The commonwealth. (Scotland Neck, N.C.) 1896-1929, 1902-06-26

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the interior. In texture his clothes ar
described as resembling that worn b.
pilots his trousers were short, aud b,
always wore low shoes and gray stock
ings. He generally wore stand-ul
cellar, with . black :!l3x silk scarf care
lessly tied in a bow, and his white
shirt front was unstarched, and die
not suggest recent acquaintance with
the ironing board. In cold weather he
wore large gray, plaid shawl around
his neck and shoulders. He was /.
smoker, but the same pipe was never
used twice, as he always broke it afts,
the tobacco was consumed.
While writing or debating. hi.
stories, Thackeray used to walk up and
down in his bedroom, pause at one
end, pace Back once more and then
stop at the foot Of the bed, where he
would stand for some moments, roll.
ing his hand oyer the brass ball On
the end of the bedstead. He usually
dictated his stor!es-his daughter be-
ing his amanuensis, but when he came
to critical point, he would send his
secretary away and write for himself
saying that he could think best with
pen in hts hand. "a pen to the author
is like the ward of the necromancer, it
compels the spell.".
Washington Irving was equal to tho
seven sleepers--always being able to
fall asleep on the slightest ton,
while writing, or even when dining
out in company he usually fell asleep
at the dinner table this occurrence in
deed was so common with him that
the guests usually only noticed it with
smile. After a nap of some ten min
utes he would open his eyes and take
part in thu conversation, apparently
unconscious of having been asleep.
George Elliot always dressed with
great care before sitting down at her
desk. Hannah More was fond OF sea-
green silk, and most OF her tales were
written with the authoress garbed in
gown Of this hue. George Sand,
when writing, wore "pretty yellow
slippers, smart stockings and red pam
taloons."
What Frances Hodgson Burnett
Townsend illustrates in her heroines
as to clothes and surroundings she
practices on herself. Faw writers, per
haps, have spent more on their gowns,
and lew ara mcro sensitive to their
environments it is impossible flor her
to write at ease, whether at home or
on sh1rboard, unless surrounded by
an atmosphere OF refined luxury. A
story is told that Mr.. Edmund Russell
of Desarte memory, was once con-
suited by the author of "That Lass o.
Lowries" regarding a certain gown.
The material chosen was large fig
ured brocade, which on her short
person did not promise results that
were alluring. (Which is the right
side of this fabric 2" asked Mr.. Russell,
seThis," said the novelist, indicating it
to him. "You are mistaken, madam"
rejoined MIR. Russell. "That side is
prose, and the other is poetry" His
hint or suggestion, however, was not
needed, and the dress was made up
with its right side turned outward to
the world.
Amelie RiYes, In the first days of
her fame, studied her glass carefully
and spent much thought, time and
money on her gowns, which were Ia
Tosca in design or directoire, or en-
pire, by turns. She could write most
at her ease when clothed in a certain
pale rose-clored gown with Persian
sash. Her instructions to her modiste
we're usually wound up with the ad-
monition "make me look as slim as
possible" Her gowns we're stunning
they amazed Newport, and wrought
confusion to the fashion writer's when
Amelie Rives was the sensation OF the
hour.
Her clothes are also affairs OF prime