davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

when a man is trying to discuss feminine
underwear. said:
Isn't going on2 Why, she's on now
The dressing room scene is 30 real that
no wonder the old gentLs.aan. who had
located a few behind the stage in his youth,
could only gasp
80 she isl So she isl I for-I mean
l didn't realize
Wasn't that a peach ~happening' I Just
loved i'll"
Miss Stahl talks of the stage just as the
Chorus Lddy did on the stage. IL is difficult
for her to remember all the time and once
or twice she forgets and converses exactly
like ordinary people. but as soon as she
does II she flags herself and uses the word
punk which balances accounts finely.
Good natured and good souled arc adj
j~ectives often applied to women after they
lose hair, teeth and power to charm. Rose
Stahl has, however. proved her right to all
three so conclusively that in applying these
adjectives to her you feel safe from the
onslaught of her admirers. The optimism
which is the groundwork Of her character
she describes as an inherited quality.
you don't know my popperl" she ex-
claims, m you a newspaper reporterf
Why, he is the president Of the New Jersey
Press Association and none would think
OF swapping dogs in New Jersey unless he
asked peppers advice first. He belongs
to everything he can get near, too. He's
an Elk. and a All Night Templar, and a
Twenty-three Skiddoo Mason, runs with q
fire engine and"
1t is evident that Miss Stahl is fond Of her
pepper and it becomes necessary TO check
her exuberance in that direction for fear
that there won't be time for the interview.
why didn't you writer seems a fitting
interruption.
1t is. Miss Stahl pins the fr~itzischeffs In
q lopsided manner over one agitated ear
and remarks:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04
DRESSING ROOM CHAT
WITH ROSE STAHL
OF "The Chorus Lady,"

IT'S sasslety night tonight says Rose
stahl.
She saws IL Just that way. .sas-sEe-ty.'
And as she says it she removes the grease
paint from n eyebrow, while the other
moves up and down in a quick wink.
sOf course you know what ~sassiety nights
are7 MOP Why those are the nights the
women are scared TO applaud for fear the
wrists and arms OF their two-ninety-e eight
gloves will come apart"
Miss Stahl IL sitting in her dressing room,
facing a small mirror which gives her a
cracked smile that doesn't belong to her.
The only mural decoration near Is a placard
bearing the words Forget It," which may
be recc gnized " making a couple Of hits
In the play.
The plaid skirt with checks big enough
10 I've seen by the president Of an insurance
company decorates one wall. and the versa
tile veil Grapes a door. Both Of these articles
have had their need Of applause. and now
hang Imply, fatigued with success.
Miss Stahl catches up a kimono and Grapes
II on herself.
Say, il l only had a picture hat she
remarks sighfully, to the artist who sits
L. F.. you could take my portrait; not but
what I hate publicity, as I say in the second
act, hut just to help the manager along. And
I tell you. when you've got a manager
who acts as press agent and has written the
play besides, like Jimmy Forbes. it's up to
the leading lady to gether picter took often,
now amt it?"
You'll put me in without a picture hat2
That's good OF you. ! always feel that a
leading lady that don't wear a picture
bat amt more than half dressed"
She catches up the bunch Of blond fritzi-
schefs, which lie on the toilet table and
Curls them about her supple fingers.
Speaking OF lingerie'-no one was I.
but when a six raycd star is being inter-
viewed, you don't interrupt to correct
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

Philadelphia. where I played Jantcs Ksss-
difh. we got so used to the rats that Ne used
to know them all. the gray faced rat. and
the one with the brown spots. the one
with the side whiskers and the one with
a lordly. aristocratio manner, who looked
as IL he ought to wear a mdnoolss
We got swfully chummy with them.
In a good many OF he dressing rooms
on the road a woman always sits with. her
feet in a chair when she Is of the stage.
and many a time she'll get one Of the call
boys to beat a stick In a corner to Weep
them away while she puts on her maks-np.
That'sno joke. either. W
Now I'm going to tell you something
I really love, and that is to play In London
and the provinces. Me for them every
time.
They think a lot of the vaudeville artist
over there, and show their appreciation In
a lot Of nice ways.
Another thing the British can teach Us
is loyalty. One afternoon in New York
l heard q conversation between an English
man and a woman whose escort he was for
the matinee. After the curtain fell on q
certain stars wonderful performance. chs
turned to him and said: .tf, ~
81 wonder how old she is. She must
be- and then she counted. He said: IA
oh, l don't know how old she Ia, whAs
difference does that make? But wasn't
she bully good?' =
II was a Squire Of Danes all right and
there are many like him over there. >
In the profession we have a saying thate
woman can't play juliet until she's so old
she don't look the part. They recognize
that truth better than our men do. They
seem to catch on to the fact that a woman
can't display finesse, experience, and al
the fifty-seven varieties OF emotions until
she's been through . lot.
The Terry benefit shows that up.
There's an example for you! London went
mad, and I'll wager there wasn't a paper
mentioned her age. -.
Every one was cheered to the limit, bus
who do you suppose the crowd went mad
know. Edna May l never saw anything
like IL, never expect to again. tST
"She came down in a natty little victoria
and stood up to bow right and left as II h
were the royal family. Why. l saw tho
King and Queen drive by the Shaftesbury
Avenue Theatre one day n there wasu'e
nearly the applause that Edna got. -
THAT means a lot to her, IL isn't for one
season or for two, it's for always, until
she's gray and wrinkled and tired. Even then
they'll 20 and see her. give her benefits
and won't add her years up in a column
alongside their criticism. -
81 hope this play will be AIKEN over there
ends Miss StahI. 1T ought to succeedi
it's all about chorus girls and betting ind
those are what the Englishmen care more
abou than anything else in the world,-so
they say g.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

II she had read a notorious French novel
and she said, No, l haven't; but if had l
should say I hadn't You don't suppose
with u playwright who is your manager
and your press agent I would admit that
l had anything to do with the play ever
II I had? l guess notl'
She takes a turn at intervie wing.
Tell me what you think Of The Chorus
Lady Amt il a dandy play?"
A pause.
Yes. I knew you'd say that I've
seen it in your face ever since you sat down.
I've been waiting for it. Every night
when I get near that situation I SILVER for
fear some one will shrek out that question
from the audience. But I'm ready for it.
The point is a little illogical. I'll grant
IL. IL wouldn't do for you to speak Of
it, however, on account Of what I said
concerning the manager-playwright- press
agent combin alton which has a tendency to
cramp your style Of speaking freely.
But it's that very illogical point which
makes it possible for us to separate the
audience from 81 a seat per. We wouldn't
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

done so much for a young woman artist.
no matter how much talent was evidenced?
Never! On Iae contrary | nave reason to
know that Sis never enters a woman
studio.
And the young mans landlady? Would
she have allowed "A young woman to run up
a board bill of more than 500? Perhaps.
But am rather inclined to think not.
The other day ] put this question point
blank to a fashionable woman who is known
as a patron of the arts: Why is it that
you and YOU friends never. invit ~"cmen
artists - beginners, young -~~t.ls. to
dinner2'
well, for one thing she ar-wsscd; one
is never sure how a woman will look. One
knows Of course that "A man will turn up in
evening dress and even If the cut of it ism
quite right m his hair is long it doesn't
matter much. Such discrepancies will be
put down to the eccentricities of genius.
But how can one be sure how a woman
will dress? She may come looking like a
fright. And. another thing. gaucheries Of
manner and speech are more readily over
locke in a man han a woman
Your argument I told her, doesn't
seem to me convincing. Why should not
lack Of knowledge Of certain social formulas
be pardoned as soon In the woman as in the
man artist, sIppoeing either has any talent
at alp And l reminded her that most Of
the women artists with whom | am ac-
quainted are lacking in none OF the features
named, and yet ! am quite sure that neither
she nor any Of her fashionable friends
would ask them to Inner whore they would
nave a chance to meet possible patrons and
enlarge their social boundaries.
asking women not in ones own set
TO dinner might lead to embarrassing COM
plications, said the art patron, when l
paused.
For i~nstance?' I suggested.
For answer she shrugged her shoulders.'
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

OF art, after a delay which made the artist
wonder again. descended on the stu dio,
bringing with her two women, evidently
persons Of wealth. All three admired the
artists work said nice things 10 her. prorhe-
sled success and left without ordering a
picture or without eyen dropping an invita-
ton to dinner. What is more, she never was
asked TO dinner even by the woman to whom
she bore the letter Of Introduction. The
artist was good looking and talked well.
she wore presentable clothes. but all the
opportunities she got to meet the sort of
people who buy pictures were invitations
to family luncheons and cards to crush
re~ceptions.
As a matter % fact, at the end Of three
months she came to the conclusion that her
letter Of Introduction was not worth the
paper IL was written on. 80 far as advancing
her in her profession went. and being a
young woman of some spirit she declined
the next invitation to n family luncheon on
the Flea Of a stress of work-a course. by the
way. which brought her curious patron
TO the studio the very next day.
As an offset to this experience IL the case
OF a young man. every steD Of whose artistic
career in New York ] watched.
This young man had come out OF the
West, and his sole claim To artistic training
was a years study With an old painter in
Washington, ID. G. after which he came to
view lOIh w u ia AAAhs
He wanted to paint portraits. At the
start he took a hall bedroom in a fashionable
boarding house and did his work there, his
landlady, the kindest of women, permitting
him to stand some Of his pictures in her
drawing room and letting him run up a big
board bill. Things would nave gone hard
witt the young man but for a fellow boarder,
a woman, who wns acquainted with a society
woman who cared a good deal for pictures
and was pretty enough to like to have her
portrait painted.
This woman took no end Of pains to
bring the painter and the society woman
together, and finally induced the latter to
come and look at the portraits displayed
at the boarding house. The woman came,
saw. didn't care a rap for the pictures, but
invited the art lat TO come and look at her
portrait painted by a well known artist.
THAT was the beginning. The end was
that in less than one year the young man
had a studio OF his own whore he exhibited
a life size portrait Of his patron. together
with several more. including one OF Lady
SO and So, then on "A visit To America.
"A wear later the young artist was spend
ing the winter abroad, the letters Of intro
duction Of LADY So and So giving him a
chance TO do enough work in London to
pa his wav.
Now had this Young man shown signs
Of high talent his q.ick rise wot Id not
nave cal sed me any wonder. BIT with
few exceptions hs work was commonplace,
as a proof Of which after n few years Of
steadily increasing fortune he remained
stationary and then sank 10 the level where
he belonged. To-day he IL painting ordin-
airy pictures OF ordinary people and making
q living, but 10 more.
And his FIRST patron1 Would she rave
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

be so arranged as to give this same look TO
the side Of a wall.
Nothing does more to produce a quiet
room than a single hue in the color scheme.
Any variation in this may come from the
draperies.
They may be of complementary colors
or Of different shades of the same color.
They should, however, be the only contrast
in tint. An example of a sitting room just
finished by a decorator shows what is done
TO secure an eff t Of repose and quiet.
the room is square n the walls hung
in dark blue brOcade. The woodwork
was Of oak and the dull pictures which hung
in the centre Of each side Of the room were
excellent copies Of Arnold Doecklln.
The massive carved oak fireplace was
ornamented with two lapis lazui vases
with Louis XIV. bronze mountings. On
the oaken centre table was an electro
lier pade in theform of a high brass Candle
stick.
THE curtains were of a lighter hue Of
blue embossed velvet. The only color In
the room came from the Turkish rugs
which we're in shades Of pink, gray and
mauve. -,
such a room lacked entirely what would
be called cheerfulness, but IL was extremely
beautiful and in the highest degree resttul.
1t Of course had to be done to perfection.
-The carved oak furniture was several
centuries old and the hangings were too
OEk " aAAy NNN A't ~
general effect was, however. within the
reach Of anybody. room with the ugllest
furniture and hangings Of the black walnu
may be made rest ul and refined by keeping
the furniture out Of sight and not over
crowding the walls or mixing the colors
too wildly. =,
IF | were asked TO give some general
rules2 Well. IL is hard 10 do. but there are
one or two things which impress one who
has studied American house decoration.
American Colonial furniture is the best
stN lie for persons who must think OF the.
amount Of money they are going 10 spend.
Whether IL be original or a reproduction.
II ~ characteristic Of the nation and " Is
really beautiful in most Of is designs.
Then the decoration Of the whole period
has the merit OF beauty and simplicity.
Old American wall papers. old china and
foor coverings all have a particular ap-
propriateness n beauty for American
homes.
-One who wants to spend lots Of money
may 20 in for other periods. but persons
OF moderate means will get their best re-
suits from the following out OF the old
ideals of domestic beautv in this country.
But the must follow them In the spirit
the were then obscrSc ed.
The, must not have three Colonial
tables in a room merelv because they have
that many and are able 10 crowd them
into the room. They must not buy enor-
nous cary ed sofas meant for Colonial halls
Just because they can afford one TO put
into their little apartment sitting room.
Nor houId their walls be covered with
blue china plates simply because they can
afford TO buy them. They nus carry
out the ideals Of that day In the same way
they were admired them
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

that purpose. Who has forgotten the
complicated and terrible mantle Lambre-
gums Of the late sos and the Dos?
Next the IN fever set in. The India
rubber plant was more reSistful TO steam
heat and gas. so it supplanted the p Inns,
which did all the could to contribute to
the general business of our rooms.
is il any wonder that there WAS a desire
for something simpler and more restful
in the way Of decorating rooms?
THE japanese tai out their bric-a-brac
piece by piece, admire il for awhile and
then return it to where IL was stored.
Usually they ave onlr n on view at a
time. hat is n reason WHY every Jap
anese room has a grateful, quoting atmos-
phere.
Compare a real japanese apartment with
a so-called room designed by a decorator.
| know of one that has a frieZe of dolls and
open fans alternating around the room.
Then there is a paper spangled with gaudlly
colored fans, and in each corner are large
parasols covering a Cosev corner. This
consists OF piled up sofa cushions OF every
shade and material.
-Such an apartment is enough to give q
tired man the creeps. But 1t is called
Japanese.
and costs much less \ a fussy room.
One obstacle stands very often IN the WY
Of tasteful decoration. VI lch that people
buy and much hat ia given 70 them be-
lOVRS 10 All GARNER rIttfN dNlNC uth
without going far emo lgh back to ac-
auire the ,alue OF antiquity. These things
have become endeare1 TO their ow lers,
who do not rant to part with them.
or il they do may not have the money to
buy others.
mt too many OF these things out in view.
IL is perfectly possible to have only a limited
number in use. and the disposition made Of
them is OF course "A question OF good or bad
taste.
Il have seen rooms immensely improved
simply by being deprived Of half a dozen
pieces OF so-called bric-a-brac which were
an eyesore because they crowded the scene
too much. In the Japanese way Of taking
out one thing at a time there is a suggestion
for those persons who have too much orna-
ment OF the wrong kind.
Il saw a small room the other day which
had four large pictures on It's four walls,
q centre table, four chairs, a bookcase and
n sofa. There was a la np on tie table and
on tho bookcases one or two bro1zes.
-Thc room was in that way Charningly
furnished. OF course it was an inn enss
point in favor Of the room that th" pidIcs
were all in Their selves beautiful.
The sSnse Of quiet and repOse was de-
lightful. There were no fussy photo
graphs, no little pictures scrambled over the
walls Inc no china figures To attract the
dust.
Everybody cannot ave large pictures
that M up the side Of n wall but II IL DosHi-
bic 40 10 group small pictures hat they
will have the effect Of a single mass. ]
have seen the whole side Of "A hall hung with
small framed photographs 40 distributed
thai they gave the impression OF n single
picture. Then two or three pictures maj
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04
NEW YORK'S OLD IRON STREET.
one T~hOroughfare That Has Not Changed
Its Character.

In all changes in the character Of New
York streets Centre street between Cham
bers and Broome still continues 70 be the
old iron" t~horoughfare. Chains iron bars,
iron boxes, iron pipes. ron swivels, iron
castings, ron weights, iron pillars-every-
thing in the iron line can be found along
Centre street.
The most curious thing. perhaps. a. to
Centre streets keeping Of this distinction
- that II IL far from the waterfront, where
usually. the demand for oil IRON IL largest
Indeed. the very name Centre street was
bestowed NJ on this ~thoroughfare for the
reason that II was the street nearest the
centre between the two ri, ers on each side
Of Manhattan Island. Before that IL had
been Collect street. and It IA just one century
q that the Collect, a deep p nd OF those
days. vas filed in and Centre street out
through It by authority Of the Street Com
missioner Of hat day.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

why didn't I writer Can you look &C
ms and ask that question:
The interviewer takes a second survey and
sees no reason why the question should not
be repeated.
Il haven't brains enough" Is the final
word. -You think IL takes brains 70 sue
coed on the stager Not at all. It don't
and l ought to know for I'm on the stage
and II 1 hadn't made a hit you wouldn't
be sitting there catching your death Of
cold asking me questions.
Nov, IL you write people read your
work and remember IL and remember you,
and the longer you work and the better
you do the greater the reward. That's
different from acting. I can tell you what
that is in a few words.
IF that rabbit faced hackman'-you
remember the quotation7 G~ood-should
drop me out OF the hanson into a hole in
the ground on our way home tonight by
day after tomorrow my name would be
forg often. I knowl"
Then you didn't write any Of those
bright lines IN the piece yourself1-
Miss Stahl looks at the interviewer re-
proachfully.
you've heard Of the girl who was asked
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04
MEN " WOMEN.
Their Various Ways OF Keeping the Hems -
Their Garments Out Of the Mud.

Il notice" said Lucinda, that women
are not the only ones who lift their gar
ments to keep the hens thereof clear OF
the mud. No. Men do just the sans
thing, only far more clumsily.
When a woman deity, with n hands
gathers up and holds the folds of her skirts
= he but adds variety TO her general grace:
b 1t did you ever see a man in a long skirted
overcoat going up an elevated stairs, CLUTCH
ing the skirts with both hands, one on eithor
side, and raising them so that he wouidn't
stumble over them on the steps9 He 10 Iikea
woman in lifting his skirts, but dear, deari
how different in handling them.
And don't men turn up the bottoms Of
their trouser legs to keep them clear Of
the mud? When this practice was loss
common than now the man who followed V
was likely to be hailed by his fellows:
Say, old chap, Is it raining in Londonr
But o IL Is a common thing for men
to protect the hens OF these garments In
this manner in rainy weather or when the
streets are muddy. They used to clomp
along anyway, and let them drag; but men
are now far more trinity attired and far more
careful to keep themselves so than they
u sed TO be.
The funniest thing that men do. thoughI
to keep out OF the mud IL this:
You may see coming along a man who
hasn't turned up his trousers, because
he doesn't want to get that ugly crease In
them arou nd the bottom, and then You
may see I his man, when he comes 20 a
muddy, crossing, grab his trousers legs
one in each hand. somewhere above the
knee, and raise the hens Of them to his
ankles TO keep them clear Of the mud.
More and more men now do this, and
whenever i see a man walking across q
muddy street, holding up his skirts In this
manner, why, really, / always want TO
laugh; for certainly he does not then present
a very attractive figure.
= women are not the only ones who raiss
their skirts in crossing muddy streets; men,
with such garments as they wear, and In
their own ways. now commonly or to Q far
greater extent than ever, do the same
thing. But this does not mean that men
nre growing feminine-far from L.. In
this, IA in 40 many other things. their lac
OF grace proclaims them still distipcay
masculine"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-04

minor DEMONSTRATING Of lingerie re-
minds me OF an old story. A lawyer a
called up by a client to come directly to
Jail to bail him out or help him in some
way, and when he got there and heard the
mans tale OF woe. he exolaimed:'
why, my good man., they can't Inn
prison you for that
Cant? But they have answers the
client.
what has that to do with lingerie2
Nothing. only one of the girls in the dress
ing room scene heard a middle aged gentle
man remark to his wife, when he caught
sight of Nova in her pettiooat and corsage
cover:
Heavens. she isn't going on the stage
like that?' His wife. with that superior
air OF matronly wisdom which comes