WOMAN DECORATIVE IN HER SUN-ROOM

<< WOMAN DECORATIVE IN HER BOUDOIR

I. WOMAN DECORATIVE IN HER GARDEN:WOMAN DECORATIVE ON THE LAWN >>

Woman's costumes, her jewels and all accessories complete her decorative effect,

but even in the age of powder and patches, hair oil and wigs, no more time nor

greater care was given to her grooming, and what we say applies to the average

woman of affairs and not merely to the parasite type.

CHAPTER X

WOMAN DECORATIVE IN HER SUN-ROOM

SUN-ROOOM as the name implies, is a room planned to admit as

much sun as is possible. An easy way to get the greatest amount of light

and sun is to enclose a steam heated porch with glass which may be

removed at will. Sometimes part of a conservatory is turned into a sun-

room, awnings, rugs, chairs, tables, couches, making it a fascinating lounge or

breakfast room, useful, too, at the tea hour. Often when building a house a room on

the sunny side is given one, two, or three glass sides. To trick the senses, ferns and

flowering plants, birds and fountains are used as decorations, suggesting out-of-

doors.

PLATE XIII

Portrait by Gilbert Stuart of Doña Matilda,

Stoughton de Jaudenes. (Metropolitan

Museum.)

We use this portrait to illustrate the period

when woman's line was obliterated by the

excessive decoration of her costume.

The interest attached to this charming

example of her time lies in colour and detail.

It is as if the bewitching Doña Matilda were

holding up her clothes with her person. Her

outline is that of a ruffled canary. How

difficult for her to forget her material

trappings, when they are so many, and yet she

looks light of heart.

For sharp contrast we suggest that our reader

turn at once to the portrait by Sargent (Plate

XV) which is distinguished for its clean-cut

outline and also the distinction arrived at

through elimination of detail in the way of

trimming. The costume hangs on the woman,

suspended by jewelled chains from her

shoulders.

The Sargent has the simplicity of the Classic

Greek; the Gilbert Stuart portrait, the amusing

fascination of Marie Antoinette detail.

The gown is white satin, with small gold

flowers scattered over its surface. The head-

dress surmounting the powdered hair is of

white satin with seed-pearl ornaments.

The background is a dead-rose velvet curtain,

draped to show blue sky, veiled by clouds.

The same dead-rose on table and chair

covering. The book on table has a softly

toned calf cover. Gilbert Stuart was fond of

working in this particular colour note.

Metropolitan Museum of Art

Eighteenth Century Costume Portrait

by Gilbert Stewart

The woman who would add to the charm of her sun-room in Winter by keeping up

the illusion of Summer, will wear Summer clothes when in it, that is, the same

gowns, hats and footwear which she would select for a warm climate. To be

exquisite, if you are young or youngish, well and active, you would naturally

appear in the sun-room after eleven, in some sheer material of a delicate tint, made

walking length, with any graceful Summer hat which is becoming, and either

harmonises with colour of gown or is an agreeable contrast to it. By graceful hat we

mean a hat suggesting repose, not the close, tailored hat of action. One woman we

Table of Contents: