The Savannah morning news., 1900-07-01

WORLD.

men are using paint.
.r had heard so much of the beautiful
r,,rsh comp!exions," she said, that I
~as not prepared for the shock, and it
vac not easy to understand why the
,en used paint, for they seemed in
NV 10 have very little need of it..
rsa women l saw in the streets, the
.ns and the art galleries seemed to be
-,irelv without it. They all had the
.,-b color l thought a popularity of the
30 and had no apparent need OF
Int They had too much color for
s..utv according TO my ideas, unless one
.,,snted them as the out and out dairy
d tvpe, and there was scarcely one
= them who did not look as if she would
~ imnroved by the judicious use of a
.o.,der puff. They were free from COS
,ercs of any kind, however and seemed
natural.
"1t was among the swel.er set of women
.hat the use of paint seemed rampant. 1
cav rampant because most of it looked
AZ If it had been put on for its own sake
and not as an aid to beauty. AT the opera
here was scarcely woman to be seen who
had not applied rogue with a b5elality
thar suggested that she had taken into
consideration the size of the building and
uanted her cheek 10 look as red from the
hox opposite her as to the person seated
NTH her. And the strangest thing about
their cosmetics was that most of them
49, }, -,
AZ remember especially one conspicu-
Gus woman in society who has very black
hair and the high coor that frequently
goes with it. But this apparently did not
! satisfy her. Paint was eveidenty some
thing that had 10 be put on with the
diamond tiara and the string of pearls.
en- the natural redness of her cheeks was
made several shades deeper by coat of
rogue An Amel lean or a French woman
who set out to improve a complexion like
that would have used powder and tried
10 mitigate the rosiness.
Paint is distinctly the fashion in Lon
don. and it is plainly put on for that rea-
son and not to increase a womans nat
ural good looks. l went to a very smart
garden party one afternoon and learned
that I was wrong as to my conjecture as
10 WHY so much was used at the opera.
There was guile as much on view that
bright sunny afternoon, and few of the
women thought it necessary to resort to
the favoring protection of a veil. On
coaching party one day l saw that paint
was quite as popular in sporting as in in
door society.
There were, of course. many women
who did not disguise themselves in this
way. and were satisfied with their natural
compilations or some slight and artistic
modification of them. But the number of
conspcuously painted women are APP
pangy large 1t certainly cannot be at
tributed to the examples of the French,
as paint is distinctly out OF the mode in
Paris. When l was there ten years ago
the pale woman was the fashion, and so
she is today. Women who have naturally
| high colors see to 1t that they obtain the
| popular degree of paleness. Women pale
already rub on an extra layer of chalk,
| in order TO look a little bit whittier than
| their friends. The procession of white
faced women in the Bots every Afternoon
would lead a stranger to think tina,
Parisians were becoming very anemic
were it not for the invariaOle redness o.
the lips. They are always like cherries
| This is rarely the result of nature but il
Is pendent to the rage for white cheeks
that the lips shall be rudy enough TO
proclaim perfect health The cosmetic
usually employed to produce this result
was kind of paste, although there were
as well liquid preparations that accom-
ri shed the same result. This sty.e OF
beauty is thoroughly artificial, and the
succession of pale-faCed women became
little monotonous after a while. But it
was rather an improvement on the highly
colored English type, and it looked about
as natural"
Here, says the New York Journal is one
Of the prettiest and most Characteristic
gowns of Mrs. Gladstone. Just after she
was married, her husband, who had al
ready been a minister, put 10 her the ques-
ton; Shall / tel you nothing and YOU
can say nothing ? Or shall l tell you
| everything, and you say nOthing?' She
chose the latter of the alternatives; and
ne told her everything and she never told
anythinS-eXcept one. Two cabinet minis
ters were dining with her husband, then
also member of the cabinet, and some
ming was mentioned. the details of which
were known only to members of the cabi-
net and 10 such of their wives as were
trusted with their secrets
Mrs. Gladstone said, or did. or looked,
something which revealed that she knew
AT once there was flashed upon her from
The brilliant black eyes of her husband
one OF those terrible looks he could give;
II was a silent but an affrighting reproof.
Wnen the dinner was over, and Mrs.
gladstone went up to the drawing room.
she had a good, old-fashioned cry, and
wrote a note of apology TO her husband.
he scrubbed back a reply; il was IN
something like these terms:
You are always right. You could not
90 wrong Never mention it again"
Mr., Gladstone had, of course, forgotten
al about it, and his surprise was as great
as anybody else's when it was brought
pack to his memory. one day he was
showing some of his old letters TO some
guests at Hawarden, and in the midst of
II Mrs. Gladstone disappeared and, com
ing down with a liule bundle, said she
also had her little treasures of the past
Wnich she must show; and then out came
ms little note-faded scarcely lesible
preserved throughout half a century of
common life--of joy and suffering and
greatness together
1t was no wonder that everybody pres
ent was touched a this resurrection OF
something that brought back the image
VI youth and early marriage and all the
vast expanse of tenderness and perfect
understanding that lay between!
IN the many projections of this perfeN
marriage, Mrs. Gladstone was most won
ueriul in her method of saving her nus
oand and looking after him in the most
unostentatious way. Indeed, sometimes
she did 1t with such wondrous tact and
with such entire concealment of her pur-
pose that she gave 10 superficial observer
an idea of stolid stupidity.
There WAS a new hahv in the day nur-