The daily morning journal and courier., 1901-08-14
THE ART OF SITTING.
CHARMS LIE IN GRACEFUL POS-
 IURES AT ALE TIMES.

wardness to Be Corrected Prncti ticai
 Rints-sarah Bernhnrdt the Embodi-
 ment of Grace.
 It is a keen desire of every woman
 to sit, stand and walk with perfect
 grace in all her movements, which
 while they must not appear studied in
 effect, will nevertheless show to the
 best advantage any good lines she may
 possess.
 When watching Mme. Bernhardt,
 whose every notion is the embodiment of grace, we find she seems to glide
 across the stage and go in and out Of chair, and we are apt to forget that 1 these very movements are the result or careful study and constant practice. Of course, we cannot all carry our selves with the rhythmic grace charac- teristic of Mme Bernhardt, but at least it is quite possible for us to ac- quire more ease of movement than is usually displayed by the women one daily meets.
 One important thing to remember when sitting or rising is that you go in and out of | chair as if it were a sliding seat You don't get up and down from it.
 It is q. noticeable fact that most peo- pie when about to go into chair boise the body over the chosen seat and then drop into it with motion as sudden as it Is awkward.
 We are frequently admonished by our family and intimate friends to cor rect certain bad little habits we may possess, and if we have the habit of using our legs badly why shouldn't we set about learning to correct this fault?
 A womans breeding is evidenced by the way in which she sits and glance about a street car will serve to con- vince you that perhaps one woman in dozen knows by instinct or has ac- quired by study the art of assuming a graceful sitting posture.
 This one woman is she who doesn't spread her knees apart, but keeps them close together, and in order to hold them thus she must necessarily sit cor rectly.
 When seated the knees are the eyes of the body and are naturally import ant features
 woman who counts her beautiful face her chief charm should make her every movement in harmony with her beauty.
 The art of going In and out of a | chair isn't really difficult to learn and | by practising the correct movements in | ones daily routine, grace and ease will | come surprisingly soon.
 When advancing toward a chair in which you wish to sit, stop little dis tance away from 1t as you stand facing the chair; this is to give you plenty of | room for the necessary turning of the body
 One foot is forward of the other; rise on the toes, pivoting the body and turn the ankles swinging the body around by givng a spring with the foot 'urthest from the chair.
 The weight is thus carried from that 'oot to the one nearest the chair, and IS the body turns the hips should be bent very, very deep. the knees also bent, and with these motions you have zone into the chair.
 Rest the hips against the back of the ,hatr and extend one toe to show be- rond the edge of the skirt
 The oblique line from the head to the advanced toe is the hypothenusc of 8 fight triangle of which the base is a inc from this toe to the back legs of he chair. The longer the hypothenuse he greater the length given to the fig Ire.
 This is an important point for short opI h,y1 pr,o l , oot thrust as far out as possible, just moving beyond the edge of the skirt ne may add several inches to ones ap- 'arent height. To draw the feet under the skirt and old the legs parallel takes all charac- |, CT and grace from womans skirt nd from her waist down she ceases to ,e alive. She must keep in mind the lea of the triangle and particularly it's  When a person sits well there is no { esire to cross the legs; this irresisti- { le impulse to throw one knees over ' he other comes from the necessity of { he body to balance itself. With the hips placed agnst the back ( f the chair the shoulders may be rest ( q against the top without injury to the l
 
 pine.
 It is a mistake to think that the own needs looking after. It should ot be touched except when you wish , arrange it at the dinner table or hen walking up stairs. If the body is l cid correctly the skirt will adjust it. C elf in long, graceful lines. T When a woman walks, stands or sits, q
 | q ylinder, from every bit of the surface which she radiates grace, beauty and | trength, she will realize the import r nee of cultivatine and making the O lost of every line. | A short person who is forced to sit r a large chair and doesn't wish to pear lost in 1t should rest one elbow nd shoulder against the back of the 1air, should turn the body slightly to |. ne side and thrust one foot far for | ard By this means she has made the ( olique line, the longest possible, while ar weight is apparently greatly in- U 'eased and she appears to fill the 7! lair. VI It is quite important that woman - gar in mind that she is of more con- U duence than the piece of furniture in = hich she sits, and though the chair ay possess beautiful lines it Is all avs the same inanimate object while pretty woman reposng within it may } a beautiful picture full of charm Id grace, changing with each move