Note Return to text — FASHION'S SLAVES.

But fashion is nothing if not changeable; fancy not art guides her mind. What to-day types beauty, is by her own voice to-morrow voted indecent and absurd. Thus we find in the period extending from 1870 to 1875 an entirely new but none the less ridiculous or injurious extreme prevails. The wonderful swinging cage, the diameter of which at the base often equaled the height of the encased figure, has disappeared, being no longer considered desirable or æsthetic, and in its place we have prodigious bustles and immense trains, by which an astonishing quantity of material is thrown behind the body, suggesting in some instances a toboggan slide, in others the unseemly hump on the back of a camel. This is the era of the enormous bustle and the train of sweeping dimensions.[1]