The Carlisle independent., 1909-09-30
I1E GREcL4f LR.Y Ri7ZL4L.

Five of these girls are Americans. The Paris garden where they exer- else belongs to one of our older Amer ican fortunes, made by an honest westerner years ago, while uplifting the tastes of his fellow citizens. The granddaughter of the man who owned opera houses has gone beyond the Italian operas that pleased his genera tion, but something of the beautiful old gestures remain fixed in her ideal.
 The girls names may not be given it is promised-but their search for grace and cultured ease, apart from beauty, reveals tendency of the hour among the rich and fashionable that must deeply interest all women
 These fair Americans in Paris seek something more attractive than beau ty; at least, something without which mere beauty fails to hold. With it the average girl may triumph. And the average girl may acquire it.
 Grace, It is becoming more and more recognized as essential, not only to know how to walk and sit, but to possess that personal grace of attitude and movement which the nineteenth century neglected In renaissance painting5 and in old Greek and Indian reliefs We recognize that we are ex- tremely ugly in our movements.
 Why should not the poseseof artists models be natural to us? It is part of curious nineteenth century shame to be found affected" or putting on airs;" yet the same considerations ought to forbid women changing their gowns with the fashion or men culti vating formal politeness. To the country jay the city man is affected"
 But the nineteenth century is past and one courageous American girl has shown how the world craves return to grace. Isadora Duncans success is not of the stage alone. Paris society goes to her for private lessons.
 ''It is not to develop bust and biceps by ten minutes rational exercise each morning" explained one girl. Tt is net breathing exercises. Physical training makes the instrument; we are learning how to play on it."
 The instrument is the perfected
  chance to express itself; and l had pathetic object lesson of the matter in that garden.
 I noticed that one of the girls went through her exercises with somber and ferocious enthusiasm; beautiful girl, but never smiling, never speak ing; and the priestess took tender interest in her. She does not appear in the present photograph.
 Rich and beautiful, that girl is go- ing through a great unhappiness," l was told later. "The man that she cares for has called her stick She was a stick Being rich and beauti- ful. it never occurred to her to take pains. Dancing, she sprawls over her partner. In ordinary movements she is awkward and negligent. And her dreaded rival is, exactly, a skinny heroine with a plain face, whose one redeeming quality is grace. It is suff1- cient. The poor relation of third class European ambassador, she has diplomatic society of Paris at her feet"
 "Charm of manner" l said.
 "She is not even intelligent" was the answer. "It is mere physical beauty of movement, charm of pose and gesture"
 And she is beating that rich and beautiful American girl to it?" l mused It explained the American girls somber ardor. She is desperate lv trying to make up for lost time.
 understood the ritual of tbe old Paris garden. There is nothing far fetched about costumes or exercises. The girls seek earnestly to enter into the spirit of the ancient Greeks and inc renaissance of the time of Botti- celli
 Their priestess is an American girl of wide culture and strong nature, writing successful French poetry un- der a mans name. Another Of the coterie travelled to the orient and sat nnder the sage who continues the rev elation of the Bab. The ritual is ec- lectic. from the Roman pageant of the snring 10 the Provencal courts of the muses by way of Keats Ode to a Grecian Urn"
 No pains are too great to throw them back into the old graceful spirit It is no lavghing adventure. Through Ampler afternoons their snpgs are accompanied by slow, rhythmic dances. The responses to the priestess are nhanted amid studied figures. Drap