The San Francisco Call. Newspaper, June 7, 1903, Page 12

THE SUNDAY CALL. BEAUTYS METAMORPHOSIS L AN | A eSS SMALL CUSEION IN THE R RAISES TBE FICURE, WHILE EVERY LINE GCOD LINES TDEA OF LENGTF iall though she be, she even desires to seem a little taller and at the same time Jjust a bit more slender. How the modistes, coiffeurs and mil- liners have striven to help her secure an effect which will help to inveigle her friends into thinking she is at least five feet five, instead of only five feet two. There was a time wlen an increase of two inches in stature seemed a remark- able effect to secure. Now it is paltry enough, and nothing less than the really tall figure—one might almost say the ex- traordinarily tall-will satisfy this un- reasonable creature. Tall and stately she must look, slender and graceful, too; so this is the way she accomplishes that which is well nigh un- attainable: She has her picture taken and relles upon the artist's skili to add the extra inches which have proved to be the Waterloo of despairing modistes. How does the photographer accomplish this effect of increased height? Simply enough—at least it appears so when the little tricks of the ‘artist are disclosed Since great length of linc has become such & rage among women, photographers have made the process of suggestion a special study. The simple macter of mak- ing & woman appear four or five inches taller and reducing too great a circum- forence to falrylike proportions has ceased 1o be @ifficult with up-to-date photog- raphers. They do all this every day; in fact, several times a day, and are respon- N EXCELLENT way TC ai = N o sible, in & way, for the impression gained : -3 A . :o‘“’a ;“‘,Ef?"l N that all New York women are Gibson- * R STATURL csque. . The artist who does not, or cannot, make his subjects appear tall, slender W tho @ainty, petite woman &P graceful may as well close up at once, for when the fashionable woman Jecldes she wants great length of line expressed in her pose she Is going to be wants to look tall und statu- esque, and she who measures far ve tae average has a pen- ¢ for resembling those long Vhctographed where this point,is ob- ires which are unmfstakably of Served Jones type. It is the rage at In many cases, of course, the actuai appear tall, photographically ar, and the Ingenious minds of s and artists are wrestling with roblem of inches. n enviable creature is the tall, Gibson” girl, and what Inesti-. height is gesirable, but, as a general thing; the effect answers quite well enough. When a woman looks at her pic- ture it pleases her vanity to see herselt and to know that her friends see her in the glory of herfqueenly and statuesque tage she has over her less beauty. sisters! Does she appreciate, That this new fad of the up-to-date the power and beauty nature woman has been satisfactorily dealt with a: bestowed upon her in the sinuous by photographers is evident from the fact curves and Jong, graceful lines which that Miss Five-feet-three orders a hun- are despdir of the 'short and by no means svelte aoman’ 4 Of course, she is properly grateful for the possession of these priceless gifts of the god { she is no: satigfled. No, dred more of those charming pictures which make her appear as tall as Miss Five-feet-six. Marcehv, one of the prominent photog- raphers, has gained a reputation in this A NATURAL SITTING FOSITION BUT ONE ICATTV RAISED THE NECK IS o ; CONSIDERABLY LENGTHENED , \\OWWL(/ WHILE HAVING THE SHOULDERS Py SUIGHTLY TURNED GIVES THE WITBOUT A TALL CHAIR HAS THE EFFECT ¥ STATURE REDUCING THE particular line, due, no doubt, to the study spent upon ways to produce just these effects. The {llustrations show some of the simple and eficlent methods employed by Marceau to secure these re- sults. For & layman it {s indeed Interest- ing to be let into the secret of the really simple schemes by which his chief opera- tor gains an apparent increase of length and a corresponding decmease of breadth. While much depends upon the posing, net a little of the slenderness of figure is due to the skilliful work of retouchers, who round out, fill in and cut down—this being their contribution to the four or five additional inches demanded by the sitter. It s not at all necessary for the wom- an who s being photographed to express her desire of appearing several inch:s taller than she really is. The operator is keen enoUgh to understand exactly how te please her, so he sets about mak- ing negatives which cannot fail to flatter her—so judiclously and cleverly does he puse her to accentuate her good points and conceal her bad ones. The result is that when she sees the proofs her vanity is immensely pleased, and she imagines P K A'NARROW APPFARANCE (SNWR &ND AT THE SAME TIME At APPARENTLY 'NCREASES THE ‘UINF FROM HEAD T TOPCOF (ORMA l he ‘i (N EVERY WAY a BAD FOSITION OF THE BEAD AND SHOULDERS “HILE A SMALL SLENDER CBAIR AND A GRACEFUL ' SWING OF v DRAPERIES TEND TO ADD BEIGHT. I3 APS EVERAL INCEES CUTTING OFF THE. TAIL &PLBRGOWN SUCCESTS EVEN GREATER LENGTH ©OF LINE . that, after all, her height is about the average and certainly she cannot be called plump. A rather matronly looking woman may be metamorphosed into a slim, girlish looking creature, long of limb, graceful and with well poised head upon a throat that is round and slender. The camera never lies, so they say; yet it may be made to distort the truth in a very pleasing manner. ' Such absurd devices as stools and books on which to stand the person posing are never resorted to In order to' secure this much desired effect of height. Methods of this kind are cheap and exaggerated and only succeed in making the figure seem out of proportion. The artist leaves such tricks alone, depending entirely up- on the position of the figure, the sway and swirl of the skirt and the legitimate use of chairs, hangings and stools which he does not conceal, but rather places {n evidence, so ‘that they add their share to the gereral effect of height by sug- gesting length in every line. That bane of all stout women, a double chin, by no means perplexes photograph- ers. Getting rid of it by placing the head in such a position that the fullness dis- appears is really a simple matter. Shoul- ders are squared and the head is turned so as to give the longest line possible frem ear to shoulder curve. It women understood the value of long skirts they would never make the mis- take of wearing any ather kind when having a picture taken. It is rbsolutely impossible to get a graceful effect with a skirt that escapes the floor. It cuts the figure off, which means taking away at least three inches from the length pos- sible to suggest with the ald of long draperies. The modish skirt is excellent for pro- ducing these effects, because it fils smoothly about the hips and as far down as the knees, while the bouffant effect about the foot of the leng, tralling gar- ment lends itself admirably to the new CURIOUS EDITIONS OF THE BIBLE. quaint editions of the Bible will be interesting to those who care to fol- low the history of the art of typog- raphy. It will also illustrate how, before the invention of printing, certain inac- curacies could creep into the sacred text, as, for example, by the absorption of mar- ginal glosses inio the body of the manu- script and inadvertent substitution of words similar in appearance, but different in meaning. The archaic words of these old versions also fllustrate the need of the Revised Version. The almost abso- lute accuracy of the present text is indi- cated by the fact that the standing offer of the University Press of Oxford of a guinea for the finding of a typographical error has not been taken up for a long while. . The “Breeches” Bible: “Then the eyes of dhem both were opened, and they knew thet they were naked, and they sewed fig lemves together, and made themselves Breeches.” (Gen. iif, 7.) Printed in 1560. The “Bug” Bible: that thou shalt net need to be afraid for any Bugges by nighte, nor for the arrow that fiyeth by (Ps, xci, 5.) - Printed In 1561 THE following memorandum of some —_—— The “Treacle” Bible: ‘“Is there not treacle at Gilead? Is there no physician there?" ' (Jer. viii, 22) Printed in 1668. The “Rosin"" Bible: “Is there no rosin in Gilead? Is there no physician there?” Jer. viii, 22) Printed in 1609. The *‘Placemaker's” Bible: “Blessed are the placemakers; for they shall be called the children of God.” (Matt. v, 9.) Printed in 1561-2. ' The *Vinegar” Bible: “The parable of the Vinegar,” instead of the vineyard, ap- pears in the chapter heading to Luke xx, fn an Oxford edition of the Authorized Version, which was published in 1717 The “Wicked” Bible:, This extraordi- nary name had been given to an edition of thg Authorized Bible, printed in Lon- don by Robert Baker and Martin Lucas in 1631. The negative was left out of the seventh commandment, and Willlam Kil- burne, writing in 1659, says that, owing to the seal of Dr. Usher, the printer was fined £2000 or £3000. The “Ears-to-ear” Bible: “Who hath ears to ear, let him hear.” (Matt. X0, 43) Printed in 1810. The “Standing Fishes” Bible: “And It shall come to pass that the fishes will stand upen it,” ete. Printed in 1806. The *“Discharge” thee before God.” ed In 1506, The *“Wife-hater”” Bible: *If any man ccmwe to me, and hate not his father, * * yea, and his own wife also,” ete. (Luke xiv, 26.) Printed In 1810, “‘Rebckah’s-Camels” Bible: “And Re- bekah arose, and her camels.” (Gen. xxiv, 61.) Printed in 1823, “To-Remain” Bible: “Persecuted him that was born after the spirit to remain: even so it is now.” (Gal. fv, 20.) This typographical error, which was perpetuat- ed in the first Svo Bible printed for the Bible Soclety, takes its chief importance from the curious circumstancgs under which it arose. A 12mo Bible being printed at Cambridge in 185, and the proofreader, being in doubt as to whether or not he should remove a comma, ap- plied to his superior, and the reply. pen- ciled on the margin, “to remain,” was trensferred to the body of the text, and repeated in the Bible Soclety’s 8vo edi- tion of 1505-6, and also in another 12mo edition of 1818.—~The Sunday School Re- pository. (Ezek. xlvil, 10) Bible. “I discharge (I Tim. v, 21) Print- BEAD WELL UP AND TORSO BEN1 FORWARD MAKE, THE WAIST AND APPEAR SMALLER,WEILE THE TAIL OF THE GOWN BROUGHT ACROSS TH: FRONT INCREAJES THE HEIGHT &Y style of photograph. Soft, clinging fabrics, such as chiffons, mousselines and crepes, are always more graceful in photographs than heavier and richer materials, and these daintier enes have the great advantage of giving = more youthful appearance to the wearer than would the severer lines of sating and brocades. The little trick of winding a clinging skirt about the figure and bringing the train forward to fall at the feet is & sim~ ple device and one of the most successful in securing the desired four or five inches in length of line. Nothing could be better than & well taken and artistically posed photograph for showing a woman just how she may always appear to the best advantage. It is easy enough for a woman to be photo- graphed in smart and graceful poses, and thus have her beauty immortalized for exhibition on occasions; but the thing is, she should remember that every human eye is a camera, and that wherever she is she is posing before this cr(llc‘l human lens. i Therefore, let her study her photographs and endeavor to make herself appear like them. When she stands, let it be in a graceful, swaying pesition, with the torso thrown forward and balanced on one foot. In this way she seems much taller and the lines from her head to the foot of the trailing skirt are perfect. The best sitting pesition is not, as Illus- trated by the photographs, the merely comfortable one, but the position which forms the hypothenuse of a triangle from head to advanced toe. Let her also study the effect of lights and how to bring her good points into prominence and let these overshadow any bad ones. Let her. as the saying is, always put her best foot feremost, not to such an extent that she becomes too self-consclous, but i a natural and praiseworthy effort to appear like her photograph, tall, graceful and beautiful. Women in middle life, and from there onward, should take more and more care of their personal appearance. As the eyes and compiexion fade and the hair grows dull all the cunning secrets of the tollet become important. Happiness may de- pend upon the shade chosen for a dinner dress or the set of a hat upon the tresses that are just tinged with gray. The woman of 40 needs all the heclp she can get from dress, and the woman of 5 needs it still mowe. When age comes at last—if age ever does come to the mod- NO LENGTH WHATEVER_ , 8UT BREADTH EMEHASTZED) TEVERY LINE DBAPERIES ROUNL amOUL ICURE DISCLOSE GOAD (¢ ANT ADD AT LEAY] IO TBE SEIGHT ern woman—the dress problem come easy. Richness and elegance material, plainness of cut and muking these are rules all old women should f low. 1If lack of money stands In the w there is stlll plainness and neatness be sure of, and the materfals of a wel has be made dress, after all, do not count so much. 1 think old women, as well as those ¢ middle age, wear black too mueh. If the bair Le gray. gray is the most be coming of all colors to them. There some shades of brown. too, which especially suited to those whose age has are not quenched the fire In their dark brown eyes. A touch of crimson is eharming with white or gray hair, and 1 have known one white-baired lady who could . wear any shade of blue, and two or thres whose most becoming color was pink.