Year: 1877

If there was ever time in the annals of female attire when modesty was en- tirely disregarded, that time is when 8 belle of the period dresses for an even- ing entertainment or an actress for a "swell' part. Tine waist is cut square in the neck, back and front, and very low, especially behind, the opening of the dress extending almost down to the waist. There are no sleeves, only a shoulder strap, which makes woman look all arms, neck and bust--a terrible expanse of bare flesh. which is softened only by a necklace, or black velvet ribbon with l,cket attached. The waist is cut basque shape, but plain and tight to the figure, and comes..down to the hip bone; there the skirt begins, but there is not fold, nor should there be even a wrinkle in front or at the sides; at the back breadth one or two immense box plaits are set in to give the requisite puffing and the sweep of the train. The looping or puff, owing to the extreme length of the body-for it terminates at the end of the backbone-must of neces- sity be very low down.

 Most of the dresses are without Over- skirt, sash, flounce or trimming of any kind. Some of the skirts have a full flounce about foot deep at the bottom of the dress, inside of which is tackled 8 fine white muslin flounce, trimmed with lace to represent a petticoat, and this is said to be positively all the undercloth- ing that on actress or ddme dc societe wears in full dress. Such dress as this, of handsome, thick cream colored silk is worn by Miss Katherine Rogers as the princess in "The Danicheffs." It cer- tainly looks statuesque when she is standing up, but it is laughable to see her sit down. Her tie-back and scanti- ness of material restrain free movement, and so she eases herself down gingerly i; she can not sit down quickly and freely, but insinuates herself into a seat, always with her face to the audience.

 Fortunately she plays part the chief characteristic of which is dignity, which is supposed to consist in slowness of ac- tion and holding the head well up- one trembles to think what would happen if some of the strings should snap, or some one should step on the skirt, tearing it away from the body. In such an event, if report be true, Eve herself would be rivaled in simplicity and paucity of ap- parel-because under. clothing, for an ultra fashionable lady, is obsolete. All the actresses dress the same, and it re- veals, alas! in many cases, less beauty of form than our sex is generally credited with. It shows the bad effect of tight lacing, which is not so observable in ample drapery which effect is princi- pally very small waist at the expense of a good deal of corporation. It also exposes queer limbs, in some instances; 1; big knees, that stick out, or knock in, and fearful feet, that find no concealing folds, and hips--dear dear! What & strange assortment of these-some too broad, some too narrow, some too high, and some non est. In short, the statu- esque style requires the form of a young Venus s--all others it tries sadly. No bustles are n---they have gone out entirely, and if any overskirt or drapery is worn it must be draped low down, only little above the hem of the dress. But as the Lenten season has now set in, it is not necessary to discuss ball or even- ing dresses; rather should the fashion writer treat of sackcloth and ashes.

 Even for street wear the statuesque is effected the waists are cut into several seams, which is becoming to a stout form, and there are fat ladies in ex- istence, the present lath-like fashion to the contrary notwithstanding.