Evening Star Newspaper, February 11, 1923, Page 71

Inner, Not Outer Garments, Demand Attention at Present Time; PLEBH-(.OLORED SATIN A FROCK. BY AMNE RITTENHOUSE, HERE is a Jull in clothes. It is the time between storms. We are not as vet getting ready for spring; we are tranquil about our winter wardrobe. So we turn our minds those essential parts of costumery which are not xrouped under the appellation frocks. Once in so often we actually like to give ourselves whole-hearted- 1y to inner, not outer. garments It one listened with conviction to the people who spend their lives de- | Giffereace accessories be an vising adjuncts and mowns, there would adjusted. You know how inmists that the gown designer the corsetmalker supreme art of a is as nothing unless WHITE LINEN STEP-IN CHEMISE, EDGED WITH BLACK FOOTING, WITH A BIRD EMBROIDERED IN FAINT COLORS. THE NIGHT- GOWN IS OF MAUVE-COLORED GLOVE SILK, AND TUCKED YOKE TRIMMED WITH FINE LACE. RIBBONS FALL FROM ARMHOLE. the figure is properly encased be- meath the gown. The lingerie peo- pla insist that 2 wrong shoulder strap mars a frock, that the cut of a chemise governs the grace of the body. ‘The stocking beople also have their say. Shoemakers insist that every costume is made or marred hy the choice of a foot covering. So it goes. Maybe it's all true. That's the worst of ii. Our dress duties are inereased. There is little underwear cheose that a woman need not spend half & day assembling it. Do yeu remember these vears of plenty \hen women sat in the sewing room &5 Weeks o _turn out =0 to SLIP. WITH TO BE WORN UNDER NEGLIGE OR A THIN HOUSE | pers, and came home heaped in straw of | baskets. | selt decentiy 1o |after the war as underwear. carnest a cenviction that no frock rose above |adjust a low level until its foundation was|wave, bobbed hair and the lack of sonal underwear. We have better things to do if we take our part in the stir of the tim We like to ply the needle if we continue to care for delicately made garments in- stead of buying them at shops. If we rebel at choosing an assortment of Jersey silk things that are as plain s pipe stems, we use lace and cam- brie needles on fine fabrics. The cost of underwear has not decreased because most of it is elimi- nated. Prices are paid for silk and crepe de chine, for muslin and Val lace that shock the women of other years. She spends much of her time telling her extravagant daughter how little it cost to turn out the seasonal half-dozen when she was young. Her daughter shakes her bobbed hair and pays scant attention. It is com- mon to each generation to think its way better than what preceded it. So we step upward. Coming down to statistics, how many garments does the fashionable woman wear? As women run in “schools” like fish, there is no forcible standard. A certain set dresses allke no matter under what skies its members live. The young girl In or out of fashion- able society limits her underwear to two garments. There's a shirt or a chemise and a pair of knickers. If her frock is translucent she puts on a @etticoat. but it is also translucent, The woman who does not follow fashions of youth wears an un- | gershirt. a pair of jersey bloomers ‘a long and imposing brassiere. The | flapper has been known to make the brasglere serve as an undershirt. This i3 not a secret of the] dressing room. It Is widely discussed in a CORSET COVER AND S’l‘il’- world that has ceased to whisper. | Older women think the fashion shocking. Bucyant youth pays no heea. . Tie silk bloomer is now a stand- ardized garment. It is not always of white jersey silk or pink crepe N KNICKERS OF FINE WHITE MUSLIN BLACK NET. de chine. It is often of heavy silk in gray, black, blue and brown. It goes over an envelope chemise or a| fine silk bloomer. | Large women continue (o wear the unfon suit, as it is commonly called. Its name is agalnst it. suggests the anclent garment that reaches to the ankles with sleeves to the wrist. But nothing is farther from such ugliness than the mod- ernized unton sult of jersey sllk er crepe de chine which barely reaches to thQ knees, barely covers the bust and’ is held in pisce with ribbon shoulder straps. It is the rival of the 'undershirt because it prevents s ridge in that part of the bod. where flesh acoumulates and ridges are to be avolded. The corset fits over it smoothly, When this if worn an envelope chemise often substitutes for bloomers and bras- slere. * ok kK HE aim of each woman is to elimi- nate bulk at the walstline. If she must wear a brassiere she tries to avoid bloomers with an elastic in the top. However, it is a question of taste and of figure formation. The main fact is that she does not wear more than these two or three garments. ‘The petticoat Is & thing of personal Inclination; possibly one might say & thing of necessity and emergency. The princess slip which the French designed is well l'ked by those who insist upon keeping their underwear in one line from knee to chest. The American interpretation is the en- velope chemise. But as a rule this garment is too brief, too negligible, to wear over a corset. The princess slip is of crepe de chine, sometimes of wash satin. It forms a brassiers to the hips and circular pantalettes from there to knees. It is fastened up the back or slipped over the head. The best are of washable creps de chine Symbolism Is Striking Feature To Visitors at Lincoln’s Shrine LLCRETIA E. HEMINGTON. *“YWhen the high heart we magnify, And the sure vision celebrate. And worship greatness passing br. Ourselves are great. JOHN DRINKWATER. T the end of the scheme that includes the Capitol and the Washington Monument, on the shore of the Potomac and In view of the Virginia hills stands the Lincoln Memorial. Provision was made for this by act of Congress, ap- proved February 9, 1911, and carried into execution by the fine arts com- mission. John Hay, one of Lincoln's secretaries and biographers, a states- man and an art lover, said in speak- ing of the proposed site for the memorial: “Lincoln deserves this place of honor. He was of the immortals. One should not approach too near the immortals. His monument should stand alone, remote from the common habitation of man; apart from the turmoil and business of the city— iisolated, distinguished and serene. Of all the sites. this one, near the | Potomac. is most suited to the pur- {"”’ SKIRT PANELS OF THIN undergarments” Ruffles and inser- tion. lace, embroidery and footing was the song of the undergarment. Fine needles weve needed, eyes were taxed to the uttermost. backs ached. Dozens of whits muslin garments went to the laundry in great ham- No woman considered her- clothed unless she ad- justed four elaborate pieces of under- wear on her person. Nothing so symbolizes the drastic between life before and Today young girl wants five minutes to her clothes. A permanent corsets enable her to throw an of effort to the winds. garments, a silk of knicke hour Two under- shirt and a pair p-on frock without | No one now disputes the ap- {propriateness of its setting. so ir- {refutable is its fitness to enshrine the {temple of memory. | Isolated, with free distances in every direction, the memorial stands in radiant white marble, rising to & {height of ninety-nine feet above the concrete foundation that runs down to solid rock. A wide cascade of white steps leads down from the memortal’s uninclosed entrance to the long reflecting pool that stretches out toward the Washington Monument, holding in its shallow depths the beauty of white marble, snowy clouds and bordering trees. By means of terraces, the original level of the site was lifted almost fifty feet. A rectangular wall of white marble fourteen feet high. 256 feet long and 186 feet wide in- closes the terrace upon which the memorial stands. Three white marble steps. each eight feet high, form a platform under the columns which at its base measures 204 feet long and 134 feet wide. . The colonnade, made with thirty-six columns, one for each state in the Union that Lincoln saved, is 186 feet long and 118 feet wide, the columns being forty-four feet high and seven feet five inches in diameter at the base. The outside of the hall of the memorial is eighty-four feet wide and 166 feet long, the central chamber of which is sixty feet { wide, seventy long and sixty high. 1On the walls above the colonnade are | forty-eight memorial festoons. one | for each of the states in the Union l“ the present time. * % | i the statistician and the archi- i tect figures are animate with meaning, while to the average mind they are jejune and lifelesy. The tech- nical description, therefore, shall be dismissed with the paragraph above, while we turn our attention to the artistic features of the temple. 1f one has eyes for seeing, as he reaches the colonnade he will ob- serve that its floor “washes” up to meet the base of the Doric columns that In a procession of fluted grace and strength move like waves around the memorial chamber. The blue sky shows sapphire by contrast with the white columns when viewed from be- tween them, while the Washington Monument and the glorious dome of the Capitol are like marvelously framed pictures when seen the ends of the colonnaded vistas on the north and south sides of the struce ture. One is convinced that the arch. itect, Henry Bacon, left nothing to snything save purposeful design, so harmenious are all the regulations of the temple, whether to surrounding sce! or of part to whole. hooks, eyes, buttor s or enaps, a pair| As one passes into the chamber of stockings that are worn but not)eontaining the statue of Lincoln, he seen, a strapped slipper, and It's on |18 lmpressed with its simplicity, for with the dance. IUs what you leave |Ro decoration, but one inscriptien, off, not what you put on, that gov- |Rothing save the gentle, lonely, erns good dressing in this post-war |Potent figure of a gentle lonely, ariot potent man, and silence, and the Because underwear has reached | White wonder of surrounding marble the irreducible minimum. it creates|that gorifies the space cathedral wise the maszimum of discussion, publicly, |Ereet the eye and soul. The huge not privately. A debutante wears as |statue on its flushed pedestal is placed little clothing as a temple dancer of | directly in the center of the wall Indla, without protest from her par. | opposite the entrance, and no line ents. Fashion and familiarity have|¥ave the straight line like beveling deadened the blow. on a plsin frame marks or sets off * K ok % the background. In this wall has T is a happy truth that the days|2®®® carved simply and grandly: + when wome: i le. ax in the hearts of are over when women DUt inj, ,.5, "0 whom he saved hte Usio — cold Us ensbriced pyrumids of ' weeks semi-annually i making seas ory of Lin l Indeed, one looks in vain for any curved line on a free surface. except in the volutes of the graceful lonic columns that turn the ends of the memorial chamber into sanctuaries for the mural paintings. This absence of the ornate is in keeping with the cause of memory, for it is Lincoln, the simple nad strong of character, that one should see and feel in that silent chamber. The eye must not be seduced by any detail, but, in a temple to a Greek god, there must be the overwhelming, centripetal force of the statue ftself. As one stands in that cool and quiet chamber and gazes upon that huge figure of the great statesman, | with its serious face and purposeful eyes, he feels that he is in the im- mediate presence of the man himself, | 80 lifelike Is the carved marble. The absolute harmony between the im- mense chamber and the heroic figure is illusioning to the point of dulling one's sense of dimensions. Since this work is the most monumental of its kind in America, some little consid- eration of its details can not be amiss. ! * o % x } F a tall man shouid stand on a level with Lincoln's feet, he could barely touch the knee of the figure with his finger tips, so gigantic is it.} while the head measures over four| feet in height, and the whole statue rises above its eighteen-foot pedestal twenty-two feet. When one remem- bers that the figure is seated. these | figures take on added significance. ‘The weight of it is 270 tons. Such heroic proportions necessitated the carving of the statue in sections from twenty-eight Dblocks of Georgia marble. The sculptor, Daniel Chester French, after the completion of his fve-foot model, decided that the cut- ting of the same should be intrusted to the even akill of those famous six Piccirilll brothers of New York, any one of whom can take up the work that has been begun or con- tinued by another. So exact were these sections that they fitted to- gether with such precision that the assembled statue presents to the ob- server the solid and harmonious lines that result from one hand shaping one block of marble. As he sits there dominating the unadorned chamber, bare as were his rly years, with his hande resting above the bound fasces, symbolic of authority (he spake as one having authority), one feels the spell of greatness emanating from him— a pgreatness whereln vision and patience and lonely understanding were coupled with a humanity that made the people love him and vield to the witchery of his name. In this man “reason and emotion | were joined like form and color in {a flower,”” and that is the secret of the potency of the seated figure. for his lofty intelligence ever went hand in hand with a humility that came from his deep sense of man's help- lessness and dependence upon God and His pity for brulsed and baffled humanity, There is no better example of his power to draw hearts to him than {s furnished by London Punch. After years of merciless caricature of this man, this paper was at last convinced of its error in judging him and voiced its changed heart in: To make me own this hind of princes peer, This rail splitted—atroe born king of me After the wonder and the majesty of it all has flooded the pilgrim he turns, breathless with adoration. and seeks the wall inscriptions and the ineffable pageantry of the murals, briet, colorful frieses, as they are, of the procession of the qualities of this man whose “character presided over event.” One passes from the central cham- ber into the Jonic-pillared hall to the right and sees out In the stone of the end wall in three columns Lincoln’s “Second Inaugural Address” IO Roman letters that are as direct and plain and foroeful ss the earnest meaning of that great spesch. The whole is’ a tablature flanked by bound fasces, at whose base sit marble eagles with wings half spread from the body. That spesch is an open beok of his steadfast purpose to complete what he had begun, trusting as he ever 4id that he was on the side of God. 1t grips one polgnantly as he stands and reads it. It clarifies his own hasy vision and reveals through & knowl- edge of subsequent events the power that lies behind a sincere and lofty purpese. As the years shall pass, un. counted hosts shall stand, one by one, or in small groups, {rom all the na- tions on the face of the earth, awed nd inspired before that inscription, to marvel at the divine inspiration that made the words of Lincoln words of wisdom and of prophecy. * % % *x IRECTLY above the second inau- gural address, running the full length of the north wall, is one of the two mural panels, done in colors by Jules Guerin; exquisite allegories are they that reveal the living prin- ciples of Lincoln and his work. They are the one bright thread in the one- tone tapestry of the whole creation, “rich, tempered, insistent, unusual” a revelation and a mystery. The col- ors employed are rich and mellow as autumn tones, dull reds and blues and greens and soft browns and tans. There are in the panels six groups in an enchanted grove, each group hav- ing for a background cypress trees, an emblem of eternity. In the central group, incorporating as it does the paramount theme of the “second inaugural” below it, is the effulgent figure of Truth, with wide, white wings outspread as she joins in a union that no cause may ever disrupt the laurel-crowned fig-| ures of the north and the south. The attendant, half-nude figures bear in their hands the symbols of the arts of painting, philosophy, music, arch- itecture, literature and sculpture and the sclence of chemistry. Immediately behind the figure of Music stands the veiled figure of the Future. As one looks upon this group, he sees why “these dead shall not have died in vain, North and south indis- solubly united through the steadfast, heart-breaking purposs of this man whose vision was from God. The smaller group to the left holds within {ts mystic symbols the spell ernity. In her encircling arms the central figure holds together the man and woman, the symbols of the family developing the abundance of the earth, richly manifest in fruits and vegetables. On one side is the vessel of wine and on the other the vessel of oll, symbols of everlasting life. The third group in this northern wall panel radiates the spirit of the last paragraph of the “Address” oharity “with charity for 2ll” the greatest of these is char- ity., What infinite charity this man of the people possessed, greater assuredly in his hour of triumph than at any other time in his public life, save perhaps when joined with mercy it granted reprisves to condemned soldiers. The gracious, tender figure of @ woman as Charity, attended by her handmaldens, gives the water of life to the halt and blind, while she ocares for the orphans, who by des- tiny are wars heaviest burden bear- ers. Unity, fraternity, charity, and one lets his eyes fall once more upon the address and sees it whole, as it were. Just before he leaves the small sanc- tusry, he lifts his eyes once again to the exquisite panel and sees, in its soft band of gray against which the golden, green-brown trees stand in the evident majesty of eternity, while the warmly tinted figures in their groupings symbolize the essence of the “inaugural,” a perfect blending of inscription and mural a oneness of theme whose uttsr harmony {s Greek. Then supremely well satisfied, he turns and crosses the larger chamber to its southern end that he may study there the companioning in- scription and mural. In this second panel the same col- ors are found, the same enchanted grove with its cypress treés of eter- nity, for Lincoln was not of one time or place, but belongs to the ages to be a moderating force in the lives of natlons lest they forget the divinity that shapes them. Thres groups above an insoription . . . and the eve and mind forsake the allegory for the nonos to study that, perhaps, most perfect pisce of English com- position in the werld today, the “Gettyiburg address.” In a single ocolumn_of tablature, flanked not by fasces, but by palms ef victory with wing-spread eagles at their base, In- soribed_in the same simpls symbols of strength, glows, like the light from the Grail, Lincoln’s passion for dedication to the service of one's country. In its.searching light, one's outspread wings, gives fresdom and liberty to the slaves from whose arms and - feet the broken shackles of bondage fall. Two sibyls stand guard oyer the freed bondmen. Slav- ery and one recalled from the “Second Inaugural” the words: “These slaves constituted a peculiar and powerful. interest. All knew that this interest was somehow the cause of the war,” and one heard the youth- ful Lincoln, fresh from the scenes of a New Ofleans slave market, say out of the sick disgust of his soul: “If T ever get a chance to hit this thing, Tl hit it hard,” and one remember- ed the. Emancipation Proclamation. Prophecy was once more fulfilled. In the left group the central figure is seated in the chair of the Law with the Sword of Justice in one hand and the Scrgll of the Law in the other. At her feet interpreting the scroll are two sibyls, while on each side stands & ‘guardian of the Law hold- ing thetorch of Intelligence. And Lincoln's passion for justice has found worthy allegory and memorial. In the group to the right the central figure is being crowned with the laurel wreath of immortality in the near presence of the figures of Faith wilderness of confused thinking into the promised land of sovereign power among the nations. Freedom and liberty, justice and the law, and immortality is a second triune theme, and the harmony of an answering chord to the theme on the opposits wall is achieved. In order that these paintings might be impervious to the weather, for the temple's entrance is wide open, the artist used the anocient Egyptian method of mixing white wax with his oils. For safe transportation to ‘Washington the immense canvases (each measures 60 feet by 12 feet, and each weighs 450 pounds) when painted were rolled upon huge drums. After reaching the temple they were lifted into position and, with infinite care, they were unrolled against the space assigned them and then press- ed home by means of felt-covered brioks into the mixture of white lead and Venetian varnish laid upon the walls. Wrinkles that could mot be pressed cut were cut out by means of a knife and the scars were obliter- ated by the artist, who painted over the out surface. Since the murais are twenty-eight feet above the eyes of the average beholder, the figures on the canvas, which are elght and one-half feet high, are rendered distinct by means of a “cutting” line. It will be observed that there are no windows opening into the cham- ber of memorial. This necessitated lighting the Interfor from above through the flat roof. Thin slabs of marble measuring five-eighths of an inch in thickness were boiled in white wax in huge vats for forty-elght hours and so rendered translucent as alabaster, The sunlight slips through them almost as easily as through glass, save that it is softened and subdued—the glare gone, perhaps, Much light pours through the open facade also, and one is not conscious of any dimness in the hall—even the high murals are distinct and clear in form and eolor, 80 well lighted is the place. * * * x T is not enough to make a brief visit to this perfect shrine (though that is better than no sight at all), for one needs to study it in all its phases, close at hand assuredly, from the Virginia hills across the Potomac (to stand in front of the Lee mansion. ‘with Its haunting visions of slave life and its memories of gracious maids and matrons, or in front of the Ar- lington Amphitheater, that ever holds the memorial in its glance), from the bridge that spans the wide river and from the height of the Washington Monument., When all Is said and done the domi- nant note in the whole memorial is the gigantic statue of Lincoln, with its tender, gracious strength and quiet dignity.. Lincoln, the man of the people. yes, but a man inspired slightest disloyalty is: transmuted to | £ 8ave a great people in a great ori- sl staunchest allegiance, and one's eyes are & bit moist with the sense of the slory of sacrifice, in whose blood a natfon’s unity and endurance are-se- ocured, as he lifts them again to the mellow, autumn-toned mural above. Tn the central group the angel of Truth, with uplifted hands and coming, as all great leaders do come, from the wilderness to shape a new age and make a new people. A root out of a dry sround was he, who out of that appalling barren- ness found somehow God and His purpose, He became a willing inatru. mrent in divine hands, and his ?efd_\mmm name 18 one not born o die, | | and Hope and Charity. The symbols | of everlasting life, the vessel of wine and the yesse! of oil, are present. Im- mortal, this simple man, this gentus, raised up to lead his people out of the - -2 ©'0-0+0. .00 9: 0r0° £ ROOM CAP OF WHITE ORGANDIE AND LACE, WITH BAND OF SILVER ROSES AT BASE OF CROW? DER THE CHIN. with deep hems headed with hem- stitching or fagoting. It is not necessary to chooss white and flesh-pink for such slips. Mauve, pale gray, pastel blue and even leaf brown are acceptable if they are to be considered as a foundation for & gown. Our frocks are so thin and supple these days that we find it eco- nomical to protect them by some sort of long silk underslip. Once there a lining. now there is not. There- fore our ingenuity suggests a combi- nation garment to do the whole job at once. Ceaseless argument goes on con- cerning the preference between a shirt or chemise. Those who object to the rubbing of corset elastic and buckles against the ekin eliminate the silk undershirt for the longer chemise. It givesprotection. Whether or not it should take the envelope shape is something each individual must decide. Usually, fashionable women choose the chemise. It has more femininity than an undershirt, more graciousness. It does not wrinkle over the lower edge of the corset, forming the dreaded ridge under a thin gown. Chemises have divided themselves between crepe de chins and muslin, but triple voile ia the Paris offering. It 15 used when orders are given for fine handmade pieces. There are also jersey silk chemises, sturdy and wearable, yet thin enough to be com- fortable under any corset. They are now edged with lace and supported by slender silk ribbon shoulder straps, although double net s preferred to ribbon. It is a good trick to put a box pleat in the back below the waist- line to {nsure sufclent width. * % ® HE multiplicity of brassieres, new and old, constantly changing. fluctuating with each month's out- put, shows that women are not serenely satisfled with this neces- sary accessory. Each woman must work out her own destiny. No one can help her. The thin young figure needs one for modesty, the heavy ‘woman needs it for support and grace. ‘Women who wear corsets that hold in the diaphragm need a dif- ferent kind of brassiere from women whose corset does not reach above the walstline. The present struggle s to eliminate the ridge at the end of the brassiere, to get It long enough not to ride above the cor- set, giving continuous discomfort. If any one has solved the problem of a perfect brassiere for all the public does not know it. So the public willingly tries the kaleidoscoplo out~ put that floods the shops. Few women maka these garments. Most women buy them. They have ousted the ornamental corset-cover. A child can wear a printed frock without excuse or apology. She need not consider the bulging of hipa, the breadth of shoulder, the shortness of leg, the thickness of walst. No troubles of this kind orease her brow. If she chooses a bit of fabric covered with birds and butterfiles, with cress-stitohing and triangles, with nursery pictures and Chinese landscapes, no one need bo disturbed. Youthful figures stand any fantasy. So whan designers of juvenile clothes gladly snatched at the new printed fabrics, the world applauded. Some experts sald: “There's where they be- long, in the nursery.” We may not wish to ses a world of women turning from simple crepes to Chinese pagodas, from plain sur- faces to pictorial sightseeing trips. including monuments and churches. but no one minds children cavorting in_such picturesque scenic fabrics. The sketch shows a delightful printed foulard made into a ohild' frock. tions at the hips, which is a populi silhoustte for women, for it chang & narrow skirt into a wide ons with out ungraciousness.. It gives s great chance for economy also. Character is given to the blue green and pink erning by green ribbon with a ploot edge. There is a slash at neck of frook through which a sizable bow of this ribbon runs, and slashes on the hips permit ribbon to form long loops and ends, The hat that tops this frock is of green straw, faced with n silk to match the ribbon. It {s a sun- shade shape which is strongly fea- tured for youngsters. The sophistication of grown-ups’ frocks is no longer barred from chu- dren. When a new fashion appears on a woman of thirty it is quickly copied for a child of eight years. Girls of ten and twelve wear most of the fashions their older sisters have chosen, but they are interpreted in & juvenile manner to give them co- etry. ey de not offend those \qv‘;m insist that children should be [ D PINK RIBBON UN- Hundreds of hands spent hundreds of hours on these garments when making underclothes was the chiet pastimo of needleworkers. Women run againet the doctors in their obstinancy in wearing the tight brassiere. Again they run full tilt against the majority of deslgn- ers, because few inventions are suf- ficiently long for the tall woman the type known as American, But; these little troubles excite and clarify the atmosphere. No one ob- Jects, least of all the women, Fabrics for brassleres are plenti- ful. There i3 no dearth of imagina- tion there, Wash satin, tricot, linen, - printed- cotton, gingham, rubber, bro- cade are used, Also Irish, filet or Venetian lace. Surely there is mo paucity of choice. It i= not easy to persuade women that white underwear is not the best. They have accepted flesh-pink with- out cavil. They may accept mauve turquolse blue and jade green be- cause smart women of an older clvili- zatlon accepted it, but they turn away from black garments even though they are trimmed with white s Venetian lace. Probably it is be- cause they are trimmed with lace that we object. The combination ix abhorrent to the well-reared Ameri- % can. B s Flowered muslin, however, 1< creeping into the {ront rank of fash fon. The demand for printed cotton™ frocks brought an experiment §n flowered muslin underwear. It has gone with a snap, There {s no rea- son for objection. It is good to look at, it washes as easily as white eam- brio. Small flowers are chosen for the pattern. 5. * x % % HE empire chemise comes into existence with the empire night- gown, but only the slender woman should attempt the defining of & high ‘walst line with broad satin ribbon. It ts not awkward on a nightgown, but 1t adds to the bulk of a large figure on a chemise. Nightgowns with sashes at a high waist line or taffeta ribbon run through bars of lace ars offered. French nightgowns of heavy flesh- colored crepe de chine carry four- inch girdles of the material which turn the sleeping garment into a breakfast role or a room neglige. The empire waist line defined by a narrow strip of lace insertion or bead- ing 1s atractive and comfortable. It is used on fine white muslin as on crepe de chine. Certain groups of women cannot be divorced from underwear of sheer muslin or handkerchief linen. They have never been swayed from such- allegiance by the attack of jersey silk or crepe de chine underclothes. (Copyright, 1923.) Printed Frocks for Youngsters et L P LY ABIBTIEAN [ERE LY THIS PRINTED FROCK F LITTLE BOW AN OPENING AT NECK. st of the elders have copied thejr & faghions from the nursery. Possibly lh:". 's Why the youngsters feel so au-~ perior. (Copyright, 19283