able skill ami nuich practice are demanded, and many an actor of contemporary methods finds himself lost and awkward without the consoling comfort of his trouser pocket for his restless fingers, or the convenient coat-tail to be jerked, in fits of irritation. Undoubtedly, it is wise for the player to accustom himself to unconventional clothes for some days before assuming them on the stage: it is only thus that he can hope to avoid self-consciousness and to escape inelegance of movement and gesture. Women, although more easily adapted to new clothes, and less embarrassed under their influence, because more accustomed to such privileges, yet suffer restraint in different attire, and would yet do well to consider the advisability of rehearsing in their frocks on more than one occasion before they permit these to accompany them in their histrionic duties.
The stage has oftentimes had the privilege of introducing new fashions, and the most apathetic patron of the playhouse may be lured to the auditorium by the report of something new in petticoats, an ideal coiffure, or the latest modish mandate obeyed to the letter in a belt. Miss Violet Vanbrugh may have the credit of bringing to notice the elegant charms of the corselet, and the trim fascinations of the stock collar, worn with the right sort of cravat. To Miss Mary Moore I attribute a revived popularity of the broad black Alsatian bow; she wore this in velvet in her clever impersonation in Mrs, Gorringe s Necklace, and all the world of women flocked to see and to copy while her little short-waisted white muslin frock, with broad ribbons and puffed sleeves, in Rosemary made that heroine an inevitable
