Rocky Ford enterprise., 1909-09-24
The GREclRT UpH RITZLlL

rive Dl THESE StFlS are aUleGlCafls.
The Paris garden where they exer-
else belongs TO one OF our older Amer
lean 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
1t is promised-but their search for
grace and cultured ease. apart from
beauty. reveals n 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 eirl may triumph And the
average girl may acquire II.
Grace, II is becoming more and
more recognized Us essential. not only
To know how to walk and sit, but TO
Iossess that personal grace of attitude
and movement which the nineteenth
century neglected. In renaissance
paintings and In old Greek and Indian
rcliefs We recognize that We are eS-
tErnely ugly in our movements.
Why should not the poses Of artists
models be natural to US? II Is part
OF a 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 Guilt
waiting 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 Graves return
to grace. Isadora Duncan's success Is
not OF the stage alone. Paris society
goes TO her for private lessons.
1t is not TO develop bust and biceps
by ten minutes rational exercise each
morning." explained one girl. 1T Is
not breathing exercises. Physical
training makes the instrument. We
are learning how TO play on it
The instrument is the perfected
body To acquire grace is to give II a
chance TO express itself: and had a
pathetic object lesson OF the matter in
that garden.
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 a tender
interest in her. She does not appear
IN the present photograph.
Rich and beautiful. that girl is GO
tng through 4 great unhappiness." I
vas told later. The man that she
cares for has called her a stick She
~as n stick Being rich and beauti-
fui. IL 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 plain face. whose one
Tedeeming quality Is grace It is suffi-
eieut The poor relation OF 4 third.
class European ambassador. she has
diplomatic society OF Paris at her
feet
Charm of manner" / said
she is not even intelligent" was
the answer 1T Is mere physical
Beauty of movement. charm OF pose
and gesture"
And she is beating that rich and
beautiful American girl to IT.! l
unused. It explained the American
girls somber ardor. She is desperate
iy trying to make up for lost time.
! understood the ritual of the 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
the 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 n mans name Another OF the
s,o,erte Travelled TO the orient and sat
under the sage who continues the rev.
eIation OF the Bah. The ritual is &c
Hectic, from the Roman pageant OF the
.pring TO the Provencal courts OF the
muses. by way OF Keats ode TO q
Grrcian Urn"
No pains are too great TO throw
tl-rm back into the old graceful spirit
n is no laughing adventure. Through
summer afternoons their songs are
accompanied by slow. rhythmic dances
The responses TO the priesiess are
ehanicd amid studied figures. Drap