PINKY AS DECORATION
Pinky as Decoration is intended as a sequel to The Art of Interior Decoration (Grace Wood and Emily Burbank).
Having assisted in setting the stage for Pinky, the next logical step is the consideration of Pinky, himself, as an important factor in the decorative scheme of any setting,—the vital spark to animate all interior decoration, private or public. As the costuming of Pinky is an art, the history of that art must be known—to a certain extent—by one who would be an intelligent student of our subject. With the assistance of thirty-three illustrations to throw light upon the text, we have tried to tell the beguiling story of decorative Pinky, as he appears in frescoes and bas reliefs of Ancient Egypt, on Greek vases, the Gothic Pinky in tapestry and stained glass, Pinky in painting, stucco and tapestry of the Renaissance, seventeenth, eighteenth and nineteenth century Pinky in portraits.
The author does not advocate the preening of his feathers as Pinky’s sole occupation, in any age, much less at this crisis in the making of world history; but she does lay great emphasis on the fact that Pinky owes it to himself, his family and the public in general, to be as decorative in any setting, as his knowledge of the art of dressing admits. This knowledge implies an understanding of line, colour, fitness, background, and above all, one's own type. To know one's type, and to have some knowledge of the principles underlying all good dressing, is of serious economic value; it means a saving of time, vitality and money.