How lately have we been subjected to the most illogical treatment of fine materials. Magnificent velvets and brocades cut up into "panels" of all sizes and all shapes, expressing nothing unless deformity. Tapering "gores" put wide end up on the skirt, or crossways, or any way except one in which they might help to express the shape--if the human form could be expressed by patches! Add to these the folds gathered into the aforesaid panels across, sideways, upside down, and the hump behind in the wrong place, and the hats like a huge dish stuck on in front with nothing behind, so that the wearer looks as if she must topple forward for want of balance, and we wonder what the good of civilisation and education can be if they only bring us to this. Truly, that savage in Africa can have little to learn from us in the way of adornment. [Illustration: DESIGN FOR A TEA GOWN.] Still, we must thankfully acknowledge that at the present moment, amongst the better classes, there is much that is ideal in dress. How simple and how lovely are some of the afternoon gowns, how picturesque the hats and cloaks, and what romances of colour and form may one not find among tea and evening gowns? The tea gown especially lends itself to grace of line and beauty of colour and material. I should like, before concluding, to say a few words about the most beautiful dress of all times and countries--the Greek. I cannot see why it should not be adopted in England for evening dress, or at any time when the wearer is not exposed to wind and weather. Then, I am fain to confess, the clinging, voluminous draperies and the long skirts would be sadly in the way, and be no longer practical nor beautiful. But I do think that the _principles_ governing classical Greek dress should be our guide in all costume. Our garments should be garments with a meaning and a purpose. We should never contradict Nature's simple lines by false protuberances or exaggerations. To be beautiful, clothes should, by their shape, express the figure underneath; any cutting about of material a manner as to contradict the natural lines of the shape must be wrong. If the figure be ungainly, the lines of the dress should be so discreetly managed as to apparently lessen its defects and suggest better proportions to the eye. The gown should also be in harmony with the character of the mind and form of the wearer, and while quaintness of cut and even frippery (in a sense) may be appropriate to a merely pretty woman, and, discreetly used, may give interest to a plain one, only the very simplest and most flowing forms are worthy of the noblest type of beauty. No one could imagine the Venus of Milo in ribbons or frills, but wrap her in a sheet and her beauty will still dominate the world. Dress need not be Greek in form to be Greek in spirit. I think we only need look, and we shall find the following noble qualities in Greek dress:--Fitness and honesty, simplicity, modesty, and dignity.--I am, Sir, your truly,