In the home, among women, still appear these manifestations of a crude beauty-sense, unchecked by larger knowledge. Our best existent examples are in the Chinese foot-binding custom, and ours of waist-binding. The initial idea of the corset is in a way artistic. We perceive that the feminine form has certain curves and proportions, tending thus and so; and following the tendency we proceed to exaggerate those curves and proportions and fix them arbitrarily. This is the same law by which we conventionalise a flower for decorative purposes, turning the lily of the field into the _fleur-de-lis_ of the tapestry. The Egyptians did it, to an extreme degree, in their pictorial art, reducing the human body to certain fixed proportions and attitudes. The application of these principles to living bodies is peculiar to the savage, and its persistence among our women is perhaps the strongest proof of the primitive nature of the home. As women enter the larger life of the world these limitations are easily outgrown; the working-woman cannot make a conventionalised ornament of her body, and the business woman does not care to; the really educated woman knows better, and the woman artist would be bitterly ashamed of such an offence against nature; only the home-bound woman peacefully maintains it. To the scientific student, man or woman, the sturdy reappearance of this very early custom is intensely interesting; he sees in the "newest fashion" of holding and binding the body a peculiar survival of the very oldest fashion in personal decoration known to us. The latest corset advertisement ranks ethnologically with the earliest Egyptian hieroglyph, the Aztec inscriptions, and races far behind them. The woman's love of beauty finds its freest expression along lines of personal decorations, and there, as in the decoration of the house, we see the same crippling influence. She loves beautiful textures, velvet, satin, and silk, soft muslin and sheer lawn; she loves the delicate fantasy of lace, the alluring richness of fur; she loves the colour and sparkle of gems, the splendour of burnished metal, and, in her savage crudity of taste, she slaps together any and every combination of these things and wears them happily.