On the walls of the Necropolis of Memphis, Thi and his wife (Fifth Dynasty) appear in a delightful hunting scene. The man in the prow of his boat is about to spear an enormous beast, while his wife, seated in the bottom, wraps her arm about his leg!
Among the earliest portraits of an Egyptian woman completely clothed, is that of Queen Taia, wife of Amenophis, Eighteenth Dynasty, who wears a striped gown with sleeves of the kimono type and a ribbon tied around her waist, the usual ornamental collar and bracelets of gold, and an elaborate head-dress with deep blue curtain, extending to the waist, behind.
Full of illuminating suggestions is an example of Woman in Egyptian decoration, to be seen as a fresco in the Necropolis of Thebes. It shows the governess of a young prince (Eighteenth Dynasty) holding the child on her lap. The feet of the little prince rest on a stool, supported by nine crouching human beings—men; each has a collar about his neck, to which a leash is attached, and all nine leashes are held in the hands of the child!
The illustrations of the Egyptian funeral papyrus, The Book of the Dead, show woman in the rôle of wife and companion. It is the story of a high-born Egyptian woman, Tutu, wife of Ani, Royal Scribe and Scribe of the Sacred Revenue of all the gods of Thebes. Tutu, the long-eyed Egyptian woman, young and straight, with raven hair and active form, a Kemäit of Amon, which means she belonged to the religious chapter or congregation of the great god of Thebes. She was what might be described as lady-in-waiting or honorary priestess, to the god Amon. She, too, wears the typical Egyptian head-dress and straight, long white gown, hanging in close folds to her feet. One vignette shows Tutu with arm about her husband's leg. This seems to have been a naïve Egyptian way of expressing that eternal womanliness, that tender care for those beloved, that quality inseparable from woman if worthy the name, and by reason of which with man, her mate, she has run the gamut of human experience, meeting the demands of her time. There is no dodging the issue, woman's story recorded in art, shows that she has always responded to Fate's call; followed, led, ruled, been ruled, amused, instructed, sent her men into battle as Spartan mothers did to return with honour or on their shields, and when Fate so decreed, led them to battle, like Joan of Arc.
II. EGYPT AND ASSYRIA
In Egypt and Assyria the lines of the torso were kept straight, with no contracting of body at waist line. Woman was clad in a straight sheet-like garment, extending from waist to feet with only metal ornaments above; necklace, bracelets and armlets; or a straight dress from neck to meet the heavy anklets. Sandals were worn on the feet. The head was encased in an abnormally curled wig, with pendent ringlets, and the whole clasped by a massive head-dress, following the contour of head and having as part of it, a curtain or veil, reaching down behind, across shoulders and approaching waist line. The Sphinx wears a characteristic Egyptian head-dress.
PLATE XIX
Mrs. Condé Nast, artist and patron of the arts, noted for her understanding of her own type and the successful costuming of it.
Mrs. Nast was Miss Clarisse Coudert. Her French blood accounts, in part, for her innate feeling for line and colour. It is largely due to the keen interest and active services of Mrs. Nast that Vogue and Vanity Fair have become the popular mirrors and prophetic crystal balls of fashion for the American woman.
Mrs. Nast is here shown in street costume. The photograph is by Baron de Meyer, who has made a distinguished art of photography.