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

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СКАЧАТЬ Certainly she did; for she was so beautiful in person and alluring in manner, that even that head-dress, and the accompanying costume with which she was deformed, could not eclipse her charms for those who had become at all accustomed to the absurd disguise which she assumed. But it was the woman that was beautiful, not the costume; and the woman was so beautiful, in spite of the costume, that she was able to light up even its forbidding features with the reflection of her own loveliness. There have been countless similar cases since;—there are some now.

      Mrs. Grey. Miss Larches, doubtless, appreciates the approving glance of so severe a censor.

      Grey. And this head-dress was open to the objection which Miss Larches brought against that which preceded it three centuries. These ladies were in each other's way at the opera; and while riding there in their coaches, they were obliged to sit with their heads out of the windows.

      Mrs. Grey. Their carriages must have been of great service when it rained!—But look at these stomachers, stiff with embroidery and jewels, and with points that reach half-way from the waist to the ground! See those enormous ruffs, standing out a quarter of a yard, and curving over so smoothly to their very edges! What a protection the fear of ruining those ruffs must have been against children, and—other troublesome creatures!

      Grey. It is true, that ruffs and stomachers seem to indicate great propriety of conduct, including an aversion to children and—other troublesome creatures; but students of the manners and morals of the period at which those articles of dress were worn do not find that the women who wore them differed much in their conduct, at least as to the other troublesome creatures, from the women who nowadays have revived one of the most unsightly and absurd traits of the costume of which ruffs and stomachers formed a part.

      Mrs. Grey. What can you mean? Our fashion like that frightful rig? Why, see this portrait of Queen Elizabeth in full dress! What with stomacher and pointed waist and fardingale, and sticking in here and sticking out there, and ruffs and cuffs and ouches and jewels and puckers, she looks like a hideous flying insect with expanded wings, seen through a microscope,—not at all like a woman.

      Grey. And her costume is rivalled, if not outdone, by that of her critic, in the very peculiarity by which she is made to look most unlike a woman;—the straight line of the waist and the swelling curve below it, which meet in such a sharp, unmitigated angle. Look at the Venus yonder,—she is naked to the hips,—and see how utterly these lines misrepresent those of Nature. You will find no instance of such a contour as is formed by the meeting of these lines among all living creatures, except, perhaps, when a turtle thrusts his head and his tail out of his shell.

      Miss Larches. But there's a vase with just such an outline, that I have heard you admire a hundred times.

      Grey. True, Miss Larches; but a woman is not a vase;—more beautiful even than this, certainly more precious, perhaps almost as fragile, but still not a vase; and she shows as little taste in making herself look like a vase as some potters do in making vases that look like women.

      Mr. Key. But I thought it was decided that the female figure below the shoulders should be left to the imagination. Does Mr. Grey propose to substitute the charming reality of undisguised Nature?

      Grey. True, we do not attempt to define the female figure below the waist, at least; but although we may safely veil or even conceal Nature, we cannot misrepresent or outrage her, except at the cost of utter loss of beauty. The lines of drapery, or of any article of dress, must conform to those of that part of the figure which it conceals, or the effect will be deforming, monstrous.

      Mr. Key. Does Mr. Grey mean, to say that ladies nowadays' look monstrous and deformed?

      Grey. To a certain extent they do. But such is the influence of habit upon the eye, that we fully apprehend the effect of such incongruity as that of which I spoke only in the costumes of past generations, or when there is a very violent, instead of a gradual change in the fashion of our own day. Look at these full-length portraits of Catherine de Médicis and the Princess Marguerite, daughter of Francis the First.

      The Ladies. What frights!

      Mrs. Grey. No, not both; Marguerite's dress is pretty, in spite of those horrid sleeves sticking up so above her shoulders.

      Grey. You are right. Those sleeves, rising above the shoulders—as high as the ear in Catherine's costume, you will observe—are unsightly enough to nullify whatever beauty the costume might have in other points; though in her case they only complete the expression of the costume, which is a grim, unnatural stiffness. And the reason of the unsightliness of these sleeves is, that the outline which they present is directly opposed to that of Nature. No human shoulders bulge upward into great hemispherical excrescences nine inches high; and the peculiar sexual characteristic of this part of woman's figure is the gentle downward curve by which the lines of the shoulder pass into those of the arm. Our memory that such is the natural configuration of these parts enters, consciously or unconsciously, into our judgment of this costume, in which we see that Nature is deliberately departed from; and our condemnation of it in this particular respect is strengthened by the perception, at a glance, that great pains have been taken to make its outlines discordant with those of the part which they conceal. You qualified your censure of Marguerite's dress partly because, in her case, the slope of the shoulder is preserved until the very junction of the arm with the bust, and partly because her bust and waist are defined by her gown with a tolerably near approach to Nature, instead of being entirely concealed, as in the case of her sister-in-law, by stiff lines sloping outward on all sides to the ground, making the remorseless Queen look like an enormous extinguisher with a woman's head set on it. And these advantages of form in the Princess's costume are enhanced by its presentation of a fine contrast of rich color in unbroken masses, instead of the Queen's black velvet and white satin elaborately disfigured with embroidery, ermine, lace, and jewels. You were prompt in your condemnation of the fashion to which your eye had not been accustomed: now turn to the costume that you wear, and which you are in a manner compelled to wear; for I am not so visionary as to expect a woman, or even a man under sixty, to fly directly in the face of fashion, although her extravagant caprices may be gracefully disregarded by both sexes and all ages. Here are two fashion-plates of the last month,—1 not magazine caricatures, mind you, or anything like it,—but from the first modistes in Paris. Look at that shawled lady, with her back toward us. If you did not know that that is a shawl, and that the thing which surmounts it is a bonnet, you would not suspect the figure to be human. See; there is a slightly undulating slope at an angle of about sixty-five degrees from the crown of the head to the lowest hem of the skirt, so that the outline is that of a pyramid slightly rounded at the apex, and nearly as broad across the base as it is high. What is there of woman in such a figure? And this evening-dress; it suggests the enchantments in the stories of the Dark Ages, where knights encounter women who are women to the breasts and monsters below. From the head to as far as halfway down the waist, this figure is natural.

      Mr. Key. Under the circumstances it could hardly be otherwise. Au naturel, I should call it, except for the spice of a few flowers and a little lace.

      Grey. But from that point it begins to lose its semblance to a woman's shape, (as you will see by raising your eyes again to the Venus,) and after running two or three inches decidedly inward in a straight line, where it should turn outward with a gentle curve, its outlines break into a sharp angle, and it expands, with a sudden hyperbolical curve, into a monstrous and nameless figure that is not only unlike Nature, but has no relations whatever with Nature. The eye needs no cultivation, the brain no instruction, to perceive that such an outline cannot be produced by drapery upon a woman's form. It is clear, at a glance, that there is an artificial structure underneath that swelling skirt; that a scaffold, a framework, has been erected to support that dome of silk; and that the wearer is merely an automatic machine by which it is made to perambulate. СКАЧАТЬ