The Penn's Grove record., 1884-01-12
sara Jewett.

As Jane Welsh Carlyle used to say,
Sara Jewett is the ''properest girl in
the country" The only boldness she
was ever guilty of was to drop the ''hn
from her front name and essay tragedy.
Forgetting these caprices Sara is a nice
girl. She is proprietY itself, on the
stage and off the stage, and would no
more think of using slang, saying or
doing a rude thing, or taking off her
company manners, than she would OF
biting off one of her pretty little fin
gers.
She is placid, punctilious, circum-
spect and gracious she belongs to the
literati, and loves to tell about the gov
ernesses she used to have, the poems
she used to write, and the comments and
criticisms that Longfellow used to pass
on them. She has lived so much among
the culture and refinement Of the
North Atlantic States that she never
has the slightest acquaintance with the
ladies who travel and play with her in
the same company night after night
and week after week.
Like all stars, she keeps a maid but
as a mistress she is more eXacting and
more whimsical than if she were a
Patti, Materna, Modjeska, Janauscheck
or Aimee. In stature she is about the
medium height, with a 1.-the figure,
graceful carriage, brilliant brown eyes,
fine satiny skin, and pretty, expressive
hands, that are simply ruined by long,
claw-like nails, which she carefully
c~ultivates. She has a bewitching habit
Of throwing her eyes around and pos
ing her head a la canary when talking
to YOU.
AS a conversationalist she is super
fetal but very engaging, If she could
act half as well as she a costume she
would have all society at her feet but
while the gentlemen pronounce her tame
the ladies like her for the ideas they are
able to steal from her makeup. She is
So popular among the ladies of a south
side Episcopal church that when pre-
viously announced, dress-making is
brought to a halt "till Jewett comes. -
Her success as a costumer is due to
the dexterous use of her pencil, which
enables her to reproduce, with various
notifications, dresses, draperies, and
toilets taken from prints, engravings,
or paintings found anywhere or every
where. These designs are picked up in
galleries, studios, art stores, books, or
old magazines. and giventO the mOdiste
for execution. She is good colorist,
and knows just the tints and shades
best suited to her complexion. But
with all her taste, skill and originality
her clothes cost like forty, because she
throws her money away on costly ma
terial, and ~patroniZes male and female
dress-makers who charge more and fit
no better than thousands of less cele-
brated artists.
In "'The Glass of Fashion" Miss
Jewett wears in the first act an imported
dress that must have swallowed up four
weeks salary if it took a penny. The
train and bodice are made of cream
tinted brocaded satin. The skirt is
long, stiff and heavy, and admirably
engineered by a pair of pretty little feet
shod in satin slippers. All round the
bottom Is a row of cameo satin cut in
gathered pieces, six inches deep and
two inches wide, and set on vertically
at intervals of four inches. The whole
front is one mass of crystal, embrOid'
cred in palm leaves, with green and
cameo beads, and arranged about a
scroll design of reverse curves.
The basque has a fringe Of cut crys
tai running yer the front from hip to
hip, and the corsage, back, and front.
corresponds in garniture with the petit
coat. The dress beats anything ever
worn by Mary Anderson or Margaret
Mather, both of whom pride themselves
on their superior wardrobes. The arms.
bare and lean, are covered with a pail
of stocking gloves, which the gay Mrs.
Col. Trevanian knows how to play
with. Throughout the play her head
| is covered with a golden brown wig.
rolled in a Langtry knot and run witt
a Rhinestone quarry.