The times. [volume] (Richmond, Va.) 1890-1903, 1891-05-03
nor BERYIfhRDT DRESSES.
She Wears Tights and No Extra Gathers
Nor Tnderskirts,

She never wears q wig. save as Cleopatra.
where the heavy ornaments would pull and
destroy her own hair. She never touches her
eyebrows. which are OF the same reddish color
ass her tgesses. On her arms, neck and superb
shoulders she spreads thick. soft cream,
brought--as all her cosmetics are-from Paris,
and then powders them freely. Her eyes are
touched with blue-black color. which increases
tncr almond shape. and she brushes her
checks chin, and even her nose, with tho
slightest touch OF rouge. which she puts
thichly on her ears. She rs much more care.
fdl about her mouth, which she tints with a
httle brush dipped IN carmine.
Between every act Benhardt gargles her
throat with n preparation Of her own, and
washes her hands 20 prevent them from swell
ing. She has very dainty hands and feet. and
there is no longer any need TO muiile up her
neck in those high collars made fashionable
by her. All the holows are filled out and
beruhsrlts figure is superb. She wears no
understands. simply princess undeIgarment
OF pink silk, q sort of combination garment,
which Gts closely to the figure and is without
neck or sleeves Over this the draperies are
arranged with safety and jewelled pins. q
scorf or ceinture Of diamonds and amethysts.
and sometimes only = wide ribbon sash is
wound tightly around the hips-never about
the waist-and these centuries define per-
fctly her lithc, supple figure.
Il have never worn the corset. IL is mis-
take see and she threw her arms over her
head, and bent and swayed her sinuous form
tall one wondered 40 the almost tigersh swift
ness and grace of the woman.
'Iou never have your gowns decollete.
Nine. Sara?"
Non. DO not like the decollete in front;
AZ tEe back 1t is dihcrent-but on the stage
the decollete-quand on monire la poitrine--
IS detestable."
And truly her draperies IRE decollete nearly
y H. 81 Il.
smooth white shoulder though in front her
dress IS modestns that Of young debutante-
in fact more -. Now and again member
of the company would drop in 10 cOnsut
madame for his or her eet-up. To Madame
NalOtt, who played the part OF Countess
Olga, and who camo into Bernhardts dress
ing-rOom 20 get an opinion about her dress Of
silver gray Stain, trimmed with black crepe
and lace. Madame Sara said. All that is
not nght--lt is too triste too sad. II IS
not ariistic-Cir8y and white il should be.
Get that black al taken on and replace u with
white; then YOU viii look like soft gray
cloud with white edges" 70 young man III
blonde wig, who was anxious about his eye
brows, the great actress gave many directions.
She made him stand before the mirror At her
side. and carefully pointed out 70 him the
manner in which he was to arrange those
brows and very speaking eyes OF has. lie
listened Ike A child and recognized At once
wanted 10 make him an ideal lover.
All this time the big, gentle Danish hound
Law under Bemhnrdts dressing table, while
the silky skyes slept in a far corner Madame
takes these dogs with her everywhere she
goes. and has a special valet 70 take charge OK
them. They are beauties, and adore Sarah
When she was posing to-day Tor az artist, the
dogs stared up into her face aud Immediately
posed. too.
In the third act Of Fedora" Nine. Bern
hardt wears q gorgeous gown OF pale blue
satin, embroidered all over with precious
stones. turquoise, pearls and amethyss.
Over this is worn rcding0te Of delicate fawn-
ture Of amethysts and diamonds. Standing
erect before the glass. Bcrnhardt raises her
arms swiftly. A few pins are taken out
10y the femme de chambre and the whole
shmmerng mass Of silk and satin and jewels
falls from the delicately vOluptuous form, and
Madame steps out IN her me six stocSlngs
and tight PINK silk underg1rmtnt and sur
veys herself carefully in the mirror. Pres
emily "drapery' OF pale green crepe de
chine. covered with priceless point lace, is
thrown over the 1.-the figure, n few pms are
adjusted. and when the call comes, BeTnhardt
is always the first 10 be ready, wrapped up IN
O coquettish little lace shawl.
In her dressing-roOm you are talking 10 a
bright. natural woman, who looks at herself
frequently in the glass, and seems 70 admire
her EXQUISITE eyes and red lips as she smiles
and mods TO her mlrored image. On the stage
all this is forgotten. In the last terrible
scene in Fedora" where the unfortu-
nate woman poisons herself and dies IN her
lovers arms, begging forgiveness IN that
most pathetic and marvellous voice, 1t IA
genius that reigns supreme. 1t is Fedora, not
Bernhardt. whom we sec. Never, never can
that death scene be forgotten--the drawn
face, livid with horror, the ewes cOal-black
now and blazing with fear, love, divine pas
sion. the hands crooked and thrust into the
carefullv-arranged hair, until the curls are
all disarranged. and. instead Of nesting
piouanty round the face. are pushed with
nervous hands mp above the broad brow 10
the utter disregard Of dress, ornament or
any of the feminine tribes but a moment be-
tore 50 carefully adjusted. II IS sublime u
is genius. 1t IL Bernhardt at her greatest and
best
When she returned to her dressing room,
pale her ewes burning her mouth yet culver
ing with the passionate words of love and
grief She had spoken 30 her lover | was
almost afraid 10 speak. She painted as she
sank into q chair. while outside the audience
Numbered and roaied plGudit upon plaudit,
aud sang the 'Marselaise," and seemed as if
they would tear down the house to get at the
woman who had so c0nvulsed them with the
of voice and eye and gesture.-Io-