EIGHTEENTH CENTURY

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WOMAN IN THE VICTORIAN PERIOD >>

CHAPTER XVIII

EIGHTEENTH CENTURY

HE eighteenth century is unique by reason of scientific discoveries,

mechanical inventions and chemical achievements, coupled with the

gigantic political upheaval of the French Revolution.

It is unique, distinguished and enormously fruitful. For example, the modern frenzy

for chintz, which has made our homes burst into bloom in endless variety, had its

origin in the eighteenth century looms at Jouy, near Versailles, under the direction

of Oberkampf.

Before 1760 silks and velvets decorated man and his home. Royal patronage co-

operating with the influence of such great decorators as Percier and Fontaine gave

the creating of beautiful stuffs to the silk factories of Lyons.

Printed linens and painted wall papers appeared in France simultaneously, and for

the same reason. The Revolution set mass-taste (which is often stronger than

individual inclination), toward unostentatious, inexpensive materials for house

furnishing and wearing apparel.

The Revolution had driven out royalty and the high aristocracy who, with changed

names lived in seclusion. Society, therefore, to meet the mass-desire, was driven to

simple ways of living. Men gave up their silks and velvets and frills, lace and

jewels for cloth, linen, and sombre neck-cloths. The women did the same; they

wore muslin gowns and their own hair, and went to great length in the affectation

of simplicity and patriotic fervour.

We hear that, apropos of America having at this moment entered the great struggle

with the Central Powers, simplicity is decreed as smart for the coming season, and

that those who costume themselves extravagantly, furnish their homes

ostentatiously or allow their tables to be lavish, will be frowned upon as bad form

and unpatriotic.

These reactions are inevitable, and come about with the regularity of tides in this

world of perpetual repetition.

The belles of the Directorate shook their heads and bobbed their pretty locks at the

artificiality Marie Antoinette et cie had practised. I fear they called it sinful art to

deftly place a patch upon the face, or make a head-dress in the image of a man-of-

war.

Mme. de Staël's familiar head-dress, twisted and wrapped around her head à la

Turque, is said to have had its origin in the improvisation of the court hairdresser.

Desperately groping for another version of the top-heavy erection, to humour the

lovely queen, he seized upon a piece of fine lace and muslin hanging on a chair at

hand, and twisting it, wrapped the thing about the towering wig. As it happened, the

chiffon was my lady's chemise!

We begin the eighteenth century with a full petticoat, trimmed with rows of ruffles

or bands; an overskirt looped back into paniers to form the bustle effect; the natural

hair powdered; and head-dress of lace, standing out stiffly in front and drooping in

a curtain behind.

It was not until the whim of Marie Antoinette decreed it so, that the enormous

powdered wigs appeared.

Viennese temperament alone accounts for the moods of this lovely tragic queen,

who played at making butter, in a cap and apron, over simple muslin frocks, but

outdid her artificial age in love of artifice (not Art) in dress.

This gay and dainty puppet of relentless Fate propelled by varying moods must

needs lose her lovely head at last, as symbol of her time.

PLATE XXV

Mrs. Vernon Castle in a summer afternoon

costume appropriate for city or country and

so adapted to the wearer's type that she is a

picture, whether in action; seated on her own

porch; having tea at the country club; or in

the Winter sun-parlour.

Mrs. Vernon Castle in

Afternoon Costume--

Summer

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