The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-11-20

many detours and zi1zags are made
| experimentally. Il takes the average
student about ten months to grasp this
fact. to learn that good dressing means
not application but elimination in many
instan ces.
She learns in this interval to bring
out her own good points and lessen the en-
phasis OF her weak ones. She no longer
looks At the sketch by which the class
critics teach what she should wear and
says, oh. how plain that is Instead
she mods appreciatively. and having made
personsi application Of what she has been
taught looks about her 10 discover what
is wrong IN the costumes of others.
On this point one Of the students tells
OF attending a smart afternoon RECEIPT ION
the day before. where one gorg-ou~ly
gowned woman received mny c1mpli-
ments on the beauty Of her dress SUI
perla,ively expressed. 1T was not bea,ti-
full AT all, said the speaker. 1T was simply
expen-ive. A year ago ! would have
joined the chorus Of praise ~ soon ~
looked at IL. Now | know tina, the lines
were wrong and that the par ocular per
son wearing that particular cnstuin.
was commit ing n soleCism against good
taste.
Several copies ~ famous pain, in ~
arr shown tho clas ~ this JrnCttre To
illlIstrat. tn" topic under discuss ION
Two ar. Of special Importance. on. IN.
well known -Que-n I.ui-a by Richter.
III" other n copy uf canvas from the
COLLEGE ion Of Queen Flizabath's por-
contained IN the MAJ ional Gallery London.
showing the Virgin Queen in the gown
worn IN celebration Of tn. Brat lsh Wet DRY
over the span ish Armada
Tn. contrast h-r Ssen these porrra it,
is So emphatic a lesson Of the value Of line.
drapery and simplicity 81 composition
that ly any words of IN. instruCro or
ar" needed 10 convey th. lesson On
the one side ~ the platform is tn. graceful
figure Of the prtI-san Queen IN n simpl.
classic gown. 4 scarf over her head whose
ends are held IN Der hand. while on the
stairs down which sk. - walking fall
tn. ends 81 the velvet cloak with its "rrnine
edge. the one bit 81 gArniture the eSquis-
il. embroidery on the hem Of the robe
Tn. eyes of the class are then directed
to th.. portrait 81 Elizabeth. who's. figure
| - made TO look squat. i'll proportioned and
ridiculous by the crinolined. fart him aled
gown with It's excessive amplitude and its
corsage abnormally long and narrow
the groundwork Of tho material literally
covered with precious stones
Rembrandt . pictures are used TO illus
J trate the values Of black ana white. and
, the master Of massing shadows and init
mating light In made for the time being
Go serve the humble purpose Of teIling
/ q twentieth century mondaine when she
may wear black belt and vi hen she may
no. With a copy Of one Of his famous
portraits a. text the combinatio ion 50
ioved by the average woman in the sum =
mer time Of the white gown. black shoes
black belt and gloves ~ ridiculed and tn.
students are easily made to realize the
Spotted effect a- this combinat ion Ia
called, and it, inharmony with artistic
laws.
The sketch 81 winter gown done IN
colors IN shown ard tho lace yoke APP
proved because it leads up 20 tho centre
OF interest. which in every wornan's Goa
tune. Just a. in every portrait. should
b.. the face The pupils are told whom
tho dead whits lace about the tbrost
quite appropriate to a skin Of ivory " hit..
should h. changed , 6cru or cream. &C
cording to the complexion Of the wear.r
IN. lessons IN art isfic gowDing ~ course
begin with the Greet draperisS. and IA