on-looker an uncomfortable impression; there is too much in a small space. Very light colors and thin textures that billow and float should be eschewed by the large, fleshy woman who wishes to give the impression that she possesses the lines of a finely modelled statue. She should avoid puffs and any suggestion of the pulpy and clumsy, and be careful not to sub-divide the body of her dress by plaits or braids laid on horizontally across or above the bust, or below the hips. Horizontal lines invariably decrease the height; for that reason stout women should not wear dresses cut square in the neck, but should adhere to the graceful V-or heart-shaped cut which has a tendency to give length.

The rotund woman with a short waist, sketched in No. 54, may improve her figure, as shown in No. 55, by choosing belts and collars the exact shade of her shirt-waists in summer, and by not cutting off her height by any sort of outside belt on winter gowns.

Tall, stout women should forego high heels on their shoes, high hats, and striped dresses. Although stripes increase the effect of height, they also add to that of breadth. A plain cloth basque and skirt of striped material make a happy compromise and can be worn with becoming effect by a stout woman.

A basque cut high behind and on the shoulders apparently gives height.

A very stout woman should never wear double skirts or tunics or dresses with large sprawling patterns, such as depicted by cut No. 56, which suggests furniture stuffs. A large woman who had a fancy for wearing rich brocades figured with immense floral designs was familiarly called by her kind friends "the escaped sofa."

White, or very light colors, should never be worn by the stout; they greatly increase the apparent size. Large plaids should also be eschewed. Small checks and plaids may sometimes be becoming.

Neither the too thin nor the too stout should adopt a style of gown that caricatures the form as does the voluminous wrapper, finished with a box-pleat, as shown in No. 57. There is no grace in straight lines.

No. 58, which accentuates the height of the over-tall, thin woman, is better adapted to enhance the charms of a woman of finer proportions. The bony and scrawny, of the type of No. 58, seem to have a perverse desire to wear what makes their poverty in physical charms only more conspicuous. A woman of distinction in Boston, who is exceedingly thin and tall, wore Watteau pleats so frequently, even on reception and evening gowns that she was dubbed by a wag "the fire-escape," a title which so strikingly characterized her style, that the term was adopted by all her friends when they exchanged confidences concerning her.

The garment with the Watteau pleat is not unlike the princesse gown which is a very trying style except to handsomely proportioned women. A tall, well-developed woman, such as shown in sketch No. 59, adorns the princesse gown and attains in it a statuesque beauty. In suggesting statuary it fulfils the true ideal of dress, which should hint of poetry, art, sculpture, painting. The massing of colors; the arrangement of lines, the quality of textures, the grace and poise of the wearer—do not these hint of picture, statue, music?

CHAPTER V.

CORSAGES APPROPRIATE FOR WOMEN WITH UNBEAUTIFULLY MODELLED THROATS AND SHOULDERS.

Despite the traditional belief that a décolleté corsage is a tyrannous necessity of evening dress, a woman not graciously endowed with a beautifully modelled throat and shoulders may, with perfect propriety, conceal her infelicitous lines from the derisive gaze of a critical public.

Women are indebted to that gentle genius, La Duse, for the suggestion that a veiled throat and bust may charmingly fulfil the requirements of evening dress, and also satisfy that sense of delicacy peculiar to some women who have not inherited from their great-great-grandmothers the certain knowledge that a low-necked gown is absolutely decorous.

The women who does not possess delicate personal charms commends herself to the beauty-loving by forbearing to expose her physical deficiencies. Unless it is because they are enslaved by custom, it is quite incomprehensible why some women will glaringly display gaunt proportions that signally lack the exquisite lines of firm and solid flesh.

A throat like a ten-stringed instrument, surmounting square shoulders that end in knobs that obtrude above unfilled hollows, is an unpleasing vision that looms up conspicuously too often in opera-box and drawing-room.

The unattractive exhibition 61, is a familiar sight in the social world. How insufferably ugly such uncovered anatomy appears in the scenery of a rich and dainty music-room may be readily imagined by those who have been spared the unpleasing display. It is so obvious that shoulders like these should always be covered that it seems superfluous to remark that this type should never wear any sleeve that falls below the shoulder-line.

The sleeve falling off the shoulder was invented for the classic contour, set forth in No. 62. Nor ribbons, nor lace, nor jewel are needed to enhance the perfect beauty of a fine, slender, white throat, and the felicitous curves of sloping shoulders.

One whose individual endowments are as meagre as are those presented in No. 61 may improve her defects by adopting either style of corsage, shown in sketches Nos. 63 and 64.

A woman's throat may lack a certain desirable roundness, and her shoulders may recede in awkward lines, and yet between these defective features the curves may have a not unpleasing daintiness and delicacy in modelling that can be advantageously revealed. A modish velvet throat-band, such as is shown by No. 63, is one of the most graceful conceits of fashion. The too slim throat encircled by velvet or ornamented with a jewelled buckle or brooch is effectively framed. The unsightly lines of the shoulders are covered, and just enough individual robustness is disclosed to suggest with becoming propriety the conventional décolleté corsage. The Princess of Wales is as constant to her velvet or pearl neck-band, as to her especial style of coiffure. Her throat, in evening dress, never appears unadorned by one or the other of these beautiful bands that so cleverly conceal defects and seem to bring out more richly the texture and coloring of handsome bare shoulders.

Those who do not approve of the décolleté style of dress, or whose ungraceful proportions might well be entirely concealed, can wear with appropriateness and benefit the corsage shown in No. 64. This has much in its favor for a slender body. The upper part of the waist may be made of chiffon or crêpe, which is beautifully—one might say benignly—translucent.