The San Francisco Call. Newspaper, August 11, 1901, Page 8

THE SUNDAY CALL. ‘ RE they whirling their wits away? Night after night you can watch them at the Orpheum, the Mola troupe, twisting and reeling and whirling, winding up each time with a giant pin- wheel fiourish—it looks like fun, to you. What do the Molasso-Salvaggis think so-Salvagg spinning, w about it? They think that the fun is on your side of th To render oneself a Fourth of July pin- wheel for seven nights out of the seven end for plenty of matinees besides: to whirl one’s body until one's brain whirls sympathy; to drag one- self below stairs, exhausted, while a greedy crowd above clamors for you to do it a gain—that it is to be a whirlwind dancer. And what is the end of it all? There was once one of the tribe, De Forrest by name, whom you have forgot- ten. You applauded her while she danced w you have forgotten her. ceased to dance, and that st the end of your memory. too, out of shee public. fon®that mnobody ever msked at the time. e were others, always others to f them, to be sure, for they knew what you have never heard, per- ng heard have forgotten dazzled rrest who for a while wound up her career in a lunatic asylum. Thz stage people know that well enough. They ask, *“Was it her whirl- wind dancing that caused her insanity?” They do not know, bLut the thought comes to them now and then Perhaps this is why the Molasso-Salvag- gl wonders have things pretty much their own way. ere very few who do it,” sald the only Molasso-Salvagg! who knows any glish. He was obliged to say it in French, for the only English he knows is, “I speak English.” He is a wee, wiry sliip of a man. The other one is still wee-er, still wirler. They look as nervous as cats, and their every motion shows that they are. “It is o hard,” he went on with a sigh of weariness, and this was before the performance began. “It is so hard,” echoed the other with an Italian groan. “It so hard,” echoed the feminine of the Molasso-Salvaggi troupe. “And how long do you have to devote in practicing?”’ they were asked. “We do not practice at all. We can- not endure to work at the dancing any longer than the required time of the per- formances."” To work at dancing. That is what It is —work. Dancing is something else by tradition, but not to these whirlwind peo- ple. For every grand flourish is achleved at &x® CLEVER man once remarked that ges which give the ppiness are per- to the persons ¥ of geniuses mar and some- rce. MeCall's Magazin o marry has presented an Interesting compilatien at which they do the rash ed Anne Hathaway Frederick the Great he led Princess Elizabeth of William von Caroline von Dach- nd Mozart and Walter they chose their better married the charm- ars old to the altar. et Carpenter. when 26 the Florentine Napolen was 27 when he h widow, Josephine de d Byron had attained the Miss Anne Isabelle Milbanke, The , Linneus (Linne), was ied; Herder was 29 and urns was 30. Schiller had passed’ -first birthday when he wedded Flizabeth Dorothea Kodweiss. Wieland was 3 he was 32. Milton began union when he was 35 years se a wife when he was 42, and he was 55. Goethe gave his to Christiane Vulpius when three three-score, Klopstock his Meta 33 years took, "AGES WHEN GENIUSES MARRY. unto himself a second wife when 67. She was a widow bearing the name of Jo- hanna von Windheim. , by the by, if genluses did not who would? For a man who at the marriageable age and in the marriage- able frame of mind who does not expect e gave his name to the’ to astonish the world some day is scarce- Iy worth marrying. T |£glll \ O] ] \! L ki AT MOLASSO ~ SALVAGGZ l' ‘tee, TROUP: HEW YORK *betetece o tesesecsn0c00ana & big cost to muscle, to agility, and above all to nerves. Will the nerves give out in the end? Look at the two men. They have the art of the grasshopper, to be sure, but no more physique. Look at the two women. They are de- void of every curve that easy living and good health give. They are flat-chested, as if they never had the time nor the re- pose to draw a iong, lazy breath. They are compounds of muscle and nerves. Nature won't stand everything. She protests in the end. There is a terrific nervous tension about the work, differing in that from every other kind of dancing. Serpentine or skirt dancing are supposed to stand for grace of motion. They are a kind of calisthenics and are worth recommending as gymnastic work. Buck and wing dancing gives you supple Joints. . Toe dancing is excellent physical train- ing. But whirlwind dancing is another thing. Every time that a great whirl is made there is a merve strain until it is safely thrcugh. One slip of a toe. one loosening of the firm grasp of a hand and the =ame is up. As a man behird the scenes re- marked the other night when a gentleman fn black was whirling a pink lady through the air by her arms: “Golly! If one of her arms should pull out, what a fall she'd get!” She is flung through the alr, toward the wings, with a force that would mean a fearful accident if the grasp slipped. This wear and tear of ¢ ked is the same that belongs acrobatic performance. What makes s work worse is the dizziness that must be faced and overcome. Perhaps it never is quite overcome. The one who wears her hair top of her head came off other night with a hand pr forehead. Ske lodk Rememb. ple are not relieved by rev dance That e all in one accounts for a good & at once. Littl v little, p: gained control of t have learned not fatigue, the b o the head. They are ap you want them back. Every night feels as if {t must last. What fate is In store for the wh dancer? "FINE STRAWBERRY DESSERTS. select nice, shapely berries, of medium size, rinse in a colander placed In a pan of cold water, drain thoroughly and dry by rolling carefully on & cloth. Turn out a few at a time on a thick cloth, lift the edges until the berries have all turned over and are free from moisture. Remove the hulls and cut each TO make deliclous strawberry dessert, i i T2 S § S ‘e berry in halves from stem to point. Have ready some thick cream, sweetened with powdered sugar and whipped stiff. Line the bottom and sides of frappe glasses with the strawberries, cut side mext the glass, and flll the center with the whipped cream, adding it as soon as one layer of berries is in place, and when the glass is full, pile it in the ter and lay a row ce of halved berries, pomts toward the cene ter, around the edge. This is a pretty way of serving the berries for a first course at luncheon or for a dessert. Th berries seem to flavor the cream more Lighly than when they are served whale In the cream. This may be varied by making a slight cavity in the cream just befors serving and filling the space with thick straw- berry sgrup. Mash some of the berries with an equal amount of sugar, let them stand an hour, or until the sugar is melted, then squeezs through cheesecloth, and use the syrup as directed, or as a sauce for the berries served whols or for ice cream. One of the cheapest as well as the most wholesome of jams is made from strawe berries and rhubarb botled together. The proportions are one pound of peeled and cut rhubarb to one quart of strawberries, and one and a half pounds of sugar. Boil slowly in an agateware kettls, being very careful not to scorch. When a Ilittle poured on a cold plate will make a thin jelly it is done, but it requires much longer boiling than the strawberries alone. This jam has a fine flavor, and is not so rich as the pure strawberry jam. Following the same directions and sub- stituting raspberries for the strawberries will produce a jam of different flavor, but equally as good. This jam should be poured as soon as done info earthern or glass jars and covered with a thin coat- ing of melted parafiin wax. It will keep a long time in a cool. dry place,