Evening star., 1914-04-12

IeaSl resembling nature are louflQ IN tNe
new imported flowers.
Here also is the description ofa coat
seen by the Paris correspondent: "a
novelty in the way OF opera wraps Is
called the Chinese cloak. II is made o,
creanl-white China silk. with hand-eIr-
broidered hedge roses strewn all over the
soft groundwork. Inside. the wrap is
lined with pale-pink plush. the shade OF
the roses. The cloak is long and ample. the
full Chinese sleeves rendering il a gar
nent to be easily put or off,
Still another paragraph is given over
TO the subject OF the latest Partisan orna-
ments. These consist OF flowers. real or
artificial. to which gold settings and
mountings are adapted. the hearts and
lewdrops being represented by precious
stones. particularly diamonds. These
were used for hats. waists, or Shippers
and some even were made for fastening
bonnet strings.
Strange as it may seem. one can find
more in common between present-daH
costumes and those OF sixty or seyent,
years ago than between those OF les
than quarter OF a century old L>cokins
back over the suits worn in the sprine
OF 1891. one can hardly realize that ones
own mother. or even ones SELF. wore
them. There is one described as being
attractive which was developed il
wooden satin cloth OF the new Mara
Louisa shade of blue. trimmed with braid
combining various shades of blue ane
gold.
The skirt had decoration OF the bra.
around the hem. While on either side
were panels of cream cloth. embroidered
in blue and gold The back had three fuil
organ plaits. The bodice OF the enloro:d-
cry. had yoke and guiTlpe of blue cloth
so much for the mere description OF tha
time. The costume warrants feN
notes, from the standpoint OF today.
In the first place. those were the dal
of sleeves. tight at the wrist but fanrc
at the shoulder. The deep yoke tops tho
waist. which is tight to the point of be
ing severe. while coming out from the
hips are what seem to be epaulettes. e1-
cept that they are not on the shoulders
Somehow, the whole gives the impression
Of acute angles, rather than gracerl
lines.
There is one consolation in the fas,
ions OF this year however. In one
Illustration showing the costumes of that
day can be found hat which IS pEac-
tically Identical with those now being
worn 1t seems to be made almost exclu-
sively of wings, the two directly in front
spreading out and making points far
from the head, as is the fashion now
Still another illustration shows the ''ho-
lero'' of that year. although it must
be confessed It but slightly resembles
the bolero being worn today.
one might thlnk Inat Ten years ago
styles were not much different from the
present. But such a conjecture would
be far from correct Ten years ago long
waists were a necessity. while the sleeves
.'bagged' at the wrist and the skirts
though soft. were exceedingly large
around the bottom. One does find a spring
coat like the loose coats of today. but
the skirt accompanying it contained so
many large plaits that the costume
seems entirely different And the hats.
They sit high up on the head IN a man
ner that would simply shock modern
milliner.
Here. too, we find the bolero jacket
but with wide sleeves. usually filled with
deep ruffles of lace Sioping shoulders
seem to have been desirable then as now.
but with an entirely different effect.
And so We come back to 1914. the year
of the tier, tunic. peg-top skirts.
bolero and eton coats; the season OF
the watteau. Shepherdess. Bounon and
! Bustle hats; the day of such shades
, as napier royal blue. canard blue. seal
brown, bronze, mode. nais tango, ma
hogany, terra Gotta. vieuX rose, French
blue. peach, peacock. russet. wistarta.
olive plum, pink, coral, and all the rest
And what matters it, after all OF
many years ago there were twenty-one
shades of mahogany brown? Or that
nearly a hundred years ago mais was the
rage? Or that draped shirts have long
been known, while the slit skirt Is q
direct descendant of antiquity?
So long as rnilady has ordained that
these shades, designs and shapes are pop
ulat with her this season, what Is the
difference? Perhaps hundred years from
now future generations Will md that
they, too, have come round the circle
of fashions once more and are following
in our footsteps.
problem that faced the chambers The
wick needful at the siN-incn up Wouio
never do for the one-and-a-half-foot base
and vice versa. Why not a tapering WICK
In this way the mass of wax and the
number of fibers in the wick have been
so accurately proportioned that the burn
ing quality will remain constant: Dripping
or smoking is out of the question
The real work. however. from the can
dlemakers' standpoint, did not begin until
the body was finished and the artists took
up their task. This involved tie paint
ing of a portrait OF Morgan and his IA
vorite flowers. American beauty roses
and lilies of the valley, in oil. and the
modelling of a design in relief ABOUT IN.
base and the picture. This raised Work
is covered with gold leaf and more thail
$500 worth of this precious substance was
applied 1t took three and one-hal'
months to do the decorating, but the re
suit Is a candle which is considered
masterpiece Indeed, it is not only the
finest. but also the biggest and costltest
wax taper that has ever been produced
Fifteen hundred dollars is the price that
was paid for the candle by grateful tia
ians. members of the Church Of Our Lady
Of Mount Carmel of Jersey City. who
have offered this truly wonderful memo
rial candle in commemoration of the great
financier who was the benefactor OF many
of their people i'll Italy.