Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-11-22


them. A characteristic one is of black
plush, which hangs easily from yoke Of
solid black passementerie, and is furnished
with sleeves that are very full about the
shoulders.
1t may be of interest in this day Of bell
skirts to know how Madame manages about
pockets She has none in her gown, but if
you watch for little you may see her
calmly and deliberately raise her outer skirt
and draw out her handkerchief from a
pocket in her satin petticoat
Art in Handling Handkerchief
Madame's use of this same tiny handker-
chief is worth while noting, by the way. In
her fingers it seems to attain nervous force
and become delicate fibrile texture as she
touches it lightly to her hair and face, and
then rolls it up out of sight in her palm.
It might seem to one who has not seen
would appear neglige. They do not in the
least. Nothing could be more elegant.
Much of this success, however, depends on
the Embarrassing, which is compact and
fine. In place of corset she wears either q
stitched waist, without bones or cords, or
else two simply stitched bands, one below
the other.
When will woman understand that COM
plexion does not constitute the whole of
beauty? Hear what Madame Sarah herself
says on this point.
"Facial beauty" she says, "is unessen-
tial. The face needs absolutely but two
things lovely expression and good teeth.
Good teeth are necessary to clear enuncia-
tion, and the mouth should be slightly when
opened. The eyes must be expressive, the
look out of her face must be attractive, the
smile have imagination; in q word, the face
must denote character"
In desultory conversation Bernhardt re-
Gently expressed herself on dress as follows,
"Whatever you do, dress becomingly. That
is my rule. See that what you wear suits
you-your person, your individuality.
Make your costume to suit you, not your
self to suit your costume. All, madame,
what blow at fashionl 1t is wise economy
to have ones clothes made by the very best
modistes who are themselves artists in their
own special lines. But it is not wise to
rely upon the uniform judgment of one per-
son.
It does not take good costumer long to
see and learn just what you need, but if
you cling to him monotonously you will al
ways bear the same stamp, like your goddess
on the American dollar.
And yet, in spite of this advice, Madame
designs her own costumes, down to the
smallest detail
Artist First Actress Afterward.
1t is quite another aspect of Bernhardt's
skill in dress that presents itself at the
theater Wherever the historical exigeucies
of the piece permit there her costume is
recognized as an expression Of cotempors-
neous French art, Just as surely as are the
canvases of De Neuville, Gerome and
Bonnat. The subtlest art knowledge per
vades it. She is an artist always before she
is an actress, and herein lies much of her
power Where others grasp merely the
technique of the profession, she has taken
every branch of aesthetics to be her prov
ince. Who can recall the dress she wears as
Jeanne d Arc at Dernremy without knowing
this2 Note the care taken with the irregu.
lar lacing of the bodice that the lines shall
tall into harmony with other lines of the
composition, and how the blue strings are
broken by the whites ones of the chemise
falling across them, just as the painter
would take care to break them.
All the quality required for value in a
picture is there, though it is to last for but
Q moment.
Her Girdles Characteristic.
Nine. Bernhardt's girdles are a charac.