of the human body. Modesty, or shame, was the emotion
which developed when man, accustomed to decoration--trophies or
tattooing--was deprived of all or part of such covering. What parts of
the body require concealment, is purely a matter of the customs
prevailing with a race or tribe, at a certain time, and under certain
conditions.

This is a theme, the detailed development of which lies outside the
purpose of our book. It has delightful possibilities, however, if the
plentiful data on the subject, given in scientific books, were to be
condensed and simplified.

PLATE XVIII

Mrs. Langtry (Lady de Bathe) who has been one of the
greatest beauties of modern times and a marked example of a
woman who has always understood her own type, to costume it.

She agrees that this photograph of her, in an evening wrap,
illustrates a point she has always laid emphasis on: that a
garment which has good lines--in which one is a
picture--continues wearable even when not the dernier cri of
fashion.

This wrap was worn by Mrs. Langtry about two years ago.

[Illustration: _Mrs. Langtry (Lady de Bathe) in Evening Wrap_]

CHAPTER XV

I. THE STORY OF PERIOD COSTUMES

_A Resume_

"Our present modes of dress (aside from the variations
imposed by fashion) are the resultant of all the fashions of
the last 2000 years."

W. G. SUMNER in _Folkways_.

The earliest Egyptian frescoes, invaluable pre-historic data, show us
woman as she was costumed, housed and occupied when the painting was
done. On those age-old walls she appears as man's companion, his
teacher, plaything, slave, and ruler;--in whatever role the fates
decreed. The same frescoed walls have pictured records of how Egypt
tilled the soil, built houses, worked in metals, pottery and sculpture.
Woman is seen beside her man, who slays the beasts, at times from boats
propelled through reeded jungles; and hers is always that rigid
outline, those long, quiet eyes depicted in profile, with massive
head-dress, and strange upstanding ornaments, abnormally curled wig, and
close, straight garments to the feet (or none at all), heavy collar,
wristbands and anklets of precious metals with gems inset, or chased in
strange designs. About her, the calm mysterious poise and childlike
acquiescence of those who know themselves to be the puppets of the gods.
In this naivete lies one of the great charms of Egyptian art.