The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-03-15

sonally becoming, all of which the observer
notes with consciousness of delighted sur
prise and the feeling that certainly Percy
Anderson understands how TO design Co.'S
TUNES.
Artists have been delighted with these
color combinations. and the layman appre-
ton with the red gold of the hair of this
Mary of Magdala. The first setting is a
delight in this respect There is red in the
first place in the setting Of the room, but
this is the dull brick red of the place and
time. combined with soft yellow and the
peacock shades which appear upon the
walls, the doors and in more intense form
In the draperieS at either side or the room.
There is more red, and this of a bright,
rich shade. in the blossom-laden plant
which occupies a big jar, and the red gold
bring IT close. toying with one of its deep
toned flowers.
"The gown that she wears Is a study in
red tones. in the bright, FURNISHED red
beads which eneircle her throat closely
and fall TO her feet. and in the robe itself
which is deep reddish wine color enriched
with jewels OF the same tint. IL is a Won
derful costume and wonderfully becoming
The foundati ton robe is of hrocade of this
warm, wine shade set closely with jewels
which glimmer through the gauzelike bro
that ii shows the wilderness of the arms
which il drapes. Resting directly upon the
hair a foundation for the pointed crown
OF gold set with wine colored jewels are
soft folds of the material of the robe and
the band across the breast which holds to-
gether the upper robe is of gold set with
jewels, while close around the uncovered
throat is the chain of large, bright red
beads arranged IN clusters OF three, the
ends finished with tassels and falling nearly
TO the edge or the skirt.
1T is interesting TO know, Mrs.
F'iske's friends do, that in this costume she
made suggestions as TO the cOors. Some
time ago, when abroad. visiting an old
Venetian palace, she noticed in one of the
old frescoes, partially worn away, the fig
ure OF woman with red hair gowned in
red. with delightful result. With a recoI-
lection of this she suggested that red be-
Introduced into one OF the costumes of
Mary of Magdaia-
For people who like wealth of color
the robe worn in the second act is a study.
In all her state and glory Mary of Mag
dala goes 10 the house of the young Ro-
man. Auius Flavius. 1t is a regal Eastern
costume. The skirt. hanging i'm soft folds
is of deep old rose, and over this is a
magnificent garment of yellow cloth of
gold. studded with jewels and worn with
mammoth turquois. The solid. high-point-
cd crown is set with the stones the largest
around the rim as large pigeons eggs.
over the ears big rosettes of the stones,
with smaller ones falling from them i'm
pendants The hands are covered with tur-
quois rings. the bracelet bapds are set with
them, and there is large turquois rosette
in the breastplate. The brilliance OF the
costume is enhanced by the veil OF lace
which is carried under the chin and hangs
In one long end down the back.
Il the TlCncT. costumes WOulu seem 10 be
trying from their opulence of color. the
simpler ones might appear impossible from
their uncompromising severity, and yet
they are. II anything. the most becoming
In the third act Mary of Magdala. who
mas seen the Master and found happiness
appears In the plain dress of the common
people. IL Is long. plain black robe. cut
straight and low at the throat, buttoned
down the front with black buttons, while
q. plain black belt draws IL in slightly al
the waist There are long flowing white
sleeves and a long ash-colored veil covers
the head and falls in soft folds down the
back IL Is Infinitely trying, and yet the
effect Is artistic and satisfying, as is the
robe worn In the fourth act
This Is another peculiar color an indie
scribaoie nondeseript shade. most nearly
approaching warm reddish tan. includ-
Ing the long vel. and without trimming for
falling in fuller folds; IN is opened in q
short point at the throat. the folds OF il
crossing the breast like a surplice and the
long veil falls over the back
For the last act In that weird barren
scene OF misery and death. with the crash.
ing OF thunder and penetrating lightning
the once glorious Mary of Magdaia stands
pitifui. suffering, and bereaved, with her
glistening hair falling unveiled over the
shoulders OF her simple white robe. held
at the waist By a plain band OF gold
Any one who Is familiar with the Tissoi
pictures Will be particularly interested In
the sumptuous gown which Mary wears In
the second act, for II Is obvious that Mr.
Anderson has obtained inspiration from the
painter. and. while the robe is not a CODY
OF that Worn by the Mary OF the artist, II
y sufficiently like 10 be noticeable.
"4rs. Fiske herself has made study OF