a long robe of red crêpe de chine which folded over at the breast leaving a V-shaped opening at the throat. Their pet vanity was to arrange their under-garnients so that the border of each formed a regular trimming at the neck, a glance sufficing to show how many were worn—the greater the number the greater the success achieved. On the back and sleeves of their trailing silk kimonos were embroidered the arms of their house. When walking, or otherwise inconvenienced by-folds of material clinging about their feet, they tucked the kimonos into the belt, a pretty fashion which revealed the gaily-coloured gown beneath and the high wooden clogs.
The only difference between the dress of women of the upper and lower classes was the employment of cotton instead of silk.
Despite the fact that European influence has done much towards imposing European costume upon the Japanese, the influence is as yet restricted to Tokio and other industrial centres. In rural districts the national dress is still sacred, and the country-man remains a quaintly picturesque figure to delight the visitor from across seas, who recognises in him the prototype of the carved ivory models of the glass cabinet and curio table.
From the land of the chrysanthemum to that of the Pyramids is a far cry, and in point of fact no more dissimilar types could be imagined than those of old Japan and ancient Egypt. Woman's dress characteristic of the latter country was marked by a shamelessness of display and a unique brilliancy of colour, the effect of the scanty garments in vivid tones accentuating rather than concealing the natural lines and curves of the figure.
