the stage for woman, the next logical step is
the consideration of woman, herself, as an important factor in the
decorative scheme of any setting,--the vital spark to animate all
interior decoration, private or public. The book in hand is intended as
a brief guide for the woman who would understand her own type,--make the
most of it, and know how simple a matter it is to be decorative if she
will but master the few rules underlying all successful dressing. As the
costuming of woman is an art, the history of that art must be known--to
a certain extent--by one who would be an intelligent student of our
subject. With the assistance of thirty-three illustrations to throw
light upon the text, we have tried to tell the beguiling story of
decorative woman, as she appears in frescoes and bas reliefs of Ancient
Egypt, on Greek vases, the Gothic woman in tapestry and stained glass,
woman in painting, stucco and tapestry of the Renaissance, seventeenth,
eighteenth and nineteenth century woman in portraits.

Contemporary woman's costume is considered, not as fashion, but as
decorative line and colour, a distinct contribution to the interior
decoration of her own home or other setting. In this department, woman
is given suggestions as to the costuming of herself, beautifully and
appropriately, in the ball-room, at the opera, in her boudoir, sun-room
or on her shaded porch; in her garden; when driving her own car; by the
sea, or on the ice.

Woman as Decoration has been planned, in part, also to fill a need very
generally expressed for a handbook to serve as guide for beginners in
getting up costumes for fancy-dress balls, amateur theatricals, or the
professional stage.

We have tried to shed light upon period costumes and point out ways of
making any costume effective.

Costume books abound, but so far as we know, this is the first attempt
to confine the vast and perplexing subject within the dimensions of a
small, accessible volume devoted to the principles underlying the
planning of all costumes, regardless of period.

The author does not advocate the preening of her feathers as woman's
sole occupation, in any age, much less at this crisis in the making of
world history; but she does lay great emphasis on the fact that a woman
owes it to herself, her family and the public in general, to be as
decorative in any setting, as her knowledge of the art of dressing
admits. This knowledge implies an understanding of line, colour,
f