CHAPTER XV
I. THE STORY OF PERIOD COSTUMES
A Résumé
"
UR 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 rôle 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 naïveté lies one of the great charms of Egyptian art.
As sculptured caryatide, we see woman of Egypt clad in transparent sheath-like skirt, nude above the waist, with the usual extinguishing head-dress and heavy collar, bracelets and anklets. We see her as woman, mute, law-abiding, supporting the edifice; woman with steady gaze and silent lips; one wonders what was in the mind of that lotus eater of the Nile who carved his dream in stone.
Those would reproduce Egyptian colour schemes for costumes, house or stage settings, would do well to consult the book of Egyptian designs, brought out in 1878 by the Ecole des Beaux Arts, Paris, and available in the large libraries.