The morning call., 1893-09-06

BassaniO's costume in the casket scene
was scarcely less striking than Miss
Terry's. 1t was combination of gold and
old rose. The silk hose were old rose, the
doublet cleaned like meshes of gold. A
! long, clinging cloak, falling to The ground
/ from the left shoulder, was Of old rose
silk, lined with paleT tint of the same
color. and massive gold embroidery gave
an extraordinary richness TO the effect.
Scarcely less magnificent were the cos
tunes of the other Venetian gallants
Gratiano wore heiotrope silk and plush,
embroidered with gold, while his hose and
shoes were fawn color. LorenZo's blush
green hose and cloak were relieved by q
doublet that seemed TO be composed of
cleaning gold.
Nerissa's sea green brocaded satin
| formed an artistic contrast TO the Venetian
| red of her hair and the pale, oriental
! draperies OF the Prince of Morocco and
! his Tetainers. all harmOniZed artistically
with the leading color motif of the casket
! scene, which, as stated. was gold.
Ii was in the courtroom, however, that
! the grandest scenic effects were obtained.
Against background of old tapestry, in
which subdued green and a suggestion of
/ red predominated, we're grouped hundred
different colOrs in the costumes of the
! judges, the court assistants and the spec.
j tatOrs.
! But each of these colOrs contributed its
/ share to harmonious whole as perfectly
/ as the gorgeous tints of I costly Persian
! prayer-rUg com bne into one beautiful
! effect that Is almost subdued in colOring.
Red was the most striking color motif
in the courtroom. The Duke of Venice
wore sweeping plush robe of crimson
| and ermins and the judges wore the same
/ tint. Portals gown was red silk, with an
/ oyergOwn OF the same color, the long,
| hanging sleeves of which swept the floor.
| On her head she wore q small, crimson
plush cap. The wide sleeves ard full.
! loose draperips OF Miss Terry's robe
added greatly to the dignity of her move
ments. In reciting the famous ''The quail
/ lty of mercy is not strained" she flung
back the yards of plush and silk, raising
her arms with gesture that was full of
/ pleading.
! Portia on her return to Belmont wears
A surprising gown. that just harmonizes
with the stage setting. The scene is the
| garden by moonlight. The silver rays
Of the moon tiDge the water and light up
the dark green of the trees and the
sapphire distances.
POrtia enters this scene in a gown that
| seems the personifcation of these coors.
1t looks like moonlight itself, aud with
every movement throws out a blush or
a sivery sheen. Examined more minutely
! the dress Is seen to be brocade of a pecu-
liar tinGe of greenisb electric blue, with
crushed strawberry color just suggested in
some lights.
What adds to the moonlight effect is a
| large amount of silver that shines on both
the waist and the skirt There is nothing
peculiar in the cut OF the gown, but its
coloring, backed by the moonlight setting,
is very striking.
Jessca. in the same scene, wears white
| draperies. swathed round her head and
shoulders in Oriental style. The flowing
undarskirt is pale pink. Nerssa's travel
ing gown rivals the soft rich tints of her
red hair.
Shylock's costumes were more charac.
terstic than beautiful. Dark in color ant,
flowing In design, there was nothing in
them TO strike the audience especially. ex-
cept that they were an essential part OF
Henry lrving's conception of the Venetian
Jew.