The morning news. [volume] (Savannah, Ga.) 1887-1900, 1891-04-26
COW BERNEARDT DIRE ssEs.
Shc v ears Tights and No Extra
Gethers-How She Looks.
From the TorOnfO Mil

IISH Ute AOiOtlO ]hutts
Nine. Bernhardt uses very little makeup.
She never wears wig save as cleopatra, +"
where the heavy ornaments would pull and
destroy her own hair. She never touches
er eyebrows, which are Of the same reddish
DIOR as her tresses. On her arms, neck and
uperb shoulders she spreads thin, soft
= cam, brought-as all her cosmetiques are
from Paris, and then powders them finally.
Her eyes are touched With blue-black color,
which increases their almond shape, and she
brushes her cheeks chin, and even her nose,
with the slightest tinge Of rouge, which she
puts on her ears. She is much more careful
about her mouth, which she tints with q lit
tie brush dipped in carmne.
Between every act Bernhard gargles her
throat with preparation Of her own. and
washes her hands to prevent them from
swelling. She has very dainty hands and
feet, and there is no longer any need 30
mufiie up her neck in those high collars
made fashionable by her. All the hollows
are filed out and Bernhardt's figure ia
superb. She wears no underskirts, simply
q princess undergarn1ent of pink silk,
sort Of combination garment, which fits
closely to the figure, and is without neck
OF sleeves. Over this the draperies are
arranged with safety AMI jsweled pins: a
scarf or cincture of diamonds and anne
thysts, and sometimes only wide ribbon
sash is wound tightly around the hips
never about the waist-and these cinctureS
define perfectly her 1.-THE, supple figure.
II never have worn the corset 1t is a
mistake; see" and she threw her arms over
her head and bent and swayed her sinuous
form till one wondered at the almost tiger
ish swiftness and grace Of the woman.
In her dressing room you are talking to
a bright, natural woman, who looks at her
self frequently in the glass and seems to ad-
mire her exquisite eyes and red lips as she
smiles and mods to her mirrored image. On
the stage all this is forgotten. In the last
terrible in Fedora - where the unfortunate
woman poisons herself and dies IN her low
er's arms, begging forgiveness in that most
pathetic and marvellous voice it is genius
that reigns supreme. 1t is Fedora not
Bernhardt, whom We see. Never, never can
that death scene be forgotten-the drawn
face, livid with horror, the eyes coal-black
now and blazing with fear, love- divine pas.
sion, the hands crooked and thrust into the
carefully arraigned hair, until the curls are
disarranged, and instead of nesting
piQuantly round the face are pushed with
nervous hands up above the broad brow, to
the utter disregard Of dress, ornaments or
any of the feminine trifes, but moment
before so carefully adjusted. 1t Is sublimel
1t is geniusl 1t is Bsrnhardt at her greatest
and besti
When she returned TO her dressing room,
pale, her eyes burning, her mouth yet
quivsring with the passionate words Of love
aud .grlef she had spoken 20 her lover, /
was almost afraid 10 speak. Size painted a.
she sank into tho chair, while outside the
audience Numbered and roared plaudit upon
plaudit, and sang the "Marseiliaise," and
seemed a. II they would tear down tie
house e. get at the woman who had 10 con-
yfrlgad than with tina mMguaFiRua IA ygina
and eye and gesture.