davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

only way 20 get rested
Now take the strain on the back Of
your neck. Rest your head against some
thing.
Don't tip your head too far back.
Don't turn or twist your neck.
Don't strain the neck muscles by get
ting into an unusual position.
Don't attempt TO rest the head against
anything that Is unsteady.
Have the pillow soft and yielding and
have 1t placed at a slight angle.
Rest your shoulder blades against
something firm and about the shape Of
your back.
Have the elbows supported and don't
let the hands be cramped.
these are my rules for resting. get
into comfortable position, apd then
am ready for anybody be he friend, foe
or interviewer
II Il said Of a certain we'll known woman
that she has the most comfortable home
in the world. Every corner Ia a oossy
corner, and every chair IL an easy chair
When asked how she did It, abe said:
| by always trying a chair for myself
Il early became convinced said she,
| sthat beauty depends very much upon
! the amount Of rest you are able to take
which your home is furnished. Be
! lieving this, made it my business TO select
| every chair in the house.
After ordering a chair. always had Il
! sent home on approval, and before finally
accepting IL. ! would try il myself The
result was more than satlsfaStory. I
! have a home full Of easy chairs.
"Rest-awhile chairs are deep In the scat
| Most Of them are high In the back. They
have some sort Of support for the arms,
| and nearby is a footstool.
THE rest awhile chair Il not too low.
| A very low chair Is a miserable thing. Il
/ is useful only for children and very short
! people.
sThe best chairs are the old Colonial.
/ which are very comfortable. And there
are later kinds, fashioned along the same
| lines, which are excellent.
but when II comes 20 the carved Vene-
| tian chairs, you must excuse me. II Is i'm
! possible 20 rest In them, though they are
] very nice fG1 the reception room, II you do
not want people TO stay very long
! The trick Of resting without appearing
| TO do 50 was invented by Empress EuEl ME
! who. when she went TO open the Suez Canal,
/ was nearly overcome by the great varsity
f, and number Of entertainments given for
her. One evening, tired to death, she called
a halt.
Il shall 60 home looking like a fright, =
Sid she TO one Of her ladies' In waiting.
sHelp me arrange a resting chsir.'
Then the two ladies, taking deep seated
chair draped the back and the Empress,
seating herself, composed her nerves and
her muscles until she was comfortable.
IF loan only keep awake, she murmured
All that evening she sat In the most COM
Portable manner, her tiny gold shoes upon
q footstool. Nc one suspected that the
lovely oarelessness Of attitude was q reposs
that was most carefully studied. And the
next day the French papers described the
wonderful repose Of the EmprOaA sunr'n-
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

ned all through such arduOus duties of
sThe CEarina has tried to learn repose,
but she has not succeeded very well. She
Is Of the nervous type, and che Is wearing
out herself, her beauty and her youth
said a woman who recently visited Russia.
Her Majesty is ever on the 60. She never
rests.
sshe drives, she walks, she talks and she
Is on the move. Even when she takes a
glass Of wine in little palace at which she
stops during her daily walk she stands and
talks. In vain the Gar has endeavored TO
persuade her 10 rest and save herself.
I cannot rest says the Czarina. And rest
she never does
Queen Alexandra, on the other hand,
Each day she maps. Each day she drives
In the corner Of a very easy carriage.
Each day she receives IN q specially ar
ranged chair, which IL placed where the
light does not strike Il, Each day she
gets a certain amount Of rest out Of the
hours which are not devoted to Eleeping.
II you are nervous, learn the trick Of
resting awhile. Here are some Of the
Turn your chair 90 that the light does
not strike your eyes.
the room, Manage 1t somehow, II you have
to do It by an electric fan. Be sure that
the air Is pure and constantly changing.
Shut your eyes or keep them open; II
does not matter which, but don't think
you must 60 to sleep. You oan rest with
one eye open just as well.
Take out your hairpins OF enough OF
them to make your head rest easily. And
don't rest your head against knot Of hair.
This alone will cause headache,
Put a pillow under your neck. Take the
strain OF your neck and head muscles, let
them rest while at the same time you are
resting.
Get into an attitude Of repose without
actually living down. You can rest your
neck muscles without stretching out your
body II you only know how.
Put your feet to rest. Take Oh your
shoes II you can. ~ not, then inhibition
the top button. There Il nothing like
viii keen your feet from going TO aleep.
Rest the spine for fifteen minutes and
you viii feel fresh again.
When you rest. try TO get the muscles OF
your face In control. Don't wrinkle your
forehead. don't compress your lips, don {
smile too broadly. don't distort the facial
muscles, but try to rest wholly and com
cet the face In q state Of perfect repose
and then try 10 rest In that manner. This
win take the wrinkles out Of your oounten-
ance quicker than anything else In the
10 rest the head Il very important. Comb
the hair differently on alternate days. Press
the neck now In collars, now IN soft folds.
Have three pairs Of shoes always ready,
and two OF three pairs Of stays. Do not
alWAyr press upon the same muscles every
day, or you VIII have a tired look and a
tired feeling. And above ell, learn bow
70 ret q NhilA s.gsa.rziAEl- - V..i.-ssuf- 49,.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

get rested, your knees win timber up and
your back will be quiet.
The people who always have a neck
ache are those who do not know how TO
rest. They always manage TO rest In such
a way that the neck gets no benefit from
their relaxation.
When you rest take the advice Of Her
bert Spencer, and rest your head first, said
a woman physical culturist.
Il always put my head to sleep for an
hour a day said he, when asked how
be did 20 much work and was so rested
all the time.
And Ruskin said practically the same
thing: i drop of a while, just 10 let my
nerves know that / am thinking Of them,
he said 20 an interviewer, who congratu-
lated him on the brilliRncy Of his latter
days.
CAVALIER and Dortzal, the two most
beautiful women in France, are adopts at
muscle resting Dortzal, who Is a French
prize beauty, knows how to rest her nerves.
When asked after the beauty contest how
abe stood the strain, she said:
Il know how 10 rest even when ! am talk
ing. This Is what do when i am very
Il don't try TO get away, but rest just
where ! am. / have learned the secret,
This n the way rest l stop talking Tor
one thing and 20 ! rest my face, my throat
and my lungs. Then l rect my neck.
i take the strain OF my spine. You
can do this only by elevaung your feet.
Do not attempt 10 put them above your
head. nor on the table nor even on top OF
a chair just lift them and let them rest
on a high footstool. That IL the best way
In the world 20 take the strain Cd your
sTbere are many who say that placing
both feet fat on the floor VIII rest the spine.
but Il doesn't LAft your feet. Take the
pun on your spinal column. That Il the
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

which Is calculated to interest the most
blase Of infants,
This particular photographers treat
ment OF her young sitters Ia founded upon
q belief that they are most attractive TO
every one when they are utterly uncon-
scious OF themselves and their surround
inEs, 80 her first effort Ia TO make them
thoroughly happy and Interested. She finds
that 10 do full Justice 10 each she must
devote a whoe forenoon or afternoon 10
graphed, and 1t is rarely that she breaks
this rule. She finds that to obtain the sue
cess which is her aim she must Use methods
that are peculiarly her own. II Is remark
able how quickly she wins the liking Of her
diminutive sitters and how promptly they
respond to her Efforts to make them thor
oughly at home.
1t IL not 10 be supposed that they all
yield at once TO this unusual procedure.
Some Of them are happy and joyous until
they spy the camera, and then they become
frightened and rigid, and all the effort
must be begun again. It Is rarely that this
camera fear" lasts long, however. Be
fore long it Is forgotten, surprised away
by some toy that had been kept in reserve
for just this occasion. To the sympathy
that she almost at once establishes with
her child sitters Is due at least half her
success. the other half belonging TO her
early training in Paris In the art schools Of
the Latin Quarter
The child portrait maker IL born, not
made; and, II goes without saying, Is de-
voted 10 all sorts and conditions Of children.
| Who but genuine child lover could repre-
sent three restless, mischievous little elfs
| In the very act Of trying to catch some
! slippery goldfish as they swirl around their
bowl2 Any one else, an orthodox pho
| tographer, would reprove the children
and set them up in a row like ninepins,
and photograph them as II they we're 80
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

many sticks. The
woman photographer
who has succeeded in
New York groups them
about q small table,
puts the bowl OF fish
In the centre, and lets
them enjoy themselves
as they will, with the
result that there is a
picture OF three inter-
ested little faces bent
over the table, full Of
expression and delight,
absolutely natural in
posture, unconscious Of
everything about them.
As for the camera.
such a thing might not
be in existence, for all
they think Of II. One
Of her pictures on the
same lines IL a photo
graph OF a boy about
ten, blowing soap bub-
bles. His pose u also
absolutely ingenious.
The great big bubble,
with its reflections Of
the windows and bright
objects around the
room. is all that he IL
even dreaming Of.
One OF the best ex-
Amples Of the ability
to portray q mother
and child Ia shown in
a'picture that took the
first prize IN a recent
exhibition. The child,
a boy Of six. Is standing
by q window IN the
full glare OF the sun
light, while In the
shadow IL the mother,
a tender, brooding
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

page. Some Of the models show deep
points. or scallops; some lie out broadly
on the shoulders; some are narrow; some
end at the bust In collar fashion; some
fall In soft folds - far az the waist,
after the style Of the hchu with knotted
ends.
Similar collars are made in heavy net
and lace. chiffon and lace, 6c., but none
iS 30 dainty as those OF fine lingerie
materials.
To be worn outside summer blouses or
bodies instead Of inside are fitted Jokes
With bertheS. The yoke and berthe are
sometimes made In one, Of rows Of valen-
ciennes insertion, OF Of lace and embroi-
dered lawn OF batiste set together, or OF
fne lace with heavy Irish crochet orna-
ments or guipure medallions. other de-
signs show Jokes Of sheer stun embroidered
and inset with lace, and with a correspond
ing berthe Joined TO the yoke by fine bead
ing.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

and cuffs and finished on these edges With
frills Of narrow valenoiennes, are particu-
Iarly attractive, and there are many models
showing little medallions Of hand en-
broidery or lawn or batiste. inset by franz
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

ing In narrow valenoiennes
insertion.
Shallow round guiInpes
with only . nArTow band
trimmed In lace or embroid-
cry running down the front
to the waist line are for use
with blouses or coats which
show only a little line Of lin
geHe or lace; and, in place
Of the fuzzy sheer chemisettes
and cnida nnA nocnainnallv
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23


sibly, never a print is made, are often reok.
lessly used at single sitting IN the effort
10 catch a Aeeting expression or attitude,
and no end Of trouble Is taken TO get tho one
desired.
The day Of photographing poor, fright
ened, unhappy baby, held In an unnatural
position by a worried mother, or uncom-
fortably bolstered up in a chair with pillows
and blankets, It's poor little head held In
the cold, unsympathetio grip Of steel
clamp. Is past long ago. Nowadays,
mother 10 part Of the picture, It u as some
thing subordinate In interest 70 the child,
a harmonious adjunct, rather than a 90
sitter, She appears as she is seen a dozen
times day, In some natural relation with
her little one-its precious face held close
to hers, a soft kiss being pressed on its
cheek, or she IL bending over It's cradle, OF
Is at play with It on the floor, with toys
strewn all about. But always the mother
| Is in the background, always the interest
is focused In the child.
Everything Is done to make the child
| feel perfectly at homo, especially II II be
/ too young 70 understand and enter into
| the spirit Of the performance. Toys Of
/ every description are an essential part OF
! the SneWs photographers outfit, and they
| are not old-fashioned, out Of date toye
: either, but are all the newest inventions
/ from Toyland, for they not infrequently
I play quite important parts In the success
! Of the picture, and therefore must not give
| It an old-fashioned atmosphere,
! This so-called new photography Is
| really years old, II one stops to think. Mrs.
| Julia Cameron, an English woman, was
| about the first photographer 70 realize what
! Il meant to represent people az they really
| are, rather than as they would have us
| believe them, dressed up for the occasion,
| "a picture OF consciousness Of clothes
| In all Mrs. Camerons portraits she strove
| 10 make her sitter forget the camera, his
/ errand at the studio and himself. In her
footsteps, in New York, now comes a dis
cipe who Ia making wonderful child por-
' traits.
/ In his studio there Il no suggestion 20 the
| child that its picture is being taken; there
! Is not the slightest approach to the con.
ventional photograph gallery. Tho child
| Ia not posed In the usual sense OF the word.
| He d not told 20 look at anything, he IA not
asked TO "look pleasant He is not told
| TO keep quiet for just a minute nor are
| strange noises made to attract his atten-
| ton, nor weird animals produced 20 frighten
/ him out Of his wits. This studio FOL
! child sitter resembles nothing 30 much AZ
! an ideal nursery, with toys galore, flowers,
| picture books and when occasion demands
| Il q wonderful frieze can be brought forth
IA fFis1s on which light blue g. csc amiably
amblo acroas Q white muslin pasture, and
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

guimpo collar at the back.
Already one ICES too much carelestness
In this regard and there Ia always a type
OF woman who. 10 long as her stock or collar
IA all right In front. Il profoundly Indifferent
70 lie arrangement In the back
For frooks or coats cut very low In front
are chemlSettos reaching to the waist line
In front and broad or narrow az the sltua-
ton demands. Many Of the coats OF the
season open widely IN front. showing a
considerable expanse OF underbIouse or
ohemisette and With some Of these coats
designed as substitutes for bodices and not
meant for wear a. regulation separate
coats women prefer detachable lingerie
or lace fronts that can be changed or re-
moved 10 an entire blouse.
With the closely moulded redlngose or the
draped and button Louis coat n loose blouse
worn under the coat Is injurious To the
fit Of the garment. and French dressmalers
prefer carefully fitted snug bodice Of
white silk which will be smooth under the
coat and to which an elaborate ohemisette
may be attached, filling In the broadly open
coat fronts
Other makers substitute a less expensive
but tight fitting waist Of sheer lawn, which
is not hot but will insure the perfect adj
justment Of the ohemisette. II separate
cuffs matching the chemisette are 10 be
used a loose but comparatively close
sleeve il added TO the underwaist, and the
cuffs may be attached TO them.
This arrangement is, even in the case Of
shallow guimpe and cuffs. calculated to
insure smoother adjustment and greater
tidiness, but many women will not 60 to
the trouble Of having the sheer foundation
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

many instances. These folded collars are
designed especially with a view to sur
plice or v-shaped neoks, but some Of them
are easily adjusted TO q square out front,
lying smoothly around back and shoulder
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23
ERA or CHILD PHOTOGRAPHY.
MORE BEAUTIFUL PICTURES
THAN EVER BEING MADE.

children BeinG Portrayed Naturally In
BOft Artistic Frlnts-MOtheF and enid
GFoupings-One WOmanS Success
Achieved In = New Speciality In Art.
Children are assuming a phenomenal Inn
portAnce IN the world. Possibly We are
on the verge Of a child era rivalling that
Of tho new woman At any rate, never
before has there been 20 much written
and said about children; never before have
they figured ~ largely In fiction, Andnever
before have they been 40 specialized In
every branch Of art.
Child portraiture, by brush, pen and
camera, has reacheda degree Of perfection
undreamed OF In days gone by. Moro
than one artist Of rep-te confines himself
exclusively 10 the portrayal OF childreni
several brilliant writer's have achieved fame
by clever pen pictures Of child life, and
photo apherS find in them such attractiv
subjects for the camera that they make
special efforts TO produce portraits which
rival in interest and artistic value tho work
Of some Of the best artists.
Photo graphy in this day and ago must
be considered as an art. II has passed
being trade In which tho photographer
ih1 bhAy W NohNh Nho bhAbpAAt NhhNA'b
tho camera 10 do the rest. The machine
does not do all the work, nor are the re-
sults by any means entirely dependent
upon the perfection Of the camera. Some
Of the greatest portraits have been pro-
duoed by this instrument, but II is the In
telhgenoe and artistic sense Of the person
behind 1t that are responsible for the
originality Of pose and
sincerity Of likeness.
\ Not every one, by a
very long way, can be-
come an expe IT in child
portraiture blythe CAM
era. 1t Is unquestion-
ably the most difficult
M branch of the photog-
rapheTs art. How diff
4 >M.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

there are simpler designs in the same
style. Chemisettes and cuffs Of plain
lawn finely embroidered by hand In tiny
floral sprays and garlands, buttonholed
In little scallops around the edges OF collar
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

valenoiennes, hand
embroidery or OPEN
work embroidery in-
sertions, but there
are, too, many Of fine
Irish lace, or other
fine laces ornamented
by handsome medal
lions OF flowers in
Irish crochet or
other heavy lace.
Valenoiennes lace
set together With
hand stitchery and
with tiny bands Of
lawn IL often most
com plicated and
beautiful, although
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

W aist ade and
would rather pin the
separate guimpe 10
and trust TO luck.
A majority Of the
ohemisettes,guimpes,
&c. are made Of finest
lawn or batiste with
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

and falling straight
down each aide In mont.
Such collars are usu-
ally double or triple, In
fine lawn, edged With
vAlenciennss frills and
inset with valenciennes
or hand embroidered.
and q general idea Of
the shapes may be OBJ
tanned from one such
collar sketched for this
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23
FRILLS OF LINGERIE OR LACE.
CRAZE FOR DAINTY NECKWEAR
A FEATURE or THE MODES.

Gumpea or Chemi8ette9 Charming In Their
petals Worn with All Sorts OF Bodies
An Kinds OF FIehHs and Draped
Collars PrOudcd-Hand Embroidery.
Description Of the lingerie neckwear Of
the season seems a hopeless undertaking;
for the charm OF these little accessories
consists chiefly in their detail. Yet one
cannot we'll talk Of the fashions Of the day
without taking the chemisettes and iohus
and collars into account, and no feature Of
the new modes is more pronounced than
the craze for all these dainty lingerie and
lace frlls and furbelows.
OF the turn over collars and cuffs We have
already spoken frequently, and II would
he hard to be overenthusiastic In praise
Of the new cuffs and collar sets; but as the
season rolls on the turnovers take place
a trihe less conspicuous and important
than that they held earlier. Perhaps 1t
would be fairer TO say that. though still
desirable and beautiful. they have more
successful rivals than they did have
The sheer blouse with collar attached has
assumed so prominent place in the sum
mer fashions that the separate stock and
the turnovers usually accompanying sepa-
ratio stocks have, naturally lost some Of
their importance. Then. too, where there
ia not a collar in one with the blouse or the
shirt waist suit it Is quite likely that the
blouse will be cut down eighty at the
neck TO show a little guimpe or chemisette
made in one with a straight close collar:
40 here again the turnovers are robbed Of
their usefulness.
All sorts Of bodices. from the so-called
blouse Of the shirt waist frook 10 the bodice
Of the elaborate gown, show little guimpes
filing square, V shaped or U shaped open
ings at the throat, and though frequently
these guinpes OF chemisettes are integral
PARTS OF the frock, they are very often
removable. 90 that they may be cleaned
without cleaning the whole bodice. The
sbops are full Of such dainty CONNECTIONS
and even when the guimpe Is not to be adj
Unstable, il is often worth while to buy one
Of the ready made guimpes because one
can find models moro artistic and charming
than can be turned out by the average
dressnalCer.
Skilled designers plan the guimpes and
the long close cuffs OF undersleeves which
usually accompany them and skilled work.
folk carry out the designs, and the results
are really lovely. OF course the best
specimens, intricately fashioned OF fine
materials and embellished profusely with
hand work or entirely made by hand, are
erpensive; but they would be quite as ex-
uensiye II made by ones dressmaker and,
In nine cases out Of ten, not so effective.
The woman who IL sl<iful with her needle
can make pretty guimpes and cuffs for
kora.I hrt few women could design effects
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

originality Of pose and
sincerity Of likeness.
Not every one, by a
very long way, can be-
come an expert in child
portraiture blythe CAM
era. It Is unquestion-
ably the most difficult
branch of the photog-
rapher's art. How diff
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

cult II Il only the
hotograp b eT
knows - and also
how expensive. In
the school of pho
Biography which
aims to represent a
child only in the
most natural poses,
dozens OF plates,
from which, pos
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

But FrCnoN woman calls no time
wasted that Is spent In hiding the pins 90
carefully that there Is not the tatntest
selves on the beauty Of the costume. No,
II is utterly un-French not 10 use pins
galore
The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-04-23

same.
Besides, even n she
were always the same
no Or q makers last
sti iches, TO ms tier
how great her reputA-
ton, could prevent a
Frent b woman giving
her gown little tweelxs
and pulls that make
II part Of her own per-
soma lily. Pins are
needed to keep these
little personal touches
intact.