new and novel structure serving the same general purpose. That the alleged beauty, or "loveliness," of the styles in vogue at any given time is transient and spurious only is attested by the fact that none of the many shifting fashions will bear the test of time. When seen in the perspective of half a dozen years or more, the best of our fashions strike us as grotesque, if not unsightly. Our transient attachment to whatever happens to be the latest rests on other than æsthetic grounds, and lasts only until our abiding æsthetic sense has had time to assert itself and reject this latest indigestible contrivance.
The process of developing an æsthetic nausea takes more or less time; the length of time required in any given case being inversely as the degree of intrinsic odiousness of the style in question. This time relation between odiousness and instability in fashions affords ground for the inference that the more rapidly the styles succeed and displace one another, the more offensive they are to sound taste. The presumption, therefore, is that the farther the community, especially the wealthy classes of the community, develop in wealth and mobility and in the range of their human contact, the more imperatively will the law of conspicuous waste assert itself in matters of dress, the more will the sense of beauty tend to fall into abeyance or be overborne by the canon of pecuniary reputability, the more rapidly will fashions shift and change, and the more grotesque and intolerable will be the varying styles that successively come into vogue.
There remains at least one point in this theory of
