.jpg" align="left" alt=
+"[Illustration: NO. 7]">
+<p>As may be observed even with a casual glance, the little
+short-faced woman depicted by No. 7, causes her round facial disk
+to appear much shorter than it really is by allowing her hair to
+come so far down on her forehead. She further detracts from her
+facial charms by wearing "water-waves." Water-waves are scarcely to
+be commended for any type of face, and they are especially
+unbecoming to the woman who is conspicuously "roly-poly." The round
+eyes, knobby nose, and round mouth are brought into unattractive
+distinctness by being re-duplicated in the circular effects of the
+hair. This mode of dressing the hair makes a short face look common
+and insignificant.</p>
+<img src="images/no08.jpg" align="right" alt=
+"[Illustration: NO. 8]">
+<p>Do you not see that this type is immensely improved by the
+arrangement of the coiffure in No. 8? By combing her hair off her
+forehead her face acquires a look of alertness and intelligence,
+besides being apparently lengthened. She can wear her bang in soft
+crimps brushed back from her brow, if this plain arrangement is too
+severe.</p>
+<br>
+<p>For Eyes Set Too High.</p>
+<p>A low forehead is supposed to be a sign of beauty in woman. The
+brows of the famous Venuses are low and broad. Perhaps for this
+reason many women wear their hair arranged low upon their
+foreheads. Whether the hair should be worn low on the brow depends
+chiefly on two things,&mdash;"the setting of the eyes, and the
+quality of the face."</p>
+<p>A good rule to observe is the artistic one, to the effect that
+"the eyes of a woman should be in the middle of her head." That is,
+if an imaginary line were drawn across the top of the head and
+another below the chin, exactly midway between the two the eyes
+should be set.</p>
+<p>The Japanese type of woman should carefully observe the
+foregoing hint.</p>
+<img src="images/no08.5.jpg" align="left" alt=
+"[Illustration: NO. 8-1/2]"> <img src="images/no09.jpg" align=
+"right" alt="[Illustration: NO. 9]">
+<p>Observe No. 8-1/2. Nature has not been artistic. The eyes are
+too near the top of the head. The defect is exaggerated and
+emphasized by the wearing of the hair low on the forehead. In some
+faces of this type the face is brutalized in appearance by this
+arrangement. The expression and whole quality of the countenance
+can be greatly improved by arranging the hair as shown by No. 9,
+which is the soft Pompadour style. The Duchess of Marlborough,
+formerly Consuelo Vanderbilt, frames her na&iuml;ve, winsome face,
+which is of the Japanese type, in a style somewhat like this. Her
+dark hair forms an aureole above her brow, and brings into relief
+the dainty, oval form of her face. Even simply brushing the hair
+off the forehead without crimp or roll will improve the appearance
+of this type of face and give it a better artistic balance.</p>
+<br>
+<p>For Eyes Set Too Low.</p>
+<p>Women whose eyes are set too far down in their faces should
+adopt a mode of arranging their hair exactly the opposite of those
+whose eyes are set too near the top of their heads.</p>
+<img src="images/no10.jpg" align="left" alt=
+"[Illustration: NO. 10]">
+<p>It is apparent that No. 10 exaggerates the distance of her eyes
+from the crown of her head, and makes them appear to be set lower
+than they really are by building her hair high, and by brushing her
+bang back so severely from her brow. A bald forehead is rarely
+becoming to any woman. A few stray curls or soft waves lend grace
+to even the most perfect of brows.</p>
+<img src="images/no11.jpg" align="right" alt=
+"[Illustration: NO. 11]">
+<p>By bringing the hair down over the forehead, as suggested in No.
+11, a woman with this type of face can easily improve her
+appearance. By this graceful arrangement her face loses the
+childish and sometimes stupid expression that is peculiar to the
+type, as may be discerned in No. 10. When the hair is properly
+arranged this element of childlikeness lends a certain appealing
+sweetness not unattractive even in the faces of matured matrons. By
+dressing the hair low so the coil does not appear above the crown,
+as in No. 11, the eyes are apparently properly placed.</p>
+<br>
+<p>For Long Faces with Long Noses.</p>
+<p>The woman who wears her silken tresses arranged on either side
+of her head, draped like curtains from a central parting, is to be
+envied if she can do it and yet look young and pretty. She is the
+Madonna type and seems to possess all the attributes of gentleness,
+modesty, and meekness, and angelic sweetness that are supposed to
+characterize the distinctively feminine woman. This is the ideal
+style of coiffure much bepraised by man, because, according to a
+bright modern Amazon, "it makes a woman look so meek."</p>
+<p>The only type to which it is really becoming is the Italian. The
+type with <i>matte</i> complexion, soft eyes, finely chiselled
+nose, and delicately oval chin, look ideally sweet and feminine
+with the hair arranged <i>&agrave; la</i> Madonna.</p>
+<img src="images/no14-15.jpg" align="left" alt=
+"[Illustration: NOS. 14 AND 15]"> <img src="images/no12.jpg" align=
+"left" alt="[Illustration: NO. 12]"> <img src="images/no13.jpg"
+align="right" alt="[Illustration: NO. 13]">
+<p>Long faces of the form pictured by No. 12 exaggerate the
+longness and leanness of their faces by wearing their locks like
+looped curtains. A long nose with two long lines on either side of
+the cheek seems longer than it is, as the observer may discern
+three lines instead of only the nasal one, and the impression of
+longness is emphasized. Not only is the length of the countenance
+made more noticeable, but years and years are apparently added to
+the actual age.</p>
+<p>That No. 13, which shows a parting and soft waves that do not
+come below the ears, is to be preferred by a woman whose features
+are of this character need hardly be explained. The improvement in
+looks is quite obvious.</p>
+<p>No. 14 is an example of a misguided woman of the pudgy type who,
+for some inexplicable reason, arranges her hair in the Madonna
+style. It is utterly unsuited to her face. Unless her ears are
+deformed this style of hirsute lambrequins should not be worn by a
+full, round-faced woman. The arrangement sketched in No 15 adds
+effectively to her appearance, not only making her look younger,
+but less inane.</p>
+<br>
+<p>For Faces with Protruding Noses.</p>
+<p>Women with decidedly protruding, or irregular, tip-tilted noses
+should be especially careful in arranging their coiffures.</p>
+<img src="images/no16.jpg" align="left" alt=
+"[Illustration: NO. 16]"> <img src="images/no17.jpg" align="right"
+alt="[Illustration: NO. 17]">
+<p>Any woman who arranges her hair as in sketch No. 16 caricatures
+her facial defects by increasing the too protuberant lines of her
+nose. The distance from the end of her nose and the tip of the
+topmost knot of hair is too long for either beauty or intelligence.
+The shape of her head acquires idiotic proportions, and her nose is
+placed entirely "out of drawing" and is obtrusively conspicuous
+when seen in profile. This type of woman is generally classified
+among the inquisitive, bright, and energetic. She should aim to
+modify the unhappy angularity of her profile as well as to repress
+her gossipy tendencies. The graduated coil of hair and waved
+coiffure, shown by No. 17, are most felicitous in their effect on
+this type of face.</p>
+<img src="images/no18.jpg" align="left" alt=
+"[Illustration: NO. 18]"> <img src="images/no20.jpg" align="right"
+alt="[Illustration: NO. 20]"> <img src="images/no19.jpg" align=
+"right" alt="[Illustration: NO. 19]">
+<p>No. 18 reveals an error in an opposite direction. The
+snubbed-nose girl, by fixing her hair in a bun-like coil, gives the
+impression that her coiffure is held by invisible strings by her
+nose, which gets a more elevated look than it otherwise would have,
+because of the bad angle at which the coil is placed.</p>
+<p>No. 19, which is a picturesque variation of the popular coif,
+manifestly improves this type of face, and makes the nose appear
+less obtrusive.</p>
+<p>A woman should carefully study the contour of her head from
+every side; the modelling of her face; the length and inclination
+of her nose; the setting of her eyes; and the breadth and form of
+her brow, and adopt a becoming coiffure that will give artistic
+balance to her face, and never absolutely change the style whatever
+the mode in hair-dressing may be. In England, the court
+hair-dresser years ago studied the character of the head and face
+of the Princess of Wales, and designed a coiffure for her which she
+has never varied until recently; then she merely arranged her
+fringe lower down on her forehead than she has ever worn it before.
+The general style, however, she preserves intact, and wears her
+hair, and has for many years, as is shown in the picture&mdash;No.
+20. Her daughters, who have faces the same shape as hers, dress
+their coiffures similarly. In never changing the style of arranging
+her hair, the Princess of Wales owes in no small degree her
+apparent air of youthfulness.</p>
+<p>NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE
+PRACTICALLY APPLIED.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap2.jpg" alt="chapter 2"></h4>
+<a name="chap2"></a>
+<h3>CHAPTER II.</h3>
+<br>
+<p>HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN
+HEAD-GEAR.</p>
+<p>Closely allied to the subject of hair-dressing is that of
+head-gear. Indeed many of the hints regarding appropriate coiffures
+for certain styles of faces are equally applicable to the selection
+of suitable hats and bonnets. The choosing of millinery is the more
+momentous of the two, of course, for I need scarcely remind you
+that Nature left us no choice in hair. No matter what its color or
+texture we desire to keep it and if we are wise we will make the
+best of it.</p>
+<p>In regard to hats we are personally responsible and our follies
+are upon our own heads.</p>
+<p>The power of caricature being greater in hats than in
+hair-dressing, is it not fit that we should give careful and
+intelligent consideration to the selection of our millinery that
+the ugly lines in our otherwise beautiful faces may not be at the
+mercy of mocking bunches of ribbons, comically tilted straws, or
+floppy bits of lace?</p>
+<p>The Magic of The Bonnet.</p>
+<p>Once upon a time, I think that was the exact date, there was a
+man distinguished in a certain kingdom as the ugliest person in the
+realm. According to a blithe romancer, he was so distinctively
+unpleasing in form and feature that he challenged the attention of
+the king who, in whimsical mood, made him a royal retainer. The man
+so conspicuously lacking in beauty enjoyed his eminent position and
+privileges for some time. But even ugliness, if it attain
+distinction, will excite envy in the low-minded. A former associate
+of the unbeautiful man in invidious temper brought the news one day
+to the king, that there was an old woman in his domain that was
+uglier than the lowly-born man who by kingly favor held so high a
+place. "Bring her to the court. Judges shall be called to decide.
+If she is uglier she shall stay and he shall go," was the royal
+mandate. When the old woman appeared she was easily decided to be
+by far the uglier of the two. At the critical moment when the king
+was upon the eve of dismissing the man from his retinue, a friend
+of the unfortunate shouted, "Put her bonnet on him!" This was done,
+and lo! a fearful change was wrought. By unanimous acclamation he
+was declared to be "the ugliest creature on earth."</p>
+<p>The old woman, true to the instincts of her sex, refused to wear
+her bonnet again. Like many of her sisters of modern times, she had
+not before discovered the possibilities in a bonnet to enhance the
+beauty of the face or decrease its charms.</p>
+<p>If woman could see themselves objectively, as did the old woman,
+they would keenly realize the necessity of considering the lines of
+hat or bonnet in relation to those of their faces, and would learn
+to obscure defects and bring into prominence their prettiest
+features.</p>
+<p>As there are a few rules to govern what each type should select,
+every one of the fair sisterhood has an equal opportunity to
+improve her appearance by selecting in the millinery line the
+distinctive adornment suited to her individual style.</p>
+<br>
+<p>For Women with Broad Face and Heavy Chin.</p>
+<img src="images/no22.jpg" align="left" alt=
+"[Illustration: NO. 22]"> <img src="images/no23.jpg" align="right"
+alt="[Illustration: NO. 23]">
+<p>By a curious law of contrariety the woman with a broad, heavy
+chin seems to have an ungovernable penchant for trig little round
+bonnets, or trim turbans with perky aigrettes, like that in sketch
+No. 22. By obeying this wilful preference she obscures whatever
+delicacy may be in the modelling of her features and brings into
+conspicuous relief the ugliest lines of her face. Her chin is
+apparently increased in heaviness and the broadness of her face is
+made prominent. She could easily have restored the artistic balance
+to her facial lines by wearing a large hat, rather heavily trimmed,
+as in No. 23, thus effectively modifying the strong curves of the
+chin and signally improving her appearance. If a woman's face is
+fairly proportioned, not too short for its breadth, and she can not
+afford plumes, this type of woman can still give a becoming balance
+to her face by adopting hats that are trimmed with flamboyant bows
+that flare horizontally across the hat, diverging from a central
+knot in the from.</p>
+<br>
+<p>For the Woman with Tapering Chin.</p>
+<img src="images/no24.jpg" align="left" alt=
+"[Illustration: NO. 24]"> <img src="images/no25.jpg" align="right"
+alt="[Illustration: NO. 25]">
+<p>The woman who is the exact opposite of the type with the ample
+lower jaw, but whose chief disadvantage lies in her broad, manly
+brow and tiny tapering chin, should avoid all horizontal trimmings,
+bows or broad hat-brims. It is clear, in No. 24, that such
+trimmings increase the wedge-like appearance of the face and give
+it the grotesque suggestion of an ordinary flower-pot in which
+grows a sickly plant. This type can perceptibly improve upon nature
+by choosing the style of hat and neck-gear shown by No. 25.</p>
+<p>The crinkly ovals that form the brim of the hat, and the soft,
+graceful arrangement of the hair in front that decreases the too
+broad effect of the brow, and the full fluffy ruff snuggled up
+closely to the chin, produce a pleasing transformation of the
+meagre-looking original that to the uninitiated seems little short
+of magical. The broad, cravat-like bows, and the flaring ones known
+as "incroyables," were beneficently wedge-like faces and throats
+that have lost the seductive curves of youth.</p>
+<br>
+<p>Hat for the Chubby Woman.</p>
+<img src="images/no26.jpg" align="left" alt=
+"[Illustration: NO. 26]"> <img src="images/no27.jpg" align="right"
+alt="[Illustration: NO. 27]">
+<p>That amiable type of woman formed conspicuously upon the
+circular plan often unconsciously impresses the fact of her fatal
+tendency to rotundity by repeating the roundness of her globular
+eyes, the disk-like appearance of her snub nose and the circle of
+her round mouth, and the fulness of her face by wearing a little,
+round hat in the style portrayed by No. 26.</p>
+<p>The curls of her bang, the feathers in her hat, the high collar
+of her jacket make more significant the fact that her lines are not
+artistic and that her face is unbeautifully round. She can enhance
+her charms and apparently decrease the too spherical cut of her
+countenance by adopting the mode illustrated in No. 27. The angular
+bows on the hat, the geometric lines of the broad hat-brim, the
+precise cut of the lapels on the corsage, the neat throat-band and
+V-shaped vesture&mdash;all insinuate in a most engaging way a
+dignity and fine, high-bred poise totally obliterated by the
+circular style of dress erroneously adopted by the misguided woman
+in No. 26.</p>
+<br>
+<p>For Women Who Have Sharp and Prominent Profiles.</p>
+<img src="images/no28.jpg" align="left" alt=
+"[Illustration: NO. 28]"> <img src="images/no29.jpg" align="right"
+alt="[Illustration: NO. 29]">
+<p>In buying a hat many of the "unfair sex"&mdash;as the modern wag
+dubs the progressive sisters who wish to have all man's rights and
+privileges and keep their own besides&mdash;never seem to consider
+their heads but from a front point of view. In consequence, as
+sketch No 28 hints, a head seen from the side frequently appears,
+if not idiotically, very inartistically, proportioned.</p>
+<p>Occasionally a hat presents as comical an effect in a from as in
+a side view, as may be seen in No. 29. The wearer was an elderly
+woman with gray hair which hung down in a half-curled bang on
+either side of her thin face. Her hat which was simply "dripping"
+with feathers suggested a fanciful letter "T" and exaggerated the
+thinness of her face in a remarkably funny way. The feathers
+overhanging the brim increased the broadness of the hat, and looked
+singularly waggish fluttering against the spriggy-looking
+projections of gray hair. The rules for the wedge-shaped face, as
+may readily be discerned, apply here.</p>
+<img src="images/no30-31.jpg" align="right" alt=
+"[Illustration: NO. 30 and 31]">
+<p>Women who have sharp and prominently outlined profiles have a
+curious tendency to choose hats, the brims of which project too far
+forward in front, and turn up too abruptly and ungracefully in the
+back.</p>
+<p>As shown in No. 30 the protruding brim gives the head and face
+the unattractive proportions of the capital letter "F." The length
+of the nose is emphasized by the line of the hat-rim above it and
+it appears unduly obtrusive. The flat arrangement of the hair and
+the curve of the hat-brim in the back also exaggerate the obtrusive
+qualities of the features. By choosing a hat somewhat similar to
+the one sketched in No. 31, the unattractive sharpness of the
+profile is modified, and the alert, agreeable quality of the face,
+that was obscured by the shelf-like brim, becomes apparent. The
+observer feels, if he does not voice it, that it is a progressive
+spirit advancing forward instead of an ungainly head-piece that
+looks like a curious trowel.</p>
+<br>
+<p>For the Woman with an Angular Face.</p>
+<img src="images/no32-33.jpg" align="right" alt=
+"[Illustration: NOS. 32 AND 33]">
+<p>The woman with the angular features presented in No. 32 should
+not wear a sailor-hat or any hat with a perfectly straight rim.</p>
+<p>The sailor-hat or any style bordering on it should be selected
+with utmost discrimination. This mode is unbecoming to a woman more
+than forty; or, to one who through grief or worry prematurely
+attains a look of age, or to one whose features are irregular. The
+straight brim across the face is very trying. It casts a shadow
+deepening the "old marks" and instead of being a frame to set off,
+it seems to cut off, the face at an inartistic angle.</p>
+<p>The woman with angular features, as may be seen by No. 33, can
+wear with impunity, and always should wear, a hat the brim of which
+is waved, turned, twisted, or curved in graceful lines. The uneven
+brim of her hat makes an effective complement to the angularity of
+her chin, which is further softened by the feathery ruff that
+encircles her throat. The curves of the ostrich plumes, and the
+studied carelessness of the arrangement of her coiffure, subdue the
+angles of her face which are brought out in unbecoming prominence
+by the sailor-hat.</p>
+<br>
+<p>Women Who should Not Wear Horns.</p>
+<p>The velvet horns on either side of a hat, the steeple-like
+central adornments that were once much in favor, and the Mercury
+wings that ornament the coiffure for evening dress, produce some
+startling, disagreeable, and amusing effects not altogether
+uninteresting to consider.</p>
+<p>Faces in which the eyes are set too near the forehead acquire a
+scared look by being surmounted by a bonnet upon which the trimming
+gravitates to a point in an arrangement not unsuggestive of a
+reversed fan, horns, or a steeple.</p>
+<img src="images/no34.jpg" align="left" alt=
+"[Illustration: NO. 34]">
+<p>The most unpleasing developments result from the wearing of the
+horn-like trimmings either in velvet or jet. If the face above
+which they flare has less of the spiritual than the coarse
+propensities in it, the grotesque turns and twists in the head-gear
+emphasize the animality in the lines characteristic of low-bred
+tendencies, and the whole countenance is vulgarized. One face
+acquires the look of a fox, another of a certain type of dog, and
+so on.</p>
+<p>The most amusing exaggerations of distinctive facial lines are
+produced by Mercury wings. The good-natured woman of the familiar
+type depicted in No. 34 brings every bovine attribute of her placid
+countenance into conspicuous relief by surmounting her face with
+the wings of the fleet-footed god. The cow-like form and serenity
+of her features are made laughably obvious.</p>
+<p>Short, delicately-faced women can adorn their coiffures with
+Mercury wings with most charming results. Wings, or perpendicular
+bows, add length to the lines of the short face, giving it a
+certain suggestion of refinement and distinction that is wholly
+destroyed by the wearing of any trimmings that show at the
+sides.</p>
+<p>NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE
+PRACTICALLY APPLIED.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap3.jpg" alt="chapter31"></h4>
+<a name="chap3"></a>
+<h3>CHAPTER III.</h3>
+<br>
+<p>LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING
+COSTUMES.</p>
+<p>Mme. La Mode, much misrepresented as are all who are embarrassed
+with world-wide popularity always considers when designing fashions
+that women vary in form, as in mood. She suits all needs, although
+this fact has never been cast to her credit. With a beautiful sense
+of adjustment&mdash;as obvious as that in Nature, that projects the
+huge watermelon to ripen on a slender vine on the ground and swings
+a greengage plum on the stout stem of a tree to mature in storm or
+shine&mdash;Mme. La Mode, arbiter of styles, balances her
+fashions.</p>
+<p>Never came the big hat without the small bonnet. Accompanying
+the long cloak is the never-failing short cape. Side by side may be
+found the long coat and the short, natty jacket. This equilibrium
+in wearing apparel may be traced through all the vagaries of
+fashion.</p>
+<p>Everybody's need has been considered, but everybody has not
+considered her need.</p>
+<p>The short, stout woman passes by the long coat better adapted to
+her and seizes a short jacket&mdash;a homeopathic tendency of like
+suiting like, sometimes efficacious in medicine, but fatal in
+style.</p>
+<br>
+<p>Style for Tall Slender Woman.</p>
+<img src="images/no36.jpg" align="left" alt=
+"[Illustration: NO. 36]"> <img src="images/no37.jpg" align="right"
+alt="[Illustration: NO. 37]">
+<p>The very tall, slender woman frequently ignores a jaunty jacket
+and takes a long coat like that shown in No. 36.</p>
+<p>To even the sluggish fancy of an unimaginative observer she
+suggests a champagne bottle, and to the ready wit she hints of no
+end of amusing possibilities for caricature.</p>
+<p>The very tall woman should know that long lines from shoulder to
+foot give height, and she must discerningly strive to avoid length
+of line in her garments until she dons the raiment of the
+angels.</p>
+<p>Horizontal lines crossing the figure seem to decrease height,
+and should be used as much as possible in the arranging and
+trimming of the tall woman's garments.</p>
+<p>By selecting a shorter coat equally modish, as shown by No. 37,
+the too tall woman shortens her figure perceptibly.</p>
+<p>The belt cuts off from her height in a felicitous way, and the
+collar, also horizontal, materially improves the size of her
+throat. The high collar, such as finishes the coat, in No. 36, adds
+to the length. Those who have too long arms can use horizontal
+bands on sleeves most advantageously.</p>
+<br>
+<p>The Coat the Short Stout Woman should Wear.</p>
+<img src="images/no38-39.jpg" align="left" alt=
+"[Illustration: NOS. 38 AND 39]">
+<p>The short jacket that so graciously improved the appearance of
+the slender specimen of femininity is sinister in its effect on the
+short, stout woman, in sketch No. 38. It should be the study of her
+life to avoid horizontal lines. Length of limb is to be desired
+because it adds distinction. Her belt, the horizontal effect of the
+skirt of the jacket, the horizontal trimming of the bottom of the
+skirt, all apparently shortening her height, tend to make her
+ordinary and commonplace in appearance.</p>
+<p>If her hips are not too pronounced she can wear the long coat,
+shown in picture No. 39. The V-shaped vesture gives her a longer
+waist, and the long lines of the revers add to the length of her
+skirt. If her hips are too prominent, she should avoid having any
+tight-fitting garments that bring the fact into relief. She should
+not wear the long coat, but she can effectively modify it to suit
+her needs, by only having a skirt, or tabs, or finishing straps in
+the back. If her jacket or basque is finished off with a skirt
+effect, it is best to have the little skirt swerve away just at the
+hip-line, half revealing and half concealing it.</p>
+<p>The front should be made in a jacket effect, finishing just at
+the waist-line and opening over a blouse front that will conceal
+the waist-line. It is best for the too short, stout woman to
+obscure her waist-line as much as possible, to apparently give her
+increase of height.</p>
+<p>To put the waist-line high up adds to length of limb, and, of
+course, is to be desired, but the fact that what is added below is
+taken from above the waist, should impel careful discrimination in
+the arrangement of this equatorial band.</p>
+<br>
+<p>The Cloak or Cape for a Tall Woman.</p>
+<img src="images/no40.jpg" align="left" alt=
+"[Illustration: NO. 40]">
+<p>The long circular cloak is another graceful garment that can be
+worn with charming effect by the woman of classic height, but
+should never be in the wardrobe of a very tall woman except for use
+at the opera, when its service is chiefly required in the carriage,
+or when its wearer is sitting. It is so obvious, in sketch No. 40,
+that the vertical lines the folds of the cloak naturally fall into
+give a steeple-like appearance to the tall woman it enfolds, that
+it is scarcely necessary to comment upon it.</p>
+<img src="images/no41.jpg" align="right" alt=
+"[Illustration: NO. 41]">
+<p>That her judicious selection should have been the short cape,
+which comes, as all capes should, to be artistic, well below the
+elbows, is clearly illustrated in picture No. 41. The horizontal
+trimming very becomingly plays its part in the generally improving
+effect.</p>
+<p>The one who can wear the long cloak in an unchallengeable manner
+is the short, stout woman, shown in sketch No. 42.</p>
+<p>By wearing the short cape with circular, fluffy collarette,
+sketched in No. 43, she gives herself the look of a smothered,
+affrighted Cochin China chicken; or, as an imaginative school-girl
+remarked of her mother who wore a cape of similar style, "she looks
+as if her neck were encircled by bunches of asparagus."</p>
+<img src="images/no42-43.jpg" align="left" alt=
+"[Illustration: NOS. 42-43]">
+<p>The military dignity she acquires by wearing the long cape is
+becoming to a degree, and gives her distinction in form.</p>
+<p>By remembering that horizontal trimmings apparently decrease the
+height, and that vertical lines add to it, those who desire to
+appear at their best will use discernment in dividing their basques
+with yokes, or corsage mountings at the bust-line or frills at the
+hip-line.</p>
+<img src="images/no44.jpg" align="right" alt=
+"[Illustration: NO. 44]">
+<p>A flounce on the corsage at the bust-line, another at the
+hip-line, and yet another at the bottom of the shirt, increases the
+impression of bulkiness most aggressively and gives a barrel-like
+appearance to the form of a stout woman that is decidedly funny, as
+may be seen in sketch No. 44.</p>
+<p>A study of the lines of the form will not only aid one in
+adopting a more becoming style of dress, but will sharpen the
+artistic perceptions, thus adding to the joy of life.</p>
+<p>"A beautiful form is better than a beautiful face" and should be
+clothed so that its lines may appear at their best, and not be
+exaggerated and caricatured. The figure is seen many more times
+than the face, and the defects of the former are more conspicuous
+than those of the latter.</p>
+<p>Do not be unjust to your beautiful body, the temple of your
+soul; above all, do not caricature it by selecting your clothes
+with indiscriminating taste.</p>
+<p>NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE
+PRACTICALLY APPLIED.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap4.jpg" alt="chapter 4"></h4>
+<a name="chap4"></a>
+<h3>CHAPTER IV.</h3>
+<br>
+<p>HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.</p>
+<p>She was from the middle-West, and despite the fact that she was
+married, and that twenty-one half-blown blush roses had enwreathed
+her last birthday cake, she had the alert, quizzical brightness of
+a child who challenges everybody and everything that passes with
+the countersign&mdash;"Why?" She investigated New York with
+unabashed interest, and, like many another superior provincial, she
+freely expressed her likes and dislikes for its traditions,
+show-places, and people with a commanding and amusing audacity.</p>
+<p>Her objections were numerous. The chief one that made a deep
+impression upon her metropolitan friends was her disapproval of
+Sarah Bernhardt's acting. The middle-Westerner, instead of becoming
+ecstatic in her admiration, and at a loss for adjectives at the
+appearance of the divine Sarah, merely perked at the great French
+artist for some time and then demanded, querulously: "What's the
+matter with her? Why does she play so much with her back to the
+audience? I don't like it."</p>
+<p>It was a shock to the adorers of Sarah Bernhardt to hear her so
+irreverently criticised. They loyally united in her defence, and
+sought to squelch the revolter by loftily explaining that the
+actress turned her back so often to the audience because she had
+such a noble, generous nature and desired to give the other actors
+a chance. "She lets them take the centre of the stage, as they say
+in the profession," remarked one of the party, who prided herself
+upon being versed in the <i>argot</i> of the theatre.</p>
+<p>"But she plays with her back to the audience when she is
+speaking and acting, and everybody else on the stage is still but
+herself," petulantly insisted the Western Philistine, showing no
+signs of defeat.</p>
+<p>The situation was not wholly agreeable. The worshippers of Sarah
+could say nothing more in justification of her turning her back on
+them, but, with true feminine logic, concluded, "If Sarah Bernhardt
+turns her back on the audience it is right, and that is all there
+is to say."</p>
+<p>Just at this dramatic moment a voice from the adjoining row
+providentially interposed. The voice belonged to a well-known
+exponent of physical culture, who was never so happy as when
+instructing the intellectually needy. She said: "I will tell you
+why she plays with her back towards the audience more than any
+other actress upon the stage to-day." The middle-Westerner, no less
+impressed than her metropolitan friends, listened eagerly.</p>
+<p>The exponent of straight backs and high chests explained
+didactically: "The back is wonderfully expressive; indeed it is
+full of vital expression. Bernhardt knows this better than any
+other actress because she has studied statuary with the passion of
+a sculptor, and because she understands that, not only the face,
+but the entire physical structure, is capable of expressing
+dramatic emotions. Strong feeling and action may be strikingly
+revealed by the back. Imprecations, denunciations, even prayers,
+seem to be charged with more force when an actress delivers them
+with her back turned, or half-turned to the audience.</p>
+<p>"Bernhardt's back expresses a storm of fury when she imprecates
+vengeance," said the voice of authority. "Not only on the stage is
+the expression of the back discernible, and a knowledge of its
+character valuable, but in every-day life in drawing-room and
+street. How many women consider their backs when they dress? Look
+at the backs here deformed by laces and fallals," she went on
+contemptuously. "The majority of women never look below their chins
+and I believe not one in ten ever looks thoughtfully at her back,"
+she said emphatically.</p>
+<p>The dramatic value of a well-poised, expressive back may only
+concern the thousands of young women who are aspiring to be a Sarah
+Bernhardt or a Rachel; but a knowledge of what constitutes a
+properly and artistically clothed back should be of interest to all
+women in civilized countries.</p>
+<img src="images/no45.jpg" align="left" alt=
+"[Illustration: NO. 45]">
+<p>That there is much truth in the assertion that "the majority of
+women never look below their chins, and not one in ten ever looks
+thoughtfully at her back," every observer of womankind might
+testify.</p>
+<img src="images/no46.jpg" align="right" alt=
+"[Illustration: NO. 46]">
+<p>The open placket-hole and sagging waist-band, sketched in No.
+45, is an all too familiar sight that advertises the fact that too
+few women take even a cursory look at their backs. Fathers and
+brothers who wish to protect their womankind from adverse criticism
+frequently give impromptu lectures upon this very subject, as this
+slovenly arrangement of skirt and basque is not only seen in Grand
+Street, Second Avenue, and equally unfashionable quarters, but in
+Fifth Avenue where the modish set are <i>en &eacute;vidence</i>. If
+the dainty safety-pin displayed in No. 46, goes out of vogue, the
+time-honored custom of sewing hooks to the waist-band of the dress,
+is always in fashion. Indeed, many women prefer this way of
+connecting separate skirt and waist to using a conspicuous pin.
+This is almost too trivial a detail to discourse upon, but it is as
+true that details make dress as it is that "trifles make
+life"&mdash;and neither life nor dress is a trifle.</p>
+<img src="images/no46.5.jpg" align="left" alt=
+"[Illustration: NO. 46-1/2]">
+<p>The offence in No. 45 is more the result of untidiness than of a
+lack of artistic discrimination. Nos. 46-1/2 and 47, on the
+contrary, outrage the laws of art, and display ignorance of the
+value and beauty of lines.</p>
+<img src="images/no47.jpg" align="right" alt=
+"[Illustration: NO. 47]">
+<p>No. 46-1/2 might serve to conceal a deformity of the shoulders.
+That really seems its only excuse for being. The full, ugly,
+straight pleat that falls to just below the waist-line lends
+neither grace nor style to the figure. It is too short to give the
+distinction and dignity that handsome wraps with long lines almost
+invariably do, although they seem to add age to the form. There is
+a hint of youth in this ungraceful jacket to be sure, but it is not
+especially attractive in its suggestion of youthfulness.</p>
+<p>No. 47, with a line at the neck-band, crossed bands in the
+centre of the shoulders, and lines across the back, is obviously
+inartistic. The back of a Venus, even, would be detracted from by
+such criss-crossed effects. Happy the woman who has so shapely a
+back she can afford to allow her waist to fit smoothly and plainly,
+unbroken by any conspicuous lines. If bands must be used to remedy
+the deficiencies of ungenerous Nature, let them be at the neck and
+waist; and if the back is unconscionably long, a band, or fold, or
+ruffle across the shoulders is to be commended.</p>
+<img src="images/no48.jpg" align="left" alt=
+"[Illustration: NO. 48]"> <img src="images/no49.jpg" align="right"
+alt="[Illustration: NO. 49]">
+<p>No. 48 reveals a glaring error frequently made by the thin
+sisterhood. A tall, slender woman with a long waist, should not
+emphasize her length of lines by wearing pointed or V-shaped
+effects. The V-shaped arrangement, either in cut or trimmings,
+apparently increases her "longness and leanness." She should aim to
+shorten her waist instead of lengthening it as the basque finished
+with a point obviously does. The drooping sleeves elongate her
+shoulder-lines, and bring into clearer relief her meagre
+proportions. She can easily improve her appearance by adopting
+either style of gown portrayed by Nos. 49, or 50. The broad belt at
+the waist-line in No. 49, and the flamboyant lace or braided piece
+that adorns the shoulders, perceptibly adds to her breadth and
+decreases her length.</p>
+<p>No. 50 is a felicitous cut for a street dress for a slim sister.
+The jaunty bloused waist smartly conceals deficiencies in fine
+points.</p>
+<img src="images/no50.jpg" align="left" alt=
+"[Illustration: NO. 50]"> <img src="images/no51.jpg" align="right"
+alt="[Illustration: NO. 51]">
+<p>The tall, thin sisterhood should eschew pointed effects and
+study to attain apparent breadth by using trimmings arranged
+horizontally. Bands of velvet, braid in waved lines, ruffles, and
+not too deeply cut scallops, may be used effectively by the very
+slender, who sometimes appear as if they are "without form and
+void," as the earth was "in the beginning."</p>
+<p>No. 51 is an exposition of the mistake made by the sturdy
+sisterhood of stout and pendulous proportions. It is plain to be
+seen that the fluffy ruche at the throat-band, and the ruffle at
+the shoulder, and the spreading bow at the waist, and the trimmed
+sleeves, add bulkiness to a form already too generously endowed
+with flabby rotundity. Corpulent women must forego the swagger
+little basques or any sort of short, flounced effects below the
+waist-line.</p>
+<img src="images/no52.jpg" align="left" alt=
+"[Illustration: NO. 52]"> <img src="images/no53.jpg" align="right"
+alt="[Illustration: NO. 53]">
+<p>Nos. 52 and 53 are eminently adapted to the matron of ample
+dimensions. One observer of beauty-giving effects has not
+unadvisedly called the waist-line "the danger-line." A stout
+sister, above all others, should not accentuate the waist-line. She
+should conceal it as much as possible. The coat back of No. 52
+apparently lengthens the waist.</p>
+<p>The same effect is produced by the arrangement of ribbons in No.
+53, and by the long-pointed basque. V-shaped effects and
+long-pointed basques are as becoming to those burdened with flesh
+as they are unbecoming to tall, thin women.</p>
+<p>Long, graceful folds and draperies are admirable for the stout
+sisterhood, who should avoid short sacques and tight-fitting
+garments that give the on-looker an uncomfortable impression; there
+is too much in a small space. Very light colors and thin textures
+that billow and float should be eschewed by the large, fleshy woman
+who wishes to give the impression that she possesses the lines of a
+finely modelled statue. She should avoid puffs and any suggestion
+of the pulpy and clumsy, and be careful not to sub-divide the body
+of her dress by plaits or braids laid on horizontally across or
+above the bust, or below the hips. Horizontal lines invariably
+decrease the height; for that reason stout women should not wear
+dresses cut square in the neck, but should adhere to the graceful
+V-or heart-shaped cut which has a tendency to give length.</p>
+<img src="images/no54.jpg" align="left" alt=
+"[Illustration: NO. 54]"> <img src="images/no55.jpg" align="right"
+alt="[Illustration: NO. 55]">
+<p>The rotund woman with a short waist, sketched in No. 54, may
+improve her figure, as shown in No. 55, by choosing belts and
+collars the exact shade of her shirt-waists in summer, and by not
+cutting off her height by any sort of outside belt on winter
+gowns.</p>
+<p>Tall, stout women should forego high heels on their shoes, high
+hats, and striped dresses. Although stripes increase the effect of
+height, they also add to that of breadth. A plain cloth basque and
+skirt of striped material make a happy compromise and can be worn
+with becoming effect by a stout woman.</p>
+<p>A basque cut high behind and on the shoulders apparently gives
+height.</p>
+<img src="images/no56.jpg" align="left" alt=
+"[Illustration: NO. 56]">
+<p>A very stout woman should never wear double skirts or tunics or
+dresses with large sprawling patterns, such as depicted by cut No.
+56, which suggests furniture stuffs. A large woman who had a fancy
+for wearing rich brocades figured with immense floral designs was
+familiarly called by her kind friends "the escaped sofa."</p>
+<p>White, or very light colors, should never be worn by the stout;
+they greatly increase the apparent size. Large plaids should also
+be eschewed. Small checks and plaids may sometimes be becoming.</p>
+<img src="images/no57-58.jpg" align="right" alt=
+"[Illustration: NOS. 57 AND 58]">
+<p>Neither the too thin nor the too stout should adopt a style of
+gown that caricatures the form as does the voluminous wrapper,
+finished with a box-pleat, as shown in No. 57. There is no grace in
+straight lines.</p>
+<p>No. 58, which accentuates the height of the over-tall, thin
+woman, is better adapted to enhance the charms of a woman of finer
+proportions. The bony and scrawny, of the type of No. 58, seem to
+have a perverse desire to wear what makes their poverty in physical
+charms only more conspicuous. A woman of distinction in Boston, who
+is exceedingly thin and tall, wore Watteau pleats so frequently,
+even on reception and evening gowns that she was dubbed by a wag
+"the fire-escape," a title which so strikingly characterized her
+style, that the term was adopted by all her friends when they
+exchanged confidences concerning her.</p>
+<p>The garment with the Watteau pleat is not unlike the princesse
+gown which is a very trying style except to handsomely proportioned
+women. A tall, well-developed woman, such as shown in sketch No.
+59, adorns the princesse gown and attains in it a statuesque
+beauty. In suggesting statuary it fulfils the true ideal of dress,
+which should hint of poetry, art, sculpture, painting. The massing
+of colors; the arrangement of lines, the quality of textures, the
+grace and poise of the wearer&mdash;do not these hint of picture,
+statue, music?</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap5.jpg" alt="chapter 5"></h4>
+<a name="chap5"></a>
+<h3>CHAPTER V.</h3>
+<br>
+<p>CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED
+THROATS AND SHOULDERS.</p>
+<p>Despite the traditional belief that a d&eacute;collet&eacute;
+corsage is a tyrannous necessity of evening dress, a woman not
+graciously endowed with a beautifully modelled throat and shoulders
+may, with perfect propriety, conceal her infelicitous lines from
+the derisive gaze of a critical public.</p>
+<p>Women are indebted to that gentle genius, La Duse, for the
+suggestion that a veiled throat and bust may charmingly fulfil the
+requirements of evening dress, and also satisfy that sense of
+delicacy peculiar to some women who have not inherited from their
+great-great-grandmothers the certain knowledge that a low-necked
+gown is absolutely decorous.</p>
+<p>The women who does not possess delicate personal charms commends
+herself to the beauty-loving by forbearing to expose her physical
+deficiencies. Unless it is because they are enslaved by custom, it
+is quite incomprehensible why some women will glaringly display
+gaunt proportions that signally lack the exquisite lines of firm
+and solid flesh.</p>
+<img src="images/no61.jpg" align="left" alt=
+"[Illustration: NO. 61]"> <img src="images/no62.jpg" align="right"
+alt="[Illustration: NO. 62]">
+<p>A throat like a ten-stringed instrument, surmounting square
+shoulders that end in knobs that obtrude above unfilled hollows, is
+an unpleasing vision that looms up conspicuously too often in
+opera-box and drawing-room.</p>
+<p>The unattractive exhibition 61, is a familiar sight in the
+social world. How insufferably ugly such uncovered anatomy appears
+in the scenery of a rich and dainty music-room may be readily
+imagined by those who have been spared the unpleasing display. It
+is so obvious that shoulders like these should always be covered
+that it seems superfluous to remark that this type should never
+wear any sleeve that falls below the shoulder-line.</p>
+<p>The sleeve falling off the shoulder was invented for the classic
+contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are
+needed to enhance the perfect beauty of a fine, slender, white
+throat, and the felicitous curves of sloping shoulders.</p>
+<p>One whose individual endowments are as meagre as are those
+presented in No. 61 may improve her defects by adopting either
+style of corsage, shown in sketches Nos. 63 and 64.</p>
+<img src="images/no63-64.jpg" align="right" alt=
+"[Illustration: NOS. 63 AND 64]">
+<p>A woman's throat may lack a certain desirable roundness, and her
+shoulders may recede in awkward lines, and yet between these
+defective features the curves may have a not unpleasing daintiness
+and delicacy in modelling that can be advantageously revealed. A
+modish velvet throat-band, such as is shown by No. 63, is one of
+the most graceful conceits of fashion. The too slim throat
+encircled by velvet or ornamented with a jewelled buckle or brooch
+is effectively framed. The unsightly lines of the shoulders are
+covered, and just enough individual robustness is disclosed to
+suggest with becoming propriety the conventional
+d&eacute;collet&eacute; corsage. The Princess of Wales is as
+constant to her velvet or pearl neck-band, as to her especial style
+of coiffure. Her throat, in evening dress, never appears unadorned
+by one or the other of these beautiful bands that so cleverly
+conceal defects and seem to bring out more richly the texture and
+coloring of handsome bare shoulders.</p>
+<p>Those who do not approve of the d&eacute;collet&eacute; style of
+dress, or whose ungraceful proportions might well be entirely
+concealed, can wear with appropriateness and benefit the corsage
+shown in No. 64. This has much in its favor for a slender body. The
+upper part of the waist may be made of chiffon or cr&ecirc;pe,
+which is beautifully&mdash;one might say
+benignly&mdash;translucent. It has an insinuating transparency that
+neither reveals nor conceals too much. The neck-band of velvet or
+satin, full and soft, apparently enlarges the throat. The sleeves
+may be in whatever style in cut prevails. This costume carries
+perfectly into effect the requirements of evening dress, and may be
+worn with equal fitness to formal functions or to informal affairs.
+A coat-sleeve of lace, cr&ecirc;pe, or chiffon, beflounced at the
+wrist, may be inserted under the short satin sleeves when the
+occasion does not require gloves. The soft, white setting of thin
+textures around the throat and shoulders clears the complexion and
+brings into relief the pretty, delicate lines of a refined
+face.</p>
+<img src="images/no65-66.jpg" align="left" alt=
+"[Illustration: NOS. 65 AND 66]">
+<p>It is plain to be seen that the unattractive specimen of
+femininity, No. 65., with the long, wrinkled neck and sharply lined
+face is unbecomingly costumed in the V-shaped basque and corsage
+which apparently elongate her natural lankness. A charming and
+always fashionable yoke-effect that she can wear to advantage is
+shown by No. 66. This style of corsage is equally effective for a
+too thin or a too muscular neck. The filling is of tulle.</p>
+<img src="images/no67-68.jpg" align="right" alt=
+"[Illustration: NOS. 67 AND 68]">
+<p>A square-cut corsage is most becoming to the woman whose narrow
+shoulders have a consumptive droop. The angular cut apparently
+heightens the shoulders and decreases their too steeple-like
+inclination. The round cut, if it frames a full throat, is also an
+effective style for sloping shoulders. The V-shaped cut is most
+becoming to the short-necked woman, whose aim should be to increase
+the length of her throat.</p>
+<p>It is not only the too thin neck that needs to be clothed with
+discrimination. Throats and shoulders that are too robust are
+improved by being covered. The arms and shoulders, however, are
+often the chief beauty of a fleshy woman, and it is to her
+advantage to give them as effective a setting as possible.</p>
+<p>As is obvious in No. 67, the stout woman apparently increases
+her breadth by wearing a flamboyant corsage, and she hides the most
+exquisite lines of her arm with her sleeves.</p>
+<img src="images/no69.jpg" align="left" alt=
+"[Illustration: NO. 69]"> <img src="images/no70.jpg" align="right"
+alt="[Illustration: NO. 70]">
+<p>The princesse style of gown, in No. 68, gives her apparent
+length of waist. The modest lace flounce that falls in vertical
+folds decreases her formidable corsage. The knotted twist of silk
+reveals the full beauty of her arm.</p>
+<p>In dressing the throat there are a few rules to be remembered. A
+too long, stem-like neck may be apparently shortened by a standing
+ruff or a full, soft band of velvet. The tight, plain band of
+velvet should never be worn by a woman with a very slim neck, as is
+plainly discernible in sketch No. 69.</p>
+<p>The plain, military collar emphasizes the thinness of the
+slender woman's throat; but the soft crushed fold of velvet
+apparently enlarges the pipe-like proportions of the thin woman's
+neck, as may be seen in sketch No. 70. The tight-fitting collar
+should not be worn by the corpulent woman with a thick neck, as is
+shown by sketch No. 71.</p>
+<img src="images/no71.jpg" align="left" alt=
+"[Illustration: NO. 71]"> <img src="images/no72.jpg" align="right"
+alt="[Illustration: NO. 72]">
+<p>The thickness of the throat of the woman pictured in No. 72 may
+seem due to the folds of the velvet, which give a pleasing hint of
+a slender throat, a delusion not to be despised by the woman
+burdened with flesh.</p>
+<p>All the sisterhood,&mdash;stout, thin, long-throated, or
+short,&mdash;should know the hour when the withering touch of age
+begins to shrink the soft, round curves distinctive of the full,
+sweet throat of healthful youth. No regretful vanity should be
+allowed to glamour their eyes to the fact that Time has them by the
+throat, to put it melodramatically. The wise woman will not please
+herself with a fatal delusion. She will realize it is illusion she
+needs-yards of it&mdash;lace or velvet, or any beautifying texture
+that will conceal the deadly lines of age.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap6.jpg" alt="chapter 6"></h4>
+<a name="chap6"></a>
+<h3>CHAPTER VI.</h3>
+<br>
+<p>HINTS ON DRESS FOR ELDERLY WOMEN.</p>
+<p>Dress has much to do with a youthful or aged appearance. Shawls
+and long mantles that fall from the shoulders give even youthful
+figures a look of age, because the lines are long and dignified and
+without especial grace. Beautiful wraps, or coats that do not come
+very far below the hip-line, can be worn becomingly by elderly
+ladies, neither emphasizing their years nor making them appear too
+frivolously attired. There is a smack of truth in the maxim, <i>As
+a woman grows old the dress material should increase in richness
+and decrease in brightness</i>. Handsome brocades, soft, elegant
+silks, woollen textures, and velvets are eminently suitable and
+becoming to women who are growing old.</p>
+<p>Black, and black-and-white, soft white chiffon veiled in lace,
+cashmeres, and such refined tissues should be selected by those in
+"the first wrinkles of youth." Grays combined with filmy white
+material, dull bronzes lightened with cream-tinted lace, are also
+charmingly appropriate. Pale blue veiled in chiffon is another
+grateful combination.</p>
+<p>White should be worn more than it is by old ladies. It is so
+suggestive of all that is clean, bright, and dainty; and if there
+is anything an old lady should strive to be in her personal
+appearance it is dainty. Exquisite cleanliness is one of the most
+necessary attributes of attractive old age, and any texture that in
+its quality and color emphasizes the idea of cleanliness should
+commend itself to those in their "advanced youth."</p>
+<p>Little old thin women, large ones too, for that matter, who are
+wrinkled and colorless, should not wear diamonds. The dazzling
+white gems with pitiless brilliancy bring out the pasty look of the
+skin. The soft glow of pearls, the cloudlike effects of the opal,
+the unobtrusive lights of the moonstone harmonize with the tints of
+hair and skin of the aged.</p>
+<p>Elderly women should not wear bright flowers on their bonnets or
+hats. Fresh-looking roses above a face that has lost its first
+youthfulness only make that fact more obvious. Forget-me-nots,
+mignonettes, certain pretty white flowers, the palest of pink
+roses, or the most delicate tint of yellow veiled with lace are not
+inappropriate for those who do not enjoy wearing sombre bonnets and
+hats which are composed only of rich, black textures. Lace cleverly
+intermingled with velvet and jewelled ornaments of dull, rich
+shades are exceedingly effective on the head-gear of the old.</p>
+<p>Those who are gray-haired&mdash;and indeed all women as they
+grow old&mdash;should wear red above their brows instead of under
+their chins. A glint of rich cardinal velvet, or a rosette of the
+same against gray hair is beautiful.</p>
+<p>Lace! Lace! Lace! and still more Lace for the old. <i>Lace is an
+essential to the dress of a woman more than forty years of age</i>.
+Jabots, ruches, yokes, cascades, vests, and gowns of lace, black or
+white, are all for the old. Rich lace has an exquisitely softening
+effect on the complexion. Thin women with necks that look like the
+strings of a violin should swathe, smother, decorate, and adorn
+their throats with lace or gossamer fabrics that have the same
+quality as lace. These airy textures, in which light and shadow can
+so beautifully shift, subdue roughnesses of the skin and harshness
+in lines. Old Dame Nature is the prime teacher of these bewitching
+artifices. Note her fine effects with mists and cobwebs, with
+lace-like moss on sturdy old oaks, the bloom on the peach and the
+grape. Nature produces her most enchanting colorings with dust and
+age. Laces, gauzes, mulls, chiffons, net, and gossamer throw the
+same beautiful glamour over the face and they are fit and charming
+accompaniments of gray hair, which is a wonderful softener of
+defective complexions and hard facial lines.</p>
+<p>Too much cannot be written upon the proper arrangement in the
+neck-gear of the aged. The disfiguring wrinkles that make many
+necks unsightly may be kept in obeyance by massaging. No matter
+what the fashion in neck-gear, the aged must modify it to suit
+their needs. An old lady with a thin, pipe-stem neck should adopt a
+full ruche and fluffy, soft collar-bands. I cannot forbear
+repeating that tulle as light as thistle bubbles, either white or
+gray or black, is exquisitely effective for thin, scrawny necks.
+The fleshy, red neck should be softened with powder and discreetly
+veiled in chemisettes of chiffon and delicate net.</p>
+<p>Old ladies may keep in the style, thus being in the picture of
+the hour; but it is one of the divine privileges of age that it can
+make its own modes. Absolute cleanliness, cleanliness as exacting
+as that proper nurses prescribe for babies, is the first and most
+important factor in making old age attractive. Rich dress, in
+artistic colors, soft, misty, esthetic, comes next; then the
+idealizing scarfs, collars, jabots, and fichus of lace and tulles.
+Old people becomingly and artistically attired have the charm of
+rare old pictures. If they have soul-illumined faces they are
+precious masterpieces.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+<h4><img src="images/chap7.jpg" alt="chapter 7"></h4>
+<a name="chap7"></a>
+<h3>CHAPTER VII.</h3>
+<br>
+<p>HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.</p>
+<p>Although in the dress of man there are fewer possibilities of
+caricature than in that of woman, yet, "the masterpieces of
+creation" frequently exaggerate in a laughable&mdash;and sometimes
+a pitiable&mdash;way, certain physical characteristics by an
+injudicious choice of clothes.</p>
+<p>As the fashion in hair-dressing does not grant man the privilege
+of enhancing his facial attractions; nor of obscuring his defects
+by a becomingly arranged coiffure; and, as the modes in neck-gear
+are such that he cannot modify the blemishes of a defective
+complexion by encircling his athletic or scrawny throat with airy
+tulle, or dainty lace, that arch-idealizer of pasty-looking faces;
+and as he has forsworn soft, trailing garments that conceal
+unclassic curves and uninspiring lines of nether limbs, it behooves
+him to be more exactingly particular even than woman in the
+selection of his wearing apparel.</p>
+<p>Far be it from me, however, to remind man of his many
+limitations&mdash;in dress. That he can never know the rapture of
+donning a becoming spring bonnet, nor the pleasure of possessing
+"real lace" things, nor the sensuous charm of being enwrapped in
+caressing furs, or sleazy, silken garments as exquisite in color
+and texture as beautiful, fresh flowers, only delicate
+consideration for his feelings constrains me from expatiating upon
+at length.</p>
+<p>I would rather be able to remind him that he can make his
+limitations his advantages, than reveal to him what he misses in
+not being a woman.</p>
+<p>To treat of this important subject adequately and convincingly,
+one would require the masterly discernment of a skillful and
+accomplished tailor, the experienced knowledge of a well-dressed
+man, and the alertly critical perception of a loving woman who,
+even in the matter of clothes, wishes the dearest of men to her, to
+do full justice to himself and her ideal of him on all
+occasions.</p>
+<p>Although certain of the foregoing qualifications must needs be
+lacking, nevertheless this timorous pen, with more trepidation than
+courage it must be confessed, begs to call attention to a few
+obvious details in masculine attire that caricature, more or less,
+peculiarities in the forms and features of men.</p>
+<p>To be sure, in the matter of head-gear man is not conspicuously
+at the mercy of burlesquing ribbons, flowers, and feathers, and he
+has fewer opportunities than women to make himself ridiculous, yet
+a few suggestions regarding certain shapes of head-gear for certain
+types of faces, applicable to women are equally applicable to
+him.</p>
+<img src="images/no75.jpg" align="left" alt=
+"[Illustration: NO. 75]"> <img src="images/no76.jpg" align="right"
+alt="[Illustration: NO. 76]">
+<p>The same rule that applies to the women of the wedge-shaped type
+of face applies to the man of the wedge-shaped type, as may be seen
+in sketches Nos. 75 and 76. It is obvious that the youth depicted
+in No. 75 detracts from the manliness of his face and emphasizes
+the pointed appearance of his countenance by wearing a hat with a
+broad brim projecting over his ears. This style of hat appears more
+frequently in straw than in any other texture, but the effect of a
+wide, projecting rim is the same in any material. No. 76, it is
+plain, improves the appearance of the long, slim-faced man. An
+alpine hat would not be unbecoming to him, the high oval of the
+crown forming a balance for the lower part of the face.</p>
+<p>The man with a pugilistic chin should endeavor to select a hat
+that will not make his heavy jaw as prominent as does the stiff
+derby, in No. 77.</p>
+<img src="images/no77.jpg" align="left" alt=
+"[Illustration: NO. 77]"> <img src="images/no78.jpg" align="right"
+alt="[Illustration: NO. 78]">
+<p>A soft alpine hat, or one somewhat of the style of No. 78,
+improves his appearance. The high crown and wide, gracefully
+rolling brim counter-balance the weight and prominence of the
+jaw.</p>
+<p>Apropos of the minor details of man's garments, the button as a
+feature of clothes has never been fully done justice to. It is a
+sustaining thing we know, something we can hang to, fasten to, and
+even tie to. That properly placed buttons contribute to our mental
+poise and therefore to our physical repose, is hinted in that
+absurdly engaging story, anent the smart boy who was the envy of
+his spelling-class, because he always stood first. You remember, no
+doubt, that an envious but keen-eyed classmate observed that the
+smart speller worked off his nervous apprehensiveness by twirling
+the top button of his coat as he correctly spelled word after word,
+day in and day out; and how the keen-eyed one played the part of a
+stealthy villain and surreptitiously cut the button off the coat.
+And do you remember the dramatic ending? How the smart one on the
+fatal day sought to "press the button" and finding it gone, lost
+his wits completely and failed ignominiously? Many of us when we
+have lost a sustaining button, have we not felt as ridiculously
+helpless and witbenumbed as the smart speller?</p>
+<img src="images/no79.jpg" align="left" alt=
+"[Illustration: NO. 79]"> <img src="images/no80.jpg" align="right"
+alt="[Illustration: NO. 80]">
+<p>We all sub-consciously acknowledge our dependence upon buttons,
+but not many of us, evidently, have observed that even buttons have
+a certain possibility of caricature in them; and that they may add
+to, or detract from, the appearance of manly forms. The
+consideration of properly placed buttons may seem trivial to you,
+but if you will observe sketches Nos. 79 and 80, you may discern
+that a thin man may apparently increase his breadth and add a
+certain manly touch to his figure, by changing the buttons at the
+waist-line of his coat. The buttons placed so near together, in No.
+79, really make his toothpick proportions too obvious. His back is
+made to look broader by placing the buttons wider apart, as shown
+in No. 80, and changing the cut of his coat-tail.</p>
+<br clear="all">
+<img src="images/no81.jpg" align="left" alt=
+"[Illustration: NO. 81]"> <img src="images/no82.jpg" align="right"
+alt="[Illustration: NO. 82]">
+<p>That the fat man may also present a more attractive back to his
+enemies by considering the placing of his buttons, may be seen in
+drawings Nos. 81 and 82. The buttons decorating No. 81 are placed
+so far apart that they increase in an ungainly way the breadth of
+the back at the waist-line. If they are placed nearer together, and
+the seams graduated to meet them, they give the illusion of better
+and more desirable proportions, as may be seen in No. 82.</p>
+<br clear="all">
+<img src="images/no83.jpg" align="left" alt=
+"[Illustration: NO. 83]"> <img src="images/no84.jpg" align="right"
+alt="[Illustration: NO. 84]">
+<p>That the thin man may also present a more imposing and broader
+front to the world, is suggested in sketches Nos. 83 and 84. The
+contracted look of the coat in No. 83 is somewhat due to the
+buttons of his double-breasted coat being placed too closely
+together. The slender man who wishes to give the impression of
+being broad-chested may have the buttons on his coat placed a
+little farther apart than fashion may allow, as shown in sketch 84.
+The proportions may be easily preserved by a careful adjustment of
+the shoulder-seams and the seams under the arms.</p>
+<br clear="all">
+<img src="images/no85.jpg" align="left" alt=
+"[Illustration: NO. 85]"> <img src="images/no86.jpg" align="right"
+alt="[Illustration: NO. 86]">
+<p>The waist-line is not so much "a danger line" to man as to
+woman, yet man should not wholly ignore his equator. If he is
+long-waisted he can apparently balance his proportions by having
+his skirt shortened, as in No. 85, and his waist-line raised the
+merest bit. If he is too short-waisted he can lengthen his skirt
+and lower his waist-line, as shown in No. 86. In the one he escapes
+appearing too long and lanky in body, and in the other he obscures
+a lack of becoming inches that tends to give him a dumpy
+appearance.</p>
+<br clear="all">
+<img src="images/no87.jpg" align="left" alt=
+"[Illustration: NO. 87]"> <img src="images/no88.jpg" align="right"
+alt="[Illustration: NO. 88]">
+<p>If you study your fellow-men you will observe that few are
+really perfectly proportioned. One man will have the body of a
+viking on the legs of a dwarf, or one will have the legs of an
+Apollo supporting the short body of a pigmy. The man who has a
+kingly body, too broad in proportion to his legs, as shown in
+sketch No. 87, should endeavor to modify his physical defect by the
+careful selection of his coats. He should have his coats cut to
+give him as much length of leg as possible. A skilful tailor will
+know just what subtle changes and adjustments to make. The
+improvement in appearance and gain in height is pictured in sketch
+88. The coat being shorter and the waist of the trousers being
+raised a trifle, the man's limbs seem longer, which is an
+improvement. Long lines tend to give elegance and grace in bearing.
+Another thing for the too robust type of man to consider is the
+style of his trousers. No. 87 hints what he must not choose. Such
+brazen plaids only make him appear offensively aggressive in size.
+Long, fine lines, such as shown in No. 88, give an impression of
+length and apparently lessen the width.</p>
+<p>Too long lines, however, are almost as undesirable as too short
+ones. Over-tall, thin men sometimes make themselves look like
+telegraph poles or flagstaffs by wearing short coats that expose in
+a graceless way the whole length of their limbs. They suggest
+cranes and other fowl that give the impression of being "all
+legs."</p>
+<img src="images/no89.jpg" align="left" alt=
+"[Illustration: NO. 89]"> <img src="images/no90.jpg" align="right"
+alt="[Illustration: NO. 90]">
+<p>When the legs are proportioned more like a stick of macaroni or
+a lead pencil than the shapely limbs of an Adonis, they appear
+exceedingly funny when surmounted by a short coat, such as pictured
+in No. 89. A famous general in the Civil War did not despise cotton
+as a fortification to protect him from the onslaught of the enemy.
+The over-tall, thin man, who is not unsuggestive of a picket,
+should not be ashamed to fortify himself with cotton or any other
+sort of padding that intelligent tailors keep in stock. He should
+build his shoulders up a bit and be generally, but most carefully
+and artistically, enlarged. His coat should be lengthened, as in
+sketch go, to cut off just as much of the longness of limb as can
+possibly be allowed without destroying artistic proportions. The
+very tall, thin man who unthinkingly wears a very short coat should
+be brave and never turn his back to his enemy.</p>
+<p>If he wears black and white check trousers and a short blue
+coat, he should travel with a screen. A man in just such a rig
+attracted no end of comment in a fashionable hotel. The
+caricaturing effect of his trousers and coat were unspeakably
+comical. The wearer had a face as grave as an undertaker's and the
+air of a serious-minded college professor; but he had the
+nondescript look of a scarecrow composed of whatever available
+garments could be obtained from the cast-off wardrobe of summer
+boarders in a farmhouse.</p>
+<p>Coats assuredly have the power of making cartoons&mdash;living,
+jocular cartoons&mdash;of their wearers. It would hardly seem
+necessary to call attention to the fact that a man of huge
+dimensions should not wear a short coat, such as shown in sketch
+No. 91, yet his type is too frequently seen attired in this style.
+A man so dressed certainly seems the living exemplification of the
+definition of a jug, namely, "a vessel usually with a swelling
+belly, narrow mouth, and a handle, for holding liquors." It cannot
+be reiterated too often that a large, stout man should aim to
+acquire the distinction and dignity given by long lines. If his
+body is proportioned so he really has neither length of torso nor
+of limb he must pay more attention to the cut of his clothes and
+attain length in whatever artistic way he can. The long coat, as
+may be seen in sketch No. 92, not only apparently adds length but
+it conceals too protuberant curves.</p>
+<img src="images/no91-92.jpg" align="right" alt=
+"[Illustration: NOS. 91 AND 92]">
+<p>Of course, character counts far more than clothes, we will all
+agree to that, but at first glance it is a man's clothes that
+impress people. Clothes affect our behavior somewhat. For instance,
+"When the young European emigrant, after a summer's labor puts on
+for the first time a new coat, he puts on much more. His good and
+becoming clothes put him on thinking that he must behave like
+people who are so dressed; and silently and steadily his behavior
+mends." Of course, there is an uplifting truth in George Herbert's
+maxim, "This coat with my discretion will be brave," yet, I am
+inclined to think that the majority of men who will stop to
+consider will agree with Emerson, who says, "If a man has not firm
+nerves and has keen sensibility, it is perhaps a wise economy to go
+to a good shop and dress himself irreproachably. He can then
+dismiss all care from his mind, and may easily find that
+performance an addition of confidence, a fortification that turns
+the scale in social encounters, and allows him to go gayly into
+conversations where else he had been dry and embarrassed. I am not
+ignorant,&mdash;I have heard with admiring submission the
+experience of the lady who declared 'that the sense of being
+perfectly well dressed gives a feeling of inward tranquillity which
+religion is powerless to bestow.'"</p>
+<p>A popular clothier in New York, understanding this trait of his
+fellow-men, voices this same sentiment in his advertisement in this
+succinct way: "Seriously now. Have you ever stopped to think that
+if you wear good clothing it adds much to that independent, easy
+feeling you should have when you come in contact with other
+men?"</p>
+<img src="images/no93.jpg" align="left" alt=
+"[Illustration: NO. 93]">
+<p>I think it was Lord Chesterfield who said: "A man is received
+according to his appearance, and dismissed according to his
+merits." There is a bit of truth in this we would all admit, I have
+no doubt, if we studied the question. Clothes affect our own poise,
+ease, and attitude toward others and the expression of others
+toward us, but, after all, we rely upon the man or woman instead of
+upon the impression we receive from the clothes. The garments,
+after we have noticed them in a superficial way, are chiefly
+interesting to us, because they are arch-betrayers of the physical
+and mental poise of the man. No matter what the cut of the cloth,
+no matter what <i>cachet</i> of a fashionable tailor a suit may
+have, or what its richness of material, the attitude "&agrave; la
+decadence" of No. 93 would make the best clothes in Christendom
+look shabby and unattractive.</p>
+<img src="images/no94.jpg" align="right" alt=
+"[Illustration: NO. 94]">
+<p>This too familiar carriage of the American man makes one wish to
+have the power to reverse the faces&mdash;as Dante did those of the
+false prophets, so those who stand "&agrave; la decadence" might
+see what ridiculous figures they cut in drawing-room and street.
+The curved backs and rounded-out shoulders would make fair-looking
+chests, and the flat chests would represent respectable-looking
+backs.</p>
+<p>A man owes it to the spirit within him not to stand or walk in
+such an attitude. He should brace up and keep bracing up
+persistently, unremittently, until he attains a more manly
+bearing.</p>
+<p>The wholly alive fellow pictured in sketch No. 94 would make
+homespun look elegant. His chest is forward. He does not sag in
+front at the waist, protruding his abdomen in not only an
+inartistic, but an unhealthy manner; but he strides masterfully
+forward with an air of inspiriting "aliveness." The perfect poise
+of his attitude is not unsuggestive of the Apollo
+Belvedere&mdash;the model for all men&mdash;a picture of which
+every college boy should have to place beside the prettiest girl in
+his collection of pretty girls, to constantly remind him to carry
+himself like a young god.</p>
+<br>
+<br>
+<hr style="width: 65%;">
+<br>
+<br>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's What Dress Makes of Us, by Dorothy Quigley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+***** This file should be named 11078-h.htm or 11078-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/1/0/7/11078/
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+     https://www.gutenberg.org/etext06
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+     https://www.gutenberg.org/1/0/2/3/10234
+
+or filename 24689 would be found at:
+     https://www.gutenberg.org/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+     https://www.gutenberg.org/GUTINDEX.ALL
+
+
+
+
+</pre>
+
+</body>
+</html>
diff --git a/old/11078-h/images/005.jpg b/old/11078-h/images/005.jpg
new file mode 100644
index 0000000..28cbf76
--- /dev/null
+++ b/old/11078-h/images/005.jpg
diff --git a/old/11078-h/images/007-1.jpg b/old/11078-h/images/007-1.jpg
new file mode 100644
index 0000000..12c8408
--- /dev/null
+++ b/old/11078-h/images/007-1.jpg
diff --git a/old/11078-h/images/007-2.jpg b/old/11078-h/images/007-2.jpg
new file mode 100644
index 0000000..aa4e2c5
--- /dev/null
+++ b/old/11078-h/images/007-2.jpg
diff --git a/old/11078-h/images/008.jpg b/old/11078-h/images/008.jpg
new file mode 100644
index 0000000..0c689e0
--- /dev/null
+++ b/old/11078-h/images/008.jpg
diff --git a/old/11078-h/images/chap1.jpg b/old/11078-h/images/chap1.jpg
new file mode 100644
index 0000000..c5128c8
--- /dev/null
+++ b/old/11078-h/images/chap1.jpg
diff --git a/old/11078-h/images/chap2.jpg b/old/11078-h/images/chap2.jpg
new file mode 100644
index 0000000..9cfa5e9
--- /dev/null
+++ b/old/11078-h/images/chap2.jpg
diff --git a/old/11078-h/images/chap3.jpg b/old/11078-h/images/chap3.jpg
new file mode 100644
index 0000000..c2a02ec
--- /dev/null
+++ b/old/11078-h/images/chap3.jpg
diff --git a/old/11078-h/images/chap4.jpg b/old/11078-h/images/chap4.jpg
new file mode 100644
index 0000000..eb1bca5
--- /dev/null
+++ b/old/11078-h/images/chap4.jpg
diff --git a/old/11078-h/images/chap5.jpg b/old/11078-h/images/chap5.jpg
new file mode 100644
index 0000000..ace9c74
--- /dev/null
+++ b/old/11078-h/images/chap5.jpg
diff --git a/old/11078-h/images/chap6.jpg b/old/11078-h/images/chap6.jpg
new file mode 100644
index 0000000..ff7e1fe
--- /dev/null
+++ b/old/11078-h/images/chap6.jpg
diff --git a/old/11078-h/images/chap7.jpg b/old/11078-h/images/chap7.jpg
new file mode 100644
index 0000000..68dd66c
--- /dev/null
+++ b/old/11078-h/images/chap7.jpg
diff --git a/old/11078-h/images/no02.jpg b/old/11078-h/images/no02.jpg
new file mode 100644
index 0000000..135482f
--- /dev/null
+++ b/old/11078-h/images/no02.jpg
diff --git a/old/11078-h/images/no03.jpg b/old/11078-h/images/no03.jpg
new file mode 100644
index 0000000..b2bbdb5
--- /dev/null
+++ b/old/11078-h/images/no03.jpg
diff --git a/old/11078-h/images/no04.jpg b/old/11078-h/images/no04.jpg
new file mode 100644
index 0000000..693f6da
--- /dev/null
+++ b/old/11078-h/images/no04.jpg
diff --git a/old/11078-h/images/no05.jpg b/old/11078-h/images/no05.jpg
new file mode 100644
index 0000000..ea44f52
--- /dev/null
+++ b/old/11078-h/images/no05.jpg
diff --git a/old/11078-h/images/no06.jpg b/old/11078-h/images/no06.jpg
new file mode 100644
index 0000000..c09754c
--- /dev/null
+++ b/old/11078-h/images/no06.jpg
diff --git a/old/11078-h/images/no07.jpg b/old/11078-h/images/no07.jpg
new file mode 100644
index 0000000..5bd45e7
--- /dev/null
+++ b/old/11078-h/images/no07.jpg
diff --git a/old/11078-h/images/no08.5.jpg b/old/11078-h/images/no08.5.jpg
new file mode 100644
index 0000000..6727127
--- /dev/null
+++ b/old/11078-h/images/no08.5.jpg
diff --git a/old/11078-h/images/no08.jpg b/old/11078-h/images/no08.jpg
new file mode 100644
index 0000000..2d88c54
--- /dev/null
+++ b/old/11078-h/images/no08.jpg
diff --git a/old/11078-h/images/no09.jpg b/old/11078-h/images/no09.jpg
new file mode 100644
index 0000000..bddb19e
--- /dev/null
+++ b/old/11078-h/images/no09.jpg
diff --git a/old/11078-h/images/no10.jpg b/old/11078-h/images/no10.jpg
new file mode 100644
index 0000000..7e5f64c
--- /dev/null
+++ b/old/11078-h/images/no10.jpg
diff --git a/old/11078-h/images/no11.jpg b/old/11078-h/images/no11.jpg
new file mode 100644
index 0000000..4a2b304
--- /dev/null
+++ b/old/11078-h/images/no11.jpg
diff --git a/old/11078-h/images/no12.jpg b/old/11078-h/images/no12.jpg
new file mode 100644
index 0000000..39d0bad
--- /dev/null
+++ b/old/11078-h/images/no12.jpg
diff --git a/old/11078-h/images/no13.jpg b/old/11078-h/images/no13.jpg
new file mode 100644
index 0000000..109c1d4
--- /dev/null
+++ b/old/11078-h/images/no13.jpg
diff --git a/old/11078-h/images/no14-15.jpg b/old/11078-h/images/no14-15.jpg
new file mode 100644
index 0000000..09608a7
--- /dev/null
+++ b/old/11078-h/images/no14-15.jpg
diff --git a/old/11078-h/images/no16.jpg b/old/11078-h/images/no16.jpg
new file mode 100644
index 0000000..b700940
--- /dev/null
+++ b/old/11078-h/images/no16.jpg
diff --git a/old/11078-h/images/no17.jpg b/old/11078-h/images/no17.jpg
new file mode 100644
index 0000000..7d4054c
--- /dev/null
+++ b/old/11078-h/images/no17.jpg
diff --git a/old/11078-h/images/no18.jpg b/old/11078-h/images/no18.jpg
new file mode 100644
index 0000000..526d600
--- /dev/null
+++ b/old/11078-h/images/no18.jpg
diff --git a/old/11078-h/images/no19.jpg b/old/11078-h/images/no19.jpg
new file mode 100644
index 0000000..78abdc6
--- /dev/null
+++ b/old/11078-h/images/no19.jpg
diff --git a/old/11078-h/images/no20.jpg b/old/11078-h/images/no20.jpg
new file mode 100644
index 0000000..1119c02
--- /dev/null
+++ b/old/11078-h/images/no20.jpg
diff --git a/old/11078-h/images/no22.jpg b/old/11078-h/images/no22.jpg
new file mode 100644
index 0000000..b64031b
--- /dev/null
+++ b/old/11078-h/images/no22.jpg
diff --git a/old/11078-h/images/no23.jpg b/old/11078-h/images/no23.jpg
new file mode 100644
index 0000000..a14ea7d
--- /dev/null
+++ b/old/11078-h/images/no23.jpg
diff --git a/old/11078-h/images/no24.jpg b/old/11078-h/images/no24.jpg
new file mode 100644
index 0000000..8988e45
--- /dev/null
+++ b/old/11078-h/images/no24.jpg
diff --git a/old/11078-h/images/no25.jpg b/old/11078-h/images/no25.jpg
new file mode 100644
index 0000000..6ea1afd
--- /dev/null
+++ b/old/11078-h/images/no25.jpg
diff --git a/old/11078-h/images/no26.jpg b/old/11078-h/images/no26.jpg
new file mode 100644
index 0000000..e5a611f
--- /dev/null
+++ b/old/11078-h/images/no26.jpg
diff --git a/old/11078-h/images/no27.jpg b/old/11078-h/images/no27.jpg
new file mode 100644
index 0000000..d5ed0b7
--- /dev/null
+++ b/old/11078-h/images/no27.jpg
diff --git a/old/11078-h/images/no28.jpg b/old/11078-h/images/no28.jpg
new file mode 100644
index 0000000..c44cbff
--- /dev/null
+++ b/old/11078-h/images/no28.jpg
diff --git a/old/11078-h/images/no29.jpg b/old/11078-h/images/no29.jpg
new file mode 100644
index 0000000..d47ee94
--- /dev/null
+++ b/old/11078-h/images/no29.jpg
diff --git a/old/11078-h/images/no30-31.jpg b/old/11078-h/images/no30-31.jpg
new file mode 100644
index 0000000..eaf2b4e
--- /dev/null
+++ b/old/11078-h/images/no30-31.jpg
diff --git a/old/11078-h/images/no32-33.jpg b/old/11078-h/images/no32-33.jpg
new file mode 100644
index 0000000..3227827
--- /dev/null
+++ b/old/11078-h/images/no32-33.jpg
diff --git a/old/11078-h/images/no34.jpg b/old/11078-h/images/no34.jpg
new file mode 100644
index 0000000..8964f4b
--- /dev/null
+++ b/old/11078-h/images/no34.jpg
diff --git a/old/11078-h/images/no36.jpg b/old/11078-h/images/no36.jpg
new file mode 100644
index 0000000..6a6fc50
--- /dev/null
+++ b/old/11078-h/images/no36.jpg
diff --git a/old/11078-h/images/no37.jpg b/old/11078-h/images/no37.jpg
new file mode 100644
index 0000000..a440e74
--- /dev/null
+++ b/old/11078-h/images/no37.jpg
diff --git a/old/11078-h/images/no38-39.jpg b/old/11078-h/images/no38-39.jpg
new file mode 100644
index 0000000..0df247c
--- /dev/null
+++ b/old/11078-h/images/no38-39.jpg
diff --git a/old/11078-h/images/no40.jpg b/old/11078-h/images/no40.jpg
new file mode 100644
index 0000000..bc8626f
--- /dev/null
+++ b/old/11078-h/images/no40.jpg
diff --git a/old/11078-h/images/no41.jpg b/old/11078-h/images/no41.jpg
new file mode 100644
index 0000000..fb893b2
--- /dev/null
+++ b/old/11078-h/images/no41.jpg
diff --git a/old/11078-h/images/no42-43.jpg b/old/11078-h/images/no42-43.jpg
new file mode 100644
index 0000000..a21a6c0
--- /dev/null
+++ b/old/11078-h/images/no42-43.jpg
diff --git a/old/11078-h/images/no44.jpg b/old/11078-h/images/no44.jpg
new file mode 100644
index 0000000..88b8177
--- /dev/null
+++ b/old/11078-h/images/no44.jpg
diff --git a/old/11078-h/images/no45.jpg b/old/11078-h/images/no45.jpg
new file mode 100644
index 0000000..69e27f6
--- /dev/null
+++ b/old/11078-h/images/no45.jpg
diff --git a/old/11078-h/images/no46.5.jpg b/old/11078-h/images/no46.5.jpg
new file mode 100644
index 0000000..b6a03fe
--- /dev/null
+++ b/old/11078-h/images/no46.5.jpg
diff --git a/old/11078-h/images/no46.jpg b/old/11078-h/images/no46.jpg
new file mode 100644
index 0000000..916c8f3
--- /dev/null
+++ b/old/11078-h/images/no46.jpg
diff --git a/old/11078-h/images/no47.jpg b/old/11078-h/images/no47.jpg
new file mode 100644
index 0000000..1a672c2
--- /dev/null
+++ b/old/11078-h/images/no47.jpg
diff --git a/old/11078-h/images/no48.jpg b/old/11078-h/images/no48.jpg
new file mode 100644
index 0000000..227940c
--- /dev/null
+++ b/old/11078-h/images/no48.jpg
diff --git a/old/11078-h/images/no49.jpg b/old/11078-h/images/no49.jpg
new file mode 100644
index 0000000..89d376f
--- /dev/null
+++ b/old/11078-h/images/no49.jpg
diff --git a/old/11078-h/images/no50.jpg b/old/11078-h/images/no50.jpg
new file mode 100644
index 0000000..91fb87a
--- /dev/null
+++ b/old/11078-h/images/no50.jpg
diff --git a/old/11078-h/images/no51.jpg b/old/11078-h/images/no51.jpg
new file mode 100644
index 0000000..0019505
--- /dev/null
+++ b/old/11078-h/images/no51.jpg
diff --git a/old/11078-h/images/no52.jpg b/old/11078-h/images/no52.jpg
new file mode 100644
index 0000000..b378d78
--- /dev/null
+++ b/old/11078-h/images/no52.jpg
diff --git a/old/11078-h/images/no53.jpg b/old/11078-h/images/no53.jpg
new file mode 100644
index 0000000..d84d0eb
--- /dev/null
+++ b/old/11078-h/images/no53.jpg
diff --git a/old/11078-h/images/no54.jpg b/old/11078-h/images/no54.jpg
new file mode 100644
index 0000000..73799ea
--- /dev/null
+++ b/old/11078-h/images/no54.jpg
diff --git a/old/11078-h/images/no55.jpg b/old/11078-h/images/no55.jpg
new file mode 100644
index 0000000..43d0af6
--- /dev/null
+++ b/old/11078-h/images/no55.jpg
diff --git a/old/11078-h/images/no56.jpg b/old/11078-h/images/no56.jpg
new file mode 100644
index 0000000..3ea6ac3
--- /dev/null
+++ b/old/11078-h/images/no56.jpg
diff --git a/old/11078-h/images/no57-58.jpg b/old/11078-h/images/no57-58.jpg
new file mode 100644
index 0000000..2bfc777
--- /dev/null
+++ b/old/11078-h/images/no57-58.jpg
diff --git a/old/11078-h/images/no59.jpg b/old/11078-h/images/no59.jpg
new file mode 100644
index 0000000..6ac4b73
--- /dev/null
+++ b/old/11078-h/images/no59.jpg
diff --git a/old/11078-h/images/no61.jpg b/old/11078-h/images/no61.jpg
new file mode 100644
index 0000000..814d283
--- /dev/null
+++ b/old/11078-h/images/no61.jpg
diff --git a/old/11078-h/images/no62.jpg b/old/11078-h/images/no62.jpg
new file mode 100644
index 0000000..afdaf03
--- /dev/null
+++ b/old/11078-h/images/no62.jpg
diff --git a/old/11078-h/images/no63-64.jpg b/old/11078-h/images/no63-64.jpg
new file mode 100644
index 0000000..06c37a6
--- /dev/null
+++ b/old/11078-h/images/no63-64.jpg
diff --git a/old/11078-h/images/no65-66.jpg b/old/11078-h/images/no65-66.jpg
new file mode 100644
index 0000000..f6025d1
--- /dev/null
+++ b/old/11078-h/images/no65-66.jpg
diff --git a/old/11078-h/images/no67-68.jpg b/old/11078-h/images/no67-68.jpg
new file mode 100644
index 0000000..a6f831b
--- /dev/null
+++ b/old/11078-h/images/no67-68.jpg
diff --git a/old/11078-h/images/no69.jpg b/old/11078-h/images/no69.jpg
new file mode 100644
index 0000000..c826385
--- /dev/null
+++ b/old/11078-h/images/no69.jpg
diff --git a/old/11078-h/images/no70.jpg b/old/11078-h/images/no70.jpg
new file mode 100644
index 0000000..d2b2b5e
--- /dev/null
+++ b/old/11078-h/images/no70.jpg
diff --git a/old/11078-h/images/no71.jpg b/old/11078-h/images/no71.jpg
new file mode 100644
index 0000000..dc48fdf
--- /dev/null
+++ b/old/11078-h/images/no71.jpg
diff --git a/old/11078-h/images/no72.jpg b/old/11078-h/images/no72.jpg
new file mode 100644
index 0000000..24397af
--- /dev/null
+++ b/old/11078-h/images/no72.jpg
diff --git a/old/11078-h/images/no75.jpg b/old/11078-h/images/no75.jpg
new file mode 100644
index 0000000..2f2ca48
--- /dev/null
+++ b/old/11078-h/images/no75.jpg
diff --git a/old/11078-h/images/no76.jpg b/old/11078-h/images/no76.jpg
new file mode 100644
index 0000000..cc6dd08
--- /dev/null
+++ b/old/11078-h/images/no76.jpg
diff --git a/old/11078-h/images/no77.jpg b/old/11078-h/images/no77.jpg
new file mode 100644
index 0000000..cbed588
--- /dev/null
+++ b/old/11078-h/images/no77.jpg
diff --git a/old/11078-h/images/no78.jpg b/old/11078-h/images/no78.jpg
new file mode 100644
index 0000000..197bd70
--- /dev/null
+++ b/old/11078-h/images/no78.jpg
diff --git a/old/11078-h/images/no79.jpg b/old/11078-h/images/no79.jpg
new file mode 100644
index 0000000..ec22eb8
--- /dev/null
+++ b/old/11078-h/images/no79.jpg
diff --git a/old/11078-h/images/no80.jpg b/old/11078-h/images/no80.jpg
new file mode 100644
index 0000000..53111a6
--- /dev/null
+++ b/old/11078-h/images/no80.jpg
diff --git a/old/11078-h/images/no81.jpg b/old/11078-h/images/no81.jpg
new file mode 100644
index 0000000..8b8a2a4
--- /dev/null
+++ b/old/11078-h/images/no81.jpg
diff --git a/old/11078-h/images/no82.jpg b/old/11078-h/images/no82.jpg
new file mode 100644
index 0000000..b998639
--- /dev/null
+++ b/old/11078-h/images/no82.jpg
diff --git a/old/11078-h/images/no83.jpg b/old/11078-h/images/no83.jpg
new file mode 100644
index 0000000..af1051d
--- /dev/null
+++ b/old/11078-h/images/no83.jpg
diff --git a/old/11078-h/images/no84.jpg b/old/11078-h/images/no84.jpg
new file mode 100644
index 0000000..9f751a1
--- /dev/null
+++ b/old/11078-h/images/no84.jpg
diff --git a/old/11078-h/images/no85.jpg b/old/11078-h/images/no85.jpg
new file mode 100644
index 0000000..55d3262
--- /dev/null
+++ b/old/11078-h/images/no85.jpg
diff --git a/old/11078-h/images/no86.jpg b/old/11078-h/images/no86.jpg
new file mode 100644
index 0000000..e61e808
--- /dev/null
+++ b/old/11078-h/images/no86.jpg
diff --git a/old/11078-h/images/no87.jpg b/old/11078-h/images/no87.jpg
new file mode 100644
index 0000000..7bb02b3
--- /dev/null
+++ b/old/11078-h/images/no87.jpg
diff --git a/old/11078-h/images/no88.jpg b/old/11078-h/images/no88.jpg
new file mode 100644
index 0000000..4a40ae2
--- /dev/null
+++ b/old/11078-h/images/no88.jpg
diff --git a/old/11078-h/images/no89.jpg b/old/11078-h/images/no89.jpg
new file mode 100644
index 0000000..60389ed
--- /dev/null
+++ b/old/11078-h/images/no89.jpg
diff --git a/old/11078-h/images/no90.jpg b/old/11078-h/images/no90.jpg
new file mode 100644
index 0000000..ae37ede
--- /dev/null
+++ b/old/11078-h/images/no90.jpg
diff --git a/old/11078-h/images/no91-92.jpg b/old/11078-h/images/no91-92.jpg
new file mode 100644
index 0000000..7dd006e
--- /dev/null
+++ b/old/11078-h/images/no91-92.jpg
diff --git a/old/11078-h/images/no93.jpg b/old/11078-h/images/no93.jpg
new file mode 100644
index 0000000..f42c61b
--- /dev/null
+++ b/old/11078-h/images/no93.jpg
diff --git a/old/11078-h/images/no94.jpg b/old/11078-h/images/no94.jpg
new file mode 100644
index 0000000..a3833cb
--- /dev/null
+++ b/old/11078-h/images/no94.jpg
diff --git a/old/11078.txt b/old/11078.txt
new file mode 100644
index 0000000..8720a67
--- /dev/null
+++ b/old/11078.txt
@@ -0,0 +1,2084 @@
+The Project Gutenberg EBook of What Dress Makes of Us, by Dorothy Quigley
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: What Dress Makes of Us
+
+Author: Dorothy Quigley
+
+Release Date: February 13, 2004 [EBook #11078]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+
+
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+
+
+
+WHAT DRESS MAKES OF US
+
+By
+
+DOROTHY QUIGLEY
+
+
+Illustrations by
+ANNIE BLAKESLEE
+
+
+1897
+
+
+
+
+    I am indebted to the editors of the New York _Sun_ and
+    New York _Journal_ for kindly allowing me to include in
+    this book articles which I contributed to their
+    respective papers.
+
+
+
+
+PREFACE.
+
+Did you ever observe, dear comrade, what an element of caricature lurks
+in clothes? A short, round coat on a stout man seems to exaggerate his
+proportions to such a ridiculous degree that the profile of his manly
+form suggests "the robust bulge of an old jug."
+
+A bonnet decorated with loops of ribbon and sprays of grass, or flowers
+that fall aslant, may give a laughably tipsy air to the long face of a
+saintly matron of pious and conservative habits.
+
+A peaked hat and tight-fitting, long-skirted coat may so magnify the
+meagre physical endowments of a tall, slender girl that she attains the
+lank and longish look of a bottle of hock.
+
+Oh! the mocking diablery in strings, wisps of untidy hair, queer
+trimmings, and limp hats. Alas! that they should have such impish power
+to detract from the dignity of woman and render man absurd.
+
+Because of his comical attire, an eminent Oxford divine, whose life and
+works commanded reverence, was once mistaken for an ancient New England
+spinster in emancipated garments. His smoothly shaven face, framed in
+crinkly, gray locks, was surmounted by a soft, little, round hat, from
+the up-turned brim of which dangled a broken string. His long frock-coat
+reached to just above his loosely fitting gaiters.
+
+The fluttering string, whose only reason for being at all was to keep
+the queer head-gear from sailing away on the wind, gave a touch of the
+ludicrous to the boyish hat which, in its turn, lent more drollery than
+dignity to the sanctified face of the old theologian. Who has not seen
+just such, or a similar sight, and laughed? Who has not, with the
+generosity common to us all, concluded these were the mistakes and
+self-delusions of neighbors, relatives, and friends, in which we had no
+share?
+
+I understand how it is with you. I am one of you. Before I studied our
+common errors I smiled at my neighbor's lack of taste, reconstructed my
+friends, and cast contemptuous criticism upon my enemies. One day I took
+a look at myself, and realized that "I, too, am laughable on unsuspected
+occasions."
+
+The humbling knowledge of seeing myself objectively, gave me courage to
+speak to the heart of you certain home truths which concern us all, in
+homely language which we can all understand.
+
+That you may discern the comicality and waggery in ill-chosen clothes, I
+have endeavored to hint to you in these talks some of the ways gew-gaws
+and garments make game of us.
+
+May you discover that your dress is not making you a laughable object;
+but if, by any chance, you should note that your clothes are
+caricaturing you, take heart. Enjoy the joke with the mirth that heals
+and heartens, and speedily correct your mistakes.
+
+The lines of your form, the modelling of your face, are they not worthy
+of your discerning thought? Truly! Whatever detracts from them detracts
+from sculpture, painting, and poetry, and the world is the loser.
+
+A word to the thinking is sufficient.
+
+D.Q.
+
+
+
+
+CONTENTS.
+
+
+PREFACE
+
+
+CHAPTER I.
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR
+
+    Style for Wedge-Shaped Faces
+    Style for Heavy Jaws
+    Style for Eyes Set Too High
+    Style for Eyes Set Too Low
+    Style for Long Faces with Long Noses
+    For Faces with Protruding Noses
+
+
+CHAPTER II.
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR
+
+    The Magic of the Bonnet
+    Style for Women with Broad Face and Heavy Chin
+    Style for Women with Tapering Chin
+    Hat for the Chubby Woman
+    For Women Who Have Sharp and Prominent Profiles
+    For the Woman with an Angular Face
+    Women Who should Not Wear Horns
+
+
+CHAPTER III.
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES
+
+    Style for Tall Slender Women
+    The Coat the Short Stout Women should Wear
+    The Cloak or Cape for a Tall Women
+
+
+CHAPTER IV.
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED
+
+
+CHAPTER V.
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS
+
+
+CHAPTER VI.
+
+HINTS ON DRESS FOR ELDERLY WOMEN
+
+
+CHAPTER VII.
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES
+
+
+
+
+WHAT DRESS MAKES OF US.
+
+       *       *       *       *       *
+
+CHAPTER I.
+
+
+HOW WOMEN OF CERTAIN TYPES SHOULD DRESS THEIR HAIR.
+
+The pleasing, but somewhat audacious statement of the clever writer who
+asserted, "In the merciful scheme of nature, there are no plain women,"
+is not as disputable as it may seem. Honest husbands, to be sure, greet
+the information with dissenting guffaws; gay deceivers reflect upon its
+truth by gallantly assenting to it, with a mocking little twinkle in
+their eyes; and pretty women, upon hearing it, remark sententiously
+"Blind men and fools may think so." Discerning students of womankind,
+however, know that if every woman would make the best of her
+possibilities, physically, mentally, and spiritually, it would be
+delightfully probable that "in the merciful scheme of nature" there need
+be no plain women.
+
+Have we not Lord Chesterfield's word for it, that "No woman is ugly when
+she is dressed"?
+
+It is no unworthy study to learn to make the best of, and to do justice
+to, one's self. Apropos of this, to begin--where all fascinating
+subjects should begin--at the head, it behooves every woman who wishes
+to appear at her best, to study the modelling of her face that she may
+understand both its defective and perfect lines. By a proper arrangement
+of her hair a woman can do much to obscure or soften her bad features,
+and heighten the charm of her good ones.
+
+Romancers have written, and poets have sung, of the bewitchment in
+nut-brown locks, golden tresses, and jetty curls. Every woman, if so
+inclined, may prove for herself the transfiguring effect in a becoming
+coiffure. In fact, the beauty of a woman's face and her apparent age are
+greatly affected by the way she wears her hair.
+
+A most important detail that too few consider, is, the proper direction
+in which to comb the hair. Women literally toss their tresses together
+without any attention to the natural inclination of the individual
+strands or fibres. They comb their hair "against the grain." Those who
+do so never have beautifully and smoothly arranged coiffures. Each
+little hirsute filament has a rebellious tendency to go in the direction
+nature intended it should, and refuses to "stay where it is put," giving
+the head in consequence, an unkempt and what is termed an "unladylike"
+appearance. The criss-cross effect resulting from combing and arranging
+the hair contrary to "the grain" is conspicuously apparent in the
+coiffure of no less a personage than Eleanora Duse, who, as may be seen
+from the picture, pays little attention to the natural tendency of the
+dark tresses that cover her shapely head. The bang has the dishevelled
+appearance of a pile of jack-straws. The side-locks instead of being
+combed or brushed to follow the contour of the head, fall loosely and
+fly in opposite directions.
+
+[Illustration: NO. 2]
+
+The difference in appearance between the women of the smart sets in
+America and those of less fashionable circles is due, in a great
+measure, to the beautifully dressed coiffures of the former. A
+hair-dresser arranges, at least once a week, the hair of the modish
+woman if her maid does not understand the art of hair-dressing. Many
+women of the wealthy world have their maids taught by a French coiffeur.
+
+A wise woman will adopt a prevailing mode with discretion, for, what may
+be essentially appropriate for one, may be fatally inappropriate for
+another. In adjusting her "crown of glory" a woman must consider the
+proportions of her face. She should be able to discern whether her eyes
+are too near the top of her head or, too far below; whether she has a
+square or wedge-shaped chin; a lean, long face, or a round and
+bountifully curved one. She should be alert to her defects and study
+never to emphasize nor exaggerate them.
+
+Why, through stupidity or carelessness, make a cartoon of yourself,
+when with a proper appreciation of your possibilities you can be a
+pleasing picture? It is just as glorious to be a fine picture or a poem
+as it is to paint the one, or write the other. Indeed, a woman who
+harmoniously develops the best within her has the charm of an exquisite
+poem and inspires poets to sing; and if by the grace and beauty of her
+dress she enhances her natural endowments and makes herself a pleasing
+picture, the world becomes her debtor.
+
+In the important matter of becomingly arranging the hair, the following
+sketches and suggestions may hint to bright, thinking, women what
+styles to choose or avoid.
+
+
+For Wedge-Shaped Faces.
+
+[Illustration: NO. 3]
+
+[Illustration: NO. 4]
+
+The least-discerning eye can see that the wedge-Shaped face No. 3 is
+caricatured, and its triangular proportions made more evident, by
+allowing the hair to extend in curls or a fluffy bang on either side of
+the head. Women with delicately modelled faces with peaked chins should
+avoid these broad effects above their brows.
+
+It is obvious in the sketch No. 4, that the wedge-shaped face is
+perceptibly improved by wearing the hair in soft waves, or curls closely
+confined to the head and by arranging a coil or high puff just above and
+in front of the crown. This arrangement gives a desirable oval effect to
+the face, the sharp prominence of the chin being counteracted by the
+surmounting puffs.
+
+
+For Heavy Jaws.
+
+It may readily be seen that a woman with the square, heavy-jawed face
+pictured by No. 5, should not adopt a straight, or nearly straight,
+bang, nor wear her hair low on her forehead, nor adjust the greater
+portion of her hair so that the coil cannot be seen above the crown of
+her head. The low bang brings into striking relief all the hard lines of
+her face and gives the impression that she has pugilistic tendencies.
+
+[Illustration: NO. 5]
+
+To insure artistic balance to her countenance, and bring out the womanly
+strength and vital power of her face, her hair should be arranged in
+coils, puffs, or braids that will give breadth to the top of her head as
+shown by No. 6. A fluffy, softly curled bang adds grace to the forehead
+and gives it the necessary broadness it needs to lessen and lighten the
+heaviness of the lower part of the face. A bow of ribbon, or an aigrette
+of feathers, will add effectively the crown of braids or puffs which a
+wise woman with a square jaw will surmount her brow if she wishes to
+subdue the too aggressive, fighting qualities of her strong chin.
+
+[Illustration: NO. 6]
+
+
+For Short Faces.
+
+The sisterhood who have short, chubby faces should, in a measure,
+observe certain rules that apply in a small degree to those who have
+heavy chins.
+
+As may be observed even with a casual glance, the little short-faced
+woman depicted by No. 7, causes her round facial disk to appear much
+shorter than it really is by allowing her hair to come so far down on
+her forehead. She further detracts from her facial charms by wearing
+"water-waves." Water-waves are scarcely to be commended for any type of
+face, and they are especially unbecoming to the woman who is
+conspicuously "roly-poly." The round eyes, knobby nose, and round mouth
+are brought into unattractive distinctness by being re-duplicated in the
+circular effects of the hair. This mode of dressing the hair makes a
+short face look common and insignificant.
+
+[Illustration: NO. 7]
+
+Do you not see that this type is immensely improved by the arrangement
+of the coiffure in No. 8? By combing her hair off her forehead her face
+acquires a look of alertness and intelligence, besides being apparently
+lengthened. She can wear her bang in soft crimps brushed back from her
+brow, if this plain arrangement is too severe.
+
+[Illustration: NO. 8]
+
+
+For Eyes Set Too High.
+
+A low forehead is supposed to be a sign of beauty in woman. The brows of
+the famous Venuses are low and broad. Perhaps for this reason many women
+wear their hair arranged low upon their foreheads. Whether the hair
+should be worn low on the brow depends chiefly on two things,--"the
+setting of the eyes, and the quality of the face."
+
+[Illustration: NO. 8-1/2]
+
+A good rule to observe is the artistic one, to the effect that "the eyes
+of a woman should be in the middle of her head." That is, if an
+imaginary line were drawn across the top of the head and another below
+the chin, exactly midway between the two the eyes should be set.
+
+The Japanese type of woman should carefully observe the foregoing hint.
+
+Observe No. 8-1/2. Nature has not been artistic. The eyes are too near
+the top of the head. The defect is exaggerated and emphasized by the
+wearing of the hair low on the forehead. In some faces of this type the
+face is brutalized in appearance by this arrangement. The expression and
+whole quality of the countenance can be greatly improved by arranging
+the hair as shown by No. 9, which is the soft Pompadour style. The
+Duchess of Marlborough, formerly Consuelo Vanderbilt, frames her naive,
+winsome face, which is of the Japanese type, in a style somewhat like
+this. Her dark hair forms an aureole above her brow, and brings into
+relief the dainty, oval form of her face. Even simply brushing the hair
+off the forehead without crimp or roll will improve the appearance of
+this type of face and give it a better artistic balance.
+
+[Illustration: NO. 9]
+
+[Illustration: NO. 10]
+
+
+For Eyes Set Too Low.
+
+Women whose eyes are set too far down in their faces should adopt a mode
+of arranging their hair exactly the opposite of those whose eyes are set
+too near the top of their heads.
+
+It is apparent that No. 10 exaggerates the distance of her eyes from the
+crown of her head, and makes them appear to be set lower than they
+really are by building her hair high, and by brushing her bang back so
+severely from her brow. A bald forehead is rarely becoming to any
+woman. A few stray curls or soft waves lend grace to even the most
+perfect of brows.
+
+[Illustration: NO. 11]
+
+By bringing the hair down over the forehead, as suggested in No. 11, a
+woman with this type of face can easily improve her appearance. By this
+graceful arrangement her face loses the childish and sometimes stupid
+expression that is peculiar to the type, as may be discerned in No. 10.
+When the hair is properly arranged this element of childlikeness lends a
+certain appealing sweetness not unattractive even in the faces of
+matured matrons. By dressing the hair low so the coil does not appear
+above the crown, as in No. 11, the eyes are apparently properly placed.
+
+
+For Long Faces with Long Noses.
+
+The woman who wears her silken tresses arranged on either side of her
+head, draped like curtains from a central parting, is to be envied if
+she can do it and yet look young and pretty. She is the Madonna type and
+seems to possess all the attributes of gentleness, modesty, and
+meekness, and angelic sweetness that are supposed to characterize the
+distinctively feminine woman. This is the ideal style of coiffure much
+bepraised by man, because, according to a bright modern Amazon, "it
+makes a woman look so meek."
+
+[Illustration: NO. 12]
+
+The only type to which it is really becoming is the Italian. The type
+with _matte_ complexion, soft eyes, finely chiselled nose, and
+delicately oval chin, look ideally sweet and feminine with the hair
+arranged _a la_ Madonna.
+
+[Illustration: NO. 13]
+
+Long faces of the form pictured by No. 12 exaggerate the longness and
+leanness of their faces by wearing their locks like looped curtains. A
+long nose with two long lines on either side of the cheek seems longer
+than it is, as the observer may discern three lines instead of only the
+nasal one, and the impression of longness is emphasized. Not only is
+the length of the countenance made more noticeable, but years and years
+are apparently added to the actual age.
+
+That No. 13, which shows a parting and soft waves that do not come below
+the ears, is to be preferred by a woman whose features are of this
+character need hardly be explained. The improvement in looks is quite
+obvious.
+
+[Illustration: NOS. 14 AND 15]
+
+No. 14 is an example of a misguided woman of the pudgy type who, for
+some inexplicable reason, arranges her hair in the Madonna style. It is
+utterly unsuited to her face. Unless her ears are deformed this style of
+hirsute lambrequins should not be worn by a full, round-faced woman.
+The arrangement sketched in No 15 adds effectively to her appearance,
+not only making her look younger, but less inane.
+
+[Illustration: NO. 16]
+
+
+For Faces with Protruding Noses.
+
+Women with decidedly protruding, or irregular, tip-tilted noses should
+be especially careful in arranging their coiffures.
+
+Any woman who arranges her hair as in sketch No. 16 caricatures her
+facial defects by increasing the too protuberant lines of her nose. The
+distance from the end of her nose and the tip of the topmost knot of
+hair is too long for either beauty or intelligence. The shape of her
+head acquires idiotic proportions, and her nose is placed entirely "out
+of drawing" and is obtrusively conspicuous when seen in profile. This
+type of woman is generally classified among the inquisitive, bright, and
+energetic. She should aim to modify the unhappy angularity of her
+profile as well as to repress her gossipy tendencies. The graduated coil
+of hair and waved coiffure, shown by No. 17, are most felicitous in
+their effect on this type of face.
+
+[Illustration: NO. 17]
+
+[Illustration: NO. 18]
+
+No. 18 reveals an error in an opposite direction. The snubbed-nose girl,
+by fixing her hair in a bun-like coil, gives the impression that her
+coiffure is held by invisible strings by her nose, which gets a more
+elevated look than it otherwise would have, because of the bad angle at
+which the coil is placed.
+
+[Illustration: NO. 19]
+
+No. 19, which is a picturesque variation of the popular coif, manifestly
+improves this type of face, and makes the nose appear less obtrusive.
+
+A woman should carefully study the contour of her head from every side;
+the modelling of her face; the length and inclination of her nose; the
+setting of her eyes; and the breadth and form of her brow, and adopt a
+becoming coiffure that will give artistic balance to her face, and never
+absolutely change the style whatever the mode in hair-dressing may be.
+In England, the court hair-dresser years ago studied the character of
+the head and face of the Princess of Wales, and designed a coiffure for
+her which she has never varied until recently; then she merely arranged
+her fringe lower down on her forehead than she has ever worn it before.
+The general style, however, she preserves intact, and wears her hair,
+and has for many years, as is shown in the picture--No. 20. Her
+daughters, who have faces the same shape as hers, dress their coiffures
+similarly. In never changing the style of arranging her hair, the
+Princess of Wales owes in no small degree her apparent air of
+youthfulness.
+
+[Illustration: NO. 20]
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER II.
+
+
+HINTS FOR THE SELECTION OF BECOMING AND APPROPRIATE STYLES IN HEAD-GEAR.
+
+Closely allied to the subject of hair-dressing is that of head-gear.
+Indeed many of the hints regarding appropriate coiffures for certain
+styles of faces are equally applicable to the selection of suitable hats
+and bonnets. The choosing of millinery is the more momentous of the two,
+of course, for I need scarcely remind you that Nature left us no choice
+in hair. No matter what its color or texture we desire to keep it and if
+we are wise we will make the best of it.
+
+In regard to hats we are personally responsible and our follies are upon
+our own heads.
+
+The power of caricature being greater in hats than in hair-dressing, is
+it not fit that we should give careful and intelligent consideration to
+the selection of our millinery that the ugly lines in our otherwise
+beautiful faces may not be at the mercy of mocking bunches of ribbons,
+comically tilted straws, or floppy bits of lace?
+
+The Magic of The Bonnet.
+
+Once upon a time, I think that was the exact date, there was a man
+distinguished in a certain kingdom as the ugliest person in the realm.
+According to a blithe romancer, he was so distinctively unpleasing in
+form and feature that he challenged the attention of the king who, in
+whimsical mood, made him a royal retainer. The man so conspicuously
+lacking in beauty enjoyed his eminent position and privileges for some
+time. But even ugliness, if it attain distinction, will excite envy in
+the low-minded. A former associate of the unbeautiful man in invidious
+temper brought the news one day to the king, that there was an old
+woman in his domain that was uglier than the lowly-born man who by
+kingly favor held so high a place. "Bring her to the court. Judges shall
+be called to decide. If she is uglier she shall stay and he shall go,"
+was the royal mandate. When the old woman appeared she was easily
+decided to be by far the uglier of the two. At the critical moment when
+the king was upon the eve of dismissing the man from his retinue, a
+friend of the unfortunate shouted, "Put her bonnet on him!" This was
+done, and lo! a fearful change was wrought. By unanimous acclamation he
+was declared to be "the ugliest creature on earth."
+
+The old woman, true to the instincts of her sex, refused to wear her
+bonnet again. Like many of her sisters of modern times, she had not
+before discovered the possibilities in a bonnet to enhance the beauty of
+the face or decrease its charms.
+
+If woman could see themselves objectively, as did the old woman, they
+would keenly realize the necessity of considering the lines of hat or
+bonnet in relation to those of their faces, and would learn to obscure
+defects and bring into prominence their prettiest features.
+
+As there are a few rules to govern what each type should select, every
+one of the fair sisterhood has an equal opportunity to improve her
+appearance by selecting in the millinery line the distinctive adornment
+suited to her individual style.
+
+[Illustration: NO. 22]
+
+
+For Women with Broad Face and Heavy Chin.
+
+By a curious law of contrariety the woman with a broad, heavy chin seems
+to have an ungovernable penchant for trig little round bonnets, or trim
+turbans with perky aigrettes, like that in sketch No. 22. By obeying
+this wilful preference she obscures whatever delicacy may be in the
+modelling of her features and brings into conspicuous relief the
+ugliest lines of her face. Her chin is apparently increased in heaviness
+and the broadness of her face is made prominent. She could easily have
+restored the artistic balance to her facial lines by wearing a large
+hat, rather heavily trimmed, as in No. 23, thus effectively modifying
+the strong curves of the chin and signally improving her appearance. If
+a woman's face is fairly proportioned, not too short for its breadth,
+and she can not afford plumes, this type of woman can still give a
+becoming balance to her face by adopting hats that are trimmed with
+flamboyant bows that flare horizontally across the hat, diverging from a
+central knot in the from.
+
+[Illustration: NO. 23]
+
+
+For the Woman with Tapering Chin.
+
+[Illustration: NO. 24]
+
+The woman who is the exact opposite of the type with the ample lower
+jaw, but whose chief disadvantage lies in her broad, manly brow and tiny
+tapering chin, should avoid all horizontal trimmings, bows or broad
+hat-brims. It is clear, in No. 24, that such trimmings increase the
+wedge-like appearance of the face and give it the grotesque suggestion
+of an ordinary flower-pot in which grows a sickly plant. This type can
+perceptibly improve upon nature by choosing the style of hat and
+neck-gear shown by No. 25.
+
+[Illustration: NO. 25]
+
+The crinkly ovals that form the brim of the hat, and the soft, graceful
+arrangement of the hair in front that decreases the too broad effect of
+the brow, and the full fluffy ruff snuggled up closely to the chin,
+produce a pleasing transformation of the meagre-looking original that
+to the uninitiated seems little short of magical. The broad, cravat-like
+bows, and the flaring ones known as "incroyables," were beneficently
+wedge-like faces and throats that have lost the seductive curves of
+youth.
+
+
+Hat for the Chubby Woman.
+
+[Illustration: NO. 26]
+
+That amiable type of woman formed conspicuously upon the circular plan
+often unconsciously impresses the fact of her fatal tendency to
+rotundity by repeating the roundness of her globular eyes, the disk-like
+appearance of her snub nose and the circle of her round mouth, and the
+fulness of her face by wearing a little, round hat in the style
+portrayed by No. 26.
+
+[Illustration: NO. 27]
+
+The curls of her bang, the feathers in her hat, the high collar of her
+jacket make more significant the fact that her lines are not artistic
+and that her face is unbeautifully round. She can enhance her charms and
+apparently decrease the too spherical cut of her countenance by adopting
+the mode illustrated in No. 27. The angular bows on the hat, the
+geometric lines of the broad hat-brim, the precise cut of the lapels on
+the corsage, the neat throat-band and V-shaped vesture--all insinuate in
+a most engaging way a dignity and fine, high-bred poise totally
+obliterated by the circular style of dress erroneously adopted by the
+misguided woman in No. 26.
+
+[Illustration: NO. 28]
+
+
+For Women Who Have Sharp and Prominent Profiles.
+
+In buying a hat many of the "unfair sex"--as the modern wag dubs the
+progressive sisters who wish to have all man's rights and privileges and
+keep their own besides--never seem to consider their heads but from a
+front point of view. In consequence, as sketch No 28 hints, a head seen
+from the side frequently appears, if not idiotically, very
+inartistically, proportioned.
+
+[Illustration: NO. 29]
+
+Occasionally a hat presents as comical an effect in a from as in a side
+view, as may be seen in No. 29. The wearer was an elderly woman with
+gray hair which hung down in a half-curled bang on either side of her
+thin face. Her hat which was simply "dripping" with feathers suggested a
+fanciful letter "T" and exaggerated the thinness of her face in a
+remarkably funny way. The feathers overhanging the brim increased the
+broadness of the hat, and looked singularly waggish fluttering against
+the spriggy-looking projections of gray hair. The rules for the
+wedge-shaped face, as may readily be discerned, apply here.
+
+[Illustration: NOS. 30 AND 31]
+
+Women who have sharp and prominently outlined profiles have a curious
+tendency to choose hats, the brims of which project too far forward in
+front, and turn up too abruptly and ungracefully in the back.
+
+As shown in No. 30 the protruding brim gives the head and face the
+unattractive proportions of the capital letter "F." The length of the
+nose is emphasized by the line of the hat-rim above it and it appears
+unduly obtrusive. The flat arrangement of the hair and the curve of the
+hat-brim in the back also exaggerate the obtrusive qualities of the
+features. By choosing a hat somewhat similar to the one sketched in No.
+31, the unattractive sharpness of the profile is modified, and the
+alert, agreeable quality of the face, that was obscured by the
+shelf-like brim, becomes apparent. The observer feels, if he does not
+voice it, that it is a progressive spirit advancing forward instead of
+an ungainly head-piece that looks like a curious trowel.
+
+
+For the Woman with an Angular Face.
+
+[Illustration: NOS. 32 AND 33]
+
+The woman with the angular features presented in No. 32 should not wear
+a sailor-hat or any hat with a perfectly straight rim.
+
+The sailor-hat or any style bordering on it should be selected with
+utmost discrimination. This mode is unbecoming to a woman more than
+forty; or, to one who through grief or worry prematurely attains a look
+of age, or to one whose features are irregular. The straight brim across
+the face is very trying. It casts a shadow deepening the "old marks"
+and instead of being a frame to set off, it seems to cut off, the face
+at an inartistic angle.
+
+The woman with angular features, as may be seen by No. 33, can wear with
+impunity, and always should wear, a hat the brim of which is waved,
+turned, twisted, or curved in graceful lines. The uneven brim of her hat
+makes an effective complement to the angularity of her chin, which is
+further softened by the feathery ruff that encircles her throat. The
+curves of the ostrich plumes, and the studied carelessness of the
+arrangement of her coiffure, subdue the angles of her face which are
+brought out in unbecoming prominence by the sailor-hat.
+
+
+Women Who should Not Wear Horns.
+
+The velvet horns on either side of a hat, the steeple-like central
+adornments that were once much in favor, and the Mercury wings that
+ornament the coiffure for evening dress, produce some startling,
+disagreeable, and amusing effects not altogether uninteresting to
+consider.
+
+Faces in which the eyes are set too near the forehead acquire a scared
+look by being surmounted by a bonnet upon which the trimming gravitates
+to a point in an arrangement not unsuggestive of a reversed fan, horns,
+or a steeple.
+
+The most unpleasing developments result from the wearing of the
+horn-like trimmings either in velvet or jet. If the face above which
+they flare has less of the spiritual than the coarse propensities in it,
+the grotesque turns and twists in the head-gear emphasize the animality
+in the lines characteristic of low-bred tendencies, and the whole
+countenance is vulgarized. One face acquires the look of a fox, another
+of a certain type of dog, and so on.
+
+The most amusing exaggerations of distinctive facial lines are produced
+by Mercury wings. The good-natured woman of the familiar type depicted
+in No. 34 brings every bovine attribute of her placid countenance into
+conspicuous relief by surmounting her face with the wings of the
+fleet-footed god. The cow-like form and serenity of her features are
+made laughably obvious.
+
+[Illustration: NO. 34]
+
+Short, delicately-faced women can adorn their coiffures with Mercury
+wings with most charming results. Wings, or perpendicular bows, add
+length to the lines of the short face, giving it a certain suggestion
+of refinement and distinction that is wholly destroyed by the wearing of
+any trimmings that show at the sides.
+
+NO MATTER WHAT THE PREVAILING STYLE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER III.
+
+
+LINES THAT SHOULD BE RECOGNIZED AND CONSIDERED IN MAKING COSTUMES.
+
+Mme. La Mode, much misrepresented as are all who are embarrassed with
+world-wide popularity always considers when designing fashions that
+women vary in form, as in mood. She suits all needs, although this fact
+has never been cast to her credit. With a beautiful sense of
+adjustment--as obvious as that in Nature, that projects the huge
+watermelon to ripen on a slender vine on the ground and swings a
+greengage plum on the stout stem of a tree to mature in storm or
+shine--Mme. La Mode, arbiter of styles, balances her fashions.
+
+Never came the big hat without the small bonnet. Accompanying the long
+cloak is the never-failing short cape. Side by side may be found the
+long coat and the short, natty jacket. This equilibrium in wearing
+apparel may be traced through all the vagaries of fashion.
+
+Everybody's need has been considered, but everybody has not considered
+her need.
+
+The short, stout woman passes by the long coat better adapted to her
+and seizes a short jacket--a homeopathic tendency of like suiting like,
+sometimes efficacious in medicine, but fatal in style.
+
+
+Style for Tall Slender Woman.
+
+The very tall, slender woman frequently ignores a jaunty jacket and
+takes a long coat like that shown in No. 36.
+
+To even the sluggish fancy of an unimaginative observer she suggests a
+champagne bottle, and to the ready wit she hints of no end of amusing
+possibilities for caricature.
+
+The very tall woman should know that long lines from shoulder to foot
+give height, and she must discerningly strive to avoid length of line
+in her garments until she dons the raiment of the angels.
+
+[Illustration: NOS. 36 AND 37]
+
+Horizontal lines crossing the figure seem to decrease height, and should
+be used as much as possible in the arranging and trimming of the tall
+woman's garments.
+
+By selecting a shorter coat equally modish, as shown by No. 37, the too
+tall woman shortens her figure perceptibly.
+
+The belt cuts off from her height in a felicitous way, and the collar,
+also horizontal, materially improves the size of her throat. The high
+collar, such as finishes the coat, in No. 36, adds to the length. Those
+who have too long arms can use horizontal bands on sleeves most
+advantageously.
+
+
+The Coat the Short Stout Woman should Wear.
+
+The short jacket that so graciously improved the appearance of the
+slender specimen of femininity is sinister in its effect on the short,
+stout woman, in sketch No. 38. It should be the study of her life to
+avoid horizontal lines. Length of limb is to be desired because it adds
+distinction. Her belt, the horizontal effect of the skirt of the jacket,
+the horizontal trimming of the bottom of the skirt, all apparently
+shortening her height, tend to make her ordinary and commonplace in
+appearance.
+
+[Illustration: NOS. 38 AND 39]
+
+If her hips are not too pronounced she can wear the long coat, shown in
+picture No. 39. The V-shaped vesture gives her a longer waist, and the
+long lines of the revers add to the length of her skirt. If her hips are
+too prominent, she should avoid having any tight-fitting garments that
+bring the fact into relief. She should not wear the long coat, but she
+can effectively modify it to suit her needs, by only having a skirt, or
+tabs, or finishing straps in the back. If her jacket or basque is
+finished off with a skirt effect, it is best to have the little skirt
+swerve away just at the hip-line, half revealing and half concealing it.
+
+The front should be made in a jacket effect, finishing just at the
+waist-line and opening over a blouse front that will conceal the
+waist-line. It is best for the too short, stout woman to obscure her
+waist-line as much as possible, to apparently give her increase of
+height.
+
+To put the waist-line high up adds to length of limb, and, of course, is
+to be desired, but the fact that what is added below is taken from above
+the waist, should impel careful discrimination in the arrangement of
+this equatorial band.
+
+
+The Cloak or Cape for a Tall Woman.
+
+The long circular cloak is another graceful garment that can be worn
+with charming effect by the woman of classic height, but should never be
+in the wardrobe of a very tall woman except for use at the opera, when
+its service is chiefly required in the carriage, or when its wearer is
+sitting. It is so obvious, in sketch No. 40, that the vertical lines the
+folds of the cloak naturally fall into give a steeple-like appearance to
+the tall woman it enfolds, that it is scarcely necessary to comment upon
+it.
+
+[Illustration: NO. 40]
+
+That her judicious selection should have been the short cape, which
+comes, as all capes should, to be artistic, well below the elbows, is
+clearly illustrated in picture No. 41. The horizontal trimming very
+becomingly plays its part in the generally improving effect.
+
+[Illustration: NO. 41]
+
+The one who can wear the long cloak in an unchallengeable manner is the
+short, stout woman, shown in sketch No. 42.
+
+By wearing the short cape with circular, fluffy collarette, sketched in
+No. 43, she gives herself the look of a smothered, affrighted Cochin
+China chicken; or, as an imaginative school-girl remarked of her mother
+who wore a cape of similar style, "she looks as if her neck were
+encircled by bunches of asparagus."
+
+[Illustration: NOS. 42 AND 43]
+
+The military dignity she acquires by wearing the long cape is becoming
+to a degree, and gives her distinction in form.
+
+By remembering that horizontal trimmings apparently decrease the
+height, and that vertical lines add to it, those who desire to appear at
+their best will use discernment in dividing their basques with yokes, or
+corsage mountings at the bust-line or frills at the hip-line.
+
+A flounce on the corsage at the bust-line, another at the hip-line, and
+yet another at the bottom of the shirt, increases the impression of
+bulkiness most aggressively and gives a barrel-like appearance to the
+form of a stout woman that is decidedly funny, as may be seen in sketch
+No. 44.
+
+A study of the lines of the form will not only aid one in adopting a
+more becoming style of dress, but will sharpen the artistic
+perceptions, thus adding to the joy of life.
+
+[Illustration: NO. 44]
+
+"A beautiful form is better than a beautiful face" and should be clothed
+so that its lines may appear at their best, and not be exaggerated and
+caricatured. The figure is seen many more times than the face, and the
+defects of the former are more conspicuous than those of the latter.
+
+Do not be unjust to your beautiful body, the temple of your soul; above
+all, do not caricature it by selecting your clothes with
+indiscriminating taste.
+
+NO MATTER WHAT THE PREVAILING MODE THESE RULES MAY BE PRACTICALLY
+APPLIED.
+
+
+
+
+CHAPTER IV.
+
+
+HOW PLUMP AND THIN BACKS SHOULD BE CLOTHED.
+
+She was from the middle-West, and despite the fact that she was married,
+and that twenty-one half-blown blush roses had enwreathed her last
+birthday cake, she had the alert, quizzical brightness of a child who
+challenges everybody and everything that passes with the
+countersign--"Why?" She investigated New York with unabashed interest,
+and, like many another superior provincial, she freely expressed her
+likes and dislikes for its traditions, show-places, and people with a
+commanding and amusing audacity.
+
+Her objections were numerous. The chief one that made a deep impression
+upon her metropolitan friends was her disapproval of Sarah Bernhardt's
+acting. The middle-Westerner, instead of becoming ecstatic in her
+admiration, and at a loss for adjectives at the appearance of the divine
+Sarah, merely perked at the great French artist for some time and then
+demanded, querulously: "What's the matter with her? Why does she play
+so much with her back to the audience? I don't like it."
+
+It was a shock to the adorers of Sarah Bernhardt to hear her so
+irreverently criticised. They loyally united in her defence, and sought
+to squelch the revolter by loftily explaining that the actress turned
+her back so often to the audience because she had such a noble, generous
+nature and desired to give the other actors a chance. "She lets them
+take the centre of the stage, as they say in the profession," remarked
+one of the party, who prided herself upon being versed in the _argot_ of
+the theatre.
+
+"But she plays with her back to the audience when she is speaking and
+acting, and everybody else on the stage is still but herself,"
+petulantly insisted the Western Philistine, showing no signs of defeat.
+
+The situation was not wholly agreeable. The worshippers of Sarah could
+say nothing more in justification of her turning her back on them, but,
+with true feminine logic, concluded, "If Sarah Bernhardt turns her back
+on the audience it is right, and that is all there is to say."
+
+Just at this dramatic moment a voice from the adjoining row
+providentially interposed. The voice belonged to a well-known exponent
+of physical culture, who was never so happy as when instructing the
+intellectually needy. She said: "I will tell you why she plays with her
+back towards the audience more than any other actress upon the stage
+to-day." The middle-Westerner, no less impressed than her metropolitan
+friends, listened eagerly.
+
+The exponent of straight backs and high chests explained didactically:
+"The back is wonderfully expressive; indeed it is full of vital
+expression. Bernhardt knows this better than any other actress because
+she has studied statuary with the passion of a sculptor, and because she
+understands that, not only the face, but the entire physical structure,
+is capable of expressing dramatic emotions. Strong feeling and action
+may be strikingly revealed by the back. Imprecations, denunciations,
+even prayers, seem to be charged with more force when an actress
+delivers them with her back turned, or half-turned to the audience.
+
+"Bernhardt's back expresses a storm of fury when she imprecates
+vengeance," said the voice of authority. "Not only on the stage is the
+expression of the back discernible, and a knowledge of its character
+valuable, but in every-day life in drawing-room and street. How many
+women consider their backs when they dress? Look at the backs here
+deformed by laces and fallals," she went on contemptuously. "The
+majority of women never look below their chins and I believe not one in
+ten ever looks thoughtfully at her back," she said emphatically.
+
+The dramatic value of a well-poised, expressive back may only concern
+the thousands of young women who are aspiring to be a Sarah Bernhardt or
+a Rachel; but a knowledge of what constitutes a properly and
+artistically clothed back should be of interest to all women in
+civilized countries.
+
+That there is much truth in the assertion that "the majority of women
+never look below their chins, and not one in ten ever looks
+thoughtfully at her back," every observer of womankind might testify.
+
+[Illustration: NO. 45]
+
+The open placket-hole and sagging waist-band, sketched in No. 45, is an
+all too familiar sight that advertises the fact that too few women take
+even a cursory look at their backs. Fathers and brothers who wish to
+protect their womankind from adverse criticism frequently give impromptu
+lectures upon this very subject, as this slovenly arrangement of skirt
+and basque is not only seen in Grand Street, Second Avenue, and equally
+unfashionable quarters, but in Fifth Avenue where the modish set are _en
+evidence_. If the dainty safety-pin displayed in No. 46, goes out of
+vogue, the time-honored custom of sewing hooks to the waist-band of the
+dress, is always in fashion. Indeed, many women prefer this way of
+connecting separate skirt and waist to using a conspicuous pin. This is
+almost too trivial a detail to discourse upon, but it is as true that
+details make dress as it is that "trifles make life"--and neither life
+nor dress is a trifle.
+
+[Illustration: NO. 46]
+
+The offence in No. 45 is more the result of untidiness than of a lack of
+artistic discrimination. Nos. 46-1/2 and 47, on the contrary, outrage
+the laws of art, and display ignorance of the value and beauty of lines.
+
+No. 46-1/2 might serve to conceal a deformity of the shoulders. That
+really seems its only excuse for being. The full, ugly, straight pleat
+that falls to just below the waist-line lends neither grace nor style to
+the figure. It is too short to give the distinction and dignity that
+handsome wraps with long lines almost invariably do, although they seem
+to add age to the form. There is a hint of youth in this ungraceful
+jacket to be sure, but it is not especially attractive in its suggestion
+of youthfulness.
+
+[Illustration: NO. 46-1/2]
+
+[Illustration: NO. 47]
+
+No. 47, with a line at the neck-band, crossed bands in the centre of the
+shoulders, and lines across the back, is obviously inartistic. The back
+of a Venus, even, would be detracted from by such criss-crossed effects.
+Happy the woman who has so shapely a back she can afford to allow her
+waist to fit smoothly and plainly, unbroken by any conspicuous lines. If
+bands must be used to remedy the deficiencies of ungenerous Nature, let
+them be at the neck and waist; and if the back is unconscionably long, a
+band, or fold, or ruffle across the shoulders is to be commended.
+
+[Illustration: NO. 48]
+
+No. 48 reveals a glaring error frequently made by the thin sisterhood. A
+tall, slender woman with a long waist, should not emphasize her length
+of lines by wearing pointed or V-shaped effects. The V-shaped
+arrangement, either in cut or trimmings, apparently increases her
+"longness and leanness." She should aim to shorten her waist instead of
+lengthening it as the basque finished with a point obviously does. The
+drooping sleeves elongate her shoulder-lines, and bring into clearer
+relief her meagre proportions. She can easily improve her appearance by
+adopting either style of gown portrayed by Nos. 49, or 50. The broad
+belt at the waist-line in No. 49, and the flamboyant lace or braided
+piece that adorns the shoulders, perceptibly adds to her breadth and
+decreases her length.
+
+[Illustration: NO. 49]
+
+[Illustration: NO. 50]
+
+No. 50 is a felicitous cut for a street dress for a slim sister. The
+jaunty bloused waist smartly conceals deficiencies in fine points.
+
+The tall, thin sisterhood should eschew pointed effects and study to
+attain apparent breadth by using trimmings arranged horizontally. Bands
+of velvet, braid in waved lines, ruffles, and not too deeply cut
+scallops, may be used effectively by the very slender, who sometimes
+appear as if they are "without form and void," as the earth was "in the
+beginning."
+
+[Illustration: NO. 51]
+
+No. 51 is an exposition of the mistake made by the sturdy sisterhood of
+stout and pendulous proportions. It is plain to be seen that the fluffy
+ruche at the throat-band, and the ruffle at the shoulder, and the
+spreading bow at the waist, and the trimmed sleeves, add bulkiness to a
+form already too generously endowed with flabby rotundity. Corpulent
+women must forego the swagger little basques or any sort of short,
+flounced effects below the waist-line.
+
+[Illustration: NO. 52]
+
+[Illustration: NO. 53]
+
+Nos. 52 and 53 are eminently adapted to the matron of ample dimensions.
+One observer of beauty-giving effects has not unadvisedly called the
+waist-line "the danger-line." A stout sister, above all others, should
+not accentuate the waist-line. She should conceal it as much as
+possible. The coat back of No. 52 apparently lengthens the waist.
+
+The same effect is produced by the arrangement of ribbons in No. 53, and
+by the long-pointed basque. V-shaped effects and long-pointed basques
+are as becoming to those burdened with flesh as they are unbecoming to
+tall, thin women.
+
+Long, graceful folds and draperies are admirable for the stout
+sisterhood, who should avoid short sacques and tight-fitting garments
+that give the on-looker an uncomfortable impression; there is too much
+in a small space. Very light colors and thin textures that billow and
+float should be eschewed by the large, fleshy woman who wishes to give
+the impression that she possesses the lines of a finely modelled statue.
+She should avoid puffs and any suggestion of the pulpy and clumsy, and
+be careful not to sub-divide the body of her dress by plaits or braids
+laid on horizontally across or above the bust, or below the hips.
+Horizontal lines invariably decrease the height; for that reason stout
+women should not wear dresses cut square in the neck, but should adhere
+to the graceful V-or heart-shaped cut which has a tendency to give
+length.
+
+The rotund woman with a short waist, sketched in No. 54, may improve her
+figure, as shown in No. 55, by choosing belts and collars the exact
+shade of her shirt-waists in summer, and by not cutting off her height
+by any sort of outside belt on winter gowns.
+
+[Illustration: NO. 54]
+
+[Illustration: NO. 55]
+
+Tall, stout women should forego high heels on their shoes, high hats,
+and striped dresses. Although stripes increase the effect of height,
+they also add to that of breadth. A plain cloth basque and skirt of
+striped material make a happy compromise and can be worn with becoming
+effect by a stout woman.
+
+[Illustration: NO. 56]
+
+A basque cut high behind and on the shoulders apparently gives height.
+
+A very stout woman should never wear double skirts or tunics or dresses
+with large sprawling patterns, such as depicted by cut No. 56, which
+suggests furniture stuffs. A large woman who had a fancy for wearing
+rich brocades figured with immense floral designs was familiarly called
+by her kind friends "the escaped sofa."
+
+White, or very light colors, should never be worn by the stout; they
+greatly increase the apparent size. Large plaids should also be
+eschewed. Small checks and plaids may sometimes be becoming.
+
+Neither the too thin nor the too stout should adopt a style of gown
+that caricatures the form as does the voluminous wrapper, finished with
+a box-pleat, as shown in No. 57. There is no grace in straight lines.
+
+[Illustration: NOS. 57 AND 58]
+
+No. 58, which accentuates the height of the over-tall, thin woman, is
+better adapted to enhance the charms of a woman of finer proportions.
+The bony and scrawny, of the type of No. 58, seem to have a perverse
+desire to wear what makes their poverty in physical charms only more
+conspicuous. A woman of distinction in Boston, who is exceedingly thin
+and tall, wore Watteau pleats so frequently, even on reception and
+evening gowns that she was dubbed by a wag "the fire-escape," a title
+which so strikingly characterized her style, that the term was adopted
+by all her friends when they exchanged confidences concerning her.
+
+The garment with the Watteau pleat is not unlike the princesse gown
+which is a very trying style except to handsomely proportioned women. A
+tall, well-developed woman, such as shown in sketch No. 59, adorns the
+princesse gown and attains in it a statuesque beauty. In suggesting
+statuary it fulfils the true ideal of dress, which should hint of
+poetry, art, sculpture, painting. The massing of colors; the arrangement
+of lines, the quality of textures, the grace and poise of the wearer--do
+not these hint of picture, statue, music?
+
+
+
+
+CHAPTER V.
+
+
+CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND
+SHOULDERS.
+
+Despite the traditional belief that a decollete corsage is a tyrannous
+necessity of evening dress, a woman not graciously endowed with a
+beautifully modelled throat and shoulders may, with perfect propriety,
+conceal her infelicitous lines from the derisive gaze of a critical
+public.
+
+Women are indebted to that gentle genius, La Duse, for the suggestion
+that a veiled throat and bust may charmingly fulfil the requirements of
+evening dress, and also satisfy that sense of delicacy peculiar to some
+women who have not inherited from their great-great-grandmothers the
+certain knowledge that a low-necked gown is absolutely decorous.
+
+The women who does not possess delicate personal charms commends herself
+to the beauty-loving by forbearing to expose her physical deficiencies.
+Unless it is because they are enslaved by custom, it is quite
+incomprehensible why some women will glaringly display gaunt
+proportions that signally lack the exquisite lines of firm and solid
+flesh.
+
+A throat like a ten-stringed instrument, surmounting square shoulders
+that end in knobs that obtrude above unfilled hollows, is an unpleasing
+vision that looms up conspicuously too often in opera-box and
+drawing-room.
+
+[Illustration: NO. 61]
+
+The unattractive exhibition 61, is a familiar sight in the social world.
+How insufferably ugly such uncovered anatomy appears in the scenery of a
+rich and dainty music-room may be readily imagined by those who have
+been spared the unpleasing display. It is so obvious that shoulders
+like these should always be covered that it seems superfluous to remark
+that this type should never wear any sleeve that falls below the
+shoulder-line.
+
+[Illustration: NO. 62]
+
+The sleeve falling off the shoulder was invented for the classic
+contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are
+needed to enhance the perfect beauty of a fine, slender, white throat,
+and the felicitous curves of sloping shoulders.
+
+One whose individual endowments are as meagre as are those presented in
+No. 61 may improve her defects by adopting either style of corsage,
+shown in sketches Nos. 63 and 64.
+
+A woman's throat may lack a certain desirable roundness, and her
+shoulders may recede in awkward lines, and yet between these defective
+features the curves may have a not unpleasing daintiness and delicacy in
+modelling that can be advantageously revealed. A modish velvet
+throat-band, such as is shown by No. 63, is one of the most graceful
+conceits of fashion. The too slim throat encircled by velvet or
+ornamented with a jewelled buckle or brooch is effectively framed. The
+unsightly lines of the shoulders are covered, and just enough
+individual robustness is disclosed to suggest with becoming propriety
+the conventional decollete corsage. The Princess of Wales is as constant
+to her velvet or pearl neck-band, as to her especial style of coiffure.
+Her throat, in evening dress, never appears unadorned by one or the
+other of these beautiful bands that so cleverly conceal defects and
+seem to bring out more richly the texture and coloring of handsome bare
+shoulders.
+
+[Illustration: NO. 63]
+
+[Illustration: NO. 64]
+
+Those who do not approve of the decollete style of dress, or whose
+ungraceful proportions might well be entirely concealed, can wear with
+appropriateness and benefit the corsage shown in No. 64. This has much
+in its favor for a slender body. The upper part of the waist may be made
+of chiffon or crepe, which is beautifully--one might say
+benignly--translucent. It has an insinuating transparency that neither
+reveals nor conceals too much. The neck-band of velvet or satin, full
+and soft, apparently enlarges the throat. The sleeves may be in whatever
+style in cut prevails. This costume carries perfectly into effect the
+requirements of evening dress, and may be worn with equal fitness to
+formal functions or to informal affairs. A coat-sleeve of lace, crepe,
+or chiffon, beflounced at the wrist, may be inserted under the short
+satin sleeves when the occasion does not require gloves. The soft, white
+setting of thin textures around the throat and shoulders clears the
+complexion and brings into relief the pretty, delicate lines of a
+refined face.
+
+[Illustration: NOS. 65 and 66]
+
+It is plain to be seen that the unattractive specimen of femininity,
+No. 65., with the long, wrinkled neck and sharply lined face is
+unbecomingly costumed in the V-shaped basque and corsage which
+apparently elongate her natural lankness. A charming and always
+fashionable yoke-effect that she can wear to advantage is shown by No.
+66. This style of corsage is equally effective for a too thin or a too
+muscular neck. The filling is of tulle.
+
+A square-cut corsage is most becoming to the woman whose narrow
+shoulders have a consumptive droop. The angular cut apparently heightens
+the shoulders and decreases their too steeple-like inclination. The
+round cut, if it frames a full throat, is also an effective style for
+sloping shoulders. The V-shaped cut is most becoming to the short-necked
+woman, whose aim should be to increase the length of her throat.
+
+It is not only the too thin neck that needs to be clothed with
+discrimination. Throats and shoulders that are too robust are improved
+by being covered. The arms and shoulders, however, are often the chief
+beauty of a fleshy woman, and it is to her advantage to give them as
+effective a setting as possible.
+
+[Illustration: NO. 68]
+
+[Illustration: NO. 67]
+
+As is obvious in No. 67, the stout woman apparently increases her
+breadth by wearing a flamboyant corsage, and she hides the most
+exquisite lines of her arm with her sleeves.
+
+The princesse style of gown, in No. 68, gives her apparent length of
+waist. The modest lace flounce that falls in vertical folds decreases
+her formidable corsage. The knotted twist of silk reveals the full
+beauty of her arm.
+
+[Illustration: NO. 69]
+
+In dressing the throat there are a few rules to be remembered. A too
+long, stem-like neck may be apparently shortened by a standing ruff or a
+full, soft band of velvet. The tight, plain band of velvet should never
+be worn by a woman with a very slim neck, as is plainly discernible in
+sketch No. 69.
+
+[Illustration: NO. 70]
+
+The plain, military collar emphasizes the thinness of the slender
+woman's throat; but the soft crushed fold of velvet apparently enlarges
+the pipe-like proportions of the thin woman's neck, as may be seen in
+sketch No. 70. The tight-fitting collar should not be worn by the
+corpulent woman with a thick neck, as is shown by sketch No. 71.
+
+[Illustration: NO. 71]
+
+The thickness of the throat of the woman pictured in No. 72 may seem due
+to the folds of the velvet, which give a pleasing hint of a slender
+throat, a delusion not to be despised by the woman burdened with flesh.
+
+[Illustration: NO. 72]
+
+All the sisterhood,--stout, thin, long-throated, or short,--should know
+the hour when the withering touch of age begins to shrink the soft,
+round curves distinctive of the full, sweet throat of healthful youth.
+No regretful vanity should be allowed to glamour their eyes to the fact
+that Time has them by the throat, to put it melodramatically. The wise
+woman will not please herself with a fatal delusion. She will realize it
+is illusion she needs-yards of it--lace or velvet, or any beautifying
+texture that will conceal the deadly lines of age.
+
+
+
+
+CHAPTER VI.
+
+
+HINTS ON DRESS FOR ELDERLY WOMEN.
+
+Dress has much to do with a youthful or aged appearance. Shawls and long
+mantles that fall from the shoulders give even youthful figures a look
+of age, because the lines are long and dignified and without especial
+grace. Beautiful wraps, or coats that do not come very far below the
+hip-line, can be worn becomingly by elderly ladies, neither emphasizing
+their years nor making them appear too frivolously attired. There is a
+smack of truth in the maxim, _As a woman grows old the dress material
+should increase in richness and decrease in brightness_. Handsome
+brocades, soft, elegant silks, woollen textures, and velvets are
+eminently suitable and becoming to women who are growing old.
+
+Black, and black-and-white, soft white chiffon veiled in lace,
+cashmeres, and such refined tissues should be selected by those in "the
+first wrinkles of youth." Grays combined with filmy white material, dull
+bronzes lightened with cream-tinted lace, are also charmingly
+appropriate. Pale blue veiled in chiffon is another grateful
+combination.
+
+White should be worn more than it is by old ladies. It is so suggestive
+of all that is clean, bright, and dainty; and if there is anything an
+old lady should strive to be in her personal appearance it is dainty.
+Exquisite cleanliness is one of the most necessary attributes of
+attractive old age, and any texture that in its quality and color
+emphasizes the idea of cleanliness should commend itself to those in
+their "advanced youth."
+
+Little old thin women, large ones too, for that matter, who are wrinkled
+and colorless, should not wear diamonds. The dazzling white gems with
+pitiless brilliancy bring out the pasty look of the skin. The soft glow
+of pearls, the cloudlike effects of the opal, the unobtrusive lights of
+the moonstone harmonize with the tints of hair and skin of the aged.
+
+Elderly women should not wear bright flowers on their bonnets or hats.
+Fresh-looking roses above a face that has lost its first youthfulness
+only make that fact more obvious. Forget-me-nots, mignonettes, certain
+pretty white flowers, the palest of pink roses, or the most delicate
+tint of yellow veiled with lace are not inappropriate for those who do
+not enjoy wearing sombre bonnets and hats which are composed only of
+rich, black textures. Lace cleverly intermingled with velvet and
+jewelled ornaments of dull, rich shades are exceedingly effective on the
+head-gear of the old.
+
+Those who are gray-haired--and indeed all women as they grow old--should
+wear red above their brows instead of under their chins. A glint of rich
+cardinal velvet, or a rosette of the same against gray hair is
+beautiful.
+
+Lace! Lace! Lace! and still more Lace for the old. _Lace is an essential
+to the dress of a woman more than forty years of age_. Jabots, ruches,
+yokes, cascades, vests, and gowns of lace, black or white, are all for
+the old. Rich lace has an exquisitely softening effect on the
+complexion. Thin women with necks that look like the strings of a violin
+should swathe, smother, decorate, and adorn their throats with lace or
+gossamer fabrics that have the same quality as lace. These airy
+textures, in which light and shadow can so beautifully shift, subdue
+roughnesses of the skin and harshness in lines. Old Dame Nature is the
+prime teacher of these bewitching artifices. Note her fine effects with
+mists and cobwebs, with lace-like moss on sturdy old oaks, the bloom on
+the peach and the grape. Nature produces her most enchanting colorings
+with dust and age. Laces, gauzes, mulls, chiffons, net, and gossamer
+throw the same beautiful glamour over the face and they are fit and
+charming accompaniments of gray hair, which is a wonderful softener of
+defective complexions and hard facial lines.
+
+Too much cannot be written upon the proper arrangement in the neck-gear
+of the aged. The disfiguring wrinkles that make many necks unsightly may
+be kept in obeyance by massaging. No matter what the fashion in
+neck-gear, the aged must modify it to suit their needs. An old lady
+with a thin, pipe-stem neck should adopt a full ruche and fluffy, soft
+collar-bands. I cannot forbear repeating that tulle as light as thistle
+bubbles, either white or gray or black, is exquisitely effective for
+thin, scrawny necks. The fleshy, red neck should be softened with powder
+and discreetly veiled in chemisettes of chiffon and delicate net.
+
+Old ladies may keep in the style, thus being in the picture of the hour;
+but it is one of the divine privileges of age that it can make its own
+modes. Absolute cleanliness, cleanliness as exacting as that proper
+nurses prescribe for babies, is the first and most important factor in
+making old age attractive. Rich dress, in artistic colors, soft, misty,
+esthetic, comes next; then the idealizing scarfs, collars, jabots, and
+fichus of lace and tulles. Old people becomingly and artistically
+attired have the charm of rare old pictures. If they have soul-illumined
+faces they are precious masterpieces.
+
+
+
+
+CHAPTER VII.
+
+
+HOW MEN CARICATURE THEMSELVES WITH THEIR CLOTHES.
+
+Although in the dress of man there are fewer possibilities of caricature
+than in that of woman, yet, "the masterpieces of creation" frequently
+exaggerate in a laughable--and sometimes a pitiable--way, certain
+physical characteristics by an injudicious choice of clothes.
+
+As the fashion in hair-dressing does not grant man the privilege of
+enhancing his facial attractions; nor of obscuring his defects by a
+becomingly arranged coiffure; and, as the modes in neck-gear are such
+that he cannot modify the blemishes of a defective complexion by
+encircling his athletic or scrawny throat with airy tulle, or dainty
+lace, that arch-idealizer of pasty-looking faces; and as he has forsworn
+soft, trailing garments that conceal unclassic curves and uninspiring
+lines of nether limbs, it behooves him to be more exactingly particular
+even than woman in the selection of his wearing apparel.
+
+Far be it from me, however, to remind man of his many limitations--in
+dress. That he can never know the rapture of donning a becoming spring
+bonnet, nor the pleasure of possessing "real lace" things, nor the
+sensuous charm of being enwrapped in caressing furs, or sleazy, silken
+garments as exquisite in color and texture as beautiful, fresh flowers,
+only delicate consideration for his feelings constrains me from
+expatiating upon at length.
+
+I would rather be able to remind him that he can make his limitations
+his advantages, than reveal to him what he misses in not being a woman.
+
+To treat of this important subject adequately and convincingly, one
+would require the masterly discernment of a skillful and accomplished
+tailor, the experienced knowledge of a well-dressed man, and the alertly
+critical perception of a loving woman who, even in the matter of
+clothes, wishes the dearest of men to her, to do full justice to himself
+and her ideal of him on all occasions.
+
+Although certain of the foregoing qualifications must needs be lacking,
+nevertheless this timorous pen, with more trepidation than courage it
+must be confessed, begs to call attention to a few obvious details in
+masculine attire that caricature, more or less, peculiarities in the
+forms and features of men.
+
+To be sure, in the matter of head-gear man is not conspicuously at the
+mercy of burlesquing ribbons, flowers, and feathers, and he has fewer
+opportunities than women to make himself ridiculous, yet a few
+suggestions regarding certain shapes of head-gear for certain types of
+faces, applicable to women are equally applicable to him.
+
+The same rule that applies to the women of the wedge-shaped type of face
+applies to the man of the wedge-shaped type, as may be seen in sketches
+Nos. 75 and 76. It is obvious that the youth depicted in No. 75
+detracts from the manliness of his face and emphasizes the pointed
+appearance of his countenance by wearing a hat with a broad brim
+projecting over his ears. This style of hat appears more frequently in
+straw than in any other texture, but the effect of a wide, projecting
+rim is the same in any material. No. 76, it is plain, improves the
+appearance of the long, slim-faced man. An alpine hat would not be
+unbecoming to him, the high oval of the crown forming a balance for the
+lower part of the face.
+
+[Illustration: NO. 75]
+
+[Illustration: NO. 76]
+
+The man with a pugilistic chin should endeavor to select a hat that will
+not make his heavy jaw as prominent as does the stiff derby, in No. 77.
+
+[Illustration: NO. 77]
+
+A soft alpine hat, or one somewhat of the style of No. 78, improves his
+appearance. The high crown and wide, gracefully rolling brim
+counter-balance the weight and prominence of the jaw.
+
+[Illustration: NO. 78]
+
+Apropos of the minor details of man's garments, the button as a feature
+of clothes has never been fully done justice to. It is a sustaining
+thing we know, something we can hang to, fasten to, and even tie to.
+That properly placed buttons contribute to our mental poise and
+therefore to our physical repose, is hinted in that absurdly engaging
+story, anent the smart boy who was the envy of his spelling-class,
+because he always stood first. You remember, no doubt, that an envious
+but keen-eyed classmate observed that the smart speller worked off his
+nervous apprehensiveness by twirling the top button of his coat as he
+correctly spelled word after word, day in and day out; and how the
+keen-eyed one played the part of a stealthy villain and surreptitiously
+cut the button off the coat. And do you remember the dramatic ending?
+How the smart one on the fatal day sought to "press the button" and
+finding it gone, lost his wits completely and failed ignominiously? Many
+of us when we have lost a sustaining button, have we not felt as
+ridiculously helpless and wit-benumbed as the smart speller?
+
+[Illustration: NO. 79]
+
+We all sub-consciously acknowledge our dependence upon buttons, but not
+many of us, evidently, have observed that even buttons have a certain
+possibility of caricature in them; and that they may add to, or detract
+from, the appearance of manly forms. The consideration of properly
+placed buttons may seem trivial to you, but if you will observe sketches
+Nos. 79 and 80, you may discern that a thin man may apparently increase
+his breadth and add a certain manly touch to his figure, by changing the
+buttons at the waist-line of his coat. The buttons placed so near
+together, in No. 79, really make his toothpick proportions too obvious.
+His back is made to look broader by placing the buttons wider apart, as
+shown in No. 80, and changing the cut of his coat-tail.
+
+[Illustration: NO. 80]
+
+That the fat man may also present a more attractive back to his enemies
+by considering the placing of his buttons, may be seen in drawings Nos.
+81 and 82. The buttons decorating No. 81 are placed so far apart that
+they increase in an ungainly way the breadth of the back at the
+waist-line. If they are placed nearer together, and the seams graduated
+to meet them, they give the illusion of better and more desirable
+proportions, as may be seen in No. 82.
+
+[Illustration: NO. 81]
+
+[Illustration: NO. 82]
+
+That the thin man may also present a more imposing and broader front to
+the world, is suggested in sketches Nos. 83 and 84. The contracted look
+of the coat in No. 83 is somewhat due to the buttons of his
+double-breasted coat being placed too closely together. The slender man
+who wishes to give the impression of being broad-chested may have the
+buttons on his coat placed a little farther apart than fashion may
+allow, as shown in sketch 84. The proportions may be easily preserved by
+a careful adjustment of the shoulder-seams and the seams under the arms.
+
+[Illustration: NO. 83]
+
+[Illustration: NO. 84]
+
+[Illustration: NO. 85]
+
+The waist-line is not so much "a danger line" to man as to woman, yet
+man should not wholly ignore his equator. If he is long-waisted he can
+apparently balance his proportions by having his skirt shortened, as in
+No. 85, and his waist-line raised the merest bit. If he is too
+short-waisted he can lengthen his skirt and lower his waist-line, as
+shown in No. 86. In the one he escapes appearing too long and lanky in
+body, and in the other he obscures a lack of becoming inches that tends
+to give him a dumpy appearance.
+
+[Illustration: NO. 86]
+
+If you study your fellow-men you will observe that few are really
+perfectly proportioned. One man will have the body of a viking on the
+legs of a dwarf, or one will have the legs of an Apollo supporting the
+short body of a pigmy. The man who has a kingly body, too broad in
+proportion to his legs, as shown in sketch No. 87, should endeavor to
+modify his physical defect by the careful selection of his coats. He
+should have his coats cut to give him as much length of leg as possible.
+A skilful tailor will know just what subtle changes and adjustments to
+make. The improvement in appearance and gain in height is pictured in
+sketch 88. The coat being shorter and the waist of the trousers being
+raised a trifle, the man's limbs seem longer, which is an improvement.
+Long lines tend to give elegance and grace in bearing. Another thing for
+the too robust type of man to consider is the style of his trousers. No.
+87 hints what he must not choose. Such brazen plaids only make him
+appear offensively aggressive in size. Long, fine lines, such as shown
+in No. 88, give an impression of length and apparently lessen the width.
+
+[Illustration: NO. 87]
+
+Too long lines, however, are almost as undesirable as too short ones.
+Over-tall, thin men sometimes make themselves look like telegraph poles
+or flagstaffs by wearing short coats that expose in a graceless way the
+whole length of their limbs. They suggest cranes and other fowl that
+give the impression of being "all legs."
+
+[Illustration: NO. 88]
+
+When the legs are proportioned more like a stick of macaroni or a lead
+pencil than the shapely limbs of an Adonis, they appear exceedingly
+funny when surmounted by a short coat, such as pictured in No. 89. A
+famous general in the Civil War did not despise cotton as a
+fortification to protect him from the onslaught of the enemy. The
+over-tall, thin man, who is not unsuggestive of a picket, should not be
+ashamed to fortify himself with cotton or any other sort of padding that
+intelligent tailors keep in stock. He should build his shoulders up a
+bit and be generally, but most carefully and artistically, enlarged. His
+coat should be lengthened, as in sketch go, to cut off just as much of
+the longness of limb as can possibly be allowed without destroying
+artistic proportions. The very tall, thin man who unthinkingly wears a
+very short coat should be brave and never turn his back to his enemy.
+
+[Illustration: NO. 89]
+
+If he wears black and white check trousers and a short blue coat, he
+should travel with a screen. A man in just such a rig attracted no end
+of comment in a fashionable hotel. The caricaturing effect of his
+trousers and coat were unspeakably comical. The wearer had a face as
+grave as an undertaker's and the air of a serious-minded college
+professor; but he had the nondescript look of a scarecrow composed of
+whatever available garments could be obtained from the cast-off wardrobe
+of summer boarders in a farmhouse.
+
+[Illustration: NO. 90]
+
+Coats assuredly have the power of making cartoons--living, jocular
+cartoons--of their wearers. It would hardly seem necessary to call
+attention to the fact that a man of huge dimensions should not wear a
+short coat, such as shown in sketch No. 91, yet his type is too
+frequently seen attired in this style. A man so dressed certainly seems
+the living exemplification of the definition of a jug, namely, "a vessel
+usually with a swelling belly, narrow mouth, and a handle, for holding
+liquors." It cannot be reiterated too often that a large, stout man
+should aim to acquire the distinction and dignity given by long lines.
+If his body is proportioned so he really has neither length of torso nor
+of limb he must pay more attention to the cut of his clothes and attain
+length in whatever artistic way he can. The long coat, as may be seen
+in sketch No. 92, not only apparently adds length but it conceals too
+protuberant curves.
+
+[Illustration: NOS. 91 and 92]
+
+Of course, character counts far more than clothes, we will all agree to
+that, but at first glance it is a man's clothes that impress people.
+Clothes affect our behavior somewhat. For instance, "When the young
+European emigrant, after a summer's labor puts on for the first time a
+new coat, he puts on much more. His good and becoming clothes put him on
+thinking that he must behave like people who are so dressed; and
+silently and steadily his behavior mends." Of course, there is an
+uplifting truth in George Herbert's maxim, "This coat with my discretion
+will be brave," yet, I am inclined to think that the majority of men who
+will stop to consider will agree with Emerson, who says, "If a man has
+not firm nerves and has keen sensibility, it is perhaps a wise economy
+to go to a good shop and dress himself irreproachably. He can then
+dismiss all care from his mind, and may easily find that performance an
+addition of confidence, a fortification that turns the scale in social
+encounters, and allows him to go gayly into conversations where else he
+had been dry and embarrassed. I am not ignorant,--I have heard with
+admiring submission the experience of the lady who declared 'that the
+sense of being perfectly well dressed gives a feeling of inward
+tranquillity which religion is powerless to bestow.'"
+
+A popular clothier in New York, understanding this trait of his
+fellow-men, voices this same sentiment in his advertisement in this
+succinct way: "Seriously now. Have you ever stopped to think that if you
+wear good clothing it adds much to that independent, easy feeling you
+should have when you come in contact with other men?"
+
+I think it was Lord Chesterfield who said: "A man is received according
+to his appearance, and dismissed according to his merits." There is a
+bit of truth in this we would all admit, I have no doubt, if we studied
+the question. Clothes affect our own poise, ease, and attitude toward
+others and the expression of others toward us, but, after all, we rely
+upon the man or woman instead of upon the impression we receive from the
+clothes. The garments, after we have noticed them in a superficial way,
+are chiefly interesting to us, because they are arch-betrayers of the
+physical and mental poise of the man. No matter what the cut of the
+cloth, no matter what _cachet_ of a fashionable tailor a suit may have,
+or what its richness of material, the attitude "a la decadence" of No.
+93 would make the best clothes in Christendom look shabby and
+unattractive.
+
+[Illustration: NO. 93]
+
+This too familiar carriage of the American man makes one wish to have
+the power to reverse the faces--as Dante did those of the false
+prophets, so those who stand "a la decadence" might see what ridiculous
+figures they cut in drawing-room and street. The curved backs and
+rounded-out shoulders would make fair-looking chests, and the flat
+chests would represent respectable-looking backs.
+
+A man owes it to the spirit within him not to stand or walk in such an
+attitude. He should brace up and keep bracing up persistently,
+unremittently, until he attains a more manly bearing.
+
+[Illustration: NO. 94]
+
+The wholly alive fellow pictured in sketch No. 94 would make homespun
+look elegant. His chest is forward. He does not sag in front at the
+waist, protruding his abdomen in not only an inartistic, but an
+unhealthy manner; but he strides masterfully forward with an air of
+inspiriting "aliveness." The perfect poise of his attitude is not
+unsuggestive of the Apollo Belvedere--the model for all men--a picture
+of which every college boy should have to place beside the prettiest
+girl in his collection of pretty girls, to constantly remind him to
+carry himself like a young god.
+
+
+
+
+
+End of Project Gutenberg's What Dress Makes of Us, by Dorothy Quigley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK WHAT DRESS MAKES OF US ***
+
+***** This file should be named 11078.txt or 11078.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/1/1/0/7/11078/
+
+Produced by Stan Goodman, Dave Morgan and the Online Distributed
+Proofreading Team.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+     https://www.gutenberg.org/etext06
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+     https://www.gutenberg.org/1/0/2/3/10234
+
+or filename 24689 would be found at:
+     https://www.gutenberg.org/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+     https://www.gutenberg.org/GUTINDEX.ALL
+
+
diff --git a/old/11078.zip b/old/11078.zip
new file mode 100644
index 0000000..ddaa2d1
--- /dev/null
+++ b/old/11078.zip