It is very possible, however, that it may mean nothing or very little, and the Charlotte Corday dress requires a certain amount of support at the sides, real or artificial. Strangely soon do we accustom ourselves to new forms. In a few weeks all the peculiarity of this special gown seems to have worn off. When Sargent first showed his portrait of Madame Barckhard at the Salon, the black dress full on the hips, and without upper draperies, had the effect of a fancy costume. Seeing it again at the Rue de Sèze, it struck me quite differently. So attired, a lady might this season pass unnoted anywhere. This is the ebb and flow of fashion. It is now high tide with these relatively simple gowns, gathered or pleated, open in front or at the side, and made in soft falling woollens, in rustling taffetas, in rich watered silk, or flowered brocade; but the ebb will come very soon."[1] Instead of asking whether women will content themselves with the present fashion, however, the writer should inquire whether the shopkeepers will do so, which is more to the point. Weighty draperies and rich and heavy materials are brought into fashion by the influence of tradespeople for the sake of increasing their profits. If these wearisome and unhealthy modes of dress are adopted the crinoline will follow more as a palliative than as an evil; but it is the duty of those who have sense and knowledge to protest against such absurd and unhealthy extravagance. Just as the principle of atavism applies to the human race, so that in
- ↑ Daily Telegraph, June 9th, 1885.
