The Julesburg grit-advocate., 1909-09-24
Ttx GREcZAH Urn R7TLLiL

Pire Of these girls are Aneyicans
The Pans garden where they eIsr-
cise belongs 20 one Of our older Amer
icsn fortunes. made by AZ honest
vestsrner years ago. while uplifting
the ts,tes Of his fellowcitizens The
granddaughter Of the man who owned
opera houses has gone beyond the
Italian operas that pleased his genera
ticn. but something OF the beautiful
old gestures remain hxed in her IDEAL
The girls names may not be given
=, 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
~: at least. something without which
mere beauty fails to hold. With it the
average girl may triumph. Ard the
average girl may acquire It.
Grace. It IL becoming more and
more recognized as essential, not only
10 know how To walk and sit. but to
possess that personal grace Of attitude
and movement which the nineteenth
century neglected. In renaissance
paintings and In old Greek and Indian
reliefs We recognize that we are ex-
tremeIy ugly In our movements
Why should not the poses Of artists
models be natural to US? II Ia par:
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 cult
waiting formal politeness. To the
country jay the city man ID affected -
But the nineteenth century Is past
and one courageous American girl has
shown how the world Graves return
O grace. Isadora Duncan's success il
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 il
not breathing exercises. Physical
training makes the instrument; We
are learning how to play on it."
The instrument 10 the perfected
body. To acquire grace n TO give 1t q
chance to express itself: and I had q
pathetic object lesson Of the matter In
that garden.
noticed that one Of the girls went
through her exercises with somber
and ferocious enthusiasm; a 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 10 70
ing through = great unhappiness,"
was told later. THE man that she
cares for has called her 4 stick She
was . stick. Being rich and beauti.
fui. It never occurred to her to take
pains. Dancing, she sprawls over her
partner In ordinary movements she
u awkward and negligent And her
dreaded rival IL. exactly. a skinny
heroine with plain face. whose one
redeeminG quality IL grace. 1t IL sum.
cient. Tho poor relation OF third
class European ambassador, she has
diplomatic society Of Paris at her
feet"
Charm Of manner" I said.
"she IL not even intelligent" was
the answer. 1T 10 mere physical
beauty Of movement. charm OF pose
and gesture."
And she 10 beating that rich and
beautiful American girl to IT." !
mused. It explained the American
girls somber ardor. She IL desperate
~ trying to make UP for lost time.
I understood the ritual of the old
Paris garden. There 10 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 10 an American giri
Of wide culture and strong nature,
writing successful French poetry un-
der . mans name. Another Of the
coterte travelled to the orient and sat
under the sage who continues the rsv-
slation Of the Bah. The ritual IN &C.
lsctlc. from the Roman pageant Of the
spring to the Provencal courts Of the
muses. by way Of Keats Ode to Q
Qrecian Urn"
No pains are too great to throw
them back into the old graceful spirit.
II 10 no laughing adventure. Through
summer afternoons their sonEs are
accompanied by slow. rhythmic dances.
The responses to tho priestess are
ehantsd amid studied ngurss. nr,n