Fort Worth gazette. [volume] (Fort Worth, Tex.) 1891-1898, 1892-02-11
<W0MANS FORM.
Bah on the Figures and Curves
of Famous Women.
FASHIONABLE WOMAN'S FORM.
How a Woman Changes Her Politics.
BRb's Idea of Protection - She "a
WAKES Patriotic and Thinks
We Arc Awful Fools.
Copyright. 1892, by the Box Syndicate Press
New York

Copyright. 1892, by the Box Syndicate Press
New York
Special Correspondence OF the Gazette.
NEW York, Feb. 2-Watching dancer
the other night, dancer who is as graceful
as possible, who can make her tiny feet
seem on a level with her head, make them
whirl through the air as if they were simply
fairy slippers, heard a small boy in the
gallery call out, Say do you catch on to
her curves" l began to look at her then
with the eyes Of the small boy-that critic
who, having seen all sorts and conditions
of rwomen, was capable of judging. The
curves of woman's body are at once the
most beautiful and the most absolutely
modest in the world. AS Eve stood in the
garden of Eden, with no stain of sin on her
soul, she is the embodiment of exquisite
feminine modesty. Later on, even, when
she has fallen, and she is seeking to hide
herself the perfection of her form. is so
great that you feel like bowling before her
as the representative mother of the world.
The small boy, with his slang. had uncon-
sciously reached out to the greatest charm
that a woman can possess, and beside
which beauty of face is rs nothing.
woaAN's PERFECT FIGURE.
The perfect feminine figure, as any artist
will tell you. must never achieve an angle
in any position, and the woman must natu-
rally fail into those attitudes that form
curves. If you watch a woman who is
simply herself, and who is not posing for
your benefit, you will see that, sitting,
standing or walking, she unconsciously
does this; and it is only when she is subject
to that undesirable disease, vanity, that she
is stiff aud angular. The dancer admired
by the critic Of the gallery was not very
large woman, certainly not what anybody
would call stout woman, for fat is as alb
solutely destructive to beauty as are huge
bones.
FIGURES OF NOTED ACTRESSES.
Naturally the women of the stage. the
ones best known TO all, are the ones whose
figures can be criticised. Beginning with the
beauty of the sage, Mrs. Langtry, who can
deny her grace? Her arms and neck are
Perfect, but the lower part of her body is
angular and ungraceful, so, for that reason,
she is always clever enough to have her
gowns so draped that as far as possible the
defects are hidden. Her defects of figure
are simply those of the English woman in
general, for she is by no means, taken alto
gether, as handsome figure as the Ameri-
can woman. although she usually surpaSseS
her In beauty of bust and arms. Madame
Bernharat is q seductive figure, for slender
ness does not of necessity hint of angles
and thinness. A small-boned woman whose
bones are properly covered may be as beau
tifully formed as the woman with greater
height and weight. Jane Hadipg has essen
italy the figure of the French woman of
fashion, the small waist, broad shoulders
and large lips. 1t is figure that one is in
clined to call chic rather than artistic.
Agnes Booth has grown too stout and ma
tronly looking to pc criticised, but have
been told by people who saw her play Cleo
patra that she filed GATHERS idea of the
beautiful Egyptian. Modjesl5a is angular.
Fanny Davenport is, Just now, a most perfect
figure. for. having lost some of her flesh and
being large woman, the amount she still
TerbS X IN oh eb h.h or nr-
right. Ada Rehan always impresses you
on the stage as looking all right, but you
are not conscious of any of that charm of
curve which is a painters delight and the
fascination OF so many women.
CURVES OF FAMOUS soUBRETTEs.
In the world of light opera, Della Fox
may be cited as having the most boyish
figure, Anna O'Keefe, the most feminine
in the dressmakers' sense but Marie jan
sen the most absolutely perfect in ali
senses. Just watch her as she moves;
wherever she goes she seems TO carry with
her the perfect line of which Dumas wrote,
and which, after all. is the line of fascina-
ton. If she moves her hand, curve is
achieved from the shoulder to the elbow;
if she throws her foot In some careless posi-
ton the line from the waist to the knee is
almost the same as that famous one which
we call the line Of beauty, and when She
stands perfectly still, her feet close to-
gether, her hands by her side, from her
neck down she is q succession of beautiful
curves, over which a French artist would
rave-weuld do more, would make immor-
tai Sadie Martinot has fascinating
figure, that, as she moves, beautifully
gowned, as she always is, suggests TO you
her intense feminlnity; every rustic of her
silk gown seems TO say, Il am feminine, I
am mysterious, but be sure that l am
charming" tombstone Bennett, Jane, is