St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1885-11-15

shawl or square of any soft, double-wldth
material, nuns yelling, cheese cloth. hne
WOOL silk or lace The original of the
Greek dress was made in Tussore silk, III
its well-known delicate ecru or stone-col-
ored tint; and the embroidery in flame color
which has lambert quality, not in the
least like the brick red. which is often
called by its name. The corners of the
drapery are united together on the should
ers with clasps of inwrought stone or
metal and the ruchings are OF the SILK,
feathered upon the edge, or OF embroidered
lace.
The design from the ancient Greek, it
will be seen, is modification and comblna-
ton of the other two. with features of its
own that are different from either. The
foundation dress is very much the same as
in Mrs. Ptfeifer's Greek gown. except that
being made in print and for ordinary use
the sleeves are cut to the wrist The over
dress is followed little at the neck. front
and back but otherwise gathered in at the
waist (only with more fulness) exactly like
the cashmere misunderstanding that
the drapery is lifted somewhat to the right
of the opening and held by the clasp at the
belt. The body part is also cut in more to
the arm. the sleeves being less full and re-
curing less space. The material of the
overdreSs is what is known in London as
Arabian cotton. 1t has naturally crinkled
or creepy surface, irregularly ridged and fall
ing in very close and graceful folds 1t
was used by Miss Anderson for her Gaatea
dress, designed by London artist, and
proved more amenable to artistic require
mentS than the China crepe at $40 per yard
Which she had previously employed. The
Skirt OF the underdreSS may be gathered or
pleated understand pleated. not plaited).
Tor plat was formerly only used in the
sense OF braiding or weaving together, and
is not properly applied to straight folds;
but gathering is more suitable for figured
prints, such as that of which this skirt is
made. as it does not conceal any part Of
the pattern and is more easily laundried.
These costumes are all what would be
called aesthetic, yet they are beautiful.
graceful. convenient and easily adapted to
different uses.
The eagerneSs with which a new idea is
seized if it comes from authoritative sources
is seen in the effort to utilize this sensation
created by the appearance of the Princess
OF W aleS III the dress of a graduate upon
whom degree is conferred at the College
of Music in Dublin. Upon the occasion of
the visit Of her royal highneSs an honorary
degree was conferred upon her and she was
formally invested with the cap and gown.
which proved very becoming, for though no
longer very young and never strikingly
beautiful. she possesses an interesting and
exp essive face, which retains its charms
and even gains something with increasing
age from the exercise Of a lovely DISPOSE
ton.
The gown and cap are practically the
same as those worn at Oxford, and the for
nal Investment Of the Princess of Wales,
her Willingness to wear the costume as the
sign of her fellowSh p with the body settled
forever the moOted question of propriety, 50
far as women graduates are concerned. and
made the cap and gown the badge of stu
dent graduates without reference to sex.
The gown as usually worn is black. In
this instance it was of red satin damask
lined with satin and faced with velvet.
Above the straight, high collar are three
folds Of soft crepe de chine, and the pin is
diamond Tyre, with fine twisted gold strings.
The cap is commonly called the mortar
board. " and has been the subject of lam
poems innumerable. but it is suddenly dis
covered to be very striking and picturesque
and English milliners are employing it or
modification of it extensively for misses and
little girls. The gown is in effect the
''Slrplice'' of the Church of England Its
feature is the high-set. rather full. flowing
sleeve-the top of which almost joins the
collar and the seam of which is on the out
side, where 1t is made slightly full as well