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“That will be amusing, to say the least,” said Humming-Bird; “and, be sure, we will all be here. And mind, you have to show good reasons for disliking the present fashion.”

So the next evening there was a worsted party in my study, sitting in the midst of which I read as follows:–

WHAT ARE THE SOURCES OF BEAUTY IN DRESS

“The first one is appropriateness. Colors and forms and modes, in themselves graceful or beautiful, can become ungraceful and ridiculous simply through inappropriateness. The most lovely bonnet that the most approved modiste can invent, if worn on the head of a coarse-faced Irishwoman bearing a market-basket on her arm, excites no emotion but that of the ludicrous. The most elegant and brilliant evening dress, if worn in the daytime in a railroad car, strikes every one with a sense of absurdity; whereas both these objects in appropriate associations would excite only the idea of beauty. So a mode of dress obviously intended for driving strikes us as outre in a parlor; and a parlor dress would no less shock our eyes on horseback. In short, the course of this principle through all varieties of form can easily be perceived. Besides appropriateness to time, place, and circumstances, there is appropriateness to age, position, and character. This is the foundation of all our ideas of professional propriety in costume. One would not like to see a clergyman in his external air and appointments resembling a gentleman of the turf; one would not wish a refined and modest scholar to wear the outward air of a fast fellow, or an aged and venerable statesman to appear with all the peculiarities of a young dandy. The flowers, feathers, and furbelows which a light-hearted young girl of seventeen embellishes by the airy grace with which she wears them, are simply ridiculous when transferred to the toilet of her serious, well-meaning mamma, who bears them about with an anxious face, merely because a loquacious milliner has assured her, with many protestations, that it is the fashion, and the only thing remaining for her to do.

“There are, again, modes of dress in themselves very beautiful and very striking, which are peculiarly adapted to theatrical representation and to pictures, but the adoption of which as a part of unprofessional toilet produces a sense of incongruity. A mode of dress maybe in perfect taste on the stage, that would be absurd in an evening party, absurd in the street, absurd, in short, everywhere else.

“Now you come to my first objection to our present American toilet,–its being to a very great extent inappropriate to our climate, to our habits of life and thought, and to the whole structure of ideas on which our life is built. What we want, apparently, is some court of inquiry and adaptation that shall pass judgment on the fashions of other countries, and modify them to make them a graceful expression of our own national character, and modes of thinking and living. A certain class of women in Paris at this present hour makes the fashions that rule the feminine world. They are women who live only for the senses, with as utter and obvious disregard of any moral or intellectual purpose to be answered in living as a paroquet or a macaw. They have no family ties; love, in its pure domestic sense, is an impossibility in their lot; religion in any sense is another impossibility; and their whole intensity of existence, therefore, is concentrated on the question of sensuous enjoyment, and that personal adornment which is necessary to secure it. When the great ruling country in the world of taste and fashion has fallen into such a state that the virtual leaders of fashion are women of this character, it is not to be supposed that the fashions emanating from them will be of a kind well adapted to express the ideas, the thoughts, the state of society, of a great Christian democracy such as ours ought to be.