The morning times., 1895-12-01
Fancy comns
for Dress Balls
COSTUMES SUGGESTED By IR-
WINGS PRODUCTIONS.
Ideas For Twelfth Night and
Christmas Party Toilettes,
Taken from the Stage.

II the magnificent production of king
Arthur in New York. Sir Edward Burne-
Jones and Henry Irving las he modestly
calls himself,, have given to the feminine
world some wonderful ideas for costuming.
Never since the beginning of stage realism
and splendor, have mere chotnes been
brought TO such-perection as that reached
by the gowns worn by Miss Terry in this
play; and the season for fancy dress ap-
proaching, they give, with their poetry,
exquisite suggestions for Twelfth
Night and other costume festivals.
A BEwITCHING ANTIQUE.
In the first act of liking Arthur is
shown the great hall of Camelot, in which
the queen makes knows her love to Lance
OF.
Here Miss Terry wears long robe from
The shoulders, so splendidiy embroidered
that il scrapes the floor with metallic
rustlingS.
A band OF jewel blue. sewn with gems
goes down each side of the front of this,
tae garment being held in place by clasps
at the shoulders.
For the rest, this royal cloak, which is
worked III great gilt and silver rings. IS so
tenderly hued. that it is difficult to tell
where pink and brown begin and yellow
ends. The gown under il is in these same
dun shades, made OF a jersey weave silk,
sewn with copper beads. and showing
through the skirt tintings of an under
petticoat in the jewel blue.
BODY AND GIRDLE.
a seamless Jersey bodice, with tight
sleeves, and turning back at the throat
over n little chemisette of embroidered
gauze, is The upper portion of the gown.
The skirt hangs full from the hips. and
is so long at front and sides that in stand
ing ii rests on the floor.
AT the loins it is gindlcd with mar
row iewcled belt with ends that hang in
front. between the knees, L. the feet.
The head arrangement for this queenly
get-up is pu less splendid.
As Guineverc. Miss Terry wears one of
The girlish yellow wigs sn becoming 10 her
ever-young type; and this is parted simply.
turning back from the face in puffs, a
circlet of turquoses and silver outlining
the crown.
At the back OF the streaming locks are
punched together at two points by slide
brooches nf the same. Fer the reception
of the Round Table Knights shor1 lace
veil, that hangs each side of The face, is
added, ieweied crown, with wings spread
ing outward over the ears, topping the
whole.
The second act of the play shows the
queens maying, aud here. Instead OF
chantingiy COstumed.
In this woodland scene Gninevere ap-
pears crowned with flowers. and gowned
in shUrt-waisted fruck nf bright emrr-.
aid green silk, lustrelcss and sortsas wool.
The sleeves of this are also small, though
wTinkling over the arms like glove.
AT the bust the bodice opens low over the
same delicate EauZe cheIniscite of the first
act, the short waist line coming immcdi-
ately under.
The skirt Of this own, as We'll as those of
the other TWO worn later, also hangs full
and long about the feet: from the knee
down is richly spangled. with long upturned
points OF bro wnish lace set in as a border.
A lace veil OF the same misty brown
langs u the back. from the wreath on the
head 10 the bottom Of The skirt which is
about even all round.
A PURE ROBE OF SORROW.
Ia the third act in the turret above the
river, Guinevere wears The first and only
sombre gown of the play.
In color IL had all the rich shadings of a
purple pansy, n pansy over which had flown
a gray-b black dust and through this sudden
violet lights. The model was the same
short wasted slip OF all but the Jersey gown
of the first act.
As Ia textures chanEeable silk. crimpcd
gauze and rich plush stamped 10 initiate
all animal skin were employed; an entire
hanging across the shoulders back and front
in long stole end.
There were some cleaning red bits OF
embroidery at shoulder and wrists OF
sleeves, and leading brown shadows in
the plush stole pieces.
In the last prison scene Miss Terry
wears u costume OF white silk, richly