The second class of critics is made up of economists, who believe that too much of the world's earnings is spent upon clothes, and that this universal spirit of extravagance retards marriage, and blocks the progress of the race. It is in an ignoble effort to pacify these last censors that women writers undertake to tell their women readers, in the pages of women's periodicals, how to dress on sums of incredible insufficiency. Such misleading guides would be harmless, and even in their way amusing, if nobody believed them; but unhappily somebody always does believe them, and that somebody is too often a married man. There is no measure to the credulity of the average semi-educated man when confronted by a printed page (print carries such authority in his eyes), and with rows of figures, all showing conclusively that two and two make three, and that with economy and good management they can be reduced to one and a half. He has never mastered, and apparently never will master, the exact shade of difference between a statement and a fact.
Women are, under most circumstances, even more readily deceived; but, in the matter of dress, they have walked the thorny paths of experience. They know the cruel cost of everything they wear,—a cost which in this country is artificially maintained by a high protective tariff,—and they are not to be cajoled by that delusive word "simplicity," being too well aware that it is, when synonymous with good taste, the consummate success of artists, and the crowning achievement of wealth. Some years ago there appeared in one of the English magazines an article entitled, "How to Dress on Thirty Pounds a Year. As a Lady. By a Lady." Whereupon "Punch" offered the following light-minded amendment: "How to Dress on Nothing a Year. As a Kaffir. By a Kaffir." At least a practical proposition.
Mr. Henry James has written some charming paragraphs on the symbolic value of clothes, as illustrated by the costumes worn by the French actresses of the Comédie,—women to whose unerring taste dress affords an expression of fine dramatic quality. He describes with enthusiasm the appearance of Madame Nathalie, when playing the part of an elderly provincial bourgeoise in a curtain-lifter called "Le Village."
"It was the quiet felicity of the old lady's dress that used to charm me. She wore a large black silk mantilla of a peculiar cut, which looked as if she had just taken it tenderly out of some old wardrobe where it lay folded in lavender, and a large dark bonnet, adorned with handsome black silk loops and bows. The extreme suggestiveness, and yet the taste and temperateness of this costume, seemed to me inimitable. The bonnet alone, with its handsome, decent, virtuous bows, was worth coming to see."
If we compare this "quiet felicity" of the artist with the absurd travesties worn on our American stage, we can better understand the pleasure which filled Mr. James's heart. What, for example, would Madame Nathalie have thought of the modish gowns which Mrs. Fiske introduces into the middle-class Norwegian life of Ibsen's dramas? No plays can less well bear such inaccuracies, because they depend on their stage-setting to bring before our eyes their alien aspect, to make us feel an atmosphere with which we are wholly unfamiliar. The accessories are few, but of supreme importance; and it is inconceivable that a keenly intelligent actress like Mrs. Fiske should sacrifice vraisemblance to a meaningless refinement. In the second act of "Rosmersholm," to take a single instance, the text calls for a morning wrapper, a thing so manifestly careless and informal that the school-master, Kroll, is scandalized at seeing Rebecca in it, and says so plainly. But as Mrs. Fiske plays the scene in a tea-gown of elaborate elegance, in which she might with propriety have received the Archbishop of Canterbury, Kroll's studied apologies for intruding upon her before she has had time to dress, and the whole suggestion of undue intimacy between Rebecca and Rosmer, which Ibsen meant to convey, is irrevocably lost. And to weaken a situation for the sake of being prettily dressed would be impossible to a French actress, trained in the delicacies of her art.
If the feeling for clothes, the sense of their correspondence with time and place, with public enthusiasms and with private sensibilities, has always belonged to France, it was a no less dominant note in Italy during the two hundred years in which she eclipsed and bewildered the rest of Christendom; and it bore fruit in those great historic wardrobes which the Italian chroniclers describe with loving minuteness. We know all about Isabella d' Este's gowns, as if she had worn them yesterday. We know all about the jewels which were the assertion of her husband's pride in times of peace, and his security with the Lombard bankers in times of war. We know what costumes the young Beatrice d' Este carried with her on her mission to Venice, and how favourably they impressed the grave Venetian Senate. We can count the shifts in Lucretia Borgia's trousseau, when that much-slandered woman became Duchess of Ferrara, and we can reckon the cost of the gold fringe which hung from her linen sleeves. We are told which of her robes was wrought with fish scales, and which with interlacing leaves, and which with a hem of pure and flame-like gold. Ambassadors described in state papers her green velvet cap with its golden ornaments, and the emerald she wore on her forehead, and the black ribbon which tied her beautiful fair hair.
These vanities harmonized with character and circumstance. The joy of living was then expressing itself in an overwhelming sense of beauty, and in material splendour which, unlike the material splendour of to-day, never overstepped the standard set by the intellect. Taste had become a triumphant principle, and as women grew in dignity and importance, they set a higher and higher value on the compelling power of dress. They had no more doubt on this score than had wise Homer when he hung the necklaces around Aphrodite's tender neck before she was well out of the sea, winding them row after row in as many circles as there are stars clustering about the moon. No more doubt than had the fair and virtuous Countess of Salisbury, who, so Froissart tells us, chilled the lawless passion of Edward the Third by the simple expedient of wearing unbefitting clothes. Saint Lucy, under somewhat similar circumstances, felt it necessary to put out her beautiful eyes; but Katharine of Salisbury knew men better than the saint knew them. She shamed her loveliness by going to Edward's banquet looking like a rustic, and found herself in consequence very comfortably free from royal attentions.
In the wise old days when men outshone their consorts, we find their hearts set discerningly on one supreme extravagance. Lace, the most artistic fabric that taste and ingenuity have devised, "the fine web which feeds the pride of the world," was for centuries the delight of every well-dressed gentleman. We know not by what marital cajolery Mr. Pepys persuaded Mrs. Pepys to give him the lace from her best petticoat, "that she had when I married her"; but we do know that he used it to trim a new coat; and that he subsequently noted down in his diary one simple, serious, and heartfelt resolution, which we feel sure was faithfully kept: "Henceforth I am determined my chief expense shall be in lace bands." Charles the Second paid fifteen pounds apiece for his lace-trimmed night-caps; William the Third, five hundred pounds for a set of lace-trimmed night-shirts; and Cinq-Mars, the favourite of Louis the Thirteenth, who was beheaded when he was barely twenty-two, found time in his short life to acquire three hundred sets of lace ruffles. The lace collars of Van Dyck's portraits, the lace cravats which Grahame of Claverhouse and Montrose wear over their armour, are subtly suggestive of the strength that lies in delicacy. The fighting qualities of Claverhouse were not less effective because of those soft folds of lace and linen. The death of Montrose was no less noble because he went to the scaffold in scarlet and fine linen, with "stockings of incarnate silk, and roses on his shoon." Once Carlyle was disparaging Montrose, as (being in a denunciatory mood) he would have disparaged the Archangel Michael; and, finding his hearers disposed to disagree with him, asked bitterly: "What did Montrose do anyway?" Whereupon Irving retorted: "He put on a clean shirt to be hanged in, and that is more than you, Carlyle, would ever have done in his place."
It was the association of the scaffold with an ignoble victim which banished black satin from the London world. Because a foul-hearted murderess[2] elected to be hanged in this material, Englishwomen refused for years to wear it, and many bales of black satin languished on the drapers' shelves,—a memorable instance of the significance which attaches itself to dress. The caprices of fashion do more than illustrate a woman's capacity or incapacity for selection. They mirror her inward refinements, and symbolize those feminine virtues and vanities which are so closely akin as to be occasionally undistinguishable.
[Footnote 2: Mrs. Manning.]