her back towards the audience more than any other actress upon the stage to-day." The middle-Westerner, no less impressed than her metropolitan friends, listened eagerly.

The exponent of straight backs and high chests explained didactically: "The back is wonderfully expressive; indeed it is full of vital expression. Bernhardt knows this better than any other actress because she has studied statuary with the passion of a sculptor, and because she understands that, not only the face, but the entire physical structure, is capable of expressing dramatic emotions. Strong feeling and action may be strikingly revealed by the back. Imprecations, denunciations, even prayers, seem to be charged with more force when an actress delivers them with her back turned, or half-turned to the audience.

"Bernhardt's back expresses a storm of fury when she imprecates vengeance," said the voice of authority. "Not only on the stage is the expression of the back discernible, and a knowledge of its character valuable, but in every-day life in drawing-room and street. How many women consider their backs when they dress? Look at the backs here deformed by laces and fallals," she went on contemptuously. "The majority of women never look below their chins and I believe not one in ten ever looks thoughtfully at her back," she said emphatically.

The dramatic value of a well-poised, expressive back may only concern the thousands of young women who are aspiring to be a Sarah Bernhardt or a Rachel; but a knowledge of what constitutes a properly and artistically clothed back should be of interest to all women in civilized countries.

That there is much truth in the assertion that "the majority of women never look below their chins, and not one in ten ever looks thoughtfully at her back," every observer of womankind might testify.

The open placket-hole and sagging waist-band, sketched in No. 45, is an all too familiar sight that advertises the fact that too few women take even a cursory look at their backs. Fathers and brothers who wish to protect their womankind from adverse criticism frequently give impromptu lectures upon this very subject, as this slovenly arrangement of skirt and basque is not only seen in Grand Street, Second Avenue, and equally unfashionable quarters, but in Fifth Avenue where the modish set are en évidence. If the dainty safety-pin displayed in No. 46, goes out of vogue, the time-honored custom of sewing hooks to the waist-band of the dress, is always in fashion. Indeed, many women prefer this way of connecting separate skirt and waist to using a conspicuous pin. This is almost too trivial a detail to discourse upon, but it is as true that details make dress as it is that "trifles make life"—and neither life nor dress is a trifle.

The offence in No. 45 is more the result of untidiness than of a lack of artistic discrimination. Nos. 46-1/2 and 47, on the contrary, outrage the laws of art, and display ignorance of the value and beauty of lines.

No. 46-1/2 might serve to conceal a deformity of the shoulders. That really seems its only excuse for being. The full, ugly, straight pleat that falls to just below the waist-line lends neither grace nor style to the figure. It is too short to give the distinction and dignity that handsome wraps with long lines almost invariably do, although they seem to add age to the form. There is a hint of youth in this ungraceful jacket to be sure, but it is not especially attractive in its suggestion of youthfulness.

No. 47, with a line at the neck-band, crossed bands in the centre of the shoulders, and lines across the back, is obviously inartistic. The back of a Venus, even, would be detracted from by such criss-crossed effects. Happy the woman who has so shapely a back she can afford to allow her waist to fit smoothly and plainly, unbroken by any conspicuous lines. If bands must be used to remedy the deficiencies of ungenerous Nature, let them be at the neck and waist; and if the back is unconscionably long, a band, or fold, or ruffle across the shoulders is to be commended.

No. 48 reveals a glaring error frequently made by the thin sisterhood. A tall, slender woman with a long waist, should not emphasize her length of lines by wearing pointed or V-shaped effects. The V-shaped arrangement, either in cut or trimmings, apparently increases her "longness and leanness." She should aim to shorten her waist instead of lengthening it as the basque finished with a point obviously does. The drooping sleeves elongate her shoulder-lines, and bring into clearer relief her meagre proportions. She can easily improve her appearance by adopting either style of gown portrayed by Nos. 49, or 50. The broad belt at the waist-line in No. 49, and the flamboyant lace or braided piece that adorns the shoulders, perceptibly adds to her breadth and decreases her length.

No. 50 is a felicitous cut for a street dress for a slim sister. The jaunty bloused waist smartly conceals deficiencies in fine points.

The tall, thin sisterhood should eschew pointed effects and study to attain apparent breadth by using trimmings arranged horizontally. Bands of velvet, braid in waved lines, ruffles, and not too deeply cut scallops, may be used effectively by the very slender, who sometimes appear as if they are "without form and void," as the earth was "in the beginning."

No. 51 is an exposition of the mistake made by the sturdy sisterhood of stout and pendulous proportions. It is plain to be seen that the fluffy ruche at the throat-band, and the ruffle at the shoulder, and the spreading bow at the waist, and the trimmed sleeves, add bulkiness to a form already too generously endowed with flabby rotundity. Corpulent women must forego the swagger little basques or any sort of short, flounced effects below the waist-line.

Nos. 52 and 53 are eminently adapted to the matron of ample dimensions. One observer of beauty-giving effects has not unadvisedly called the waist-line "the danger-line." A stout sister, above all others, should not accentuate the waist-line. She should conceal it as much as possible. The coat back of No. 52 apparently lengthens the waist.

The same effect is produced by the arrangement of ribbons in No. 53, and by the long-pointed basque. V-shaped effects and long-pointed basques are as becoming to those burdened with flesh as they are unbecoming to tall, thin women.

Long, graceful folds and draperies are admirable for the stout sisterhood, who should avoid short sacques and tight-fitting garments that give the