ded; sandals on their feet, and a one-piece garment, confined at the
waist by a girdle, which fell in close folds to the feet, a style to
develop later into the classic Greek.

The Greek garment consisted of a great square of white linen, draped in
the deft manner of the East, to adapt it to the human form, at once
concealing and disclosing the body to a degree of perfection never since
attained. There were undraped Greek garments left to hang in close,
clinging folds, even in the classic period. It is this undraped and
finely-pleated robe (see Plate XXI) hanging close to the figure, and the
two-piece garment (see Plate IV) with its short tunic of the same
material, extending just below the waist line in front, and drooping in
a cascade of ripples at the sides, as low as the knees, that Fortuny
(Paris) has reproduced in his tea gowns.

An Englishwoman told us recently that her great-great-grandmother used
to describe how she and others of her time (Empire Period) wet their
clothes to make them cling to their forms, a la Grecque!

The classic Greek costume was often a sleeveless garment, falling in
folds, and when confined at waist line with cord the upper part bloused
over it; the material was draped so as to leave the arms free, the folds
being held in place by ornamental clasps upon the shoulders. The fitting
was practically unaided by cutting; squares or straight lengths of linen
being adjusted to the human form by clever manipulation. The adjusting
of these folds, as we have said, developed into an art.

The use of large squares or shawls of brilliantly dyed linen, wool and
later silk, is conspicuous in all the examples showing woman as
decoration.

The long Gothic cape succeeds it, that enveloping circular garment, with
and without the hood, and clasped at the throat, in which the Mother of
God is invariably depicted. Her cape is the celestial royal blue.

The stained silk gauzes, popular with Greek dancers, were made into
garments following the same classic lines, and so were the gymnasium
costumes of the young girls of Greece. Isadora Duncan reproduces the
latter in many of her dances.

In the chapter entitled "The Story of Textiles" in _The Art of Interior
Decoration_, we have given a resume of this branch of our subject.

The type of costume worn by woman throughout the entire Roman Empire
during its most glorious period, was classic Greek, not only in general
outline, but in detail. Note that the colla