Harper's Bazaar 1924-04: Vol 59

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The Pario Openings Beginning a New Novel by a HUGH WALPOLE’ y

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YOU JUST KNOW SHE WEARS THEM Oriental silk, ortental color— —— lhese the skill of MeCallum “ — , A c tllustrales the styles of wtlk untles in lhe stockings that cial . Wa 1] li mM hosiery thal we make. Wee will \ ra H ii y The McCallum 0e luxe style book well essed women wear when post one lo you upon request, lhey wanl matchless stocking MeCallum Howtery Company, guallly and lhe newest style. Northampton , Masvachusells.

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Spring Fashions Number APR iL I9z4

;7th -Yeac Number 2538 \vis Cover, by Erté Page To! S les modeles reproduits dans notre magazine sout Frontispiece: ** Le Fover de la Maison Callot Socurs”’ la propricte de leurs createurs. Les re productions, in 7 Drawn by Be rnard B. de VWonvel tations ou contrefacons meme particlles | rucent toujou Che Paris ( )penings, by van ¢ ampen Stewart 50, 60, 61,62, 63, 64, 05, 66,67, 68 entratner contre leurs auteurs des poursuites de la part des createurs et de PAssociation des Arts Plastiques ct The New Neck-Lines _ Apt en France et aU Etraneer. Drawn by Grace Hart rm 69 ) “\) Portrait of a Man with Red Hair’: A Mystery Story of Extraordinary Quality, MAKE WAY FOR THE PAR SPRING ; . : A es Ml Vv Hugh Walpole oOpbhi } * } IVustrated by John LaGatta 70, 71 URN to page fifty nine and you vill see some of the The Southern Season Suggests the Summer Wardrobe formal invitations the great: Paris houses send to Drawn by Mary MacKinnon 72,73.74.75 their most cherished clients. How eagerly these invita B le : tions are sought! What heart-burnings, what bitte: saron de Meyer Attends the Openings 79. 77,79; 79 ness, if they are not received! For, at their openings, A New Version of the Rodier Scarf Plays a Very Deiinite Part in the Mode the Paris couturiers reveal for the first time the models Drawn by Reynaldo Luca 80 which they have created for the new season. , : ; _ . - The New York Opening ol the House of Vionnet, by Marie Lyons SI Your INVITATION Drawn by Reynaldo Luca $2, 83 Drawn by Grace Hart $4, 85 ILI, then, consider this your formal invitation to : \ ix Beate. tee es ; sae es New French Models from a New York Hous« attend this spring's Paris openings, with Baron oo ae : : Drawn by Main Bocher 86, 87 de Meyer, van Campen Stewart, and the staff of our : / Paris office as your guides. Beginning on page fifty “The Tide’: A New Novel of Sophisticated New York, by Mildred Cram nine and again on page seventy-seven you will find thi Illustrated by Henry Raleigh 88, 89 Bazar’s ow resentatic f the best, the most charming , . te espllchtian! taradeac ee siaip nae nape Che Smart Dog, by Helen Bullitt Lowry QO, OI and successful models that were shown at the Paris Spring Openings. “The Piano”: A Delicate Satire of Pretense, by Robert Hichens Illustrated by Everett Shinn 02,093 MADELEINE VIONNET IN AMERICA ; “If Actors Should Revolt”: by Percy Hammond O4 MADELEINE A IONNET has come, has sent is Sabai lour Cleopatras ol the Cabare { Q5 smart America! Why not For all Paris knows we that it is Madeleine Vionnet’s skill that has done so much Erté Talks About Symbolism 160, 07, 98, 09 to create the exquisite simplicity of modern fashions The New ¥ork Residence of William Ziegler, Jr 100, IOL But, always, this artist has opposed the reproduction of ; ‘ P ar ‘ Ioartral 3 me . : : “He her models in magazines and newspapers. So it is with Portrait of Mrs. Landon kK. horn 102 pride surely pardonabl that Harper's Bazar present- * Black Incense”: A Dream Path to Happiness, by \. M. Williamson a complete portfolio, beginning on page eighty-one, of Illustrated by J. Stmoni 103 some of Vionnet’s most recent creations. This is, of eo , ; k : , Ree The Use of ¢ olor in Motor-Cars 104, 105 course, with her express permission. Fire with Fire’: A Story of Instruction for Fathers, by Percival Wilde : > foyae i I 1) he “yy . 7 Hucse Watrone 1n A NEw ROL! Illustrated by William Fisher 106, 107 "THE author of “The Cathedral,” and a dozen other \ Collection of Costumes All with Unusual Ornament distinguished novels that have firmly established his Drawn by Grace Corson 108, 109 fame. has now written one of the most satisfying mystery ‘ . . ‘ : Ee RR te ee tet ee idee che Bs oye Last Minute Sketches from the French Couturiers 110, III Stories of vears! “*.\ Portrait of a Man with Red Hair, on page seventy Paris Sends Its Newest Accessories 112 NEXT MONTH: THE ANNUAL BRIDES’ NUMBER OF HARPER'S BAZAR

ed montl ¢ Inte Willi R ph H CH. ice-] Ray Long, . Moore, tre dick, se : Nu York ( Sing ( Oo ce Year I States In Canad ign countric $6 de 1y « I ni W ECELVE t t your expired it is best to re i once. using the nk € a ri give the we the ne five week the h you. Entered at the New York Post Office as seco mail matter. Copyr 4 101 Mag e ( Harper Bazar) Harper's Bazar is fully protected by copyright and no that appears in it may | ted either wholly in part without pe i

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58 & eo RE HARPER’S BAZAR ? , Ae: 2 Gta LE FOYER DE LA MAISON CALLOT SOEURS ALLOT’S collection is always eagerly looked forward to by a bevy of elegant women who love the magnificence and splendor synonymous with the name of Callot. The admira- tion of all artists goes out to the typical and unique models created by Madame Gerber. By the unexpected and unusual color harmonies, renewed every season, they are a source of unending inspiration and delight. Callot’s collection always seems to me too short, in spite of its four hundred models. It is quite difficult to absorb it at a glance, for when half a dozen mannequins appear all at once for one’s in- spection, one gets bewildered, to put it mildly. However, I shall go again, and tell you more of the Callot collection. (Further details of this brilliant premiere will be found on page 174.) G. de M. ———

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for APRIL 1924 HE following summary of the mid-season mode stresses only the outstanding features of the season. This season’s mode is the mode of last season refined; it consists of minutely detailed changes that are changes of expression rather than vital changes of line and silhouette. DAYTIME THE SILHOUETTE remains straight. We wear the straight frock, the straight short or long jacket, the straicht plain or plaited skirt, the straight tunic, the straight slender and beltless tube frock. THE CIRCULAR FLOUNCE or clever plaits are often used for flounces across the lower part of the skirt front. THE BACKS of the frocks remain straight, the “movement” is forward. Sometimes this tube frock is widened in the lower part of the skirt by only an inconspicuous plait or two, so that the effect is of a perfectly straight tube until the wearer moves. THE TUNIC BLOUSE, a long straight plaited or tucked tunic blouse in white satin, printed crépe, or plain bright-colored crépe worn over tailored suits of wool and satin, is another smart version of the tunic frock. THE TAILORED MODE is most important and has many manifestations. Tailored coats are both shorter and longer. Eton jackets and three- quarter length coats have been introduced. THE SCARF has become even more important than it was last season and is favored by every house in Paris. It is now an integral part of the frock or coat, and is often fastened to it. nadeleie ft ionne? Ww OR T Hy ey ee 4 THERE ARE FEW BELTS. When they are used they seldom go completely around the waist. THE COSTUME COMPLETE is now at its best. Scarcely a frock is now made without its matching or harmonizing coat. Simple frocks of muslin, crépe, lace, or thin wool fabric are all worn under a slender cloak of some sort. Sometimes a cape is used instead of a coat, in heavy fabrics. SIMPLE FROCKS of English tweed and cheviot are made by almost every house. Many of these little frocks have straight jackets to wear with them. THE AVERAGE SKIRT LENGTH is shorter; but skirt lengths vary according to the house that sponsors the frock. NECK-LINES FOR DAYTIME are as varied as they are for evening. The “bateau”’ in its several versions is still good. The V neck-line is often used. So is the close neck-line with a shallow Eton collar. A new square neck-line has been introduced. The Directoire collar and jabot is good. The scarf and handkerchief are tied about the throat in new and interesting ways. SLEEVES are almost as varied as neck-lines. Also, they are not as decorative and as important as they have been in the past seasons. FABRICS Alpaca and satin alpaca, which is a fabric that has an alpaca weave on one side and a shiny satin surface on the other side, are used by the majority of the houses for simple frocks of all kinds. The little frocks that would in former seasons be of crépe are this season made of alpaca. It is even used for evening gowns in the light shades. Satin is much used. It is often tailored carefully and immaculately, as if it were a wool fabric. It is 59 Programs from the Paris Openings “Pag pring 1924/7 used for the ensemble, too, witha printed crépe frock under a coat of satin. PLAIDS in all stuffs are smart this Whole frocks are made of plaids, either of fabrics with the plaids woven into them, or plain fabrics. Sometimes a plain frock is worn with a plaided coat banded with the plain fabric. season. EVENING THE SILHOUETTE for evening remains straight. The evening gown has much of the move ment of the daytime frock. The tube or beltless evening gown, with a slightly wide movement below the knees, is important. SLENDER BEADED FROCKS are very good. MUCH “PICTURE” EMBROIDERY is used. Large startling motifs appear on frocks of delicate tissues. FINE METAL EMBROIDERY is much used for evening gowns. THE EVENING NECK-LINE is extremely varied. The V is having a revival. The square neck, the shallow or deeply cut round neck, are all good. The deep V in back is good. THE BOUFFANT GOWN is still made by some houses that always make picturesque gowns, but it is the individual exception, not the mode. Black mousseline evening gowns are decorated with inserts of colored mousseline, with a very gay picturesque effect. Bustle draperies and almost pure Directoire lines are shown for evening by several of the houses. The lace frock is having a decided vogue for evening, and is an important note in the mode.

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60 P Y A, J, A: 4 V/, / | / I) / One of the slender beltless frocks that Paris is mad about this season. Black satin with collar and cuffs of white crépe de Chine. “ > ‘aye ROOT > ran i Y Se ed ea, -_ Cx 3 ‘ wee Ye \ Se ie ® BN / e tb ~ © ON 4 yo y | j | ay The typical stately eve ning gown from the house of Worth. Black crépe satin, with long shoulder straps of black paillettes. FROM THE HOUSE THAT ORTH shows a number of short straight little jackets belted across the front only, which are edged on the collar, culfs, jacket fronts and on the lower edge across the front only with a narrow fringe of gazelle. The silhouette is straight at Worth’s, with short skirts and jackets, skirts widened with plaits here and there, and very much of the scarf effect. The scarf is often tossed over the shoulder and passed under a strap or buckle somewhere low on the hip, forming a scarf when a scarf is needed and a deco- rative panel when not in use. Worth shows many tunics or tunic-like flounces attached at the hips to a straight frock, a style which is everywhere smart this season. Several tailored costumes of beige suéde are presented in the collection, with a number of printed crépe frocks more or less _plaited, many frocks and cloaks of black satin, several plaid and cheviot coats and wraps, a_ black satin’ frock trimmed with a heavy fringe of black and gray ostrich, and many other ostrich-trimmed frocks and cloaks. HARPER’S BAZAR Cream point de Ve- nise lace and bla satin are used f this coat worn 0% a black satin frock. The scarf collar is im portant in the Worth collec tion. ( ‘oal fre ck of mixed beige and white Scot he cheviot.

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1924 for A PRIL — | ) | ] {| | | } | | \\ Hl \ } \ } \\ ' This ts one of the tunic /] \\ frocks that characterize / the Deuillet collection. \ Of black satin, with white collar and cuffs. a SB “ 4 ww 8 iirc Se Hy) t iH! ' Wt id HF jp ee ¥ DOLEUILLET KEEPS THE SILHOUETTE STRAIGHT = \ (EUILLET showed his collection at night to the accom- a paniment of music, affording visitors only the briefest glimpse of his very pretty models. side from the tailored frocks of wool and alpaca with straight, short, or long coats over one piece frocks of the slenderest des« ription, the Decuillet collec- val : ; \ tion contains many tunics—the fulness often laid in shallow plaits if b > at the hips and falling out in a full flounce over the narrow under wv q skirt. This tunic, which is not a tube but considerably wider, appears with slight variations in almost every fabric for day and evening wear, and forms the principal feature of the collection. Another tunic frock Decuillet uses many plaids. An écru, beige, and red plaid for evening is of tussur with a belted blouse tunic is bordered all about with plain A | { s ‘ PK. beige silk. A jacket of plain gray wool fabric is trimmed with j ‘ji R fine ly plaited chiffon gray cross-barred with narrow bars of soft color. A bright red and Att i im pale pink, with a black plaid coat bound with black is worn over a black box-plaited } Ee i tunic skirt of a sort skirt. A short straight gold cloth jacket is cross-barred with fad red and black embroidery and beads, the result being a rich, brilliant plaid. A brown tailored jacket is collared and cuffed with lizard-skin. A black coat over a light green crépe frock is : ‘ ; : : aided : : Blue rep is used for a three-piece costume, trimmed with broad bands of civet—the white spots dyed light p ot. . 3 p ; : green. A beige and gold brocade coat is trimmed with bands made with the frock plaited in the front and of ribbon-like gold galon above bands of beige and white grébe. flat in the back. Red and blue plaid jacket. of fuzz) silver tissue.

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Oddly enough, dark blue mousseline in three thicknesses, combined with the same fabric stitched in small squares, is used for this costume. Another * ensemble” is of téte de négre mousseline in three thicknesses trimmed with motifs of corded mousseline. A typical wearable costume complete. ENEE is showing many square-necked, short-sleeved tube frocks of almost tailored severity. These frocks are made of three thicknesses of mousseline, straight and slender, plaited or flaring in circular ruffles below the knee. In black, dark blue, beige, green, and téte de négre, embroid- ered with stitching of the same shade and worn under straight cloaks of satin or mousscline, this group of models is remarkably attractive. I:vening gowns also are made of mousseline in this fashion; three thicknesses of peach-pink, white, green, mauve, yellow, or blue mousseline spotted with gold or silver or copper paillettes. Evening cloaks of satin are also embroidered with paillettes. One is decoratively spotted with black and silver and lined with colored velvet. Some evening frocks of mousseline are trimmed with lace or embroidered tulle; and one slim black gown is made wholly of embroidered tulle, tulle showing a close meandering of chain-stitching. Another evening frock is of mauve lace over mauve satin. Still another is of silver lace over mauve. Renée shows many simple short-sleeved blouses under tailored jac kets: tailored frocks are made of beige rep or kasha cloth, cheviot, plaid wool fabric, and black satin. Several long tunic-blouses are worn under three-quarter length coats. There is a frock or two of printed crépe, several in téte de négre, a number fashioned of two tones of beige or brown mouséeline, and many of black satin, which is so very smart everywhere this season. Skirts are short, frocks and blouses are usually sleeveless and beltless, and trained frocks are conspicuous by their absence.

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for APRIL 1924 Ss 8458885: This is the silhouette to which Jean Patou pins his faith. Of sand-colored crépe romain, flounced with white and sand-colored lace. Patou says, “The two parallel lines which have constituted, for several seasons, the feminine silhouette, have broadened out at the bottom to form the ‘shaped skirt.’ After this change, it is easy to foretell that new changes are scarcely possible. It is only in the details of the making up that any appreciable change will be found, and that perc eptible only to those in the profession. “The skirts will remain wider at the bottom and will be shortened a little. Do we owe this to the coming season, favorable to long walks in the soft morning light of the Bois, or should we see in it Tather an influence of the habits of to-day, which demand of the modern woman a free and easy Carriage? Be it due to feminine emancipation, or [ AN article written for Harper’s Bazar, Jean Even the perfectly straight frock Patou makes slightly wider at the hem by a split up the back. White over black satin fulgurant. merely the triumph of the beautiful weather to come, our c/egantes will be arrayed in short dresses this summer; viewed from behind they will all look like girls of fifteen. “In my coliection, you will notice in the full-dress frock, the shaped flounce preserves its important role; it becomes more complicated, it tapers, it undulates, but it remains the outstanding feature. “The plaited dress in all its forms is a new mani- festation of the coming season. Should one really say ‘a new manifestation’ when one recalls the ancient group of the ‘Seven Lacedwemonian Dancers’ in the Naples Museum, whose drapings are plaited so regularly? The plait will be the season’s novelty, but let us admit for the sake of artistic verity that it is eternal.” The same costume, showing it with the coat. The wrap is of black salin embroide red like the frock, in red and white crystal beads. PATOU HAS DEFINITE IDEAS ON THE SILHOUETTE

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64 \. a» —~\\ f 4 N ‘a 4 { 1 i } { \ } i } ; \ i i \ \\ \ C."\ ' } we y i t ¥ if vc + Ser r " mr / \ i | L A j {| | ati at A J 1 } ib * . A | eY hf i \ 7 ) v Premet has great success with this flounced jacket of dark blue printed cre pe to be worn over a flounced frock with a two-tiered result. HEZ PREMET the silhouette is straight. The frocks are flat in the back, with some- A times a flat rounded peplum below the low flat belt; the skirt formed often of two or three flat flounces which are ironed into three or four flat side plaits, one over the other, on the side. The sleeves are long and close-fitting or very short, and the waist-line is invariably low. rhe four-fold side-plait mentioned above appears on many frocks and cloaks, not only on the side but often in the middle back from hip to hem, in which position twin four-fold plaits are employed, falling out in a narrow fan. This “fan” plait takes the place, in the Premet collection, of the narrow inset circular gore, although small circular gores of lace or other fabrics are used to widen flounces and the edges of capes or coats. In general there is little of the circular effect ches Premet; a few lace, satin or crépe flounces only, are widened in this way. Several flounces are plaited, and there are many closely plaited crépe frocks and tunics. Madame Charlotte has designed a very interest ing group of black frocks in alpaca, satin, and soft silk twill, which recall somewhat the famous ‘Gar conne.”’” These models have each a touch of frilled or embroidered muslin about the neck and wrists. HARPER’S BAZAR (Below) The jacket of this dark green satin alpaca tail- leur slips on over the head. The long tunic blouse under- neath is of bright green crépe, bound with black. The tail- leur is bound inal paca a shade darker than its own fabric. =~

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f oF Vieh makes the little crépe de (PRIL 1924 Chine frock of a warm yellow, and the Yteb collection. gives it yy a low brown suede belt. with belt and buttons of a red kid. EB DESIGNS THE SMART SPORTS FROCK Smart little frocks of this sort typify ADAME YTEB favors the straight sil- houette with slightly circular or plaited flounces or godets widening the skirt at the lower edge. The waist-line is a trifle higher than last season, in some instances it is even at the old “normal.” Many of the coats and sports frocks show short or long capes, and capes are employed also as separate wraps. Yteb has designed many wool tricot frocks for sports wear, with several of the new ‘‘mixed”’ jersey in silk and wool. Many frocks are of rep, many are of black satin, and there are also many of black and plain-colored and printed crépe and crépe Georgette. Several models are made of black alpaca. Simple frocks for day wear are fashioned of shantung or rough oriental silks. A shantung model shows “knickers” between its slashed skirt, worn with a short jacket. Some wraps, more or less Chinese in form, are decorated with Chinese embroidery. Leather is much used for belts, buttons, pipings and other trimmings. A yellow crépe frock is girdled with brown leather and finished with a leather cocarde on which is embroidered the “Y’’ of the maison. A pretty frock consists of several flounces of wide cream lace and other models are trimmed with lace; for a great deal of lace is used this season. Tier upon tier of white lace, over black satin, yet the frock has the perfectly straight silhouette. With this evening gown of cream-colored lace and white satin, over ad black satin under- skirt, is worn a black satin cape, made with a circular flounce and an ostrich feather collar. 65

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In this se wo im plic Hy and com plete ie this t pe of rough home ypu rock and coat ts typical and smart. It is of English cheviot in beige. while. VWiddle above) Over a frock o fan ere pe de Chine, edged with brown braid, is a coat-frock of brown rep. The } Parisienne now insists upon her simplest costume being an ensemble. (Right) Another proof of the su prem- acy of plaids. Coat of beige, brown, and gray plaid, edged with beige leather. The frock that is worn under it is of matching beige wool. (Middle) A traveling coat of tan home- Spun, with boxplaits front and back. Another mannish mode characteristic of this house. This type of coat is worn over the O’Rossen tailleur. HARPER'S For carly spring morning wear Paris has taken violently to large plaids. This simple frock with its oddly wrapped skirt is of a softwoolly plaided Rodier fabric in beige and brown. } Upper right) We were right about plaids; they are very good, as vou see. Patou makes this wool frock of mid- night blue. red. black and Me low plaid The neck line is OO} of the smartest. (Left) The jacket of this sports cos- tume is of knitted gray and green wool, to match the hat worn with it. The simple, straight frock underneath 1 if plaited gray-green crépe de Chine. BAZAR

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score egeregr ern PRIL 1924 For sonle redsol, Pre met calls this very smart black alpaca frock, % ith a white organdie collar, and a becoming jabot of tucked and plaited white organdie, “La Divine Maitresse i Finely ¢ mobroide red cream net over (6 ige Georgette crepe has a Lunt bordered with real cream-colored point de Venise lace. Tt is one of the race frocks the Parisienne likes to wear. Gold tissue. cross-barred with pastel colors, is used for this lounced evening frock made with no belt-line, either indicated or suggested; the silhouette so smart for both day and evening ( H MOLYNEUX 1RLOT MOLYNEL re X \ \ CHANGED THE SILHOUETTE HAS ONLY ) MARTIAL Noel et ww] GEORGI 1RMAND iy v One of thel colic st gownHS in the Mol \' neux collection is of white crcépe marocain, beaded with large pearls, crystal. and shaded blue. The skirt is banded in genlian blue crepe. The 1885 effect that keeps threatening to uppear is definitely sugge sted in this frock of black faille, draped by Vartial and Armand into a large “chou” like a misplaced bustle on the left hip. ostrich flues, (Upper, right) Pink speckled in lighter and darker pink, edge this salmon colored cre pe Geor- coun. The huge bow and the ! are of wide mauve-colored ribbon. ( lore d ( re pe rufiles go sluntwise across tite skirt of (Left) Fine rows of rose ad rose colored cre pe evening frock This rather youthful ty pe of frock ts having a flare in Paris this season.

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menpr nceerae—— p'> samy: =~ POIRET MAKES A DECIDED EFFORT REVIVE THE BUSTLE FROCK LTHOUGH Poiret shows a collection that has its inspiration in extremely varied sources, there are several definite and out- standing features that are felt throughout the collection. One is the ardent desire to revive the bustle. A definite attempt to introduce a bunch of material at the back of the bodice, such as great loops of taffeta, with ends extending like those on the frock shown above in the drawing. Another strong influence in the Poiret collection is the Directoire mode. A silver evening gown named “Calypso” is a perfect example of the Directoire type. It is of finely plaited lamé tissue, belted just below the bust, with long flowing line to the hem, broken only by a Greek tunic effect achieved by an overskirt. Another feature of the Poiret collection is a constant repetition of the black note, if only by a touch, in almost every model. Though black and white predominates, there is black with gold and silver, black with colored embroidery, or white and gold with black. Soft alpacas and moires, in all shades, instead of marocains are very popular for tailleurs and afternoon wear. His fantastic imagination has created fabulous golden gowns, Cleopatras and Aidas. A model made of stiff cloth of gold is bell-like below the waist-line, and has violet cabochons about the neck. TO HARPER’S

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THIS IS A SEASON OF VARIED NECK-LINES Imagine this neck-line on an evening gown two seasons ago, or even last season. Now itisverysmart. Doucet. The Eton collar is now very good for the daytime frock. really of starched linen. Sometimes it is Premet. The jabot has been loire reminiscence. revived Martial et Armand. with Direc- Scarfs continue to do new and smart things for the tailleur. This is worn with a Directoire collar of piqué. This very simple evening neck-line is used by some of the best Paris houses. The “bateau,” too, is still good. And then there is actually the little old square neck-line again. With this sortof necklace, it is excessively smart. OT much has happened to the general silhouette. Waist-lines are practically holding their own; sleeves are not important, mostly conspicuous by their absence, but neck-lines have entered upon a new and joyous career of self-expression. _ There is practically no line that the smart neck-line may not pursue, it it is becoming: deep V’s, shallow V’s, the trusty bateau—which is still good, definitely good—the shallow square neck-line for daytime, the deeper square neck-line for evening. And, yes, the dear old back- less gown, too, with the neck-line, or bodice rather, cut in the back in a deep V, or square. Then the U neck-line for evening, often with the base of the U filled in with fine folds of tulle. Many successful frocks for daytime have tailored lapels that are notched in the regulation way; even satin and crépe are treated this way. Premet has, as successors to the famous ‘La Garconne”’ frocks, designed some little frocks with Eton collars, some of which are stiffly starched exactly like a schoolboy’s. The continued mode of the scarf and scarf-handkerchief has given rise to every sort of neck treatment employing the scarf that can be imagined. It is tied about the throat and knotted at one side, worn wrapped about once and with an end hanging over either shoulder, or worn stock fashion in front, even with dresses. Many of the smartest houses use the scarf as an integral part of the frock or wrap, with the scarf fastened to it in some manner or other.

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70 A Novel By HUGH WALPOLE Written and Published For the Few Who Can Understand A PORTRAIT OF A MAN WITH RED (1ATR A Romantic Macabre Part On! HERE was, Harkness reflected, this busi ness about being an American. He had felt pride whenever he had said that that was his citizenship. He was proud, yes, and vet he spent most of his life in Europe. And now, as always when he fell to thinking of America, his eye traveled to his own home there. Baker at the portals of Oregon. All the big trains pass it on their way to the Coast—three hundred and forty miles from Portland, fifty from Huntington. He saw himself on that eager arrival, coming out by the 11:30 train from Salt Lake City, steaming in at 4:30 in the after noon—an early May afternoon perhaps with the colors violet in the sky and the mountains elephant-dusk, so quiet and so gentle. (And when the train has gone on and you are left on the platform, you look about you and find everything as it was when you departed a year ago: the Columbia Café; the Antlers Hotel: the mountains still with their snow caps; the Lumber Ottices; the notice on the wall of the café, “You can EAT HERE if you have No money”: the Crabill Hotel; the fresh sweet air, three thousand five hundred feet up; the soft pause of the place. AKER did not grow very fast, as did other places. It is true that there had been but four houses when his father had first landed there, but even now, as towns went, it was small and quiet and unprogressive. Strange that his father, with that old cultured New England stock, should have gone there, but he had fled from mankind after the death of his wife, Harkness’s mother, fled with his thre little children, shut himself away, there under the mountains with his books, a sad severe man in that long rambling, ramshackle house. — Still long, still rambling, still ramshackle, although Hetty and Jane, who never moved away from it, had made it as charming as they could. hey were darlings and lived for the month every year when their brother came to visit them. But he could not live there! No, he could not! It was exile for him, exile from everything for which he most deeply cared. But Europe was exile, too. Phat was the tragedy of it! Every morning that he HARPER’ S BAZAR “When they came to their table in the middle of the room, Mr. waked he thought that perhaps to-day he would find that he was a true European! But, no, it was not so. Away from America, how deeply he loved his country! How clearly he saw its idealism, its vital- ity, its marvelous promise for the future, its loving contact with his own youthful dreams. But back in America again it seemed crude and noisy and materialistic. He longed for the past. Exile in both, with his New England culture that was not enough, his half-cocked vitality that was not enough. Never enough to permit his Half-Gods to go! But he loved \merica always, he saw how little these Europeans truly knew or cared about her, how hasty their visits to her, how patronizing their attitude. how weary their stale conventions against her full bursting energy. And vet And vet He could not live there. \fter two weeks of Baker, even though he had with him his beloved etchings, his diary in its dark blue cover, Frazer’s **Golden Bough,” and some of the Loeb Classics, life was not enough. Hetty and Jane bored him with their goodness and little Culture Club. It was not enough for him that Hetty had read a very good paper on * Archibald Marshall the Modern Trollope’ to the inhabitants of Baker and Haines. Nevertheless, they seemed to him finer women than the women of any other country, with their cheery independence, their admirable common sense, their warm hearts, their unselfish- ness, but-—-it was not enough. No, it was not enough. . . . What he wanted . . I HAD had, ever since he could remember, the belief that one day, suddenly, some magic door would open, some one step before him, some magic carpet unroll at his feet and all life would be changed. For many years he had had no doubt ot this. He would call it, perhaps, the coming ol romance, but as he had grown older he had come to distrust both himself and tife. He had always been interested in contemporary literature. Every new book that he opened now seemed to tell him that he was extremely foolish to expect anything of life at all. He was swallowed by the modern realistic movement as a fly is swallowed by an indifferent spider. These men, he said to himself, are very clever. They know so much more about everything than I do that they must be right. They are telling the Truth at last about Life as no one has ever done it before. But when he had read a great many of these books (and every word of Mr. Joyce’s “Ulysses”’), he found that he cared much less about Truth than he had supposed. He

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tor LPRIL 1924 ae ve ete. x, 2k Crispin objected to it and they were at once shown to another one beside the window and looking out to the sea.” ven doubted whether these writers were telling th Truth any more than the naive and sentimental Victorians. He was lonely and desolate. The women whom he loved never loved him, and indeed he never came sufficiently close to them to give them any encour- agement. He dreamt about them and painted them as they certainly were not. He had his passions and his desires, but his Puritan descent kept him always at one remove from experience. He never, in fact, seemed to have contact with anything at all— except Baker in Oregon, his two sisters, and his forty etchings. He was so shy that he was thought to be conceited, so idealistic that he was considered cyn- ical, so chaste that he was considered a most im- moral fellow with a secret double life. Like the hero of “Flegeljahre’ he “loved every dog and wanted every dog to love him,’ but the dogs did not know enough about him to be interested; he was so like so many other immaculately dressed, pleasant- mannered, and wandering American cosmopolitans that nobody had any permanent feeling for him Fathered by Henry James, uncled by Howells, daunted (severely) by Edith Wharton—one of a mil- ‘on cultured, kindly impersonal Americans seen a shadows by the matter of fact unimaginative British, who knew or cared that he was lonely, long- ing for love, for home, for some one to whom he might give his romantic devotion? He was all these things, but no one minded. And then he met James Maradick. HE meeting was of the simplest. .\t the Reform Club one day he was lunching with two men, one a novelist, Westcott, whom he knew very slightly, the other a fellow American. Westcott, a dark thick-set man of about forty with a reputation that without being sensational was solid and well- merited, said very little. Harkness liked him and recognized in him a kindly shyness rather like his own. After luncheon they moved into the big smoking-room up-stairs to drink their coffee. A large handsome man of between fifty and sixty came up and spoke to Westcott. He was obviously pleased to see him, putting his hand on his shoulder, looking at him with kindly smiling eyes. Westcott also flushed with pleasure. The big man sat down with them and Harkness was introduced to him. His name was Maradick—Sir James Maradick. \ strange, unreal kind of name for so real and solid a man. As he sat forward on the sofa with his heavy shoulders, his deep chest, his thick neck, red-brown color, and clear, open gaze he seemed to Harkness to be the typical rather naif friendly but cautious British man of business. That impression soon passed. There was some- thing in Maradick that almost instantly warmed his heart. He responded—as do all American men immediately, even emotionally, to any friendly con- tact. The reserves that were in his nature were from his superficial cosmopolitanism; the native warm-hearted eager and trusting American was as real and active as it ever had been. It was, in five minutes, as though he had known this large kindly man always. His shyness dropped from him. He was talking eagerly and with great happiness. Maradick did not patronize, did not check that American spontaneity with traditional caution as so many Englishmen do: he seemed to like Harkness as truly as Harkness liked him Westcott had to go. The other American also departed, but Maradick and Harkness sat on there, amused and even absorbed. “Tf Lam keeping you—” Harkness said suddenly, some of his shyness for a moment returning. ‘Not at all,’’ Maradick answered, “I have noth- ing urgent this afternoon. I’ve got the very place for you, I believe.” They had been speaking of places. Maradick had traveled, and together (Continued on page 148)

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~! nN Mrs. Julian Gerard and Mrs. s Mrs. Sydney Hutchinson and w. A y ee a6 Mr. Olto _ rorocnaus Hearst ae | al 4 Kahn INTERNATIONAL HARPER’S BAZAR The three-quarter white coat of kasha cloth or fine jersey, with either white fur or wool trimming, was everywhere evident. Worn with a brilliant Rodier scarf it was charming and effective. NORTHWARD THE COURSE OF FASHION TAKES ITS WAY The Southern Season, Now But a Memory, Holds the Prophecy for Summer T isn’t so much what one actually sees of the wearing of clothes at smart watering places, either winter or summer, nor what one hears about them, but, rather, it is how one feels about them at the conclusion of each season that gives one ideas for the magazine. It isn’t so much what one sees or hears because, after all, one sees very little that is really smart and hears plenty of things that are not true. \propos of this train of rumination, I am reminded of the famous remark of a famous woman who dresses marvelously and is seen where one should be seen. We were lunching at Sherry’s one bright spring day; they really did look well, the luncheoners. ‘*After all, it is fascinating, isn’t it?’ I ventured. “Yes,” she said, “and after all, what is it—just the rattle of dishes and a lot of women who might have on something smart.”’ I often think of that remark as I sit on the sun-colored sand at Palm Beach, and wonder what to feature. Not one in fifty is well dressed, although all the clothes are new and bright; and then it is a question when the eye has isolated that fiftieth. Nor, I hasten to add, is Palm Beach an exception. The dowdies have it the world over, name, your own gathering place, Paris, London, New York, the Lido, Newport, Cannes, Southampton, Biarritz. Then why go to Palm Beach? Why waste time and money watching exactly the wrong shoes ruin the effect of exactly the right hat, wearing away one’s patience listening to “the rattle of dishes’ and watching ‘a lot of women who might have on something smart’? Why? I will tell you. The few women who do have a well-chosen wardrobe, who think through to an “ensemble,” are well worth all the trouble, expense, and wear on the eyesight. They tell the story

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for APRIL 1924 vores Urey Mae Ow 608 a. pe G My YS tag és The straight, slim silhouette was the only smart silhouette. The shawl, Spanish, Roumanian (above), painted, or plain appeared everywhere. This costume was worn by Mrs. E. Clarence Jones. of the coming season. Let the dowdies fill the landscapes; the few “smart” ones fill the mind’s eye to satisfaction. During the Southern season just passed, these women, few in number, great in importance, wore costumes that inspired these predictions on the Northern spring mode. In general, it will be a “‘mannish” season. Tailored dresses, suits, untrimmed hats close and small, smooth heavier materials, plain shoes, close-cropped coiffure, scarfs worn stock fashion. Even the ‘feminine’? woman who does not care for the strictly tailored costume will conform in a measure. (See the sketch at the top of the opposite page.) But the tailored costume will lead, despite the best efforts of a furious campaign of advertising to kill it. Incident to this, a certain important Fifth Avenue merchant told me of his careful and forceful plans to “kill the suit.” “ But why?’’ “ Because suits must fit per- fectly, and more fittings mean more fitters and more fitters mean less profits. I can sell fifty frocks, fifty gowns, and fifty coats wth less salesmen and _fit- ters than I would need to sell fifty suits. I will kill it if I can.” But can he? I doubt it. It will be a black and white season, or rather a white and black, for white predominates. Color there will be and plenty, but it will be tint rather than shade color; pink, peach, apricot, salmon, soft powder-blue and much pale sulphur yellow, some (how to describe it) new French pea-green. Pattern on materials will be geometric. ‘‘Splotch” silks, silks of elaborate weaving pattern, flowers, animals, and batik motifs seem dead with the smart- est women. Stripes, plaids, and an endless array of Euclidian designs will be worn. In simple dresses we believe that the one-piece tube of striped tub- silk and flannel made tailor-wise will be the new ‘Ford,’ and as much worn as the old Vionnet blouse and plaited skirt, that, by the way, seems even now to have a place in the mode, but this one-piece dress (shirt-waist dress) will be very smart while it is new. The silhouette for daytime, and for evening as well, remains absolutely straight; the last of the picture gowns seem to have made their appearance and departed. The smart shoe of last season will be impossible next season. Colored kids are simply nonexistent, very little cut-work appears, the heel is slightly lower. The new shoe is plain; of unobtrusive pattern. Many of the smartest women order all of their shoes in exactly the same modei; twenty or thirty pairs in dif- ferent leathers and combinations of leathers but all the same unelaborate model. In a word, the message from the Summer Coast bears out the more elaborate report of Paris. HM. B.S. ANTERNAT OWAL INTERNATIONAL wior Wome Miss Ethel Carhart and Mrs. George Sloane

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HARPER’S BAZAR ALTE Ny : hha. / — ie fi $2 & Eiins re agence j FRAN Ra to . VA ma ee, es t fi a A RS - Breakfast in the Patio at the Everglades Club 7 \ Vrs. Howard Bruce Vrs. Esmond O’Brien Miss Florence Crozer 7 Hk SOUTHERN SEASON SUGGESTS THE SUMMER WARDROBE I flernoon shopping along the Lake Trail

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LR tor APRIL 1924 Buffet luncheon at the Gulf Stream Golf Club Mrs. J. Theus Munds Mrs. Ee. Clarence Jones Mrs. Julian Gerard IN THE EVENING BY THE MOONLIGHT [IN THE SPANISH PATIO Tea in the garden at the Everglades Club.

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76 wr Ay HARPER’S BAZAR “ oT » « & . > 3 . é wa DEMEYZR. | = Poiret has given this wrap of black and silver brocade his usual dra- matic quality. Its sweep- ing brocaded folds are lined with jade green satin, and it has a deep collar and cuffs of white ermine. Hat from Alex. A Redfern gown of soft black paillettes shades into gray on the bodice, so that it blends from glittering black to gray. With this gown the Com- tesse de Segonzac carries a large gray crépe hand- kerchief instead of a fan.

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jor APRIL 1924 77 j | Ula Viv? BARON DE MEYER ATTENDS THE OPENINGS And Also Gives a Lecture on the Season's Modes > 18 rue Vaneau, Paris. My dear Editor: F COURSE, you expect my letter for the April issue to be full of the 1924 spring fashions, those just out and being shown in Paris. I am very busy making a round of the various dressmaking establishments so as to form an opinion. Little escapes me, rest assured! One collection a day, however, is all I can manage, for to keep it receptive one must not overcrowd one’s brain. There are no startling innovations, for the days of radical change are no more. Just perfect lines perfected. Some small improvements here and there, a few personal interpretations and—but no, these lines are not supposed to convey my im- pressions; they are solely meant to convey a sug- gestion, and this is it. I have cards out for a very special party at my house. There will be a stage and possibly a movie Screen, mannequins, and—don’t get a shock—I shall talk! Subject—* Fashions for 1924, and the new collections.” It will just be my own very humble appreciation. I've allowed myself to be persuaded, and it is too late now to recall the invitations. If only the fateful date were passed! A number of charming women, unwilling to at- tend the tiring exhibitions of clothes, have said to me, ‘“‘ Why should we undergo so much fatigue when you can tell us all about it? We trust your taste, Giving Definite Characteristics of Each House Baron de Meyer,” and so on. Could T help myself? Can any one say a definite and final no when beauty pleads? So, how would it strike you, dear Editor, if instead of writing an article on spring fashions, I sent you my entire lecture? It would be taken down in shorthand, by a friend who has promised to do this very carefully. I should be saved much time and trouble, for anyway it would be nothing but a repetition. Just cable me O.K., and T promise you shall have my entire lecture as delivered in Paris at the rue Vaneau, in plenty of time to go to press. Very cordially yours, G. A. de Meyer. (The cable was sent and we have much pleasure in giving you Baron de Meyer’s entire lecture as it was transmiited to us by cable from Paris. ) BARON DE MEYER’S LECTURE Mesdames, Messieurs: Y THE courtesy of the great masters de la couture | am in a position to tell you to-night in one short hour what [ have seen in the various establishments, or rather, to convey the impression the spring collections for 1924 have made on me Later in the evening a bevy of lovely mannequins will pass before your dazzled eyes. Two or three young women from each of the houses I have visited will appear, in their most successful models, and those unable to attend in person will nevertheless pass before you, but ‘‘on the screen,” especially photographed by me for the occasion. It is too early to deliver a precise dictum as to what really will be smart, for Paris has, so far, not made up its mind. In a month’s time, however, after March on the Céte d’Azur, we shall know what has been approved of, and what is smart. Formerly the proverbial * spring bonnet” was never bought before Easter. in December and ended on March first, when a rush to Paris to do one’s shopping was de rigueur. Now the spring fashions come first; the Riviera, after. February openings are in a way respon- sible for the change, for would any one of you consent to appear at Cannes and Monte Carlo wearing last autumn’s fashions, while you knew new styles were being shown in Paris? So far, there is but one thing certain—there are lovely new models in all the dressmaking houses, but there are no new fashions. Lines are straight, beltless in many cases, more thinning than ever, and to be slender is a necessity. J// faut faire vide in one’s clothes is the keynote of the mode. How to achieve it must be your problem. There is a tendency to shorten skirts, because The Riviera season began

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a HARPER’S BAZAR At walking in long, tight skirts is both dangerous and aving but the waist-line i Waist-line Sleeves are to be short, for the most part, and to have no still, but as no very definite sign of a return to normal to remain long, at all is smarter yet there is Less slavishness to fixed fashions is the keynote of our period, and, especially, of the spring season 1924. One smartness! great factor, of course, remains \lso, individual taste and an intuitive Paris fashions rule the created by a few individuals who shape the mode, sense of selection. world, and their influence lasts five or six years, sometimes longer John Paquin was a The Callot unrivaled, and Madame Lanvin still stands alone for robes de styles. Madeleine Vionnet and Gabrielle Chanel in later years created, the one the fluttering gown of cri pe, Worth was the great ) . 4 Poiret oracle in his day. factor: created a revolution. Sccurs invented a styl the other the modern craze for sports attire and simplicity. Till innovator some comes along to decree an entirely new atmosphere in dress, not merely a change in detail and trimmings, we shall continue to witness lovely clinging lines, which, it seems to me, have never been as pertected as they are now, nor more becoming. THE House OF POIRET M* FIRST impressions were gathered at 4 Poiret’s and at Patou’s; both of these big houses were the first to show their new spring col- lections, both on the same day. As Patou’s pres- entation took the form of an evening’s entertain- ment, it did not interfere with my visit to Poiret The impeccable last a 3 Etoilée.” Poiret, therefore, was the first in the afternoon. house I visited. His collection is brimful of new ideas. They are an inspiration. Some of his more daring models are very beautiful, even though they may require special types to carry them off successfully. How- as this one I am Poiret is a great factor, a necessary one to maintain a balance. IIc vidual atmosphere. ever, IN a season as Conservative grateful to Poiret for the note he strikes. succeeds in giving even to his tailleurs an indi- Directoire or mili- Most of prodigiously and in many models prominent features. His skirts are neither very long nor short, save those, of course, with draped, Some are tire, Chinese or art nouveau in feeling. flare godets are very sweeping trains. Bodices are either plain or and have a tendency to slant toward the right side, and below the hip-line. There is also an attempt to introduce a bunch of material at the back of the bodice; great taffeta ends expanding, ardent desire to bustle. \ the Poiret lection is a constant repetition of the black note, if ; touch, whit loops. with an revive the feature of col- model. Though predominates, there is black with gold and silver, black with colored embroidery, or white and gold with black. only by a in almost every black and instead of marocains, are very popular for tailleurs and after- noon wear. Soft alpacas and moires in all shades, His fantastic imagination has created fabulous golden gowns, Cleopatras and Aidas. A stiff cloth of gold is bell-like below the waist-line, and has violet cabochons about the neck. A great lotus! model made o A sensational evening gown has a long, navy blue of Doucet produce d Nuit It is an ensemble of black crépe with rhinestones and a black velvet cape, lined with silver. trained skirt over a draped bodice of a vivid green, horizontally striped taffeta. There are blue, yellow, and black stripes encircling the figure down to the hip-line. The model is called ‘ Ecos- saise”’ and is worn by a mannequin with a tam-o’- shanter. s¢ arlet, TRE CREATIONS OF PaATot T PATOU’S, the same night, there was a bril- liant gathering. Turning the private view of a new collection into an evening party was inaugu- rated a year or two ago by this same genial and hospitable Mr. Patou. A lead which any number of houses since have followed. Supper tables for six were placed in the four great salons. There were ices, lemonades, and sandwiches, as well as a great deal of champagne. The atmosphere was delightful, and a small booklet, laid on each table, contained Mr. characteristically expressed by himsellf. Mr. Patou, himself, was kind enough to point out to me a few gowns he liked best, those he con sidered a step toward a new outline. * Frisotta in brilliant colors for sports wear, is particularly favored by Patou. It is a rough, silken material, almost like serviette eponges. Coats are straight and, in spite of the coming warm weather, adorned “The creation of evening dresses and cloaks is a joy and a recreation,” says the booklet. “It is the reign of Patou’s own views on fashions, as by fur collars, for day and evening wear. fantasy, of color, of dreams, and every audacity 15 permitted,” hence the great beauty of the many evening gowns. They have never been more num- erous and beautiful than in this season’s collection.

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{R tor APRIL 1924 Dinner gowns are developed in Georgette, crepe romain, and mousseline de soie, decorated by ostrich feathers, paradise plumes, or by flowers. They are so delightfully flow as to resemble désia- illés which might be suitable for drawing-room or restaurant. For formal evening gowns, an_ in- describable richness, in the way of embroideries, pervades the models. Their names alone convey opulence and splendor. “Cleopatra,” ‘* Schehere- zade,”’ “Salome,” “Thais,” to name but a few. Almost all these grandes robes have their wraps igned in velvet to harmonize. A lady, seated near me, remarked on the quantity of plain velvet evening wraps of different hues. It was well ob- served, for Mr. Patou in his pamphlet says velvet forms the most iridescent casket for a beautiful woman, just as it does for precious jewels. I shall show you later in the evening four gowns, which are representative of the collection. Firstly, Mr. Patou’s favorite ensemble called ‘ Maharanees,” also “Omphale,” “ Pari Parisienne,” and ‘* We have no Bananas.” CHEz WorRTH Woertus collection emphasizes the long sheath-like silhouette favored by — this house for the last few seasons. Most of the Worth mannequins are “divinely tall’? and very stately. They lend an air of splendor to the most simple models. There are godets, and, of course, there are shaped and even plaited flounces and there are tucks in varied interpretations. Long coats are the same length as dresses, the linings mostly bright and colorful, harmonizing “Crysis” ty another Doucet gown of white crépe Fringe, used in a new way, is with the gowns. again much favored. If in silk, it is knotied, if of feathers, it is used as a border, deep and full, with none of the tluffy appearance which used to make it only suitable for chiffon evening gowns. It now looks neat and tidy, and is used on marocain after- noon Wraps. Checks and plaids are as popular in this house as elsewhere. They are used both for coais and gowns, but not together. For insiance, a brown and red plaid coat, lined with beige, is worn over beige tucked and flounced, while a Scotch plaid printed Georgette crépe gown is combined with a plain marocain coat, with a full ostrich fringe border. A great many day gowns have no sleeves, a fashion which seems to me unpractical and chilly. A gown that I thought new was a long tube-like tunic of navy alpaca, slit on one side up to the waist line, disclosing an underskirt and a cascade of plaits and panels of a lovely mauve crépe. There are two models of apricot chamois leather, one a long coat gown, the other a short coat and skirt to be worn with a white jumper. The evening dresses, for which Worth is renowned all over the world, are particularly suited to tall women. They are dignified, graceful, and sumptu ous, even if on simple lines. They all have long bodices, tight skirts, with panels of different lengths, brilliant ornamentations and have invariably a train scarf which can be wound about the neck. Trains nowadays are scarfs, and scarfs are used for all purposes. They are designed as part of anensemble. Worth’s chiffon evening gowns are very distinc tive. They are draped, bejeweled and decorated by flowers, feathers, long tassels, in fact are magniti- with dazzling embroidery of diamonds. The wrap is of silver, lined with jade green velvet. cent to a degree. A deep rose satin gown of a Chinese shade struck me as particularly successful. It had a deep basque-like flounce of diamante guipure hanging from the low waist-line. I also liked draped gown of dull black satin, entirely lined in scarlet—a beautiful model with a huge red camellia and diamond leaves on the shoulder. CHANEL IS TRUE TO FORM HE house of Chanel always calls forth my admiration. I am told that I am_ partial. It may be, for I respect the untiring energy of its presiding genius, of this frail little lady who alone and unassisted manages her establishment and creates an entire collection with her own two hands. Her worst critics do not question her unfailing taste or her far-reaching influence in the domain of fashion. She deserves, yes, she deserves what she has achieved—success. Her collection, in her own inimitable style, is again excellent. Nothing at first strikes one as very new till later in the season one realizes that quite a few of the novelties noticed about have been originated at Chanel’s. There is no change of line, of waist, or of skirt length. Sports clothes are serviceable, tailleurs neat and trim, and evening gowns attractive. Of new ma- terials used there is principally alpaca, which Mr. Bianchini tells me is now called “Irana.”’ There is “Crepella,” a woolly crépe, there are cashmeres and various poplins. | Mademoiselle Chanel’s favorite color schemes this year seem to be brown and green, black and red, and black and jade. A quantity of models are shown in all black. Continued on page 170)

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80 A NEW A VERY HEN the epidemic of the Deauville scarf died out, this new and dignified scarf made its appearance. different manner from the handkerchief scarf tied in a careless knot almost anywhere that one could tie a knot or wear a handkerchief. The new scarf is not so much an accessory as an integral part of one’s costume. It is a scarf worn in a very It is worn to supply color and line to costumes that are simple in line and all of one color. This scarf is rectangular and is worn folded and hanging in perfectly straight lines from neck to just VERSION OF THE DEFINITE RODIER PART IN below the knees. Sometimes the scarf is wrapped about the throat with the ends crossed in back and hanging straight down in front. It is a gallant mode, one that gives every woman a definite distinction, a certain dignified grace. Perhaps this scarf is at its best with the tailored suit; it then has most meaning as part of the cos- tume. It adds color ard pattern to the severity of the tailored lines, is a vivid contrast to the somber fabric of the suit. Above are shown a group of the newest Rodier scarfs. The black ones are vividly printed so that SCARF THE HARPER’S BAZAR PLAYS MODE their play of pattern is unusually gay. The French woman wears them with beltless kasha cloth in high colors. The other scarfs shown are in remarkable com- binations of color; blue and green in the same value so that the color “slips” from one motif to another; vivid yellow printed with black and magenta; parrot red with purple, cerise, and blue. They are nearly all printed on an unusually heavy quality of crépe; some are of lighter silk and are less bulky and consequently more practical to wear with the three-piece costume, under the coat.

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for t{PRIL 1924 MADELEINE VIONNET Nickolas Muray THE NEW YORK OPENING OF THE HOUSE OF VIONNET A Portfolio Containing the First Authorized Showing of Vionnet Models Selected from Her Recent Premiere in New York HEN Dangel found- ed the associa tion to protect from copyists the creations of French designers of fashions, and to teach the world of fashion his battle cry “Copier cest voler,’’ he made a long stride forward in the campaign that has been waged for cen turies to protect the creationsof genius in its Louis . ; various forms. There Louis Dangel, Presi- ae oe y i rH] ; ae was atime when dent of the association authors did not have lo protect French fashion creators. the protection of copy- right, when inventors were noi safeguarded by patents, when a man could be deprived of all the benetits of his work without recourse to law. “Paris, capital of the beautiful’’—that is a title that has been earned by centuries of effort. It is not merely an accident that beautifully dressed Women the world over, even in the sequestered harem, even in the outer darkness of distant ( shkosh, look to Paris for their clothes. A nation does not obtain, and for centuries hold, a prestige, such as France enjoys, by accident. It would be gratifying and tremendously profitable to the countries in- volved if New York, London, Berlin, and other Sreat cities could create their own fashions and supply the enormous trade in women’s wear of their respective countries; but no city in this era but Marie Lyons By Paris has ever set the fashion, and not until our present civilization passes, and a new civilization takes its place, will any other city do so. America may, if it chooses, adapt and modify rench fashions; it is more than doubtful if it will ever improve them. France is the woman among the nations, the country which, better than any other, knows how to make itself loved; and, as such, France has the gift of elegance, of charm, of coquetry, of fashion—all that makes a woman beautiful. UT even in France, not every dressmaker can creaie. To be very fair, there are not beyond fifteen creative designers in France—actually not so many. They produce, each one, in the neighborhood of two hundred models twice a year—perhaps four hundred in all. Among these four hundred, about half are duplicates in different colors and fabrics of some other model in the collection. In these two hundred new designs, there are a much smaller number which can be classed as actual new creations. The designers themselves would be the last to claim the bi-annual creation of a great number of new fashions. This is a phase of the matter which many do not understand. The process of evolving a new fashion is gradual and almost imperceptible. It of such minute changes as shortening a skirt one season, lowering a waist-line the next, removing a girdle the third, and so on, until a new silhouette emerges in striking contrast to that of a year ago. An idea is the most difficult thing in the world to safeguard. It is true that imitators, while they can copy a man’s work, can not copy his mind; and so the man of genius always has the advantage over the copyist. Yet, with the increasing simplicity of dress, which is gradually being reduced to the bare consists bones of design, creators are finding it increasingly difficult to find new ideas. Monsieur Dangel saw the growing menace to French genius of the increasing hordes of copyists and in order to decrease this danger he formed the Association for the Protection of Plastic and Applied Arts. In this friendly association are united all those who create beautiful things for women to wear—designers not only of dresses, but of hats, scarfs, shoes, fabrics, jewels, and so forth. It is not their intention to limit the amount of beauty they have to give the world, but to prevent its being debased, misinterpreted, and cheapened. It is their desire to protect the public equally with themselves. French copyists produce debased copies of the beautiful originals and impose them on the American buyer as authentic models from the erandes maisons. It is this sort of imposture that the Association wishes to expose and stamp out. \s far as is possible, the designs of the members of the Association are protected by patents. Great secrecy is enjoined in the workrooms and factories and only accredited buyers, private or otherwise, are permitted to see the finished products. Madame Vionnet, the first of the great French designers to establish herself in New York, has discovered another excellent device for protecting her models from unscrupulous copyists—which will be dis cussed in the following pages. Les Maisons qui ont présidé d la fondation de l’ Association sont: BEER, CHERUIT, DRECOLL, Jenny, JEANNE LaAnvix, Paquin, PorReEt, MApDELEINE ViIoNNET, WortH, BIANCHINI, Roprer, PERUGIA.

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HARPER’ S BAZAR VIONNET ‘an unusual device. ADELEINE VIONNET is the tirst of the great French designers to establish a house in New York. The opening of this branch (in the Hickson building) recently took place simultaneously with the showing of her spring collection in Paris. In every respect the New York premiére was a duplication of the Paris opening, as evidence of Madame Vionnet’s intention to give her New York patrons exactly the same service they have been used to in Paris. Seam for seam, and bead for bead, the two hundred models were identical with those in the Paris collection. Vionnet is a mode in herself. She has certain theories which remain unchanged, which are the basis of the Vionnet mode, and which will probably never change, as she considers them the foundation of beautiful gowning. Some of these theories are uniquely her own, and differentiate her style from that of all other designers. The Vionnet idea may be summed up in these words: Madeleine Vionnet was a fitter before she was a designer. The cut and fit of a gown interest her beyond all other things. Color, fabric, trimming, atmosphere, national influences—all the other elements that go into the making of a mode take second place with her. Above all—line, achieved by cut. And she is a magic cutter. Fancy a designer who can achieve any line, any design or effect you choose, without the aid of a single gather or plait! She says—and literally means it—that she never uses a gather except for ornament. She never uses it for necessity. The effect of a Vionnet gown is, first and last, simplicity; but not a simplicity of naiveté. A Vionnet gown may look like the simplest thing in the world, but examine it; it is intricate in cut, full of the most unexpected seams and darts—a baffling thing. That is why it is so

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for APRIL 1924 83 iS ie tas f ie ' ; impossible lor a copyist to give the true effect of a Vionnet gown. To the eve it is one thing; to the scissors something entirely different. \ Vionnet gown is the nearest approach in fabric to water. It is a wave striking the body; it is water poured over the limbs. It ° ° > rr . ry = . Vionnet favors the bell sleeve flows, ripples, blows, clings. It fits supremely. That is why Madame CHE and the lone skirt. Bein Vionnet was the first to discard the lining of a gown. She did not Georgette crépe, outlined from need it. She didn’t fit her gowns toa foundation; she fitted them to STREET COS rTUME lie tx tet el ia = the body. And they were so perfectly cut that they could not ollar to hem %& a roll P 5 i eae : . ‘ ossibly get out of shape or out of place or do anything but flow over : Gy ie sae of matching sich fives. oe sien AS VIONNET the body in perfect lines. Ja V KUN UN But not all bodies are perfect and not every woman can afford to ied . . _ » Ts ' ac = ic ‘ . a ‘L'a 7TI" Coat-dress of gray-green cloth have a gown fit too perfectly. Vionnet has solved this problem, too. SEES I'l : 4 acs Every woman has certain good points; at these points the gown fits; over a chemise dress of cre pe 4 . ° 4 ; : ; j at the less enviable spots it escapes the body. If a woman has figured in gr eC ai : i ¢ in green, cream, and slender hips and a large bust, the gown is loose above, snug at the blac ae ae i ° B 3 tack. P'ypical Vionnet darts hips. If she has heavy hips but shoulders and arms that are well achieve fulness without gathers. made, the gown fits at the shoulders, has tight sleeves to accentuate the arms. but flows off from the hips. The gown is short if the ankles are delicate, long if they are thick. The sleeves are belled if the wrists are thick, tightly cuffed if they are slender. Every defect is noted and covered; every good point displayed and accented.

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af Re Sey i: et gt al ‘ east *EE4 gs PROM hae HARPER’S BAZAR Gown in two shades of rose, the darker coral tone applied in a bow-knot design to the girdle and long train and outlined in silver thread THE FORMAL MODE AT THE NEW YORK HOUS Ol VIONNET Vionnet made her first great success with her petal frock, than which nothing ever made a woman look more eel-like; and she still loves the type of skirt of which this was the forerunner. She has many dresses in the present collection which hark back to that design. There is a lavender velvet evening gown that is typical. The long bodice fits closely and the skirt, starting from nothing at the waist, where it dovetails neatly into the narrow bodice, flows off into a long, full skirt, with four points at the hem, one on each side, one each in back and front. Sometimes there are only two points, one on each side. Remember there are no gathers. Another device of this master-fitter is that illustrated in the dinner gown on page eighty-five. This dress has a close-fitting bodice cut in one with a skirt, narrow at the hips, full at the hem. How? One piece of material is laid on top of the other. They are cut out in points (see the hem-line). Then the top fabric is slipped a bit on the lower fabric so that the points dovetail into each other, as one hand may be placed over the other, wrists together, so that the ten fingers, slipping by each other, form @ wide fan. This gives a circular flare to the skirt.

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for APRIL 1924 95

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=| ai nc SE SS ee ei ee 4 By miraculous cutting a one-piece gown may have a tight “La religieuse” is a formal afternoon gown in gray and bodice and a full skirt without a vestige of gathering. Red white Georgette crépe. Monastic and cloistral themes Georgette crépe trimmed with royal blue beads and gold thread. are favorites with Vionnet, with her love of simplicity. Vionnet always maintains a certain equilibrium in her designs. If the skirt is full, the sleeve is tight; if the skirt is tight, the bodice is full. This nice balancing gives a feeling of proportioning that carries a sense of harmony. No bulk is permitted anywhere. It is considered clumsy. All unnecessary fulness is cut out—that is, the bulk is cut away and the material seamed and darted, laid in points, squares, or triangles dovetailing into each other. As an example, see the coat-dress on page eighty-three, where a slim bodice and a circular skirt, cut in one piece, are neatly dovetailed into each other in long, slender darts that give the figure extreme slenderness. Sometimes skirt and waist are joined in squares in exactly the manner that the corners of a box dovetail. Vionnet is the Euclid of fashion. She is primarily a geometer. She thinks in geometric designs—in triangles, squares, circles. Probably no one but a Vionnet seamstress could put a Vionnet pattern together. That is why a Vionnet model, for all its seeming simplicity, is so difficult to copy well. Indeed, so exact a science is the cutting and putting together of a Vionnet design, that Madame Vionnet has established a school to train dressmakers how to make her models; and these students are taught, not how to fit a sleeve or make a lining, but they are taught—geometry! Yet when all (Concluded on page 146)

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SO REACH NEW YORK A Lanvin gown is as unmistakable as all histle vy nocturue. Here ad Soft green, pee uliar to Lanvin, is used for a cré pe afternoon gown, with a sash of crushed ras pber) chiffon and embroidery old, “a hite, old POS adj d hla R. The tubul f; ‘ Al otel ss tc} He tubular frock is completely estab - oe P lished. Tailored rOocRS such as this of black cloth or silk, with a se arf lined in royal blue silk to make ; adie ; 7 :] - hd } ! ul commie 1 fault for the HARPER’S BAZAR AST season the few ultra chic women, who are always many months in advance of the public, were wearing the tubular frock; now it is an established mode, for the followers as well as the leaders of fashion. ‘The chemise frock is still worn, but it hasn’t the air of chic carried by the pipe-stem silhouette. It is better to discard the girdle and, if the unbroken line of the tube is impossible, wear the pulled-up skirt, over which the upper part of the dress blouses softly, as shown in the two gowns opposite; but no girdle. The least possible break at the waist-line (which is still on the hips) is the smartest. And, above all, simplicity reduced to the bare bones of design is the invariable law of the woman of fashion.

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THE STRAIGHT SILHOUELTTE BE ¢ STILL S' OMES CTRAIGHTER Models on both pages from FRAN(

ES <LYNE 4 ; 4 i

On this brick-red crépe evening gown the scarf begins atthe hem and is lung around the shoulders, to fall again to the hem.

There is a scarf, but the real point of this dress is its breath-taking color vivid fuchsia crépe over coral crépe

Lanvin can create s/t pai SS Oltl she prefers bouffancy—always long. This gown of flame- ( olore d ( répe has ad de ( Pp horde r of many alternating rows of silver lace and silver ribbon. Not a break in this orchid-col- ored chiffon tube, until one reaches the hem, where there is a riot of large chiffon Howers in the three orchid shades. A bric R-1re ad rose is On rile hip

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88 ‘It iswt fair to take from’ Robert what you don’t deserve,’ said Flagg.” A New Previous Parts: ILAH NORRIS, poor but luxury loving, cold-blooded and selfish, has been left at the death of her father with a handful of rare first editions and an expiring lease on their apart- ment. When confronted with the unpleasant prob lem of earning her own living, her bored interest in Robert Peabody, a young man of a wealthy New York family, is quickened and she brings about a proposal The wedding takes place at the country home of Junius Peabody, Robert's grandfather, in Maine. Lilah is somewhat dismayed, however, at the bleak ness and loneliness of the immense estate. She had hoped to find herself the center of attraction in a fashionable and brilliant society, and is disap pointed and dissatisfied in finding that Robert's life is spent largely with his horses and dogs. THE TIDE Novel of Sophisticated By Mitprepd CRAM Illustrated by Henry Raleigh Knowing that the family possesses a town house in Thirty-eighth Street, which has been closed for years, Lilah persuades Robert to let her open it. His tastes and the tastes of his family are ridiculed, and she immediately sets out to completely change the house, inside and out. In the midst of this, Robert is allowed to come and go without so much as a thought of consulting his wishes. When her house is done and she has met the old friends of her husband’s family, Lilah steps off into New York. She discovers that there are no barriers raised against a pretty, witty, and wealthy woman. For several months Robert follows wherever she leads, from one round of pleasure to another. Then gradually through his distaste for the social life in which she is absorbed, he contrives to excuse himself and stay at home. One night, while attending the opera with a gay party, Lilah meets Putnam Flagg, a young Major New York who has been gassed in the war. Though they say very little to each other, there is a strong mutually acknowledged interest and attraction between them, an attraction so compelling, in fact, that it is her inclination to avoid any encounter with Robert on reaching home. She locks herself in her room and begins to piece together the fragmentary happen- ings of the evening. The meeting had upset her whole philosophy of conduct. It seemed of a sudden vital importance that she should be happy. Almost unconsciously she had asked Flagg to come and see her as soon as possible. The next morning her husband announces that he intends leaving for Maine at once, in answer toa letter from his grandfather. Lilah, considering this an unexpected piece of good fortune, speeds him on and plans to spend the time with Flagg. The next two weeks are as exciting as Lilah could have wished. She and Flagg meet each day 10F for Junch Lilah must but tl divor hersel illness until of fee eyes ' disto! realiz Th soon to his F* t steel in an hallw cable been. skin. cable and « Lilah out 2 butte Lil behir in st Flags Lil from uy enou i smil; paln slow hesi She and mad

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for APRIL 1924 Junch or tea, and spend hours in each other’s society. Lilah realizes that if she lets herself love Flagg, she must face exile in a small western university town— but that is impossible. She would have to wait and divorce Robert. Lilah has not, so far, committed herself. Not appreciating the seriousness of an illness contrac ted during the war, she lures him on until one day he catches her to his heart in a flood of feeling. Then suddenly his face is flushed, his eves open wide with horror, and his features are distorted by pain. He suffers intensely and Lilah realizes What she has done. The attack, however, passes quickly and Flagg is soon able to return home. The next day, contrary to his physician’s advice, Lilah goes to see him. FirtH PART LAGG lived in the West Fifties, not far from the noisy “L”’ track where trains passed like steel comets, clattering, insistent. . An old man in an alpaca jacket admitted Lilah to a narrow hallway and to a slow, dingy elevator operated by a cable. “His face was scarlet; there seemed to have been an explosion of veins beneath the surface of the skin... . Without glancing at Lilah, he let the cable slip through his hands, as if, in his dejection and ennui, there could be no end to this ascent. Lilah thought: ‘How easy, after all.’ He let her out and indicated a door “to the left. Push the button.” Lilah saw the name ‘*‘Flagg.’’ There was a rustle behind the door and it opened sharply. A woman in starched linen said: ‘‘Mrs. Peabody? Major Flagg is waiting. This way, please.” Lilah had expected him to be in bed. But he rose from an armchair and smiled down at her. “You're better?” “Ves... . Now! here.” “T walked.” “Miss Peterson! Mrs. Peabody.” The starched woman, who was, to featureless as an egg, bowed, murmured something, and went out, closing the door. “Don’t be afraid,” Flagg said. ‘‘I won’t keel over again. I'll give you tea presently. But now I want to talk to you. You lovely thing! She can’t hear— there’s a corridor, and then my room, where she’s sitting. Shall I send her away?” You were a long time getting Lilah, as “No. No.’ Lilah shook her head. ‘It’s bad enough—my being here.” He leaned forward and caught her hands, smiling. He drew off her gloves, turned her palms over and kissed them. His gestures were but there was nothing of Robert’s hesitancy about him; his eyes flew over her. She felt again that penetrating delight in him, and because he did not expect pity, her pity made her tremble; there was a maternal, a slow, An odd query filled Lilah’s dazed brain. “How i'n the world did the Prince of Wales manage to sur- wie fourteen falls?” brooding pain in her heart. Without speaking, she went back to her eager search for the things she loved, enumerated them—the line of his cheek, the peculiar, sharp modeling of his lips, his lids, a way his hair had of growing, like a sort of fur, short, thick, lusterless—she wanted to stroke it, but she didn’t. OMEHOW, he was still a stranger whose presence excited and embarrassed her. She wondered if any one had ever known him; whether she would ever know him. Robert was like a plant that recoils at the touch of a prying finger. But Flagg was like an animal; he had the grace, the aloofness of an animal, the eyes of an animal. She was almost afraid to touch him. His absorption flattered her, as if a creature of the woods had strayed close to rub against her and purr—a big cat. Without stirring, she let him kiss her fingers, one after the other. And she felt again that sense of a moment prolonged, suspended, until she lost reality. Her glance went beyond him to the room. She had never thought of him as living anywhere. A shabby, slovenly room. Rows of white shelves were weighted with books. graphs. Only a small bronze of a woman and a jar filled with pipes. ‘ “This isn’t my place,” he said, glancing up quick- ly. ‘It belongs to a man I knew in France, who's broke. He loves books, and I've had a feast. ‘i His eyes deepened and there came into them that look of a satyr, mischievous and sensual. She wanted to kiss him, but she held herself away. Something told her that there would be no going back after to-day; he would not grant her a reprieve. “I’m sorry,’’ he began, “for what I said yester- day. In time, you'll love, love—not the idea, but the thing itself. That’s what I’m waiting for. When it comes to you, so that you understand it—its beauty and its penalty—you will lose yourself. And then you will be exquisite.” “T love you,” she insisted, “now.” He shook his head. He relinquished her hands and, crossing the room filled and lighted a pipe. Then he asked abruptly: “What are you going to tell your husband?” “T don’t know.”’ Catching her breath, she evaded him: “Must I tell him anything?” Ife did not answer. His expression was mocking. There were no photo- 89 And angrily Lilah cried: “It isn’t easy! For you, yes! But for me—to break with a man who loves me and who doesn’t suspect—” “Oh! He loves you. I didn’t know that. I had hoped that he didn’t. Are you sure he does?” “Of course! It will kill him. He trusts me.” “You haven't betrayed him!” Flagg reminded her sharply. “What do you mean?”’ “Love is never a betrayal. It’s the truth! I am convinced that it is a sin to deny love, under any circumstances, for any reason—to live with one man and love another is unmoral, ugly, inex- cusable. To live with one woman and love another is to betray them both. I am not arguing on the side of promiscuousness. But there is, after all, a definite standard. A responsibility—to the emotion itself. There’s your obligation! Only, the world won't recognize it. You've got to be sure dead certain—that what you feel justifies what you do.” “You're putting it up to me, then?” H" CAME over and kneeled beside her. He was asking something. His body pressed against her knees. His hands were supplicating. lor the first time he was humble, but more than ever insistent; life itself, demanding that she say yes or no, that she take or leave, give or refuse. In spite of herself, she touched his hair, and with a terrifying sense of being lost, slipped forward into his arms. “T’'ll tell him, simply, that I love you.” “When?” She struggled back, away from him again. But I‘lagg remained on his knees, no longer a suppliant; stubbornly, he repeated: ‘*When?” “When he comes back—next week.” She added, with a flash of disdain: ‘*You might at least be sorry for him!’’ She put out her hand quickly and caught his. “I didn’t mean that! I hurt everybody. Don’t let me hurt you!” Flagg laughed. ‘I don’t let myself be hurt.” What he thought was: “If she cares for me, I can hurt her—that’s my weapon, and she knows it.” He got up and went to the window, stood there, smoking, his back turned. He waited with admirable restraint for Lilah to speak again. Behind him, she was absolutely silent. The sun had gone. The room was fad- ing into the gray shadows of late afternoon, retreating, dimming, like a blurred photo- graph. Flagg kept his eyes on the street; his senses were aware of her; he had no comfort in her presence, but he wanted her there. Suddenly, she was close to him, soft, propi- tiating. She put her arms around him, pressed her face against his back and they stood, in silence, for a long time. Flagg no longer saw the city; that (Continued on page 114)

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90 SS Counts Only the Smartest Champions £ Ain ae —— Ae adil yee | ; ! WO PLEASE vou, this is a fashion matter. Jusi as much a fashion matter as if we were dis KY cussing the rise and fall of skirt levels. Dogs, ’ like sleeves, are subject to the whims of fashion and t to the whims that make fashion Should you doubt, then harken to my saga of the little frontier settlement where I found myself last summer where man is intermingled with Indian and dog is intermingled with coyote. On every street corner I saw an \iredale—at least a kind of an .\iredale about as much of an Airedale as is the Fourteenth Street copy like the original Callot model. Every other “model” of dog had disappeared from that sector of the Canadian border Inquiry brought forth the frontier scandal that ten years ago a Champion had passed that way and in transit had left his indelible mark on the litters of the local Great Open Spaces. Because the \iredale is such a healthy stock, yp of its blood drowns out the other strains, \nd that’s why the breed whicl igorous, dominant ten short years THE bf y Icocessory 7) the OMART Fashion Among His Immedtate ago, Was the last word in smartness, holds to-day just about the fashion status of a Buick touring car a good family dog who knows how to get along with the cook and the delivery boy, and whose up- keep is low in distemper serums and police records. \ fashion can only stay exclusive when its draperies and lines are too subtle to admit of the Fourteenth Street copy ists. Just such an exclusive “style” is the chow or the Pekingese. These “makes” are snobbish, ethnologi- cally and socially. They can’t be copied by the proletariat, nor yet can they be spoken to by the bourgeoisie. "TTHOSE boisterous frontier neo-.\iredales last one of them every established familiar glad-paw relations with me without introductions. But—I ask you did you ever try to speak to somebody The dirty look awarded you by the sable-clad owner is only approached by the cool dirty look given you by the stately dog whose dig- else’s chow? DOG of the Moment For bears HARPER’ S BAZAR nity you have affronted. The present fashion d mands exactly such an exclusive one-man dog, snubs all intruders on his privacy—a luxury no practical in middle-income establishments, where a dog’s social duties include getting along with the cook. In the Occident, snobbishness is in its in fancy. That’s why dog fashions have had to turn to the Orient. This information comes from no less an authori than Mrs. David Wagstaff, president of th Tuxedo Kennel Club—herself a famous breeder o! chows and of Pekinge For centuries, she ex plains, the aristocratic pedigrees of these two breeds stretch back, until slowly, surely, inevitably, all the democratic, doggy gregariousness has been strained out of their systems. “So T never try to pick a house dog,” smiles Mrs. Wagstaff. “I bring three or four puppies from the kennels into the house, and then I keep the one o! them that selects me to love. That is my dog, wh will thenceforth hold all the rest of the world at a —EEE

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eo eee (PRIL 924 i or Mrs. William Randolph Hearst md her famous Kerry Blue terriers. distance. That is why the general public, outside, does not begin to understand the fascination of these two breeds. The public imagines that the chow is dull, and the Peke a poodle sort of baby dog, whose dignity would put up with a Dora Copperfield line of baby talk and @ name like Fifi. That idea’s wide the mark. sh HE chow is preeminently a thinking dog. He reminds me of the serene Chinese philoso- pher, contemplative behind his Buddhist calm. For centuries the chow has been the dog of the monasteries, bred within the walls by the monks, into their own spiritual image. That this image should be bred true, all but the fittest have been eliminated, stoically, from the breed. In the monastery wall there was a little window. Through this window every puppy who lacked perfection was put out into the world, to run out his life on the streets of Canton—to intermingle his blood Mrs. Charles ’. Pond and her exotte little Pekingese. Bayard Warren’s Sealyham terrier is the champion dog of the vear. Mrs. Charles H. Hopper and her chow ready for a day with the horses. much less her dogs. Can you imagine that proud old Empress Dowager talking Chinese baby talk to her famous sleeve Pekingese! When sentimen- tality fell into disuse in the social world, poodles had to migrate to the apartment houses of Wash- ington Heights. I don’t want a cuddly dog. I want a chow with stamina to run after my horses all day, or a brave little Peke who will protect my house against burglars.” \ ITH this inside tip one can better under- stand the fluctuations in dog taste that have placed so many of fashion’s favorites in the discard. Deep under the rippling surface of fashion’s vagrant whims flow the steady consistent waters of sociological causes. No matter what the mode decreed, not all the Paris mandates or shoe-horns could put the American sportswoman back into tight corsets. So, too, each generation will pay tribute to (and for) the dog that fits into its sporting life. The once with the common blood of the streets, until the identity of his breed was absorbed and lost by another generation. ‘By that same ancient postern window the chows entered Eng land. The English sportsmen of the late nineteenth century used ty stand outside and pick up the pure bred discards. Sometimes there was even an old monk who could be approached and bribed to put out a perfect puppy. “As for the haughty little Pekingese, they have been the palace dogs of China for more than seven centuries—all un- known to the lands of the West, until the looting of the Summer Palace in Peking let through the four historic ‘lion-dogs’ that were sent to Queen Victoria. Till then we of the Occident had believed the lion dogs of the ancient potteries and jade carv- ings and teakwood chair legs really lions, instead of miniature dogs. Now we know that, before the Ming period dawned, the Pekingese had been reduced into a convenient house size, without losing one drop of his vigorous lighting dog blood. “T have seen one of my Pekes attack a St. Bernard. Another little firebrand took on two chows. That’s the kind of Swank the modern woman of fashion wants. She does not pet and cuddle her babies any more A fashion forecast of the season is the Springer spaniel, recently developed in the shooting lodges of British nobility. proud Dalmatian, who ran under our carriages, could not be brought back into style out of yesterday’s seven thousand years no matter who became his sponsor. Nor will the moving finger again write the brown-stone front era and the pugs that were the fashion when a perfect lady took her sport by victoria up Madison Avenue and fed her dogs and her ponies lumps of sugar. To-day not half a dozen pugs are left on the files of the Westminster Kennel Club. “They were a Chinese dog, too,’ comments Mrs. Wagstaff, “but their orientalism was not profound. They are a bit like the American conception of Chinese art in the ’seventies, garnered from the curios brought back by missionaries. The lack in the pug’s character, though, that has retired him from fashion, goes deeper. In dwarfing him, the bold watch-dog instinct of his ancestor, the mastiff, was lost somewhere along the road. That places him irretrievably in the nineteenth century.” For all that, one of the New York dog dealers is getting a shipment of pugs from China, to _ launch on the waves of the Mah Jong fad. One wonders how that useless little dog will go this century. (Concluded on page 162)

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“Only twice did he raise his eyes from his plate and seem for an instant aware that he was not alone.” to be A Delicate Colony of NTIL I received her note, asking me to come to lunch to meet the great Master, I had never realized that Mrs. Doremus was intensely musical. I will go further than that. I had never realized that she was musical at all. \ charming woman! A delightful woman, with plenty to talk about, hospitable to a degree, sociable, friendly, full of good taste in the matter of house decoration, furniture, silver, a connoisseur in cook- Plenty of books lying about in her African house; plenty of newspapers! Although she had lived almost perpetually in that African colony of the French ever since the death of her husband, she still took in Punch and read the Times, or seemed to, every day. Literary and political, but never boringly either—yes! ing—yes! delicious ND then—what a gardener! She really had a 4 kind of genius for gardening, and, although she kept sixteen Arab gardeners, always looked into everything herself. That idea of lining both sides of the long drive which led to the Villa Karibi with double rows of arum lilies had been entirely hers. I had her own word for that. \nd it was she who, untold years ago, had had the inspiration to sow grass thickly in front of the white entrance of the old Arab house, and to dot fat palm trees about on that radiant lawn. The thrill it gave you on arrival, the sensation of Eastern opulence! And the Arab court with the papyrus and the fountains, and the enormous beds—fields almost they were—of carnations, and the pond with the island in it containing one gigantic coco palm, and the arbor covered up with bougain- villea, and the tea house framed by the vivid scarlet of salvia and double geraniums, and the hibiscus bushes, and the rose trees from Damz.scus, and the syringa, and that little bower smothered in—wasn't it really honeysuckle?—and the purple violet seas in spring! Oh, as a gardener she was without a rival. But I had never suspected her of being musical. TUE Satire of Northern By Ropertr HIcuens 1) , od bw Eorver Illustrated oY Everett And now the revelation was before my eyes; now she had let me into her secret. “Music, as you know, has always been my greatest joy and consolation.” Odd how one can seem to know a woman for years and not really know her. The greatest joy and consolation of Mrs. Doremus had been hidden from me for all these years and I had never suspected it. Of course I didn’t live in the colony. I only came there occasionally from Europe. Still I must have paid at least fifteen visits there since she had settled down at the Villa Karibi, and I had been in and out of her house a great deal, and had had many long, and—as I had thought—intimate conversa- tions with my hostess. And yet, I couldn’t recall that music had ever been mentioned between us. Her greatest consolation! Perhaps the subject had been too sacred to be touched on. Perhaps music had always meant so much to her that she simply dared not speak about it ir ordinary conversation. But then how about that ‘tas you know?” That seemed to imply a willingness on her part that I should understand and sympathize with this hidden source of intense artistic satisfac- tion. And really her little note was frankness itself. Villa Karibi, February 25, 19— Dear Friend: Music, as you know, has always been my greatest joy and consolation. Imagine, therefore, if you can, my delight on hearing from dear Monsieur de Morisot that the great Master, Saint Sauveur, who is passing a few days at the Hotel des Gazelles on his way to the Baths of Hammam Ziloutine, would be pleased to lunch with me next Thursday, the twenty-eighth, at 12:30, and has no objection to meeting a few of the choicer spirits of hereabouts. \s I know your delight in good music, I think it might please you to meet the great man, who is the glory of France and the doyen of the musical world. If you can come, please be punctual, as Monsieur de Morisot tells me the Master’s digestion does not PIANO Pretense Africa HARPER’S BAZAR in a admit of his sitting down to table later than 12:30 to the minute. I am therefore begging everybody to be here at twenty minutes past twelve. With cordial regards, Yours always sincerely, Henrietta Doremus (née Stackpole). S SHE knew my delight in good music! As I knew that music had always been her greatest joy and consolation! My memory, I felt, must be treacherous. She and I must have discussed the greatest of the arts together, at some time, some- where. But when, where? I gave it up. But I wrote an immediate acceptance. Saint Sauveur was a world-famous man, noted as a great pianist, a great organist, a great composer, a wit, a cuuseur, a raconteur, the Admirable Crichton among musicians. There was nothing he couldn't do, and practically nothing he hadn’t done. His opera, ‘‘ Hercules in the Augean Stables,”’ had been given all over the world. His pianoforte Concerto in D Minor had been played by every pianist of note for the last five and forty years. Many of his songs—‘‘Clair de Lune,” for instance, ‘‘ Minuit,” “Dans le Désert,” ‘‘La Fille du Soleil’’—were familiar to every prima donna and to every culti- vated schoolgirl. His string music was as remark- able as his magnificent orchestral poems, su h as “Eve at the Gates of Paradise,’ and “ Pharaoh’s Daughter on the Nile.’ And his imitations of Bach were so perfect that they had taken in the most accomplished professors. He could write like any composer past or present. And, in addition, he could write like himself, and that was best of all. He was now, of course, very old. Indeed, he was said to be well over eighty. But his industry was still unabated. He still composed. He still wrote poems. He still played the piano and improvised marvelously on the organ. He still traveled in Africa. And he was still the honored friend of dear Monsieur de Morisot, seventeen times Préfet of the beautiful city that lies by the Mediterranean.

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** Monsieur Saint Sauveur came absolutely and definitely to life. No wonder Mrs. Doremus was pleased to have the chance of entertaining him. No won- der I wished that I hadn’t come to Africa this time leaving my frock coat reposing among moth balls in London. For I was sure—some instinct told it to me—that Monsieur Saint Sauveur would turn up on February the twenty-eighth in a frock coat, and not merely in a frock coat, but one that Was braided. And what sort of figure should I cut im my neat dark jacket suit beside him? However, that couldn’t be helped. A ready-made African frock coat, such as I could buy in the town, was out of the question. And possibly my instinct was wrong, possibly the Master was negligent in matters of dress. Oddly enough I had never set eyes on him, though of course his name had been familiar to me from the cradle. But I imagined him as very precise, immaculate, More like a polished diplomat than a’ Bohemian Musician. There was something in his music—I don’t know! One gets ideas about great men and doesn't know why they come. My idea of the Master lunching at the house of Mrs. Doremus was this: a polished old man, perfectly dressed in severe and conventional style, with beautiful hands, the smile of a diplomat, the silver tongue of a practised orator, and the brilliant eyes of a charmeur. And the frock coat would be braided. T WAS pleasant to be numbered by Mrs. Dore- mus among “a few of the choicer spirits of hereabouts,’’ and I confess to having felt quite unusually choice on the morning of February twenty-cighth as I fastened my tie before the mirror in my charming room at the Hotel St. James, and placed a small, but exquisite, William of Orange rosebud in the left lapel of my dark jacket. From my hotel with me were going two other choice spirits, both of the female sex, Lady Ermyntrude Raineborough and Lady Carré, with the accent on the last syllable. And we set out to stroll to the villa exactly as the clocks struck the hour of noon. ‘Where is the music room?’ he asked.” Lady Ermyntrude was one of those astounding old women who are only bred in America and England. At the age of seventy-eight she could see without glasses, walk without a stick, sit in a fireless room with windows open in all weathers, play bridge till midnight, be up in the morning to an early breakfast, do intricate embroidery, eat everything when she lunched or dined out, and sleep eight hours at a stretch without being sur- prised at it. She was a widow, like Mrs. Doremus, and wore mushroom hats specially made for her in Paris. Lady Carré was not a widow, but she didn’t bother very much about her husband, who was Earl of Carré and a director of companies in London. She was fifty-four, immensely vital and interested in everything, a great traveler, gray-haired, good tempered, eager to please, still more eager to have people please her, fond of company and celebrities, greedy for humor, kind of heart. She had a brisk way of throwing a joke at you, and then suddenly leaning forward and sideways, (Continued on page I 32

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94 HARPER’S New York has recent/y discovered that ** Antony and Cleopaira” is a better play than * fhie’s Irish Rose.” It is Rollo Peters’ pleasant duty to play Antony to Jane Cowl’s Cleopatra, as vou undoubtedly have noticed in the above photograph. IF 7] hat, EING in a thoughtful mood some time ago, I wondered to what extent civilization would be impaired in case the actors should refuse to act. If their present controversy with the pro ducing managers should result in a determination to play no more, what, I reflected, would be the con- sequences to life, not only in New York City, but elsewhere. How would we get along, if at all, with out instruction in good and evil from the theaters? ‘**Supposing,”’ said I to myself in the rhetorical vernacular, ‘supposing I had not attended ‘The Fool’ or ‘Saint Joan,’ would I be as worthy or as wise a man as now I am?”’ How ignorant might I be of every-day existence in the South Sea archi pelagoes if I had not seen ‘“‘ Rain”? ? What has ‘‘ The Swan” taught me of the habits of European royalty, ind how much have I learned from “ Abie’s Irish about the natural affection of the cosmic Jew for the cosmic Catholic? Am I, or am I not, better off for having sat through ‘‘ The Lullaby” and “The Nervous Wreck”—the one illustrating the tragic discomforts of mother-love, the other glorify ing the practises of hypochondria? Rose” F I were a composer of austere sonatas, would | be deterred by a performance of “Beggar on Horseback” from marrying an heiress who was beneath me in art, but my superior financially? What, in short, would I be like if I had not gone to the theater, as I have, nearly every day for twenty years? Would I know as much about sin and virtue, crime and atonement, the purple mists of romance, geography, economics, obstetrics, elocu- tion, and gestures? Channing Pollock, author of “The Fool,” agrees vith Aristotle and others that the drama, or at least ACTORS SHOULD of the Drama, Would We Most Percy HamMmMonpo By his drama, is an engine of improvement. ‘The Fool,’ he has found, has succored many faltering souls by its vivid lighthousing. Sinners have been guided to shore by its flambeaus, and it is one of the heroes of the drama, in the opinion of the clergy and the woman’s clubs. One day, however, its godly protagonist, the actor of its principal réle, was ar rested in Pasadena for ill-deportment witha lady inan automobile, and he was sued, thereafter, for divorce. “ \ HY,” said I to Mr. Pollock, ‘‘does not your 'Y play influence the man who is closest to it, Why is he not purified as I contact with its noble to be well-behaved? and others have been by characteristics? ”’ Mr. Pollock “*QOthello’ teaches us something; yet no actor of the Moor has ever been known to suffocate his wife."” Which naive observa tion may or may not explain how much influence the theater has on human conduct. In the event that the actors revolt and there should be no further drama, the dramatic critics will suffer most acutely. Night after night they learn from the theater that the wages of sin is annoyance. Though, like other men, they are sometimes tempted to misdemeanor, they are en- abled to side-step the pitfalls through daily advice from the plays. Greed, insobriety, sex, and murder beckon them in vain, for they are warned continu ally by the drama that one must be good in order to have a happy ending. Fortified by their constant propinquity to the helpful laws, they prefer their comfortable haloes to the ruddy bandeaus of bad behavior. What will become of them if they are bereft of their instructor? Perhaps they will have to take up going to church. replied: REVOLT Miss? The managers, too, and the tirst-nighters may find it difficult to be so noble and intelligent should the actors’ strike deprive them of virtuous stimulant. The Selwyns, Sam H. Harris, William A. Brady, A. H. Woods, the Shuberts, and Mr. Erlanger hav« had their characters formed by many years’ associa- tion with the drama. Can they continue to be so sweet and so excellent without the aid of it? The ticket-brokers, having learned the advantages of benevolence and self-sacrifice from the nicer plays, may backslide into customs of thriftiness if not of illiberality. The outlook, as Dr. Johnson might say, is one of *‘inspissated gloom.”’ Though convinced of the serious drama’s power as an instrument of public welfare, may we not feel that its threatened passing is less a menace than is that of musical comedy? I have gone home, eventually, from such art works as Pirandello’s ‘The Living Mask’ and Strindberg’s ‘The Spook Sonata’ suspecting that I had been improved. “The Miracle” has filled my eyes with the helpful fumes of religious myth and spectacle: and ‘The Seventh Heaven,” ‘The Other Rose,” and “The Song and Dance Man” have strengthened me in a belief that nothing can be so bad as it But I go away from the musical come- dies all alight with melodies, hips, ankles, jokes and wholesome sentimentality. What shall I do when the actors’ strike causes them to turn up their pretty toes and be silent under the asphodels? Broadway seems to be N THE Broadway operettas we get, do we not, very close to the twilight borderland of old Romance, rouged a little with the modern pigments. I am thrilled by every birdcall of a tenor to its soprano mate. [I shriek (Concluded on page 138) BAZAR

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1924 for APRIL FLORENCE Nickol Mura KENDALL LEE FOUR CLEOPATRAS OF THE CABARET | WHO MAKE BROADWAY WHAT IT IS | —__ pee } LEONORA HUGHES TO-DAY

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HARPER’S BAZAR UN CONTE OUI! par des fils de perles 4 son bras. Elle n’avait qu’a toucher ses cheveux pour que les sons de la lyre mystérieuse se répandent et se mélent ave le chant de Voiseau de réve. Les sons de la lyre et les sons de la voix de L Y AVAIT autrefois une Princesse, qui était belle comme le soleil couchant. Elle vouliit que tout resplendisse autour d’elle, que tout chante autour d’elle et qu'une musique angélique se répande a Et le sort avait transformé ses cheveux l’oiseau s’embrouillaient dans les arabesques d’une mélodie délicicuse. ‘ Le vieux livre, qui ce conte contient est oublié dans la biblioteque; } re, enfermé comme dans une cage dans une toile chacun de ses mouvements en fils d’or brillants et les méches de ses cheveux formérent les cordes est couvert de pous d'une lyre précieuse, qui orna sa téte mieux qu’une couronne. Un oiseau merveilleux, un oisevu de réve fut mis 4 son service; elle le tenait attaché —d’araignée et une grosse araignée le garde jalousement.

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APRIL 1924 > ; for ee “ ‘ . . Black cri pe romain is cut at the watst- line and twisted into a network to show goldfish embroidered on jade-green crépe. ERTE TALKS ABOUT Overlooking — the Seine to Mont- martre, with its white spires show- ing in the distance. SYMBOLISM Also About the Shockingly Bad Taste that Allows Fashionable Painters and Their Clients to go Slumming at Montparnasse N a recent Sunday I took a trip to the Paris suburbs in order to see the effects of the floods; I wished to draw inspiration from the disaster for a picture which it is my intention to paint for my next exhibition—the antipathy between the luxurious life of a great city and the cruelties of Nature. . . . In order to create a symbolic work it is always necessary to study the reality, for the reality is often more powerful than the imagination; it provides us with striking examples of beauty, of ugliness, of crime, and of goodness. I seek ideas in realistic Nature, I strip her of her vulgar garments and cover her with the transparent veil of my imagination. It is thus that all my symbolic works are born. : In the flooded streets of Charenton and Alfortville I sawa crowd of sightseers; the same crowd of Sunday holiday-makers who, in summer, cover the beautiful grass spaces of the Bois de Boulogne with empty bottles, old newspapers, and empty tins. They had come in crowds into these little towns devastated by the water and had transformed the flooded streets into nautical promenades. In the little boats, which in the morning had served to carry provisions to the unhappy people shut up in their houses, the Sunday holiday crowd made pleasure trips, and _ these “*street-canals,”’ in which floated the débris of ruined households, rang loud with their careless laughter. . . The misfortunes of one, the pleasure of others. On the one hand, the Sunday crowd, with smil- ing lips and an expression of satisfaction in their eyes—on the other hand, the unfortunate inhabi- tants, with an expression of fear and uncertainty on their faces. One read in the eyes of these latter, “If it (the Seine) rises another four inches to- morrow, our apartments will be flooded.” T NEEDED a great painter, a real ** photographer of life,” to record on canvas or on paper these two so different types of the human species, this flagrant contradiction between carelessness and anxiety.’ A painter of this type has just died, Paul Renouard. With his pencil and his pen, he had, during his long life, recorded more examples of human life than any photographer. Steinlen, who recently died also, was of the same type, but he was more perfect in his understanding of the soul of life. This is what Anatole France has said of him: ‘‘A sensibility, at once subtle, quick, and attentive, an infallible memory of eye, and rapid means of expression destined Steinlen to become a designer and the painter of every-day life, the master-artist of the street. The soul of the crowd, irritated or joyous, has entered into him. He has felt its terrible simplicity and its grandeur.” And this painter, who discovered with ease the beauty which exists in life, ugly only in appearance, who embellished this life with his talent, passed his long earthly existence in very difficult circum- stances. Some days after the burial of this great artist, of this great friend of the poor and the worker, a great event in the artistic world of Paris took place. A fashionable painter gave a great reception; all his pictures, with their living models beside them, were to be cinematographed. For this occasion the studios of the painter were filled with a crowd of people of that Parisian world who are attracted by every eccentricity. After this performance, which I dare not call artistic, the crowd went off to Mont- parnasse to finish the evening. I MUST explain to you what Montparnasse stands for in Parisian life. Montmartre is already stale fare, it is too much known; one sees there the same establishments and the same amusements as in the cabarets and the restaurants of the Champs Elysées, or the streets close to the ‘‘Grands Boulevards”’; but one sees there only people of means. At Mont- parnasse it is more exciting, for one meets there with poverty and even with misery. And all Paris, as wellas the fashionable artists, goes there at present, to dance and drink champagne and rub shoulders with poor creatures who, in all probability, are suffering the pangs of hunger. It is refined sadism, cruelty such as is to be found only among men. The brute beasts would be incapable of such wicked- ness. On the quays of the Port of Marseilles, I have often seen hungry rats seeking food on the rubbish heaps, and by their sides cats who look on in tran- quillity and let them do as they please. But in the cabarets of Montparnasse I see quite a different spectacle. I see women, covered with pearls and diamonds, dressed like rare birds; men in fur coats hiding their evening dress; they direct their steps toward the saloons on the first floor, where they dance and drink; they pass through the lower rooms, where the poor denizens of the quarter are grouped around the stoves; they cast anxious and sadic looks upon this crowd; they hastily turn up the collars of their fur coats, and as hastily

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into points and attached by coral A gold-embroide red blac mount the stairs which lead to the light and the dancing hall. lhus Paris seeks ever for “‘exciting’’ distractions. Formerly, after having passed the night in the cabarets of Montmartre, the merrymakers used to vend their way to the Central Markets, where the werkers’ day had already commenced, and then continue their revels in the bars which surround the markets. At the moment, this pastime is considered rather vulgar, and one goes to Montparnasse, where the poverty is more stark. One sees there poor stu- dents, young artists, and the poor models of poor painters, who congregate in the heated rooms of the drinking saloons to find shelter from the cold of the streets and spend but a few cents for their drinks. \ new Steinlen is truly needed to expose this fright ful ugliness with his powerful brush. What is there more revolting than this voluntary contrasting of luxury and misery? HE fashionable painters, amusing themselves in the cabarets of Montparnasse, are capable of giv- ing lessons to the young painters thawing themselves around the stoves; they could teach them how to become popular in Paris. Happily, these latter would not listen to them and the greater number of them would not exchange the beauty of their own misery for the ugliness of the ephemeral glory of others. The women who frequent these saloons are always the same; they call themselves ‘artistes’? because they dance without knowing how to dance, because they recite without knowing how to recite, and because they take stupefying drugs. There exists, at Fontainebleau, near Paris, a special institution for the cultivation of beauty. It is styled * Institution for the Harmonic Develop- ment of Man.”’ I have often heard this institution spoken of, but I have never had the occasion to visit it. Recently the institution gave a number of dance HARPER’S BAZAR Seeentel EEE Above, middle) An afternoon frock “green crépe marocain has a sin sleeve, for the left arm. sleeve is formed by a large piece crépe hanging from the shoulder. Marine blue serge over an underbodice of white serge. The blue fabric tied together by two ingenious knots. d skirt are trimmed with red leather.

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— ————E for (PRIL 1924 An octagonal hand- kere hief of crépe de Chine. The mono- gram is a fringed band of embroidery. A BLACK AND WHITE COSTUME BY ERTE A black ciré satin afternoon gown has its own long black sleeves, and flowing sleeves of white satin besides. Worn with it is the white satin cape shown at the upper right. Both the cape and the frock are em- broidered in black and white motifs. representations at the Theatre des Champs Elysées. I hastened there, believing that I should surely see representatives of that much sought-after beauty. / But what I saw did not at all satisfy me—nor indeed the spectators, who, however, numbered happily only a score or so. On the stage, I saw representatives of the feminine sex in white pa- jamas and representatives of the male sex in white chemises. My first impression was of a lunatic asylum; later this impression became stronger. Without speaking of the dresses, which were impressively ugly, the human beings themselves literally “sparkled with ugliness.” They were so ugly, so pitifully ill-formed, that it really pains me deeply to criticize their physique. If I do so, it is because the title itself, ‘The Harmonic Develop- ment of Man,” makes one think of beauty. And then these beings exhibited themselves on the stage in various dances. The organizer of this ridiculous spectacle pretends that they are the sacred dances of oriental monasteries. I understand such a sect has its ritual dances, but I do not understand what there is in common between sectarian dances and the “harmonic development of man.” All this appears to me a ridiculous bluff—bluff suitable only | for those dear old English ladies who believe in everything, provided it has a touch of mysticism. HE Paris winter makes me think of Monte Carlo where my palms and the flowers of my garden await me even now. The season on the Cote d’Azur has already commenced and the Paris- lennes are migrating in search of the blue sky, taking with them their new spring toilets. The Theatre du Casino de Monte-Carlo has arranged a very inter- esting program of ballets and little-known French comic operas. I shall speak of it in my next letter, Which will be devoted to the Céte d’Azur, where I am going shortly. ERTE. "wr Ww These striped lov Salle made of bands of cham- ots skin of two different shades. On the middli stripe is a monogram. 99

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100 HARPER’S BAZAR fo THE NEW YORK RESIDENCE OF WILLIAM ZIEGLER

The Italian Renaissance exterior of Tennessee marble is impressively simple and dignified. At the right is shown the hallway leading from

the entrance foyer to the dining-room. The ceiling decoration is done in dull blue and gold.

—_- -_ a. > x . cs —— —— “ _ < <n. asi — _ os

1 black and white Moroccan tiled floor lends contrast to the natural stucco walls in the dining-room.

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INTIMATE CORNE! AND STATELY VISTAS FORMAL HOUSE FREDERICK STE'RNER Irchite Above is a corner of the Jacobean library, paneled in old English oak, with a carved overmantel, cornice, and pilasters. Warm reds and green, introduced in the glased chints coverings, book bindings, and rug, lend glowing color to the sobriety of this setting. At the left, on the opposite page, is the dining-room, Showing the arched windows that face the south, hung in gold-colored silk with deep purple velvet over-draperies, and at the right, the great stone fire place. The windows on the left open on the court. Right) Vista from the entrance hall through thi foyer into the Georgian living-room, in which the paneled walls, taken from an old English house and toned a restful green, are broken by long windows. Old English furniture fills this spacious room The house, which occupies two city lots, is built around an open court with its central fountain and formal evergreen planting. This court, open to the roof, provides unusual light for the living-room, dining- room, hall, and bedrooms above, that open upon it.

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i + EEE TE oe es | t SEA + RRS tease HARPER’ S AR Se Ae ee Ce ccwceceeescs coe erorrt MRS. LANDON K. THORNE Mrs. Thorne before her marriage was Miss Julia A. Loomis, a daughter of the late Henry P. Loomis and Mrs. Loomis of New York and Tuxedo Park. Mr. and Mrs. Thorne, who are potential factors in New York's vounger married set, will spend the early sum- mer in their country home at Babylon, Long Island.

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for APRIL 1924 ‘Waring thought only of the hands. His ul seemed to leave his body, to see mor urely, and its eves were on the hands.” | 7 ri TL” } pal B L A CC K A Dream Path By \. M / j ¢ i d R. RICHARD WARING (Doctor Dick” vas the name of his real self to real people who loved him) strolled into the Casino at Monte Carlo. waiting for a woman This was a new game for Waring—to be in a Casino: to be out of far-off, yet (to him near New York; and to be waiting for a woman. Women generally waited for him. Besides being the sort of man women do wait for, he was a nerve specialist: great and well known, though only in his forty-tirst year. He smoked for a while in the Atrium, hoping that he—the woman, the One Woman—might finish her play and come out. Then he would take her on the terrace to see the sunset fade and the moon rise. Many other women came: beautiful young women, plain middle-aged ones, hard-faced old ones, but not she; so Waring threw away his third cigaret, and with a nod to the doorkeepers, who knew him well now, walked into the first gambling room, the > Salle Schmidt, with its hazy light like illu- minated gold-dust. She had forbidden him to seek her chosen table and stand to watch her play. Even if she didn’t see him, she said she always felt he was there, and it made her nervous—*‘brought her bad luck.’ Often, if roulette was tricky, she passed through the Salle Schmidt to the room where frente et quarante the only game played; but to-night Waring saw her in the room of the ‘Three Disgraces,” as the big picture there was familiarly called. Just for an instant he paused to gaze at her profile, lit by the strange electric chandeliers so like an exaggerated necklace of diamonds for a demi-mondaine. ever Was I WAS a cruel light for most women, but not for her. The profile, with its frame of grape-black The long lashes made a hair vair, Was pure as pearl. lovely shadow. | She might have been telling the leads of a rosary instead of studying her roulette with a pile of louis counters close to her hand * green baize. Yet she was excited, absorbed. INCENSE to Happiness WILLIAMSON wi. Simo For the moment she had forgotten what Waring wished her to forget. He prayed that this daring prescription of his might prove the right one for her case. Lest his thought should reach her, hypnotically, Waring turned on his heel and went back to the Salle Schmidt. He felt doubtful as to how things would end, though for the last few days—anyhow, in sunlit hours—he had begun to hope and to be almost confident. Perhaps this choked depression came only from the close air, which smelled like money and genera- tions of perfumed women. Or else he was boy enough to be disappointed at missing that walk with her in the rose of sunset and silver of moon. going to miss it! He had seen that in her face which told him she wouldn’t be ready to move for an hour. He always knew, somehow. And the bargain was that she must never be hurried. He hand when wanted; that was all. \ ARING didn’t care for gambling. Not that he had moral scruples, except in the case of people who couldn’t afford to lose. But it was less boring to sit at a roulette table and rake out or in a few five-franc counters than loll on the side seats or walk up and down the Atrium again. Waring had gone nearly as far as the door when he made this decision. He halted opposite a table which happened to be less crowded’ than others. Instead of being hemmed in three or four rows deep by men and women standing behind the seated players, only a few peered over the shoulders of those in the sixteen chairs. When a disgruntled Frenchman pushed back one of these chairs nobody seized it. This was Waring’s chance if he wanted to sit down. He rather thought he did want to, and annexed the seat. “The Suicides’ Table!” through his brain. He knew it was called that. Somebody had told him the day when he first brought Mrs. Jaffray and For he was was to be on one of were the words that ran 103 her aunt to this singular “rest cure’; a man from New York it was, an old patient. Every one you'd ever known seemed to turn up at Monte Carlo! You went out of your hotel to walk: when you'd finished saying, ‘Hello, you here too?” and shaking hands, it was time to go home! But having heard the story of the table, Waring had asked Mona never to play there. Not that he repeated the tale. If he had, she’d have preferred the table to any other; and in her state you could never be sure what influence— No! He had condemned it as an “un- lucky table,” and Mona—darling, desperate Mona though surely less desperate now)—craved “luck.” Waring feared the ‘Suicides’ Table’’ for himself as little as he’d have feared death from walking under a ladder. He asked the croupier next him on the right for change, and got twenty five-franc counters for a hundred-franc note. At his left sat a gambler with a roulette card in his hand; and though Waring had no “system,” he rather fancied knowing what numbers had been ‘up’ before beginning play. He glanced at the markings in red and black on the card. Then his gaze fell on the hand. “My God!” said something in him, not his voice. had that hand—he but T COULD not be. Yet the believed that only one man on earth one man wasn't on earth! Why didn't he look up at the face? Then he would be relieved. Yes, Heaven him, word; though the man who wasn’t on had been his best friend. But he couldn’t look at the face. He dared not. Or was it the hand that (Continued on page 124) “relieved”? was the earth now forgive

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on HARPER’S BAZAR [ aa Treat © ' TT | S -_ ' simtanuieeenny, ' == x BE cb this Cre x ae | | i \ : bs 76 e wa ait ) Wi WL Ht 2 — . ; | A Ph | ae Ly > 73 - 447 ag 1 € % 3 eee I ‘ A a : x || ; a O -l Benz limousine built by Locke for Mrs, Ernst Thalman. The tire carried at the side is typical European practice. THE USE OF COLOR IN MOTOR-CARS ATCHING the constant stream of cars on the Avenue, with a critical eye for the color, it is borne in on one that the smart cars are the green cars and a positive green, too. newest, freshest note. It seems quite the rhe motor cars of to-day are so essentially standardized as to their mechanical make-up that it is only in the bodywork, the upholstery, and color scheme, that the buyer of taste has an opportunity for expressing his individuality. Happily there is ample chance here for a display of esthetic understanding, otherwise our motoring activities would be conducted under the drab auspices of ready-mades. It is interesting to note that Baron de Meyer has just cabled Harper’s Bazar that the prevailing taste in Paris in motor-car upholstery runs decidedly toward grays and beige. This means, of course, that we may look for an increasing use of these tones in our American motor-body trimming. There seems to be a consensus of opinion among American body- builders that closed-car bodies are becoming even more conservative than in the past in the matter of colors used for upholstery and fittings. lhe closed car for the American family amounts practically to a moving room and the feeling gains ground that the decoration of this peripatetic adjunct of the home shall be restful rather than striking. Then, too, the motor-car is the center of rapid motion and it is wise to make the interior i restful contrast to the violent movement without. Fifth Avenue, where modes and motors in endless variation give quick response to signal lights. On the other hand sports models seem to be tending toward a little more gaiety of color and lighter values in decoration. Which is quite what one would expect. A number of the cars pictured herewith show interesting and charming uses of varied color schemes. The Lincoln designed for Mrs. Walter Ewing Hope has a body by Lang, in a delightful Orriford lake below the window line. The fenders and top are black and the body is striped with a hair-line of brilliant red. The interior is charmingly done in an imported tan luster-weave cloth. The seven-passenger suburban Cadillac built for Mrs. Andrew Car- negie has fenders and hood in black, with the remainder of the body in Willey’s Japanese purple lake. Windows and molding are outlined in English vermilion glazed with carmine. The front compartment is up- holstered in black leather, while the rear is finished in tan pin-striped broadcloth. The Minerva town car, built for Mrs. G. T. Brokaw, shows a delightful blending of two tones of Minerva gray. The darker shade emphasizes the panel and raised molding. Paul Ostruk, the body designer and builder, has upholstered the interior in a broadcloth that harmonizes with the color scheme of the body. In this country we are so used to the prevalence of black as a body finish for our huge production cars, that we have almost forgotten that colors may be employed without any loss of dignity and conservatism. Lincoln vestibule limousine with body by Lang, built for Mrs. Walter Ewing Hope. The car is dark red below the window lin SRR I

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toe APRIL, ot ~ SORPF : as ¥ : ’ r in = @ a + W244 AO Sher Be ves Wah : : This Minerva town car with a body by Paul Ostruk was built for Mrs. G. T. Brokaw. The color scheme is two shades of Minerva gray, to em- phasize the panel and raised molding. The Rolls-Rov« e closed car, shown on the right, was built by Locke for Mr. John W. Mettler. The car is dark green with upper body and fenders of black, both expedient and cffective Mrs. Andrew Carnegie’s seven-pas- r suburban car, built on a Cadil- lac chassis, has a color scheme of pur ple lake picked out with vermilion. Uhe standard parts are black,

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106 HARPER’S BAZAR FIRE WITU FIRE A Story of Instruction for By WO events of his boyhood Horace Spencer P ERCIVAL \V IL DE would never forget. \t the age of fourteen, his father, a Hard- shell Baptist, had discovered him smoking a Illustrated b Wiliiam Fisher cigaret. The boy had attempted to hide it. ‘Don't hide it,” said Spencer senior quietly. “Like it?” Spencer flipped open the lid of the box genially. ‘Don’t know,” admitted Horace shyly. “What did those cigarets of yours cost, Horace?” ‘Take a good deep puff—so!”’ “Eight cents,” admitted the boy. It was long The boy choked. before the day of higher prices. “What's the matter?” “The best you could afford, doubtless,” com- “I’m not so sure I like it.” mented Spencer. He pushed the box toward the The father smiled kindly. John Spencer was a boy. ‘Here are cigars. Each of them costs more patient, purposeful man. ‘That's a matter that’s — than all of your cigarets. Have one.” got to be settled once and for all,’ he atiirmed. *Y-you mean—you want me to take—to take “You come with me.” a cigar?”’ stammered Horace. Trembling at the thought of the harrowing scenes “Yes, why not?” invited the father which had been enacted there, Horace followed his father to his study. On the way he managed to drop ORACE gazed at them in dismay. Long, fat, the cigaret into a convenient vase. blunt, black—very, very black—there was ‘Sit down, Horace,” said his parent gently. He — silent menace in each one that the box contained. unlocked a lower drawer in his desk and produced “I’m waiting,” came his father’s inflexible voice. a box. ‘Some people,” he explained, “think they \t random the boy seized a cigar and thrust it can’t get along without tobacco. Maybe you're one _ into his pocket. of them. I’m not. I’m not going to try to prejudice “No, don’t put it in your pocket. Smoke you, but I’m going to make a simple experiment.” __ it.” Horace quailed. His father had made other ‘Smoke it?’ gasped Horace. experiments. *Here—and now. Either vou're going to like it, Fathers and in that case I won't object to your smoking as much as you please, or perhaps you won't like it, and then * And then?” The kindly eyes smiled into his own. **We'll see what we'll see.” Horace’s memory of the events which followed was somewhat misty. He recollected clearly how his father had indicated which end was to be bitten off, and which to be lighted. He had complied with instructions. He recollected his surprise at the curiously heavy taste of the first few puffs. He recalled his astonishment at the enormous volume of smoke generated by so small an object, for the cigar—he remembered that distinctly—could not have been over a few inches long, say six. He noted, too, even after he had been smoking for what seemed an eternity, and probably had not exceeded ten minutes, that the cigar, quite incomprehen- sibly, had become longer. Being of a mathemati al turn of mind, even at that early age, Horace had pondered. He had just decided that something must be wrong when his father’s voice came through the mists. ; “Your cigar’s out,”’ it reminded him; “let me give vou a light.” ; For the next five minutes Horace had puffed manfully, while the cigar increased most «-ton- me ey PER, fot

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aa ee APRIL 1924 ishingly in length—and in weight. No longer did it point optimistically at the ceiling; it drooped to- ward the floor, and Horace laboriously rectified its position with a shaking hand. Through the gathering clouds came the familiar voice: “Your cigar’s out again. Here’s a light.” \fter that more clouds—heavy, oily, ponderous blotting out his view of the ceiling, and more inter- ruptions while his solicitous parent struck match alter match. Presently Horace’s stomach began to move gently upward and downward; he recalled with dismay that he had eaten a monstrous lunch. He thought it best to mention the fact. “Nonsense,” reassured his parent, “‘tobacco’s the best thing for it. And your cigar’s out again.” Horace had smiled heroically. He was about to die, he was aware, and he mustered up his courage for the great event. Then he died. He was quite sure of that until he woke up in bed the same evening and found the family doctor bending over him. After that, Horace never touched tobacco. lhe other episode which Horace would never for- Set took place but a year or two later. It was pain- fully similar. It began when Horace ventured to look upon the wine when it was red, and it ended in the accustomed chair in the study and the imbibi- + + tion of an enormous quantity of raw whisky which his far-seeing parent had laid in in anticipation of the day. From the ordeal Horace emerged with a split- ting headache, a dark brown taste in his mouth, and a rooted antipathy for liquor. John Spencer explained it to him in later years. “Tt was a case of fighting fire with fire,’ he con- fided. He smiled at his son. ‘It worked, didn't eo Horace nodded. H' YRACE SPENCER sat at the head of the deserted directors’ table. Horace was blue—as blue as the smoke of the half-consumed cigar which one of his colleagues had left smoldering behind him. Ever since that memorable episode in his father’s study, Horace had hated tobacco. He seized the water pitcher which stood at his hand, tilted it carefully, and poured a few drops upon the glowing stump. It hissed and expired. Horace replaced the pitcher silently, and gave himself up to gloomy thoughts. “From Cherry’s point of view, Horace’s orders had been ideal. ‘Carte blanche, the determined father had commanded. ‘A flapper dance, with all of the trimmings.’ Thirty years ago Horace had entered the em- ploy of the Metcalf Wagon Works as a clerk. He had become secretary to the vice-president—a lucky opening, that, he reflected, as his mind wandered along the chasm of years—assistant treasurer, treasurer, vice-president, and finally, when John Metcalf had decided to retire and when the Metcalf Wagon Works had long been Metcalf Motors, Inc., Horace had achieved the ambition of his life and the presidency of the corporation. No cause for discontent here; the climb had been long, but he had reached its summit. And it was a pleasant summit; a home on the best street; a retinue of servants; a safe-deposit box crammed with securi- ties—he must really arrange for a larger one, noted Horace; an unassailable social position; a wife after his own heart, and a daughter . Horace’s thoughts recoiled hastily to the business in hand. It had been different while John Metcalf lived. Metcalf, slow, solid, easy-going, had found in Horace a man precisely like himself; had watched his upward progress with approval; had shared his con- sternation when the works, resolving to meet com- petition, had begun to turn out new-fangled ma- chines which snorted and puffed and left evil smelling clouds in their wake; had been equally surprised when the new venture began to succeed, began to profit so hugely (Continued on page 140)

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108 HARPE A COLLECTION OF COSTUMES WITH UNUSUAL ORNAMENT (Above, left) Not for many seasons has it been good form, as it is now, to have the back of one’s gown cut as low as this on a gown of black satin and black lace. Another of rose satin is made vivid by combining it with striped metal cloth. A brown crépe ninon gown has a brown lace cape. A metal-embroidered frock has a broad girdle. (Extreme left) From the vogue of the handkerchief have developed many interesting neck-lines, like this deep narrow V, outlined by a bright green fringed silk handkerchief cut so that it is part of the frock and attached to it. The frock itself is of midnight blue twill, with an interesting diagonal line, repeated by both skirt and girdle. (Left) This frock is rather remarkable in color. It is of castor brown moire, very fine in texture and beautifully supple. The fabric is edged with henna-colored crépe, of exactly the right shade. The surplice line of the bodice is continued in a long line to the left hip, where it is caught with a round mot’f of castor-colored silk. R’S BAZAR ALL

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(Above) Brick-colored kasha cloth, made with a black satin slip, has black embroidery on the sleeves and pocket. (Above, right) Clever draping gives this belt- less black moire frock a watst-line. Black and white beads trim it. Models on both pages from FRANCILLON (Above, left) This gown is trimmed with a decp fringe of ostrich, hand- knotted, like old “‘willow” plumes. It is of golden brown charmeuse, with ostrich shading from tan to golden brown. Cloth of silver has a shower of ostrich, shading from pink to cerise. Copper and silver lace edged with a deep band of clipped ostrich in copper. Brilliant rose crépe with shaded ostrich. (Below, left) Tan cheviot, reversible, with orange and tan plaid lining, has fringed edges and makes a very smart wrap. A slim, black kasha cloth coat dress has a white embroidered motif. Another wrap of vermilion cheviot has a large collar and huge cuffs of natural monkey. A midnight blue twill frock, bound with black ciré braid. has pale yellow organdie collar and cuffs. AN Sandalwood brown crépe satin has diagonal stripes of darker satin inset. in the fabric. A sleeveless frock is under the straight coat.

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toy APRIL 1924 = ¥ a CAMPBELL SOUP COMPANY oF * CAMDEN, N.J., U-SA- | Why people make it their meal | Campbell’s Vegetable Soup is a luncheon | that satisfies without being “heavy.” At dinnertime, its fifteen tempting and delicious vegetables, cereals and beef broth contribute hearty nourishment. Supper is likely to be a puzzling meal. You want to be conscious that you've eaten something really substantial. But your appetite doesn’t call for a lengthy meal. Campbell's iinet | Vegetable Soup is just right for supper. Weheache ques ogee . Invite them each day, % + To your work or play : Then there’s the extra meal so many women They dwell in this Campbell's cant | & find necessary during their working day. This | invigorating soup is ideal for it! | It’s so delicious—luncheon, dinner, supper! Soup for health — | every day! 5) | 21 kinds 12 cents a can E : 12S Wrilrrs 4 ea Oe ee SRE SRE ee pe ae RET SG TIEN REE ES

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114 Stein 8 Blaine A CREATIVE HOUSE © Stein & Blaine / “Inspiration” —a daytime coat—by E. M. A. Steinmetz For every hour of day and evening—indoors and out— there has been created a Stein Blaine model that has true feminine appeal. FURRIERS ~ DRESSMAKERS ~ TAILORS 13 and 15 West 57th Street ‘Tlew ‘York Mildred (Continued from page So) gray twilight seemed to envelop them both, to isolate them. And he had a deep pity for himself and for her. What should be so simple, so natural, so uncomplicated, would be raveled and frayed and tarnished... . Between this moment and anything like the realization of happiness, there would be a struggle of egos—rebellion, shocked pride, jealousy, in conflict. Before he could show himself to’ her and lose himself in her loveli- ness, both of them would suffer. And for what? Because life was so confounded com- plicated—no passion could be single, perfect, but must be linked up to other passions, an endless tangle of little, petty feelings—like lichens on a tree. The growth was hindered, the sap cut off, so that the blossoms withered and the whole plant, tree and parasite, came down into the dust, choked to death. : “Are you sure we're right?” Lilah asked. “I’ve got to be sure! Isn’t it selfish to be happy?” Flagg answered that to be unhappy was the worst sort of selfishness. For centuries the world had been in the grip of a supersti- tious fear of acknowledged happiness, as if being contented with one’s lot were an indica- tion of alliance with the devil. If you sang, in old Salem, you were hanged for a witch. “But to-day, if you sing, you are selfish! And it amounts to the same thing—the world has its fingers crossed. ...” Flagg asked, without turning: ‘‘Have you ever loved your husband, Lilah?” Lilah pressed against him. ‘*Don’t ask me, now, to say... . A moment. . . . Perhaps, yes. But not like this! I am_ perfectly willing to divorce him.” Flagg wanted to know what reasons she would give. She said impatiently: **Why—l want a divorce! Isn't that enough? Such things are arranged. Nowadays, you don’t have to give reasons, do you?” Flagg answered that he would prefer that she allow Robert to bring suit; the defection, such as it was, was hers; she had tired of her bargain; she had broken her word; she had found compensation. If any one was to blame, she was... . Lilah interrupted: ‘“‘You’re mad! It would ruin me! It is accepted, usual, for men to take the public blame for these things every one understands. It isn’t serious. Don't you know—you silly idealist—that in New York a man can arrange it?) My darling, you don’t want me talked about. . . .” “You and I will take our medicine, Lilah. Or we'll renounce, now, what might be so fine. If you're afraid, say so.” \fter a moment, Lilah said, “I’m not afraid.” She drew away. A knock at the door was followed, discreetly, by a professional in- quiry: “You are feeling better, Major Flagg?’ And that starched, rustling presence entered, carrying a glass. With a gesture of rebellion, funny because it was unconscious, Flagg took the mixture and drank it. “You're talking too much,” the nurse said. With another crackle of starched skirts, she moved from lamp to lamp and the room came into sharp outline. The slovenly carpet and worn chairs, a frayed scarf on the table. “T'll go,”’ Lilah said quickly. “Hang the doctor!” Flagg exploded. “I beg your pardon, Miss Peterson—but doctors don’t always understand.” She took the empty glass from him, shrug- ging her shoulders. And the door closed upon her with a disapproving bang. “IT must go,” Lilah said again. ‘I must. If anything should happen to you—” FL AGG made her sit down. He made her remove the concealing veil and the little black hat. He began to take the pins out of her hair, but, laughing, she stopped him. She could not, now, imagine that he had ever been ill; a mood of playfulness had followed his rebellion; he was curiously like a young animal again, lost in his delight in her. He was lovable, wilful; she stayed because he wanted it. It was hard to refuse him any- thing. And she couldn’t see that her being there hurt him—he had forgotten his enemy in his discovery of Lilah. Sitting on the floor with his arm thrown across her knees, he talked about himself. Himself, as a little boy. As an almost grown boy. As a young man. It was as if he wanted her to share everything, all in a moment; as if he could make her see the whole pattern of his life, so that he would never be alone again. Lilah could feel herself change, relent, bend down to him with a lovely tenderness. It was what she had always wanted to be, the way she had wanted to feel, only that no one had let her be herself. People had allowed her to be hard and bright and dominating! Now she was the woman she might have been. The simplest things he said touched her. She had no desire to ridicule, to hurt him. She wanted him to want her, to need her, to get closer and closer to her heart. “TI wish I had seen you when you were a little boy,’ she said. Cram’s HARPER’S BAZAP THE TIDE Novel “I was a sort of flat-face, and terrjh) earnest. From the beginning. before | a reason, | wanted to know about Gat couldn't believe. And the harder they trie to make me believe, the more stubborn I wa God was unimaginable. They Sunday School, where I sat with my underlj sticking out, denying God with my mu —— system—braced against acc eptance. I nie ber that this refusal made me, jy rip 1 | was sent me to In my own eyes, an outcast. [ thought of myself as te loneliest and wickedest child on the pe the globe. But I believed only what I cou} see, touch, or smell.” He shook his an “And I never got a whiff of God! | rene | . ember that one day a sort of evangelist came to the Sunday School. He asked all the little han and girls who believed in God to wrt I sat where I was, burning with shame. ik leveled at me a shouting and a frothing ‘sq vective, hate, and threats of damnation eternal. And how I loathed God! When = got through he asked all the little boys a girls who didn’t believe in God to stand yp and I stood up, alone. : ‘e ““Aren’t kids everlastingly funny? I hady’ an ounce of prevarication in me; I told the truth, always, until I was a grown man, whe I learned that there are times when the tr th hurts. Then I drew in my claws, | seals velvet paws nowadays. But that doesn't affect my honesty—I am deadly honest myself.” Lilah wondered whether he could feel her shivering with delight in being near him, whether he saw how her eyes looked at him She could never go back to Robert. She coul never again pretend. It was going to be hard. It was going to hurt her to strip herself naked of pretence and fight for this new, this strang and wonderful raiment. “Did you ever change,” she asked unstead ily, “about God?” He was launched again. He told her about his student days in Germany—how he had gone back, patiently, to the sources. His | days of pessimism. His romantic year. A [ period of mysticism. A frightened, at first tentative groping through the mazes of science Then, something like a personal conviction emerging. . . . He began to shake off support | and to stand alone, almost against his will for to stand alone was a responsibility. It forever removed him from the sensuous, happy, careless self he had wanted to be and demanded that he face facts, cold, brutal unadorned, and make of them what he could God came to him out of these facts—not th God he had refused to believe in—a vastly different— i He made her see, somehow, why he was not | afraid of pain or death, and why he was reconciled. He hadn't much longer—but why should he have longer? Only to love her. Ti make her happy, if that was what she wanted “TI didn’t know you could care like this But since you do—” head wita HE still trembled; he could not help but see what she was feeling. The thing that hurt her now was that he would have to know how little and selfish she had been. The self she had to offer him was inadequate. Her magic was tawdry, like cheap spangles on 4 dancer’s skirt. Her beauty was painted on The reality, the real Lilah, had nothing t give him. And some day, when he had stopped loving her technique, he would look for her art and find nothing, only fear and an ugly desire to keep him, at all costs. She saw herself, in a sort of contorted and_night- marish vision, pleading with him; she saw his indifference—no, his recognition—crushing her down. It wasn’t Robert and Junius, scan dal, that she was afraid of; it was not having Flagg. That was the most terrible thing to be alone again, inventing enthusiasms, because the reason for being was not there. This was what Robert had meant. “You're not listening,” Flagg said. “Tam. Tam.” “I changed,” he went on, from what begin- ning Lilah could not guess, “as everyone changed. And like every one else, 1 sa freedom as the most desirable end, gaining t all important. Only that I differed from most in that I didn’t want freedom for persone reasons. I’ve always been singularly free the crooked, inherited notions that hold me! back. But afreedom that releases the mente! power of humanity—I can’t make you under stand; I’ve only the vaguest notion mys: J But I see that if we don’t adapt ourselves i we'll disappear from the earth. We don need web-feet or fluffy little wings or snout yet we do need an entirely new sort of mint J ‘And the old way of thinking has got to pitched out, forgotten.” = He clasped her hands, tight, between 5° of his. “But we can’t pitch it out all at once The social wheel is still revolving, althoue' the engine has been smashed—it 1s carnes forward by its own momentum, down-hill- a few hundred years of coasting! The sf vivors will look back at us as we look back # (Continued on page 110) RE (or

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116 and we golled on an. ocean of wildflowers To play with the world’s elite “ SA in California is to learn the se- Ps ee cret of the Meadowbrook art- . ist’s sure touch. To visit California in Spring- time is to appreciate the nature- @ born color chords which the designers of these world-prefer- 2 red Sport Hats have always at their command. | | Cosmopolitan, colorful Cali- (") fornia is a vast laboratory of y sports fashions. And naturally /’) so—for whereelse in the world Mids { do out-of-door sports have such an important year-round place? And where else will one find smart society assembled in such force—atall seasons of the year? Fortunately Milady may now buy Californiarmade Meadow- brooks everywhere— including special head sizes for bobbed hair. At those shops where you would expect to find the best! Ca l } fo rnia SPORT HATS Town and Country Simon Mituinery Co. Meadowbrook Building, 989 Market Street San Francisco EASTERN SALES OFFICE Louis Strauss & Sons 16 West 38th Street, New York City HARPER'S BaAzyp THE TIDE Mildred Cram’s Novel Continued from page 114) the Neanderthal ape—that’s how fast we're going. . In the meantime, here we are. you and I, trying to conform to the decencies. “Are we?” Lilah asked. In spite of herself, she laughed. “I don’t think it’s decent, exactly, to cheat Robert. If we're being honest. % He interrupted: ‘“Lilah, have you stopped to think about me?” “Why, yes.” “Aren't you thinking about yourself?” She shook her head. He insisted: ‘Do you know what I want? What I dream of? Hours of sunshine. Hours of perfectly imbecile happiness, lying on a green hill with my head in your lap, watching the clouds go over. Must we wait? It isn’t so far to spring. Can't we go somewhere—I know a town in Connecticut, off the tourist track, where we'd be let alone. In April, the frogs sing at dusk, and the air is moist, cool, full of little gnats that dance as the sun goes down. I used to go there, years ago, to watch things grow. A marvelous season, Lilah. There’s a stir, actual, in the soil, and those prying, green fingers come through... . Suppose you and I were there to watch it together? I stayed at a farmhouse. We could go there. The apple orchard—if it hasn’t changed, and God forbid!—is deep with grass. And our room would be under the eaves. .. o" “You mustn’t talk like this!” “Why not?” “You mustn't.” “Does it hurt you? Tell me!” “Tes.” “Then I know I'm right. You've got to come to me as soon as you've told your husband. It isn’t fair to take from him what you don’t deserve—that house and_ these clothes and all your ease and luxury! It doesn’t belong to you! After to-day, I'll hate every hour you spend there. I want you to give back everything he’s given you. I’m not jealous, only I believe in value received.” Lilah felt like a runner. Breathlessly, she dodged this obstacle. **You wouldn't expect Robert to bargain?” “I'm not thinking of Robert. I’m thinking of you. What I want you to be. If you love me, you ll come to me, free, not all tangled up in another man’s possessions.” She pushed him away. “I've got to go.” “Not yet. It’s only six o'clock.” “But it’s dark. What will that think?” “Tm all right. I only want you.” “IT know. But some day you may have too much of me.” “Stay.” She got up and he stood close, pleading. Lilah was afraid, with that same delicious fear. Now, she wanted to hide her trembling from him, to ward off what must happen if he guessed the extent, the danger, of her sur- render. She began to fasten her veil, her arms, in tight, black sleeves, upraised; Put- nam Flagg watched her, and, characteristic- ally, avoided, at that moment, any caress. When she glanced up, he said: “Very charm- ing. What a minx you are! An artist. I admire you inordinately, if for nothing more than your gift of putting me off!” Suddenly she clung to him. ‘Tell me the truth. Are you going to get well?” “I don’t know.” “Is it terrible “Bad enough. As if a hand squeezed, here, harder and harder. I could die, if Id let myself. Only I won't.” “What does the doctor say?” “Nothing. He’s used to bad hearts.” nurse the pain?” “I hate doctors. They're beasts! I hate suffering. I hate bodies’ She beat with her palms against his breast “It’s terrible. Terrible! That you should suffer so! And we stand here, talking about houses and clothes and my owing something to Robert. When I only owe myself to you, now and forever.” They kissed. They trembled against each other. And Lilah had never known such giving. He said: ‘’The world’s full of ugliness. It needn't be, perhaps. But it is. We'll have to face this pain of mine along with the rest . . Now, I'll let you go.” She went out into the street again. No one she knew was, at the moment, passing. She turned east, facing a cold wind. Her figure passed in and out of the squares and rounds of light cast by shop windows and street lamps, hurrying, bent a little forward. Her thoughts were hurrying, hurrying, ahead of her, toward the spring, a dusk when frogs would sing and gnats dance, and she would lie against Flagg, holding the pain away with her two arms, her lips, her love. ILAH woke again to that certainty. ... She opened her eyes. Familiar things came into focus, were, inexplicably, unreal. She had the impression of waking in a strange room. Circumstance had changed the very outlines of accepted facts. At once her mind began the chase interrupted by leashed, her thoughts darted do ast. : amined he arms, her hands. She could not associate vw hands with herself. They might hay € belonge to another body. This certainty had in — mysterious way deprived her of herself Hee consciousness was separate; it was pain, anq lear. She fell back on the pillows and pressed her fingers against her eyes. She must get hold of herself. Do something. Other women hy) had children. She wouldn't die. In a enrh would be over and she could go back. _ The acceptance of that thought w trickle of ice through her veins. If she had loved Robert. . . . Back again! Her thoughts were mad erratic, feverish. She could not control then or bring order out of chaos. [ as like a ITTING up with a violent gesture, she say that it was past nine o'clock. She had then, slept. Extraordinary! That she could sleep, that the tired body was stronger than the will! She had not wanted to sleep or to Jose for an instant her watchfulness. Now, she felt, she had surrendered to this fact. In sleep she had been stamped by nature with a quiescence. She had been running away from herself For a week, in crowded theaters, restaurants, and drawing-rooms dedicated to forgetful ness, she had let herself be swept forward on the current. For hours at a time, she had forgotten, had postponed remembering. As jf there were no reef ahead, no shattering of the frail craft that had carried her so far toward disaster. In moments of waiting, it had come back, always like a thin, icy trickle, down through her brain to her heart. She must do something. She half rose, but before she could disguise her dishevelment, the scars left by tears, the door opened and the mulatto came in, moving furtively as if to cover her curiosity. Lilah, for the first time, had the feeling that she was trapped, humiliated, her pride leveled by a tragedy shared by all women—this yellow girl, herself! She felt contempt. Some women sacrificed themselves with a smile to the inevitable, or concealed their wretchedness beneath an air of superiority, as if a thing so usual, so inexorable, so outside themselves were a matter for congratulation. Other wo- men seemed to be ordained—an order of motherhood; but they were never lovers, wives; they tended the flame of race, kept it burning. God knew why any one should willingly add a soul to a world where there were already too many souls, too much suffer- ing. Better to let humanity dwindle, thou- sand by thousand, until the last man stagger- ed to his knees and died and the earth was left once more to the forests, to animals, to storm and sunlight, unrecorded, eternal. The maid, lifting the blinds, remarked that Miss Fuller had been waiting for half an hour. “Ask her to come up. And I shall want breakfast here.” “Yes, ma’am.” Grace Fuller came, bringing, as always, the morning’s mail. Her fringe was curled, not a hair out of place. And across the pallor of her cheeks rouge showed like veining on a leaf. From the bed, Lilah asked: ‘Anything amusing? I overslept. Grace Fuller put the letters within reac Lilah’s hand, on the coverlet. With preface, she said: “I’m sorry, Lilah. I cant stay, go on—I thought I ought to tell you. I've registered and to-morrow I take a case A faint smile twisted her lips as she added “A hopeless case.” Lilah glanced at the letters. Suddenly she tossed them aside. ‘‘You needn't leave, un- less you want to. I’m going to have a baby She sat up, pushing the hair back from her forehead, straining it back violently. Her eyes were heavy. There was ! no trace 0 beauty in her face; she was, for the moment old. “I’m going to have a baby,” she repeatet in a dull voice. Her head went down between her knees She heard Grace Fuller saying: “Lilah Lilah! I’m glad for you! This will change everything. Wait until your heart accept I know what it does to women. I've watched You'll forget the other, come back to Robert in gratitude.” ? Lilah held her breath. Her revolt and her hate were ponderable; she felt the weight al them across her back; her body huddled; she tried to flatten herself out, to escape. Her hair fell forward and she caught at the thick strands with her teeth. Now, she knew. ! was inevitable. She jerked away from Grace: hands, flung herself aside. u “I'll never change,” she cried. ‘“Nevel This won’t make me different. I’m mysel I will be! It’s something I’ve got to stane But I'll keep myself away from it. I've always resented being a woman. = Gross Uely Unfair. i (Continued on page Il OSE renee for VAS S

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hurn Exclusive Fashions B| for Women 15 East 5222St.New York Now Showing COMPLETE COLLECTION OF MODELS FOR SPRING THE Mildred 6 Continued She sat up again. ‘Tell that girl to see that the cook doesn’t ruin the eggs. I want a decent breakfast.” T ELEVEN o'clock Lilah was seated in the outer office of a physician who was secure in the possession of a fashionable patronage. The room was quiet, almost bare, and in chairs ranged against the wall, ten or twelve women were waiting. Now and then a door opened and a woman in white, with eye- glasses and a cap elaborately starched and folded, beckoned to one or the other. These patients, Lilah noticed, never reentered the anteroom, but were ushered out another way, perhaps to keep the tide of despair from meeting the tide of hope. Other women, arriving, took the vacated chairs. A table covered with neat stacks of magazines offered an escape from curious eyes: there was a dis creet, a constant turning of pages. Behind them, expressions were guarded, indefinable. Lilah sought duplication of her own sensa- tions. Her face, she decided, must be as ex- pressionless as the others. It was as if, at a prearranged signal, these women had become anonymous, featureless. Only when the door opened and the capped woman beckoned, there was a flash of excitement. of dread, of something forced and desperately unwilling ... . Time and again the door opened and ( kc ysed. When Lilah heard her name. repeated three times because she had withdrawn so far into herself, she followed the nurse with a sort of arrogance, an indifference to the out- come. Inwardly, she felt again that sense of acquiescence, of surrender to a_ ruthless inquisitor. The inner office was large, paneled. At a desk between two tall windows draped with brown velvet, the doctor allowed himself the advantage of turning his back to the light. Lilah saw him in silhouette—not the tradi- tional physician, bearded and purposefully benign; a business man clipped, concise, scientific. To him she was no more than a name, a number. His manner had in it a trace of the impatience of the normal man who has had to deal with the delicate and unstable emotional balance of sick women. He was not jovial; he was not even polite. His dry questions, spoken with an accent of amusement, irritated Lilah. She snapped back at him. She had always been healthy; she had had a healthy contempt for illness; people were sick because they were stupid, or victims, like Flagg, of accident. She had thought of herself as immune, outside suffer- ing and the ugly, wearisome details of suffer- ing. . . . She had time, while he questioned her, to notice the elaborate simplicity of his setting; he received his patients in a room reminiscent of little drawing-rooms at Fon- tainebleau. A pretty, red-haired girl took Lilah’s answers in shorthand. Lilah resented this girl's presence. The whole proceeding was degrading, like a public scandal. Lilah fixed the physician with an unwaver- ing gaze. She had expected him, for a large fee, to rid her of this tormenting suspicion. But she had not expected him to uncover her fear, subject it to Hogarthian records in shorthand Marriage a la mode filed away in a card-index cabinet. . She wished, now, that she away. had stayed N HER motor, still quivering under that professional irony, a confirmation which had stripped her of arrogance, she looked out at the city with, again, that tormenting sense of the unreality of familiar things. People hurrying, laughing, meeting, waiting on the curbs for the tide of traffic to pass—Lilah was hurt by their indifference to her tragedy. There was no such thing as a common, a shared, suffering. No one, not even Flagg, could comprehend. She saw a group of people familiar to her, Chivers Chew with three women, standing before a florist’s window in animated conversation. Their security, their pleasure, seemed as remote as dumb-show within a lighted proscenium. And _Lilah’s melancholy was shot across by a pang of jealousy. The mulatto met her with the announce ment that Major Flagg had _ telephoned repeatedly. Lilah said in an indifferent voice: ‘Pack my things. I'm going to Maine to-night. Ask Elliott to wire Mr. Peabody. And tell him to get a stateroom. If Major Flagg calls again, you may say that I have left town.” ARCH came in, blustering, with a 4 buoyant race of large, white clouds and a wind that ruffled the swollen streams and spread steel-colored fans across the purple- blue of the sea. The air was sweet with the odor of wet earth. Willow sprouts showed silver-gray in the ditches. In the woods and hollows patches of brown snow melted in the sun. Trailing sprays of waxen arbutus lifted the pine-needles and fallen leaves. thrust them HARPER'S TIDE Novel BAZ Ap ram’s Jrom page 110) up and aside. And always the wind | and tumbled over the brown hills, the fields, the noisy, awakened forests. There was a stir in the earth, after the lon stillness of winter. " In a short skirt, a jacket of fur Lilah turned away from the sea and walk inland. A cane Robert had given her - Malacca mounted in amber. swung Gok. hand. She could not abide the sea, the dunes the beach brushed with swift eddies of a sand. A boisterous sea was strong medicin for the spirit. It was too bright, too alive. it had a ruthless virility that frightened her If only she had been free enough, brave enough to brace herself in the shifting, stinging sand. to breast the wind, to take great swallows of it into her lungs, to fill her body with it. laugh at it! Because she was a coward. she preferred the woods, where, in a chill shadoy dillowed SOaked hatless adow in a sort of calm beneath the brittle crackle oj bending boughs above, she was safe from nature itself. She walked in a void. her thoughts held in abeyance, like hounds on a leash. ai She had told Robert immediately of his good fortune. Something warned her not to express, just then, her own dissatisfaction She noticed a difference in him; his desire jor her was no longer humble; it had becony definitely material and _ possessive, concrete His happiness only added to her own inner tumult. He guessed nothing of what went on in her mind, her heart. He was happy. So must she be! He had never heard Flage’s name. He did not guess what had happened what she had felt. She was infinitely removed from him; she could even be sorry for him Robert behaved as she supposed all men behaved under the circumstances. He ly came both dictatorial and tender. She was shielded from draughts, assisted up and down stairs; he ran after her with shawls and wraps; she became the object of his unwavering, worshipful attention; his blue eyes, round expressionless and innocent, followed every move she made. ‘For heaven's sake, Robert leave me alone. I’m quite all right. I won't break.” And he would say absent-mindedly “I'm sorry.”’ The next instant his arm would be around her waist. It was clear that he realized nothing. Some day he must know that he had been making a fool of him- self. Her physical presence, this child, were his. Her feeling, all that made her desirable, belonged to Flagg. Without Flagg, she was valueless, like a counterfeit coin. Robert was insufferable because he could not see. Te ESCAPE him, the barrier of protective, almost primitive tenderness he had built around her, she followed the bridle paths through the woods. She wanted to ride, but Robert objected. There were two saddle horses in the stable, a roan and a chestnut, good English horses full of mettle that turned rakish eyes on Lilah whenever she went to their stalls. ‘“They’ve been boxed up all winter,” Robert said. ‘’They’re mad to run But the ground’s soft. They won't feel a saddle until the end of April.” He added: “We may have snow. This is a false spring Whenever Robert touched her, Lilah had an impression of herself tamed and savage, 4 dangerous restraint, a hanging on beyond the powers of endurance. ; She had not written Flagg. That soft St. Kitt’s voice, with its accent of mockery, had told him that Mrs. Peabody was “out ol town.” No more. She had not seen him since that day in his rooms, when she had promised him. . . . Now she was gone. He would believe that she had lost courage, had fled from facts. So she had. . She could not face such facts as had assailed her, beaten her down, overwhelmed her. He would despise her. Or else he would follow and question her. She dreaded every day that held this possibility. It would be like Flagg to get at the truth, whether or not he hurt her ot hurt himself Men were selfish. Flagg, like the rest. She was being destroyed by the selfish love ol these three men, Junius, Robert, Flagg. Junius had said simply, at Roberts a nouncement: “I'm glad. There will be some one, a Peabody, to appreciate the Moselle. Later, to Lilah, he had added: “I wish Lape were happy, Lilah.” Irritated, she movet away, and he followed, put his thin, withered hand on her arm. “I don’t pretend to uncer stand your generation. But I can read — human sign posts. If you can't talk to me, 0 whom can you talk?” Se She faced him with a stony expressi? “If Robert could read sign posts, she said “I wouldn’t be here. He wouldn't want me. Junius Peabody's look changed and Lila! realized that she had touched his_ pret After a moment, during which he brushed bis mustache with that large, cambric handke’ chief scented faintly with Cologne water, ™ said: “I won't argue. Your remark was 12 bad taste. I don't give a snap of Mm} finger for Robert. He hasn’t the qualities (Continued on page 12 — _ OPS DARE ET —_

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THE TIDE Mildred (Continued from page 118) admire; the things I began he seems unable to finish. Or else he doesn’t care, which is the disease at the core of society to-day. You don’t care, any of you, about anything out- side yourselves. believe I warned you, in the beginning, of what might happen?” Lilah ignored the implied question. here,’ she said briefly. “Is duty, too, out of fashion?” with an ironic smile. “Yes,” she answered. ‘When it is dischz urged unwillingly. When it gets in the way of— “Of what?” “Being yourself.” Junius Peabody shrugged his shoulders. “What will the world be like when each one of us looks out for himself? We will be at the mercy of such disciplined creatures as the army ant. I can't see that you g sain by being what you term ‘yourself.’ You aren’t happier than the women of my day, who were what their husbands expected of them. . . . I am willing, however, to be instructed. ig through the H® BROKE off and _ stared window at the flashing sea. ‘The Forsythes’ girl, Marian, spent the holidays at home. She used to come over here quite often. At first, because she came on skis across the hills and arrived as rosy as a snow apple, [ enjoyed her visits. Later, I dreaded them. At seventeen, she has the knowledge and the vocabulary of a roué. She had learned more badness at a girls’ school in New York than I knew at thirty, or forty. She smoked, of course. She would sit where you are sitting and light one cigaret from another. And she tossed the ends away with the gesture of a longshoreman. She was an excellent shot. Externals. . Sol thought. But the thing went deeper. She was clever. She had reasoned herself out of responsibility, and I could find no flaw in her arguments. . . When she had gone I would sit for hours, depressed, frightened. That she used a lip- stick, not skilfully, is certainly a symbol—of what, I am not certain. I would have said that she was going to the devil. . She had a sort of brusque contempt for love, as I un derstand it; yet her whole appeal was to sex. Her attitudes—initiated, purposeful—were inviting. Love would fail. Marriage would fail. She not only expected to have a lover, she behaved as if such experiments were inevitable. She liked me, at eighty-four, because, she said, I was a ‘sport.’ What she meant was that I gave her cigarets and whisky whenever she came here. She was bored, and, I am certain, not happy. Something has been damaged in the se young people; their imagina- tion. . Lilah said: “I wouldn’t be too complacent about the past, if I were you. There were girls like Marian Forsythe in Victoria’s day they fainted for the same reason the modern flapper shows her legs.” He laughed, and Lilah, stooping quickly, kissed the top of his head, where 73 hair, snow white, showed a pink parting. “I love to quarrel with you. ou aren't to worry about me. I’m twenty-seven, twenty -eight, almost. I love some one Robert doesn’t know, has never heard of. You said I would. I do It happened the way that wind out there comes up in the spring, scattering everything, waking things up, changing the face of the world. I don’t know what I’m going to do. Take him, of course. But not now. Junius Peabody’s face had gone a “Tm he asked, little gray; beneath the sweep of white mustaches, his lips trembled. Lilah saw that he was too old, too worn to stand the shock of violent circumstance. He said nothing. His unsteady hands groped for hers, patting them, stroking them. Suddenly Lilah loved him, because he seemed to understand her. OBERT wanted her to see his spaniels. “It’s a small thing to do for me, Lilah.” It was, invariably, either too cold or too windy or too damp to cross the “greenery” to the kennels. Lilah found excuses, because to sub- scribe to an enthusiasm of Robert’s was to encourage him, and it was more stimulating to test his devotion by inventing subtle rebulis. The question of the spaniels came up repeatedly; their antagonism swung to it like a weather vane; it became the focus of his desire to subjugate her and of her desire to torment him. There was no other vengeance; Lilah found comfort in blaming Robert for her loss. “I don’t like spaniels.” Robert winced and said desperately: ‘But they're fine little chaps! You can’t help liking them.” Lilah knew that Robert’s pups fetched extrav- agant prices and that a glass case in the kennels contained a dozen blue rosettes dear to Robert’s heart. She finally inspected the trophies and the dogs. It would not do to be surly. But she managed, by an expression, a smile, a reservation, to mi ike Robert feel that the whole business was childish, useless, and absurd. April came, and still there was no snow It was customary at the Point to send one of the stablemen to the post-office, ten miles Cram’s HARPER’S Baggy, f or Novel distant, every day at noon. brought in a leather pouch a table in the hall. Lilah rite no matter where she month had passed withor She dreaded any sign from him, yet longed for even the most scornful men She waited with a peculiar, tormented she 5 ing for that letter she knew must com , One day, as she passed the table, g caught sight of her name written ; in oa black, unfamiliar hand upon She opened it before she realized that Flap had, at last, written. Thrusting the lett my her pocket, she went outdoors, and, ae to the beach. No matter what he had said a had written; she could bear the brig — ; the sea! The beach was packed smooth byt receding tide, and ribbons of kelp lay at hie water mark like garlands ee from Fo to dune. There was no wind. A mackerel g translucent shells of vapor, “clouded the - It was such a vast sky, so tall, so immovable so luminous! Lilah saw herself, very - walking between sky and earth, walking j : great crystal globe, with her letter. She read it at last, expecting a burnir accusation. But Flagg said simply that } he was waiting for word from her. He Wa remarkably better, and her absence pr longed unreasonably, was the only thing th, stood between him and happiness, recovery Lilah turned back to the envelop. T| address, Peabody’s Point, proved that | knew where she was. If she did not write; him, he would come. And that, for every on for herself most of all, would mean disaster She went through the deep, dry sand to th dunes and lay full length, her arms nati head, staring up at the sky. The ear receded, seemed to drop away, and she y floating in a void. The sand was warm on th surface, cool if you dug your fingers in, 4; the hum of the sea was lazy, detached, lik the hum in a conch shell. Patches of co moved, and the sky was gentian blue. It hurt, a physical hurt, to be alone What could she tell him? The truth? 4 drive him away! Nothing? Suddenly, for the first time, she saw hers as a failure. She had missed everything. The mail Wa and emptied up Was conse lous oft: happened to ay it word from Flag,

4 sma a square enveloy

HE following morning she spoke to Rober about the necessary closing of th Thirty-eighth Street house. She thought that he ought to attend to it. Servants wer always careless and she herself did not { equal to details. Robert, in riding breech and puttees, was polishing a saddle. He ha the rich man’s fondness for doing himse what he paid other me n to do. “Let Gra attend to it,” he said ‘“‘She’s a crackerjaci at that sort of thing.’ Lilah said tersely th Grace hi . gone back to nursing; she was not in New York. Robert looked up. “We I'll be damned! Why didn’t you tell me so? Lilah answered that she had not suppose he cared one way or the other. This Rober took to be a twinge of jealousy. His spirit rose and he caught Lilah and kissed her “You care, don’t you? I mean, for me} Sometimes, I wonder. You're a deep one I’m crazy about you, Lilah! I wonder ify know how happy I am?” “Are you? Then you'll go to town @ close the house. There’s a good Bobsie.” Ff When he had gone, she felt relief. It was good to be alone with Junius. He potte about at small, fussy undertakings whic the dignity of rites religious ly perfo f The old relish details that impede the young] the exact measure of a cup of coffee arrival of the mail carriage promptly at no the aroma of a cigar, a meticulous and rigi adhered to change of garments at seve o'clock, the rise and fall of the barometer the flavor of a chop. Life was given a [als but comforting air of permanence and di by the importance of little things. was no headlong rush. Lilah had allowed herself to be careles ; she had not, since her arrival, lor dinner. Now, with Robert gone, propitiating, sympathetic presence out ol t way, she flattered Junius by appearing & dinner in negligées with floating sleeves, odd head-dresses made of twisted s fingers a frosty, excessive sparkle of jew A sort of flirtation; rather, an appreciation ( one another, candid and humorous, that © not have gone on in Robert’s presence T could not be themselves where there 4 “~~ lihood of critic ism. r Lilah said: “‘We are very alike. \ Junius agreed . Changeable, intolerant, 2 § impulsive. Delightful! But dangerous | they could pla}

other people. Together, act, shift like the winds, speak of be s sit in silence, conscious of their pride and the perfection. Robert had a way, heavy, compre ‘hending, of taking them for. grante ‘She is happier without 2 Robert, un *y thought. “I'll keep him away a while het There is work to be done in Georgia *" + ‘ auty

buying cypress. I'll send him there. mas Continued on page 122)

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— i) bo P PY ) ( eye i ) é . P i : yy. € >> Cn a A CO | yey atest INC. ( 16 €ask 55" Yluo York Willinerds~ CDressmakers~ Cjailords of lowers. Wi egies ‘Ce + ¥% , ~Suls zr at ‘ Wc? Ee Mimosa, Yellow Orchid ae “Ask your dealer for Peggy Hoyt Perfumes” HATS FOR ARISTOCRATS DESIGNED BY AN ARTIST THE Mildred C Continued | imperative. The colors coming back to her cheeks. Too bad! Too bad. ... But stuck, where she won't.””. He could pity her, for she was so like himself, with all that in- definable search for perfection, that restless desire never satisfied. He was sorry for such people. Far better to be commonplace and to find, in acceptance of dulness, content he and she could never find. There was some- thing wrong, unbalanced, in such insatiable natures, and yet their very discontent and arrogance set them aside from the common run of people, made them, he felt certain, immeasurably superior. He was sorry for her. He took to watching her furtively as he smoked his single after-dinner cigar. She had absolutely no interest in small domestic matters; however, when she was in the house things ran better than they ever did under Grace Whiteside’s fussy manage- ment. She would spend a whole evening staring into the fire, wanting to talk to him about the man she loved, but keeping still because she had a sense of proportion—after all, he was Robert's grandfather! Junius was curious to know about the man who had won her, what sort of fellow he was— some one unusual, of course, as different from Robert as possible. And Junius had a twinge of remote envy, an almost romantic sensation; he knew what rapture she was capable of if a man once touched her imagination. Some one mysterious, a little cruel—otherwise, she would have had nothing to do with him. As for himself, he enjoyed her presence; he would have prolonged the moment, stretched it out indefinitely, for it contained, in its essence, the illusion of youth. He could dream, without being ashamed of dreaming. Detached, sympathetic, he watched her. She would play for him if he asked it; he liked the modern composers; the more modern the better! Old songs were wistful, reminis- cent. But these strange, exciting modernists gave you a sense of to-morrow, innovation, audacity, as if anything were possible, save when, as in the Clair de Lune, there was pity and tenderness for the despised and forgotten posturings of lovers and poets. OBERT went reluctantly to Georgia, and Lilah was left to make her decision. \nother letter came from Flagg, impatient, this time, with a touch of anger and rebellion. She answered that things were not as simple as she had expected; he must wait. A wire was brought to her two days later. He was coming! Lilah went at once to Junius. She gave him the telegram and stood waiting. “You see. I can't stop him. He'll be here to- morrow.” Junius said: ‘Flagg. You didn’t tell me his name. rig Does he know. . . “No!” Lilah spoke sharply. “‘No! I love him. I want him. What shall I do?” “Tl send him away. He mustn't bother you. He’s got to be made to understand that you are here, with us, temporarily. ... You see, in this I am old-fashioned. His following you shocks me. Robert is away. And as sorry as I am for you, if he insists, I'll take my cane to him!” He stroked her hand. ‘There. These things aren't irrevocable.” Lilah said: “‘I intend to see him.” “T intend to prevent you.” “You can't.” Their eyes met and Junius ros¢ have you cheapen yourself. forasong! I love you, too.” “You don’t!” she retorted. ‘* You couldn't and expect me to go on living this way. Quivering, inside, when Robert comes near me. I deny him everything. I torment him. His goodness makes a devil of me. I don't want this child. I’m drugged, now, by this place—a sort of lull, when I sleep because it is easier to sleep. But now that I know Flagg is coming, [ come alive, body and soul. Per- haps I have ruined Robert's life, but my own will be ruined unless I have Flagg.” With a feeling of futility, of confusion and fatigue, Junius said: “If this man’s a gentle- man, I won't need to send him off; he'll go. And stay!” With a gesture of contempt, Lilah left him. But she was more concerned than she cared to let Junius know. She went to her room and dressed for riding There. ‘IT won't Sell yourseli HARPER'S BAzap TIDE ram’s Novel from page 120) The windows were open and she could the excited barking of dogs in the their A gardener was turning sod on the — spreading manure. Lilacs were i ha Nearly a year had passed since that — before an altar of syringa bloom Ane year, and what would have happened —— er HIE stared at herself jr dissatisfied, studied her face ina hand-g} scrutinizing her skin. The struggle oe a balance, to keep some sort of hold ps ity had aged her; her mouth drooped. I, two years she would be thirty. In ten, { " And she was going to be a withered. cukinw” little old woman; perhaps, after all ee was a disadvantage. If Flagg lived “2 would have to hold him with beauty sie another woman might hold him with i Sy 2 the mirror, then sensuality, laughter, and indifference ~ . Af externals—a_ lazy, atffectionate, humorous 3, slovenly woman. .. . Lilah put the mirror down. She passed h A a er hands over her face, shivered, laughed ae steadily. She was as slim as a boy in riding clothes. She went out without speaking again to Junius. Their friendship had been shattered in that clash of wills; pride, in him, was jp. tensified by senility. He was going to be difficult; he might even send for Rober because the Peabody integrity was threat ened. ... One of the stablemen was rollicking with the spaniel in the yard. He touched his car and when Lilah asked him to saddle the roar he remarked doubtfully: “‘He’s awful fresh ma’‘am. Lilah stooped over the dog and said tersely: * Bring him out. I can manag him. __In the saddle, she had a moment of pani lhe big horse wheeled sideways in the gravel, but Lilah mounted, with a spring from the stableman’s palm. She felt very small and light and free. She rode directly to the woods, where, in softer ground, the roan was impatient. It was late afternoon. A sudden darkness, clouds pushing up from the western horizon, was followed by a rush of cold wind, anda whirl of leaves blew against the horse’s legs, startling him. Lilah controlled him with difficulty. Her hand on his neck, she urged him forward. The wood was bleak, gray, silent again after that brief rush of wind, and Lilah heard a shrill, treble pipe of frogs in a pool. But where was Flagg’s dance of gnats at sundown? Spring was here and she could not watch it with him. She would have to send him away Truth or pretext, she would have to send him away. ... She thought of the child asa tide, rising, rising, uncontrollable. This life was within her. She contained it, and was contained within it. Neither in body nor soul was there escape. She was no longer herself; she was implicated, bound up in adhered to, responsible for another self, a self unrecognized, featureless, without voli tion yet powerful, terrible. She was a bod bound by body. Irrevocable. . . . The world had changed. The sun was gone, and with it the warmth of the earth The roan was chilly, nervous. His ears flicked back, and with a whinny he began t run. Lilah thought: ‘Ill give him his head and let him run it out—he'll come to hims when he’s tired.”” Already her hands wer numb, her arms stiff. The bridle path doubled through the woods crossed and recrossed itself, gaining ten miles by this duplicity. The dark, wet eart! broken by pools of melted snow, made 4 tunnel through a tangled growth of trees very old and tall. A blurred twilight seeme to bar the way. Lilah bent forward. Sb could no longer guide the horse. Sensing her surrender, her fear, he lost his head. He left the road. The branch of a tr tore Lilah’s hat off. She shrieked at hin “Whoa! Whoa! Stop! You brute! ‘to For God’s sake, stop!” She was struck on the back, between De | shoulders. A tearing, a blow. She was pulle thrown, dragged, face down, in a thicket She thought, twisting over on her si “This is death.” A dark pain, like blood, flowed over hit breast and she fell back again. : To be continued in the May issue) “Why Murry?” asked a certain playwright not long ago. Even so, people still do seem to marry Therefore, Harper's Bazar lots and lots of people. feels justified in announcing that next month it will publish its annual “Brides’ Number.”

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BLACK A. M. Williamson’s HARPER’S BAzap INCENSE Story Continued from page 103) would not let his eyes go? There were two hands now, a left hand holding the card, a right hand marking the last number called by a croupier, marking it with one of these absurd roulette pencils; red chalk at one end, blue- black at the other. Thirteen was the number; unlucky number. Suicides’ table: the man with the hands had only a few counters left. They weren't five- franc counters or louis. They were the orange-colored or gray ones of far higher value: five-hundred and thousand-franc notes had bought them. Varing did not think of these things; the pencil, the number thirteen, or the counters. They merely slid like quicksilver through his mind. He thought only of the hands. His soul seemed to leave his body, to see more surely, and its eyes were on the hands. They were large hands, but not abnormally large. It was their shape which made them unique. Or was it that? Wasn't it something less obvious—quality, expressiveness of the man himself, a betrayal of his inward reality? The fingers were long, yet not with the tapering grace of artist fingers. They were set rather apart, with enough distance between fingers and thumb to give a tremendous grip. The hands were those of an explorer of wild -— hands of a great hunter. My God!” the queer little voice, which wasn’t a voice, twanged again in Waring’s soul like a breaking string in an olian harp. There could not be two men with hands like these. Waring forced himself at last to look up, as you force your eyes to meet the blinding glare of the sun. His brain swam with joy for an instant. This wasn’t—why, just imagine, Jim Jaffray’s brown helmet of silk-smooth hair streaked with white and rumpled carelessly! Imagine a green shade across his forehead, tied behind the e ars, and on the bronze skin those purple slashes One couldn’t imagine it. One wouldn’t. ‘Physician, heal thyself!” Waring thought. And yet, soul doesn’t reason. It knows. Thi at is all. “Jimmy,” he heard himself say, almost commonplace whisper. The man with the hands turned. He stared from under the green eye-shade. For a moment he sat still, except that the roulette card went down on the table. Then he choked out the other’s name, ‘Dick— here!” “T thought—we all stammered. “T know,” the man with the hands cut him short. ‘“You—you all thought what I meant you to think.” Yet—you're at Monte Carlo.” The man with the hands < = back his in a quiet, thought—” Waring chair and got up suddenly.‘ Vell have to talk, and we can't ti alk here, he said. ‘“Let’s go out—anywhere. ‘All right,” Waring agreed. He picked up the remaining counters which the other had forgotten, handing them to him, though he did not remember his own. Instantly and un- obtrusively the two piles he had erected on the green baize were annexed by an old woman. It’s an ill wind that blows no one good! HE two men were in the Atrium before they exchanged another word. Then he of the hands asked harshly: “Shall we talk h rere No,” Waring decided. Quickly the fear shot through his mind that Mona might come, and see them. If she passed quickly she'd not recognize the stooped figure with the graying hair and the green eye-shade, un- less she caught sight of those hands. “Suppose we stroll on the terrace?” Waring proposed. “It’s growing dark, and the evening chill’s on. There won't be many there. They gave up their numbered disks at the vestiaire, and in silence got hats and coats. “Doctor Dick’? was known for his calm man- ner, which his patients found soothing as balm. Now his manner hid confusion of mind. His head felt like a cage full of wild birds that beat their wings in the struggle to “a free. There were a hundred things to say, but he could say none of them till he’d drawn in a few breaths of cold, fr sh air. When the two had turned the corner of the Casino and were on the almost deserted terrace, words came in a rush. Waring had had time to realize something of the situation. He saw that this man whom he had loved once was either stark mad or a scoundrel. In aoe case, he had ruined a woman’s life and all but brought it toanend. As Jaffray would not begin, he must. “I don’t know what to make of this—of you, Jim,” he said. **God knows, I don’t want to judge you, but—but on the face of it, the thing’s monstrous.” ‘The face of it’!’’ echoed the other, with bitterness such as Waring had never heard in any voice—he, who had heard so much. ‘That’s it, in two words. Don't you see? The whole explanation: the face.” “The face?” “Mine. God! you understand?’ “I’m not sure,” said Waring, “This } been a shock. I haven’t got my ideas leh 1 For nearly two year you let your wife a you dead. Y ou know how she loved =e you did that.’ “Yes,” Jaffray echoed *‘Deliberately?” “Deliberately. i “You could have come back to her— yi ou’ve seen me, man! Don't you—yet “I did that.”

weren't enslaved somewhere jn Afro Y ou—” 7. “T was ens slaved in Africa, but not by any man: by Fate.” st “You mean? “I thought once you had a comprehending mind, Dick!’ oy “I thought once you had a heart, and that it was your wi e’s!” affray broke out with something between a sigh and a gr an. ‘ “Let’s sit down on this seat,” he said. ‘ not in the mood to walk, if you can’t or aa understand without a catechism. Now! Ag what you like and I'll answer. One would have thought a look at me would be enough to tell you why I—died! “Tt wouldn't: anyhow, tell me why you came back to life, at Monte ( Carlo of all places, coolly _ambling in the Casino!” Waring couldn’t keep back the sneer. It rushed t) his lips. ; “T believe you hate me, Dick!” cried. The words stabbed Waring, either with remorse or a sharp self-revelation, he wasn't sure which. But he could not answer until he was sure. He sat dully, unable to concentrate or even to thin’. He was stirred to a vague interest in the few couples who passed— always a man and a woman together, their feet softly crunching the fine, brown gravel with which the Casino terrace was spread Were they lovers, thrilled by the poignant beauty of the scene? Were they husband and wife, consoling one another because of losses in the Rooms? At least, they had the comfort of nearness and sy mpathy, such comfort as he’d tried to give Mona, and to a certain extent had given. Ah, but to what extent? That was the question. H&* HAD meant to talk with her here on the terrace, if she had finished her game in tlme. If she had, or if he’d gone to her table and begged her to come out, she'd have been with him now. He would not have sat at the Suicides’ Table. He wouldn't have met this monster of cruelty. Mona owed the man nothing. She would cease to love his memory if she learned the truth. Wasn’t it his duty t keep her in ignorance? How be sure if one were a just judge or a selfish lover? This soft southern beauty of hour and scene went to a man’s head, made him drunk, confused his senses— There was no sound save the sea on the rocks and the whisper of wind in the palms The dewy chill of Riviera sunsets had passed, but the bright rose-lig!it had melted to purple, not faded to gray. A few stars pricked through the hyacinth gauze which veiled the sky, and over the far mountains of Italy in the east a creamy sheen foretold the moon. By and by it would appear, like a silver basket brimmed with pearls. Below the high ledge of rock on which Casino and terrace were built the sea lay dark as wine, and that breeze to whch the palms waved green hands brought the breath of many flowers. Dusk of dreams! . . . Soon it would be set on fire by the terrace lights bunched together like huge illuminated grapes And, though Waring could not yet decide what to do, he felt that never again would this dusk of dreams mean to his heart what it had meant. : “Yes, you do hate me,” the man beside him was saying. “Any fellow would, I suppose But you were my friend! Next to Mona, | loved you. I’m sorry we’ve met! I might have been spared this. But the re’s always one more thing—just one more! And we've got to go —_ with it. If you'd come to Monte Carlo to-morrow inste: ad of to-day, i wouldn’ t have happened.” “I’ve been here for some days, “What brought you? ‘‘I—well, there’s a story in that. decide whether it’s wise to tell or not. the other ” said Waring ‘ must S HE spoke, Waring found himself st denly alert, ab le to ‘udge between his own interests as a lover and the interest ol Mona

Jaffray as a woman. As for Jim -well, it W4 up to Jim to settle his own future Beer ‘And I can’t decide,’’ he * ong untl 7 ye hear not only why you died, but why came alive again, t» gamble a re openly and undisguised, as if—as if to defy all decent and your wife’s most sacred feelings a wasn’t that,’ humbly. (Continued on page 120)

for

Jaffray answered almost “It wasn’t to defy Mona’s feelings

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BLACK A.M. Williamson’s Story (Continued from page 124) it was for her happiness. Oh, Dick, I didn’t dream any new thing had the power to hurt as this does—to have you think me such a cad. I'd have avoided you if I could, but as we have met and you can’t see under the surface, I'd like to set myself right with you before we part. Will you believe, if I tell you, just in a few words, the whole beastly business?” “Ves,” Waring promised. That voice of Jim’s couldn’t lie! Thank you,” said Jaffray, “but before I begin, give me your version. I’ve seen news- papers. If I hadn’t, I’d not have come ‘back to life,’ as you put it. Still, I'd like your idea what you thought when I disappeared—” “Well, a chap like you, who knows Africa inside and out, has squeezed through tight places again and again. When he doesn’t squeeze out, what can one think? Besides—” “Besides?” “There was the story your horse boy told. Who could have doubted it?” “The story that I went off alone with him and a mule, leaving the rest of my party in the desert of Somaliland camped and digging for water in a dry stream or ‘tug,’ not far from the Haud: that he’d been with me on so many other expeditions he trusted my _ in- stinct—” “Ves,” “That was true, so far: and it was true— as no doubt he said—that I shot at a leopard in the bush, and missed for the first time in my life; or rather, gave the beast only a flesh wound in the left forepaw, which didn’t disable, but made her mad as hell. She took such chances in her madness, leaped from such a distance, I ought to have got her again easily. Instead, she got me, hit my rifle as she landed, and sent it flying. That was the story?” “That was the story.” “And to this point again, true. But it wasn’t true that the boy saw me killed, or that he ran for his life when I was dead and he could do no good; that later he and some of my men came to look for me, but the hyenas had been before them. That was a lie—my lie, not the boy’s. He told it because it was an order, and I bribed the others to keep silence. They were good men, too, every one of the lot—devoted to me. When I got well I was taken care of as if I’d been a blood-brother.” “When you got well?” “As you see me now—if you call it ‘well.’ I killed the leopard—choked her to death with these two great hands that gave me away to you at the Suicides’ Table to-night. But she had her revenge in advance. The claws of her unwounded forepaw ripped away all the looks Mona loved. Though I tackled the weakened beast and killed her in the end, she left me worse than dead. I never lost consciousness; and I knew as I got my breath back after she relaxed in my hands and the fight was over—I knew what my fate must be. Either I must put an end to myself, like a coward, or keep forever in the shadow. “Well, you know which I chose. You and I have had talks in old days. I’m not what con- ventional people call religious, but I have my own ideas. I'd always felt up to that time that a soul which frees itself, unless for a motive great enough to whiten such an act, would go out in utter darkness. I’ve run plenty of risks since that day, in Somaliland and other places, and I’ve hoped they might end in death; yet by some charm or curse, they never did. But lately I saw a paragraph in a New York paper. I got a man I trusted—a missionary—to subscribe for several papers, so I could read now and then of Mona. There was a paragraph about her. It spoke of a rumor that a ‘certain well-known man’—no name given—was anxious to marry Mrs. Jim Jaffray and that she might accept if she could be certain her husband was dead. At present it was merely ‘moral certainty’; so the chances were that the ‘romance would come to nothing.’ The paper was one of those gossip rags—you know the sort. But they often dig up the truth, as a pig noses truffles out of the earth. “@xXOD, Dick, that was a shock! Like a fool—a vain, conceited ape—I swear it hadn’t occurred to me that Mona might want to marry. It had been just—unthink- able. She and I were—it seemed as if we were different from all other husbands and wives. We used to tell each other that the rest were commonplace compared with us. But—well, that paragraph woke me out of my selfish dream. I wasn’t fit for her. Still, I was man enough not to stand like a black, ugly shadow between my wife and happiness. That news- paper might have lied. All the same, the thing was apt to happen, one day or other, with Mona so young (not twenty-seven) and the loveliest girl this side paradise. I realized that 1 must come back just long enough to die definitely and publicly. Better still, do it in some way to disgust Mona so that she could wipe me out of her heart and mind, and begin life over again. I didn’t see my path clear at first, till I thought of Monte Carlo. ... So HARPER’S INCENSE now perhaps you'll do me the justice stand?” “My poor boy, forgive me!” Waring byrs out. “I do understand, I honor you, thone, I think, I know, you're wrong, all wrong _ “Nice of you to say that,” growled Jara “I’m not wrong, though, except that To; to have done this, or something like it, | ago. It’s a good finish, in the circ umstar if anything can be good. And it’s the one left.” “No!” Waring stammered. “I won't hays it!” The words seemed to be torn from him “You've been cruel once. Don't be Poser twice. nd “T was cruel to be kind, and so I'll be again.” “You don’t know. Your wife has ne er stopped loving you, man, though she’s oy ped hoping. If you'll come back to her now" “Great heavens, you say that—you who see the tragic mask I've got for a face—you wh knew Mona when she was a girl, lovin beauty, turning from ugliness of every kind? Mona, the dainty little artist whose } tt girls on magazine covers weren't a patch on herself. Mona, who liked to use me as a model for the ‘handsome young lover!’ She’ die of the first glance at me.” ; “You think you're worse than you are” Waring argued mechanically. He was like 2 man in the dock, bearing witness agains himself. “I was afraid, in the Casino, that green shade meant—the worst. But since you've pushed it back out here in the dusk, | see there’s nothing wrong with your eyes.” to under.

ong ng

wre tty “NTO. They're left me, thank God! I've taken to wearing the shade since | came back to civilization, because I’m coward enough to hate seeing people shudder an shrink. They looked at me differently onc I didn’t realize then how pleasant that was You're good to try and help me, Dick. You could, if any one. But I don’t want to he helped. I’ve come to Monte Carlo for a pur {0 r oN

pose, and I'll carry it out.” “You mean, of course, that you intend to end everything, despite your belief in future | punishment?” “Now you have my story, it goes pretty | well without saying, doesn't it? I must think for Mona, not myself, and the motive may be my excuse with the Powers above. When I went to Somaliland I took jewels instead of much cash. That was my way always, as I could carry enough in a belt to see me through for a long time. I sold my last big ruby and a good diamond I'd been saving to get me here from Mombassa, and to gamble with, at—”’ “The Suicides’ Table!” “Naturally. The appropriate thing! I've been at Monte Carlo three days, stealing out toward night, and playing high in order to be noticed. I should have given all my pile to the bank just now, if you hadn't breezed along, and stopped me. But I'll go back. When I'm cleaned out—as I shall be before midnight— I'll have the excuse I want. And Mona'll have her freedom. There's no coroner's inquest 00 suicides at Monte Carlo, but people won't yet have forgotten me. and my disappearance 1D ‘darkest Africa.” My name and my death can't be suppressed. Mona will read the news in England. She'll think me a cold-blooded beast to hide and feign death all these months, only to end with a scandal at the gambling tables. She'll turn against me for a heartless brute. And the other man will get his chance -if he exists. Does he exist, Dick? You must have kept more or less in touch with Mona. You should be able to tell me.” “IT can't tell you.” That was the one true answer which Warin could bear to give! But with an effort ne added, “I can tell you, though, that your wile has never loved any one except you ; “You say that to console me! But I dont want consoling. I’m past that! You've lived in New York, and Mona has lived in New York. Give it to me straight! Have you never heard, since I—disappeared, that Mona thought of marrying?” ; Here was a question more difficult to tence with! The answer choked Waring, but gave it. - . “As to that, I'm not sure. If she has thought of such a thing, it’s only because she’s sulfere? so in losing you, and because of the lonelin oa Oh, Jim, I tell you again, you're wrong. coe isn’t Quixotism. It’s obstinacy! You left that beautiful, loving girl to mourn. You deciaed her fate for her as you decided your ow? Didn’t you know Mona well enough to know that love for you was the passion ol her life: She tried to bear up, to be brave, to a 4 herself by helping others—Red Cross wor and what-not. But sorrow was too big tor - She was swamped by it, body and soul. “ you do this accursed thing you plan, she may marry. But she'll be wretched. And no matter how much some man may worship her, 3€ be wretched, too. I know! Jim, you and ought to thank Heaven we came togethe’ Let me tell Mona the story of these mont Continued on page

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(Continued from page 126) as you’ve told them to me, and break the news—” “What do you mean?” The question cut like a whip lash. ‘You speak as if Mona were near.” “She is “Not at Monte Carlo?” Tes “My God!” Jaffray sprang to his feet with the look of an animal trapped. “Let me get away,” he stammered. “If we should me t it would kill her. For me—it would be harder than all the rest. Dick, for her sake, for the sake of our friendship. don’t betray me. Promise! Let me do what I've come here to do, and free the girl. Then there'll be no need of words. The news will speak for itself.” Waring also was on his feet. He seized one of those hands—those haunting, telltale hands that had choked a leopard. Though he held it firmly, and Jim did not break from him as he could easily have done, Dick couldn't say what he’d meant to say. The trouble was, the words were in his brain, on his lips, but not in his heart. In his heart was the burning wish to keep Mona Jaffray for himself. She didn’t love him, never would love him, but he had won her gratitude, and something like affection. He had worship- ed her even before her marriage to Jim, and for the last year he had hoped. Just of late, hope had become all but certainty. No definite words had been spoken on either side, but both knew what was likely to happen; and if he could have asked Mona to marry him, as he’d screwed up courage to do to- night, out here by moonlight on the terrace, he might have made her say “Yes.” Instead he was on the terrace by moonlight with the man who had deserted her. RASPING that man’s steel-strong hand (he could feel it shake in his) he asked himself if Jim weren’t right after all. For looks, the poor chap was a wreck of what he had been, and Mona had adored his face. Perhaps it would horrify her to see him as he was, and she’d be forced by her own goodness to make some tragic pretence of love. Why not stand aside and leave Jim to decide? But as Jaffray drew his hand away, Waring thrust Satan behind his back. “Jim,” he said, “I'd let you go and work your will if I weren’t sure that by killing your- self you'd kill Mona. She needs you. She’s tried to drown love and recollection, and she’s nearly drowned her own soul. The love wouldn’t die. It’s as strong as ever, under the surface. If I can’t prove that to you, I give you leave to blow your brains out. But I can prove it. Will you give me this one night to try? And then you're free to decide how this story shall end. Is that too much to ask for Mona’s sake?” “Nothing would be too much for her sake. Believing as I do, I know I may be heading straight for hell by taking my own life—yet the motive’s there; and I’d spend eternity in flames to give her the happiness she’s missed through me. But what could you prove?” “Listen. I’m going to tell you what I'd cut my tongue out sooner than tell any one else. You know how your love and Mona’s was like a glass case shutting you both in together, away from intimacies. She had no close friend to help her through the dark waters. There was her aunt, Mrs. Vail, sweet and affection- ate, but no strength to lean on. She came up from Virginia to New York to live with Mona. (nd for that matter she’s with her still, here at Monte Carlo. A pet Pekingese would have as much moral influence! The report of your death wasn’t a month old, when the poor child took to dope.” ‘Good God!” “IT knew nothing of it then. I wasn’t Mona’s doctor. I was only her friend, as I'd been yours. But at last Mrs. Vail came to me and confessed. It seemed it was she who advised the doping—small doses, of course. She'd been allowed small doses of morphia, one- eighth of a grain, by some medico in the South when she had neuritis. Mona couldn't sleep suffered from frightful headaches. Her aunt thought it right to prescribe without con- sulting a physician: had some of the dope left, and her own hypodermic. How Mona got more of the stuff when the first supply was exhausted I don’t know even now; couldn't wring it out of them: protecting someone. But it’s fairly easy to obtain, if you want it enough, and pay enough. Anyhow, the girl felt she’d nothing to live for except the dreams dreams of you!—that the morphia brought. (And when Mrs. Vail came to me, Mona had got up to two grains a day. She tried to lie when I went with her aunt and charged her with it. Dopers all lie! But soon I broke down her defences. She must have those dreams, she said. They were her life; but if they were her death, she'd be glad. This was two months I had a fight before she'd let me take her in hand. But I frightened her, swearing on my honor that any time the beautiful dreams ago Williamson’s HARPER'S BAzap INCENSE Stor y might chang» to horrors; that in you, she’d interrupt. I you speak. : Stead of see, devils. . . , No! Don want to get _to the end befor I've fought for your Wife, Jin see with all my might and all my skill Th have been triumphs, then failures relaps Sometimes I’ve nearly lost hope, but never quite. Always I began again. building y; The last fall there was, I got what seemed. flash of inspiration. I proposed a pron change of scene and climate. Florida ] head of at first. But Mona wouldn't haye Pe She’d been there with you on your hone: moon. She consented to the Riviera, and that pleased me because of the sea voyage Oj course Mrs. Vail was the companion, but | had to be with the patient, to see her througt safely. I put my work at home into another man’s charge; and as soon as we could st ; we took a French ship for Marseilles, Froy there we made straight for Monte Carlo I prescribed the excitement of gambling as 4 counter-irritant. It was a risk, but I took it for her, and—” A “Well?” “That is the word It is well ~comparative- ly. Mona has shown some slight, vague sign: of interest in life since you—went out of it She’s been practising a system I taught her Sometimes she’s quite amused. Of course jt’. partly change of scene. When I got a found tion to work on I tried an experiment whic! I'd attempted before, and failed. Not on have I induced Mona to decrease the dose oj morphia, but I’ve been able to sugges. successfully, that she doesn’t suffer from the deprivation as she did before.” “You’ve been a wonderful friend to my poor girl!” cried Jaffray. , “I’ve done my best,’’ Waring said: but th words that sighed through his heart w different. Oh, those marvelous months yw he was “doing his best” for Jim Jaffray’s “widow”! What a labor of love it had beer “T might have put out more influence, used more power,” he went on, ‘but I hesitated— held back. She's a young and _ beautif woman, a delicate and intricate mechanism for experiments. \ man, I'd have cured before this. I’ve worked over Mona week oney after week. Vou can complete her cure ina moment. “By showing myself, you mean? If you do you don’t know Mona as I knew her.” i AIT, let me outline the scheme. I have a definite one. Mona and Mrs. Vail are in a little furnished flat here, I found for them I lurk in a quiet hotel close by. An idea struck me one night last week, when Mona mentioned a detail of her beloved dream she'd n happened to speak of. The dream of you gets from the dope often begins with an | illusion of perfume——perfume of incense.” | “Ah, the black incense!’ Jaffray broke in swept out of himself by the tide-pull of memory. “She loved it. And I—oh, thos nights when we camped in the desert, and burned the black incense under the stars God! | The times I’ve dreamed back that incense, these months of purgatory! So sh has dreamed it too!” “Yes. Maybe you two met on the astral plane and were together in the same dream It’s my belief that such things can be. Werent you and Mona in E burned the incense?” “No. It was Algeria honeymoon. Palm Beach was too sophist cated for me, and my part of Africa too da gerous for her. We sailed on an Italian shi then went from Genoa to Algiers, and made for the southern Sahara, the dunes past Touggourt. She said then that the b incense of Timbuktu went to her head and made life a dream. Now—” Waring cut short the reverie my idea,” he insisted crisply reduced dose of morphia agreed upon determined to trick Mona. There’s a Moslem mosque in Nice. I bribed an imam or some such johnny to sell me some of that very black incense—from Timbuktu. Then I gave Mona a hypodermic of sterilized water, suggesting sleep; and when she'd dropped off I bume! the incense Well, she slept, so from my = of view the experiment was a success. 9" not from hers. When I phoned Mrs. Vail in the morning for news as usual, it was Mona who answered. She was up—had dresset early, against standing orders. Her news ¥® that she'd had a blow. There'd been no pal no suffering of any sort, but suddenly morphia (she thought I'd given!) had lost one effect she valued most. r an “T'll tell you The dream of incense had come. but the dream of you. bes was begged to increase the dose the follow ing night. to see if the dream would return. | pretended to do so, and again shot _ sterilized water into my patient s arm incense was burned. Once more Mona $ BRS } » Th But the morning’s news was the same. | bigger dose she believed she taken ad brought no dream of you. And then happene (Concluded on page rypt together when you | the end of our “Instead of the |

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hut th \ Se] wou NS? . t wer \\Weect aot 2S 2 : er") hi \\ ; 2 be vad Zs alfray s ~~ } d ad \ \ ; ‘ ‘ ~ tate \ a eautil ‘ ¢ a hanisr > cure _— Syne She has attended luncheons more elab- Maid, in International Sterling. Dain- you orate, —none more charming. She has seen table- tiness itself is its outline. Delicate is setlings more sumptuous, —none in better taste.Butall q : d sail alice Thave | her other friends have sterling, too, fine linens and its decoration, an ' So restra Vala | china, What is the secret of this lovely effect ? She picks serves to emphasize the grace of the _ up a teaspoon, —toys with it. How unusual a tea- cyryes. While the whole is wrought 1 nes spoon! So suggestive of the hostess’s own style! Suddenly eich dx Seen ehh ts possible — it dawns on her. This table has been planned as a ; Stage nse.” bicture. The picture is mostl, sterling. The sterling has only in solid silver. os been chosen to express the hostess. F ; F «* P gene Thus Georgian Maid attains a general th es or

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130 COMPANY for Seventy-five Yecms Couturiers to the (ea shies AYsS AY j r Z. op), , Gentlewomen O; Almarica ica am (0) 04 4 552 Fifth Avenue BOSTON Boevlston Street and Park Square BLACK HARPER'S INCENSE A. M. Williamson’s Story (Concluded from page 128) what I'd hoped would happen. Mona was angry with the morphia for losing its effect. For the time being she hated what she'd loved and lived on; resolved to on for some nights, at least, without any. That was half a xO week ago—a triumph. But I can read the poor girl’s mind. She's hoping that, by abstention for a while, she can begin again and call back the lost dream. ‘Any moment she may clamor for the dope, and I’ve promised she shall have it when she does. Of course, I sha’nt give the stuff, though. What she'll get will be the sterilized water. That was the way I'd planned to see the thing through, a slow and tedious cure, if a sure one in the end. But—you're alive and here. You can give your wife reality in place of the dream. Now you see how you can do in a moment what might take me weeks or months.” Jaffray’s head swam, and lights before his eyes. “I see,” he said. “I'd hoped to put her off the dope indefi nitely,” Waring went on. ‘‘But to save you suspense, and keep my word with you, [ll suggest it to her myself, to-night. She may want to gamble late. I don’t know. But I think not. I think she'll snatch at the chance of oblivion and go home early. Anyhow, all you have to do is to give me the address of your hotel and wait there till you get word from me. eavens, man don't look as if you'd been sentenced for murder! This is a free pardon for all your sins and mistakes.” “You * groaned Jaffray. ‘But if I've made mistakes and sinned against Mona this may be the cruelest act of all. My danced say so, hace “If it repels her, she shall never know the truth She shall believe she has dreamed. To her you shall remain a dead man. And you can live the rest of your life or end it, as you ¢ hoose.”’ “You swear that?” ‘I swear it by all that’s sacred to us both. Is it a bargain?” “Te isl” Jaffray thrust out one of those hands that had choked the leopard, and almost crushed the hand of his friend. Waring did not flinch from the pain, but he flinched from a sudden lightning glimpse of his own soul. The hope there, which he could not kill, was like a black spot. What if Jim were right, not he, and Mona did shrink from the scarred brown face? What if the test showed that Jim must not come back to life? There was still hope of that. A’ TEN minutes before eleven, a note was brought to Jaffray as he sat waiting in the big entrance hall of his hotel “Dear Jim, * Doctor Dick had scribbled hastily in pencil, “‘ Mona has snatched at my proposal. Come as soon as you've read this, to the Villa San Genario, in the Boulevard des Moulins. Don't take the ascenseur. Walk up two flights. At the top of the stairs you'll see the door of the flat, the left. Mrs. Vail’s card is on it. Instead of ringing, knock lightly. You're expected. Coraggio! Dick.” The gay shops along the Boulevard were shut. The only lights were street lights, and in hotels and big apartment houses. As Jafiray reached the Villa San Genario he heard the boom of a clock across the bay on the Rock of Monaco, the strokes mellowed by distance and water. Eleven! He had been quick Up the bare marble stairs he sprang, two and three shallow steps at a time. There was the white door. crude electric ‘ight showed him the visiting-card in a metal frame Under the engraved name of Mrs. Vail, in a dear remembered handwriting was scrawled that of * Mrs. James Jaffray... The man’s heart a great leap; then seemed to fall in his breast and turn cold. His lifted hand dropped. Could he through with this her turn from him in horror, cry out in loathing? Wouldn't it be best to bolt, and carry out his own program in spite of Dick? But the promise held. As he had been told to do, he knocked lightly, making scarce a sound. The door opened at once, and it was Mrs. Vail who greeted him. The rose-shaded electric candles were kind to his scarred face, perhaps besides, she had been prepared for it by Waring. This was no test! “Jim!” she whispered. “I've been here behind the door with my hand on the knob for five minutes. Oh, my poor boy, what a mistake you've made! What are a few scars on the of a brave man? But no re proaches! Doctor Dick has made me under stand that you've been a living martyr for Lave ZO see face Mona’s sake. Come in. Doctor Dick is with her. But any second you may be called.”’ She took him by the arm, giving him no chance to speak, to ask if, having seen what he was, she would not advise him to g Having closed the f entrance to the door. of The author of “If Winter Comes,” ions of Paris for next month's Harper's Bazar. ome of lets im pre flat, she opened another “This is our little salon, she softly exp} “See,” and she pointed, “that Prey there leads to Mona. We must “wi All these doors and walls are thin ‘Wee risk your voice being heard, though ph a portiére on the other side, jn Mona’s De Thus warned, Jaffray dared not « _ it seemed to him that his heart was loud hammer. He glanced round for traces of woman he loved. There were many } scattered about. An evening cloak of bi velvet hung over a chair. Did ay wear mourning—‘or him? On the tab books stood a great bowl of dark vad e her favorite flowers. He used to bring th home to her. Who had given her these ( Dick perhaps, since the man who marry her wasn’t here door Close Mt speak se? | Wanted HE scent of the roses went to Jaffr head, because it was, for him, the perf of Mona herself. He drew it in with | deep breaths, but suddenly lost it, Apo: fragrance overpowered the delicate oj flowers. It was that of incense, the | incense of Timbuktu, and he went through the years to the desert. Mona in his arms, and together they heard th of tom-toms, the wail of a raita in an oasis palms. The vision broke. The door of that r opened without sound. Against a backgroy of subdued rosy radiance stood the figur Waring, tall and black, so stiff as to x rigid. He beckoned, but halted Jaffray the threshold with a gesture, command him to stop. Then, as his order was obe Waring retreated into the room of the r light. “This dose ought to give you the dr dear child,” the doctor was saying in an level tone. strangely soothing. “Alte; you're asleep—asleep. You smell the bl incense. You are in the desert. Be patie Jim is on the way to you—in the dream.” The voice was hypnotic. felt the spell of it. He knew that he called \ step i nearer gave him a par view of the room. There was a hanging | with a deep pink shade, and on the car French bed an embroidered silk coverlet rose-color fell to the floor But only the j of the bed could be seen where Jim stood. *Now—now he comes,” Waring cro in that hushed tone. It was the sig Instinct—or hypnosis—told Jaffray Knowing no more of the part he must than an actor summoned to the stage with rehearsal, Jim entered the room Mona lay in the carved bed, propped uy pillows. The pink light turned her per skin and ivory. Her grape-bl hair with its purple glints lay in two th plaits, one on either side of the white thr and over the bare, crossed arms. Her br eyes were only hali-shut, shadowed by | to rose lashes. Her bosom, under the thin low night dress, heaved with painfully dr breaths. She seemed to lie between w and sleeping, and Jim heard a murmur tr that dear voice which had for so long ech in his ears, like the sound of the sea ina sh “Yes, [I'm asleep—but—no dream dream yet. The morphia—you didn’t g me enough—"" smoke of the incense is in your eyes. Al it clouds the dream through a veil. If you could glimpse his! clearly, it might be scarred, spoiled “Tt isn't that.” answered Waring. “1 Even Jatir It makes you see J T real image might dread to come and sh itself, for fear your love would die, ané Jim that would be harder to bear than own death.” **No—no,”” Mona_ breathed. Jim wouldn't fear. He would know. “Perhaps. .\re you asleep now, so that dream can come across the bridge the! smoke builds?” ‘es. I'm asleep.” ‘And you're not afraid to see Jim & would be if he were alive on this earth? “Not afraid I'd go out of my body t him if I could—if he had a thousand scars ‘Look toward the door ” , The brown eyes opened: wide, turned ward the door Waring flashed the w of a pocket electric torch upon Jim Jatir face. With a scream. Mona sat up in bed. it Was a scream of joy. She held out her bare arms love, come to me!” she cried back into my world, just as you ar me to yours! AS JAF RAY knelt by bedst ve head clasped to his wife heart, \ turned away. His gaze followed the =a of the black incense. But in it for him were no dreams. he “Jim “Oh le thie A. S.M. Hutchinson has writ I for Hf

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Its very appearance reflects the most discriminating taste. Attractively priced from $40 up. Whatever you may require—suitcases, traveling bags, ladies’ fitted suitcases—you will find that Belber Traveling Goods combine fine appearance and the best quality with very moderate prices. Write for our booklet-—“The Style in Wardrobe Trunks—and how to pack.” You will find it help- ful in selecting the style you desire. Free upon request. THE BELBER TRUNK & BAG CO., Philadelphia, Pa. Belber SAFE-LOCK WARDROBE TRUNK WORLD’S LARGEST MANUFACTURER OF FINE TRAVELING GOODS THE Robert Hichens’ HARPER’S BAZAR PIANO Story (Continued from page 93) with her head held obliquely, like Judy in “Punch and Judy.” A most pleasant and genial woman. As we walked along, through the hotel garden and down the hill toward the turn on the right which led to the drive of the Villa Karibi, I learned for the first time how intensely musical my two companions were. Lady Ermyntrude, it seemed, had a “ passion” for Mozart, and had heard Mendelssohn's “Elijah” no less than twenty times. This was creditable. But Lady Carré went much further than this. She had been among the first to go to Bayreuth, had been present at the initial performance of Strauss’s “ Rosen- kavalier,” had, so she assured us, persuaded the beautiful Mary Garden to revive Verdi's “La Traviata” at the Opera Comique in Paris, and to show people what a great actress- singer could do with a stereotyped part, and had liked Scriabine at least a couple of years before any one else had ‘“‘found him out.” She had also been an intimate friend of Massenet. Both ladies (fortunately) had always adored the music of Saint Sauveur and both were all agog to know him. They had seen him on the platform. At least Lady Carré had, and Lady Ermyntrude was sure that she had. But as she said he was a very tall clean- shaven man “with a face like a weary blood- hound,”” while Lady Carré assured us that he was not much over five feet two, and had always worn a beard “from young manhood up” I had my doubts about Lady Ermyn- trude. Lady Carré had heard him improvise on the organ at the Madeleine in Paris, and it was “the most absolutely wonderful thing she had ever heard in her life.’ All this, I thought, promised well for the success of the luncheon. We turned in at the gate, and were walking between the double lines of arum lilies exactly as my watch pointed to the quarter past twelve. Nothing could be better. We, at least, should not hold up the Master from sitting down to table precisely on the stroke of the half hour. His digestive processes were safe in our hands. UT punctual though we were, we were not the first to arrive. Several enthusiasts had preceded us. The British Consul-General and his wife—both intensely musical, as I learnt that day for the first time—were al- ready with Mrs. Doremus in the library which looked on the papyrus court, also the Admiral of the Port with his South American wife, and two Arab chiefains covered with decorations, the Agha of Beni Mora, and the Bach-Agha of the Aures, fine, dignified, bearded, speech- less men in beautiful garments. One felt at once that this was an “‘ occasion.” The Admiral was in uniform, the British Consul-General in a “ morning coat.”” I began to be very conscious of my jacket, but hoped that the William of Orange rosebud would carry it off. Mrs. Doremus, beautifully dressed in black with a bunch of marvelous violets in the front of her gown, her pretty yellow-white hair unconcealed by a hat, was as cordial and talkative and welcoming as ever. “We are all musical here to-day,” she said, in her cheerful, husky voice. ‘‘ Monsieur Saint Sauveur will eat his lunch in the midst of an atmosphere of music.” \n atmosphere of music! I glanced at the Admiral, a square man with the face of one who had doubled the Horn, and at the two \rabs with their eagle eyes, and I wondered. But just at that moment more people began to come in. It was to be a luncheon of twenty-four. We were already —for | counted—twenty- one in the library when my watch pointed to twenty-five minutes past twelve. The Governor and his wife had arrived; General Sarelle who commanded the French troops in that part of North Africa, with his aide-de- camp; Mrs. G. F. Bethune, the American novelist; Comte de Montmorency, who had a lovely property at El-Aloui; Major Greyne, the British administrator of vast regions south of Khartoum. who was spending a brief holiday among us; Mrs. Eleonora Bullock, the famous explorer, taking a rest after a journey in the south of Morocco; Monsieur Laroche, the semi-invalid, but wonderfully cultured, owner of the exquisite villa, Dienan- el-Mufti, which adjoined the property of Mrs. Doremus; and Count and Countess Faviacasa, charming Italians, among us for a time on their way to Tunis. Mrs. Doremus’s English butler entered the room and murmured something into his mistress’s ear. She raised and depressed her small, yellow-white eyebrows thre times, turned to us all, said in a low voice, “He has arrived!” and went out quickly into the hall, while we stood facing the door full of expecta- tion. There was a short and thrilling pause. Then she reeniered the room with a ve short man at her side, followed by the tower ing figure, so beloved and familiar in the colony, of dear Monsieur de Morisot, Rao long in the tooth, yellow, animated and already in the full flood of discourse, * ~~ ONSIEL R SAINT SAUVEUR looked exactly like an old royalty. Although very short, his calm self-possession, his still dignity, were such that he seemed almost tall and certainly in no way puny. He had the detached, masklike expression which royalties often assume when sitting in a state landay and bending—it isn’t really bowing—to a crowd. His gray hair was smooth and neatly arranged. He wore a mustache and a very small, perfectly cut beard. His little hands were wonderfully refined and clever looking And—of course! I knew it!—he had on a braided frock coat, buttoned, and fitting his slight, trim figure in an almost sheath-like manner. In it was the rosette of the Légion d’Honneur. After the Master had shaken hands slowly with the Governor and his wife, the General, and the Admiral and Madame Admiral, presentations began. Mrs. Doremus intro- duced all her guests, including myself, one by one to the Master, who shook hands slowly with each of us without uttering a word, and without looking at any of us. I noticed that his eyes were rather prominent and had a curious boiled look. The touch of his hand was dry and cold. His handsome face—he had regular features and a marvelously good complexion for so old a man—looked remote not repellent. He seemed merely to be think- ing about something with which we had nothing, could never have anything, to do. As for us we gazed at him, and most of us, when we shook hands murmured something we hoped was appropriate. For instance, Lady Ermyntrude said, in her throaty Vic- torian voice: “The late Queen loved your music next after Mendelssohn’s, cher Mon- sieur.””. Mrs. Bethune said, as she sketched a vague dip, not a courtesy but a movement of the same family as a courtesy, “In the States we think a lot of you, Master.” Countess Faviacasa murmured, *‘ Maestro,” in a warm, overwhelmed voice. Lady Carré, with her cheerful head held well forward and sideways, exclaimed, ‘‘ Cher Matire, I have heard you at the Madeleine on the king of instruments. Two kings together!” Then followed the Punch and Judy movement so characteristic of her. As for me, I believe I said something about hoping that the baths of Hammam Ziloutine would prolong the life of one so precious to humanity. Rather too long and elaborate, as I realized when Mrs. Doremus somewhat hastily interposed with “Major Greyne, one of our most famous Administra- tors, cher Maitre.” When the last of us had been presented the clock hastened to chime the half hour, and Monsieur de Morisot exclaimed, of course in French: “Just right! Just right! I said to the Master, order the motor for the quarter past noon, allow three minutes, perhaps four, for the introductions, and on the stroke of the half hour we shall all be ready to sit down to table.” And then there was an alarming pause. For we were not ready to sit down to table. Mrs. Doremus uttered her little cough, smiled, abruptly looked dreadfully grave, then smiled again. A guest was missing. Some out- rageous person was not up to time. Who was it? Mrs. Doremus began hurriedly to speak about the African weather, and every one began to luok uncomfortable except the two Arab chieftains, Major Greyne, who had the sort of brick-red, weather-beaten face that can’t look anything except weather-beaten, and the Master, who contrived to maintain the appearance of an old royalty in a State landau. —"and so the crops in the Bled ought to be exceptional this year. Kur-rum! UR hostess’s voice trailed away, and thea suddenly broke out in the sound that seemed half a cough, half a clearing of te throat. A silence followed, in which was audible the tick-tack of the black and gold lacquer clock on the marble chimneyplece. | “Tt has even rained as far south as El Kantara. Hasn't it, Bach-Agha? A heavy mutter of smothered French issued from the recesses of the Agha’s mighty beard. “And they say that—”’ - The Master turned his prominent, eye toward the clock, put one hand inside bs frock coat, extracted a tiny round silver of, opened it, and swallowed a minute Ply Monsieur de Morisot bent down, abrupty halving his height, put his large, tlexible lips (Continued on page 134) Arabic Bach- - oe & fo?

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Mon Cheri Extrait A Gabilla odeur. The de luxe package illus- trated, 22 ounces. Re- tail price $12.50. Also in two and one ounce sizes Trerr may be seven or eight wo- men in Parisand Vienna who know as much about perfume and the pur- poses of perfume as Madame Gabilla, but they do not happen to be in the business of making perfumes. For thirty years es parfums de Gabilla have stood unique in the capitals of Europe for their subtle potency. GABILLA is unique in that her perfumes and powders, as well as their truly Paris- ian containers, are actually produced and assembled in France. Les Parfums deGabilla may be purchased at the mayzority of toilet goods counters. NEW YORK OFFICE, 116 WEST 39TH STREET Mon Cheri Poudre de Riz $1.50 ‘w= THE PIANO Hichens’ Continued from page 132) Robert something Indian rubber about them!—to the ear of Mrs. Doremus, and seemed to speak at great length, though where I stood his voice was inaudible. Yes, I know, my dear friend, I know! But it’s—”’ Whispering from Mrs. Doremus. More prolonged and emphatic lip movements by Monsieur de Morisot, his height still halved. \ dusky red despair was invading our charm- ing hostess when the door opened and the twenty-fourth member of the lunch party entered the room. Imagine my amazement when I beheld the most notoriously unmusical Englishman of his time, Lord Nottinghamshire, M.F.H., member of the Jockey Club, race-horse owner, presenter of the ‘* Nottinghamshire belt.” to be fought for each year by British heavy- weights, a big, red, laughing Philistine of a man, who, T was certain, had never even heard ot the Master. How came he here? I learned afterwards that his steam yacht, Brave Lass, had come into the harbor the day before, and that Mrs. Doremus had at once despatched a pressing lunch invitation to him. He was an English celebrity. She couldn't “leave him out” on such an occasion. So now we saw him come forward laughing, in a suit of loud checks and a bright yellow tie, and saying in his hearty voice: “"Fraid ['m a bit late, eh? Couldn't get anything but a broken-down Ford to bring me here. Sparking plug all wrong. Had _ to tinker at things myself. Sorry!” Mrs. Doremus presented herself. “Delighted! No, not at all late. Let me Lord Nottinghamshire—Monsieur Saint Sau- veur.”’ \s the Master gave his hand to the aristo- cratic sportsman, I noticed that for the first time he looked at a guest. Then, without any further introductions, we were—yes, really it came to that—we were hustled into the dining-room. Mrs. Doremus were in- banquets. Her food was the HE lunches of variably sort of food that insists on being taken seriously. Her wines could not be swallowed in a spirit of lightsome frivolity. And, besides, we were a mixed bag that day, what with the Arabs, the French, the English, the Italians, the South American wife of the Admiral, Mrs. Bethune from California, and Mrs. Bullock who, as everybody knows, had Scandinavian father and an Irish mother. Then a Governor, a Commanding-General, the Admiral of a Port, a Consul-General, a couple of oriental chieftains and the Glory of France, when mingled for the first: time, could hardly be expected to be very light in hand. They were not. In the beginning only two voices were heard—so to say, really and unmistakably heard—among us; the voice of dear Monsieur de Morisot, who generally seems physically unable, despite any mental effort to the contrary, to stop talking, and the voice of Lord Nottinghamshire. These joined in a fairly strenuous duet, the respective themes being Wagner and Demp- sey, with, as variations, Haydn, Mozart, Ichaikovsky, Saint Sauveur, Carpentier, Beckett, Jimmie Wilde and Kid Lewis. Mrs. Doremus occasionally interpolated a sort of mufiled grace-note, or uttered her little “ Kur- ” The rest of us were mainly silent. I was seated between Lady Carré, who was on my left, and Mrs. Eleonora Bullock. Beyond Lady Carré sat the Master on Mrs. Doremus’s right hand. I noticed that Monsieur Saint Sauveur, like many famous Frenchmen, took the mid- day meal in a spirit of high seriousness. With a napkin over his black satin tie, and bending forward over his plate, eyes front, he ate very slowly, masticating each morsel with patient care, and combining the various items simultaneously before him—as, for instance, venison, red currant jelly, puffed potatoes, French beans, and green salad in a masterly manner by means of knife and fork, with occasional aid, when in serious difficulties, from a carefully selected fragment of toast Melba. Mrs. Doremus often looked rather anxiously toward him, or signed to the butler to take special care of him, but she evidently felt that the suitable moment to add a little conversation to his menu was not yet come. Not so my Lady Carré, however. By various symptoms on my left I gathered that she was increasingly desirous of getting into talk with the great man. She fidgeted, sighed, smiled, looked suddenly intelligent, animated, even roguish, assumed an ex- pression of almost romantic gravity, put her head on one side, and several times opened her lips not in connection with food. But the complete abstraction of the Master evidently disconcerted her, and at last she turned round to me, and murmured: “Do you think I had better say something to him?” was secretly extremely doubtful on the point, but I took the resolute course and said, rum! HARPER’S BAZAR Story “Yes.” “Very well, I will!” And she turned round to th up, leaned forward obliquely, smiled wis raised eyebrows and widely opened . and exclaimed with her utmost brisknes i “At what age, cher Maitre, did you di. that you possessed the marvelous pes music with which you have delighted for so long?” sinc Mons‘eur Saint Sauveur retrieved a Brussel sprout, which seemed to be endhiwaiien s make its escape unperceived through s 4 of brown gravy, dealt with it slowly an completely, slightly turned, and. eile looking at Lady Carré, replied in ses almost crystalline voice, gu “At the age of two.” € left, brace E THEN turned calmly and redeyos himself to his meal, while Lady ( rr apparently uncertain whether she had broy off a success or fallen among the ruins oj 3 failure, made a sharp movement sidew ee still leaning forward after the manner oj Judy. I, too, had been for an instant uncer. tain, but T speedily realized what her gallantn had achieved. The ice was broken. Th Master had uttered a consecutive sentey in a voice which all had been able to hear \ small roar of musical conversation bro out. Lord Nottinghamshire’s and Monsieur de Morisot’s duet was succeeded by a chor in which it seemed to me that every op present took part, except the Master, wi still ploughed his lonely furrow through Mrs Doremus’s marvelous lunch, and the tw Arabs. But as—if my experience is to | trusted—Arabs never talk much, if at all, j mixed company, and are never vivacious the house of a Roumi, there was nothing exceptional in their dignified silence. They had nothing to say, and very sensibly did not ay it. in that reticence showing a wisdon akin to that of Monsieur Saint Sauveur. I must confess, with regard to the las named, that his enormous self-possessi began almost to hypnotize me. Although had been going about in society for a great many years, I had never before met any or who flatly refused—enly by manner, look | general demeanor, it is true, but they combination amounted to a flat refusal take any, even the smallest, part in the soc entertainment. Of Monsieur Saint Sauveur at Mrs. Doremus’s lunch party it could | said that he was an eating human be present in our midst. Nothing more co : be truly said of him in his capacity as a soc unit. Lady Carré did not venture to address h again. Mrs. Doremus smiled over him, set t! butler at him with second helpings and canters of various wines, talked music others so that he might hear and realize th he was in the midst of true devotees, but [f never observed that she directly addressed him. And he continued calmly to select 4 to masticate, and to sip from the vario glasses on his right, till the end of lun Only twice during that time did he raise | head from his plate, and seem for an inst to be aware that he was not alone. And each of these occasions I noticed that ! looked at Lord Nottinghamshire, who sitting almost exactly opposite to him, eatin: } and drinking with hearty good will, an] talking genially to all and sundry. x lunch we all went up-stairs | the marvelous Arab drawing-room, its narrow arches, its columns, Its — windows guarded by iron grilles, its diva brass-bound coffers, cedar wood and ink: cabinets, mother-of pearl coffee table- wrought brass lamps, exquisite prayer carpet Tunisian pottery and collections of Orient china. For a moment I wandered away It the general company. My attention ha It attracted by a new acquisition of my host a Chinese pagoda fashioned in blue and whit china, which had been placed on a cat’ bracket in a distant corner of the big 100 As I was standing before it are of at of talk about music behind me—l hear hearty voice exclaim, “| say—are you English I turned round and met th eyes of Lord Nottinghamshire. “Yes!” said. - ‘Thought so! Well now, you can pul! up to something. Who's the old boy 1 frock coat, the chap who looks as 1 he 0 to be behind eight cream-colored horses, you know, driving to open Parliament: “That’s Monsieur Saint Sauveur “Who's he?” “The great French composer ‘What of?” ‘The great musician, the glory ol France, the man who wrote * Herculk the -\ugea Stables.” ‘Stables! horse?” 2 “No; it’s an opera (Continued on page 130) shrewd gr) Does he know ything abou" 25 WS ROA Po NE \\ oll} \Y Wd // eo /. ASG t vv

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136 E Artful Coats and Simple Coats, Coats for Every Wear KRHAPS one seeks a coat for town, one of subtle design and knowing charm! ‘There are many such models in dressy fabrics; fine Poiret twill and soft, light woolens are favorites. And, as for topcoats, there are boy- ish, belted models and others free from the shoulder; fleecy and downy fabrics, gay or subdued shades, pat- terns bold or demure. But, whatever its purpose, each coat has that enduring smartness, that precision of tailoring and fine fabric which must go into a coat, suit or dress bearing the Wooltex signature. If you | not received your copy y of The Tailored Woman Magazine, No charge. ave write us for it. THAT WELL-DRESSED LOOK COATS, SUITS & DRESSES by oolte THE WOOLTEX COMPANY, Cleveland, Ohio THE PIANO Hichens’ (Continued from page 134) Robert “Never heard of him!” “He really is famous all over the world.” ‘Queer kind of fame! I never so much as heard of him. But I'll do him the justice to say he can eat. I should like to get him to the ‘Cheshire Cheese.’ Think he’s ever been there?” “T really couldn’t say.” “Haven't I seen you Sporting?” “T go there sometimes.” “Good! Good! Thought I'd laid eyes on you there. And so that old boy wrote some- thing about stables, did he?” He seemed to hang on to that word as if it were very blessed. “Yes, but only music.” “Oh, Lord, I hate music! Beastly noise! One hears too much of it these days. It’s a perfect curse. Wherever a fellow goes it’s squalling, and fiddling, and hullaballooing. But anyhow, the old boy’s written about stables, eh? Well, that’s all to the good. I thought somehow he’d got something in him. The way he stuck to his food, don’t you know? Showed character! Showed grit! And now you tell me he’s written something about stables—”’ But at this moment I heard a fairly loud “Kur-rum!” behind us, and then Mrs. Dore- mus’s husky voice saying, “Lord Nottinghamshire, some Arab coffee?” at the National may I give you _ AGNER,” said Monsieur de Morisot, with elaborate lip movements and the gestures of an accomplished orator, ‘has been, and still is, the curse of modern music.” A “circle” had now been formed in the Arab drawing-room, in the midst of which, in an armchair made as oriental by Eastern draperies as an armchair ever can be made, sat the Glory of France, with a coffee cup and a glass of yellow Chartreuse beside him, tranquilly digesting his lunch. So far as I knew, he had not spoken again since his memorable remark to Lady Carré, but by certain signs and symptoms, by a subtle brightening of the eye, a faint mantling of the generous blood in his cheeks, an occasional twitch of the lips beneath his well-trimmed mustache, I gathered that he intended pres- ently, perhaps even quite soon, to say some- thing to us. Meanwhile, dear Monsieur de Morisot, unasked, gave us a discourse on the musical abominations of’ modern Germany, and compared with them the exquisitely clear, logical, and melodious compositions of the French, headed by their doyen, who was quietly sipping Chartreuse before our very eyes. Monsieur Saint Sauveur sat quite still, apparently listening like the rest of us, one small hand hidden in the breast of his coat, the other laid lightly on his left knee. Occa- sionally he seemed to me to send a glance across the room to a divan upon which Lord Nottinghamshire was lolling in an_ easy attitude, smoking an enormous cigar of a very special brand which he had brought with him. And it also seemed to me that Lord Nottinghamshire returned the Master’s glance, and that some occult sympathy had sprung up between the two men, celebrities both of them but belonging to two absolutely alien worlds. Yet how could such a thing be? Lord Nottinghamshire detested what Mon- sieur Saint Sauveur had spent his life for. I must be mistaken. .Any sympathy between two such opposites must surely be quite impossible. “The curse of Wagner is length. He never knows when to stop. He never knows when o- The Master applied himself to the Char- treuse, settled himself again in his chair, touched the rosette of the Légion d’Honneur with a pointed forefinger, and faintly smiled. “I’m sure he’s going to begin!” Lady Carré whispered to me. “I feel there’s some- thing coming. If only dear Monsieur de Morisot would—” But dear Monsieur de Morisot wouldn’t. He had got into his stride by now, and was listening with rapt attention to the admirable phrases which poured in a torrent from his lips. “Compare the dreary and formless lengths of the ‘Ring’ with the crystalline brevity, the conciseness, the marvelous form of our great Master’s ‘Hercules in the Augean Stables.’ Compare—” There was a strong murmur of approval from the circle, and Lord Nottinghamshire, I noticed, at the word “‘stables’’ leaned for- ward on his divan and seemed to be lending an attentive ear. “Wagner, I repeat, was a monster, and has created only monstrosities. It is all very well to pretend that Wagner—”’ SLIGHT but exceedingly definite sound from the armchair suddenly arrested Monsieur de Morisot’s attention. He turned his large, disheveled head, and saw Monsieur Saint Sauveur showing quite obvious signs of life. HARPER’S Bay Story “But who am I to speak about y when we have here among us the pit and merciless analyst of Wagner, a has opposed to the tremendoys 7 muddle of dwarfs and giants, drag, shrieking women on horseback, brooms or what-not, a Hercules whom all cag , stand, an Eve fresh as the first Morniny. world, a Pharach’s daughter who—” the sound!)— *‘ Yes, cher Mattre~ye” And Monsieur de Morisot hung ov» armchair in a large attitude of pr attention, while we all leaned jy breathless. “Wagner,” said Monsieur Saint s in a clear, small voice, “as even Yiu eventually found out, was a great—" He paused for an instant, not, I am or because he was at a loss for the exactly - word, but because he was an accom; speaker and knew the value a py measured pause gives to the word \ succeeds it. What that word Was, or mr was to be, however, we never knew. for Monsieur de Morisot fell heavily, like 4 of lead really, into the | ause with ¢ ; “What I have always said! What | said from the very beginning! That was Wagner was, and he could never be any; else.” : And he proceeded to flow on with the g turbulence so characteristic of him, Monsieur Saint Sauveur, with slightly » eyebrows, settled himself again in his and took another sip at his liqueur glass It was, perhaps, some ten minutes later Mrs. Doremus, in desperation,’ broke jn Monsieur d: Morisot’s lecture—for jt really become nothing less by that time a ‘“Kur-rum!" so emphatic, so oby intentional, that it had to be attended t “Kur-rum! Cher Mattre—” Monsieur Saint Sauveur ‘bent sig toward her, without, however, looking at “T wish you to know that music, a pecially your music, has always beer jor 66 greatest joy and consolation.” The very phrase of her note to me! “Your ‘Hercules in the Lord Nottinghamshire took his cigar his mouth and suddenly looked keen— softened”"—I believe she used the adouci—‘“‘many a lonely hour for me. | wished you to know that. And now—” HE got up. I knew what she was goin: do. I knew she was going to suggest s ing the Master over the gardens. When fronted by a social difficulty she al showed people over the gardens. But time it was not to be. We were all on feet, and the Bach-Agha of the -Aurés, the imperial courtesy characteristic of -r of the highest class, bending with digni assisted the Master to his, when a marve diversion occurred. Monsieur Saint Sau standing erect, and looking more like a royalty in a landau than ever, for the time since his arrival turned his eyes Up gazed steadily round from one to the 0 as if taking careful stock of us all, and! came absolutely and definitely to life. “Where is the music room?” he said, vitality. I could see a thrill go through the assen Only Lord Nottinghamshire and the Ar were exempt. Lord Nottinghamshire + turning his cigar end about between his! and a bored expression showed in his d shaven, horsy face. i “The—music room, \ cher Maitre’ Mrs. Doremus, in a faltering voice. “Mais oui! Mais oui! As you all | music so much I will play to you my pi forte transcription of the great air ol Hercules, ‘ Léve toi, grand soleil.” \ combined sound of ecstasy broke trom all—with the exception of the two chieftains, of Lord Nottinghamshire, 4 strangely enough, of our hostess. Evel Admiral, being French and patriotic, }! in the demonstration. Even Major Gr) warmed by wine, took his part. § |, [—we—we all should love it! Such opportunity! Such a—but, cher Maw grieve to say that there is no music! You see, in these old Arab houses, no prov is made for—one has to put up with— Monsieur Saint Sauveur smiled. smile was quite kind, even cordial. a “Je comprends! Je comprends! | take me to the piano. There 1s no nec’ music room. Where is your piano Madan He was already in movement whe awful look in his hostess’s face gavt pause. How can I describe that book . “ cornered “found out 1 seemed to mart was the scarlet horror of a being, of a human being face of the world. It impression even upon the supreme a8 supremely _ self-possessed Master. | ie stood quite still, gazing, even stariné, ° hostess. v “ Mais quest ce qwil y Qwest ce que vous aves? (Concluded on page 139) 1, chére in the Stables’ | 4 \r ly detact Madi a Rad

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AZ, for APRIL 1924 137 ‘T drove with a new feeling of confidence” --- she wrote after trying the Traffic Transmission WAS not the least bit fussed when driving the Chandler with the Traffic Transmission. I just drove it, that’s all. There is really nothing to it. “The first thing I noticed was how easily it operated. Only a slight pressure was needed to move the lever. The simplicity of it was positively fascinating. Then the salesman told me to he rahe J rum en ihe change from high gear back to second. I did that. And then Sits Joba E. Garr, Pale Ale, Gal from second to low. It was just as easy as ‘going up.” “Then we went down a long, steep hill. I found that I could completely control the speed of the car by changing gears, and was not compelled to tire myself holding down a foot brake. “The thing which impressed me most was this—that operat- ing the new Chandler with the Traffic Transmission is so simple and easy and requires so little effort, either mental or physical, that a woman finds herself free to devote all her attention to the problems of traffic. She is relieved of that feeling of suspense. “Before I had a Chandler, I often went out of my way, 5-Passenger emt j 7 oe 4-Door Sedan avoiding hills and traffic, to escape the annoyance of shifting 318 9 5 the gears. Gear shifting made me so nervous. yor ayes “But when I drove the Chandler, up hill and down looked 1745 the same to me. And I was not the least bothered in the thick re traffic, though it was the first time I had ever tried the Traffic (The nen Transmis- sion is built complete in the Chandler plant un- der Campbell patents.) Transmission. Somehow it gave me a new feeling of confidence.” ECAUSE it is the only car with © Why not phone the Chandler dealer the Traffic Transmission and the for a demonstration? He will feel Pikes Peak Motor, the Chandler has __ privileged to send one of the new turned countless women into skilful, | sedans whose genuinely smart beauty confident, carefree drivers. has delighted so many women. THE CHANDLER MOTOR CAR COMPANY ° CLEVELAND Export Department, 1819 Broadway, New York City Cable Address, ““Chanmotor” CHANDLER C A RK T H €E

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roar Smoothskin Cream Nothing so soothing for a sensi- tive the ness of a baby’s $1. VEDAS — “Here Dwells Youth” rimrose Ffouse preparations accomplish definite results «= «= Porefiner Cream Every woman who has enlarged pores and seven out of ten women do have them —should have this d y 1 helpful dave this dainty and heipfu beauty aid. Causes pores to shrink until they are no longer $1.25 noticeable. skin. It will give your face velvety-soft, creamy smooth- Three sizes, 00, $2.00, $3.00. UST as Primrose House goes much further than the ordinary beauty salon so the Primrose House prep- arations are much more than the ordinary creams and lotions. alt A thoroughly tested and safe 1S preparation for removing hair from the face rms and leg Can be very sed at ho W ill T tate or injure c skin. $4.00 de accomplish definite results in Because they have been veloped scientifically, they bringing new beauty to the skin, hands and hair. That why they are used and considered invaluable by fashionable women. Primrose House preparations are sold at the better stores throughout the country or will be sent by mail on receipt of price. Every woman interested in the most intelligent way to care for the skin, hands and hair should have a copy of our booklet “Here Dwells Youth” rimrose House ."g: BSEAST52™ST. New Yorx, t Department B-4 NA . Mailed free to any address. “3B OGBRo2>—— Ww upon di Percy (Concluded from page 04) ith cheerfulness when one comedian another's toes and forces him to ince about, holding his foot in his hands. steps Scenes in which a feather in the hat of the ce ymmic beldame tickles the clown as he is making counterfeit love to her banish my melancholy. When the Cinderellae seduce their fairy princes into matrimony at the end, I W hi am happy, and I clap my hands. I am glad hen the weak and comely young baritone, iving been debarred from his gruff father’s firm, is redeemed by the brave little calli- grapher who sings and dances. In the café or ballroom scene where the innocent Horace discovered by Mary, the ex-waif, to be in the embrace of Gabrielle, the French manicure, I am as sad as is the principal comedian who is impersonating a funny waiter. ce beneficial The songs that accompany the joys and mtretemps of musical comedy are likewise “T Love You,” “Just You and I,” June-time, Spoon-time anc Moon-time, Tune-time. Whenever Mr. Irving Berlin smites his lyre and rhymes “‘societee” with “proprietee’”’ and ‘“‘melodee’’ I suspect that my long years of drama-reviewing are not unrecompensed. You should have seen me the other day at ‘‘ Kid Boots,”’ when Mr. Eddie Cc I antor sang, *“‘ Into Each Life Some Rain Must all,” and “Let's Do It, and Say We Didn't.” from these salubrious influences do i. DE you not believe that the most valuable asset of musical comedy is its wit and humor? ce he librettos are fountains overflowing with ymicality, wherefrom the thirsty drama- lover may quaff the droll draughts and irri- oe ac ite the deserts of his conversation. How lvantageous it is to be able to say.at a dinner or a tea-party, “Have you heard that joke in the Follies? Stop me, if you have. Well, one of the comedians says to another, ‘There's a man outside with a wooden leg named Smith. \ nd the answer is, ‘What's the name of his other leg?’ ”’ venture further. Stones’ That quotation being successful you may “T was let into ‘Stepping the other night, having notes to Mr. Dillingham from Coolidge and the Pope. \ ing remark was made. ge nd during the performance rather an amus- ‘Have you lady-fin- ors?’ asked some one of a quaint confectioner, and he replied, ‘Yes, | have no lady-fingers, Hammond’s HARPER’S BAZAR IF ACTORS SHOULD Article REVOLT dinner companion is not interested in Brah, the Ruhr, New England furniture. oyun gin, or Maeterlinck, you may, jf mace equipped with quotations from “py comedy, intrigue her. You may amuse her by informing Phil Baker, in “The Music Box Rev says that Frank Tinney’s automobile has ; many mortgages on it that he calls it “Th Covered Wagon.” If she reacts to thy jocundity you may repeat to her another musical comedy wheeze. “Shall we play game of billiards?”’ ** No; I didn’t bring my clubs.” By that time your vis-a-vis may he saying, “Tell me more of the life of a man- about-town.” So you may continue your pleas. ing reminiscences. i as decided blonde.” “Yes, J Was with her when she decided.” “She's a wonderf woman, physically and mentally.” “Ty, never met her mentally.” ar musical her that ‘My sweetheart js, N ONTHS ago when in some dinner. party 4 doldrums, a friend of mine failed to amus a lady who sat beside him, with his opinion of Jeritza, Gogol, Charles Dickens, Fannie Hurst, and William Makepeace Thackeray. Desper- ate, he turned to Eddie Cantor for assistance Said he: ‘* Mr. Cantor was recommending his bootlegger to a New York policeman the other night. ‘With every quart of Scotch’ said Mr. Cantor to the policeman, ‘he gives you a tin cup and six lead-pencils.’ After hearing this joke the chill lady remarked to my acquaintance, “That's the only funny thing I’ve heard in a winter of wintry dinner. parties.” HEN and if the actors’ strike we shall not miss, perhaps, the ‘“Abie’s Irish Roses,” the “Saint Joans,”’ and the “Out- ward Bounds” so much as we shall the ** Lollipops,” the ** Mary Jane McKanes,” the “Little Jessie Jameses,” and the “Rosie O’Reillies.””. They are the A. B. C.’s of the drama, and they teach us that life is one long, sweet song and dance. We might, possibly, get along without Eugene O'Neill, Haupr- mann, Avery Hopwood, Gorky, Shakespeare and Samuel Shipman. But if the musical | comedians are stopped by the actors’ strike, f then will union labor be confronted by an indignant revolution of tired, white-collar § but I have pigeon-toes.’ . If your men, and the women who have to talk to them. } ; ; > ; ’ I Robert Hichens’ Story ; (Concluded from page 136) “("est que—c'est que—it—it The fact is her. [ don’t pretend to be a musician. Tell that these old Arab houses—in these old the truth, I hate music, can’t stick it, never houses these Arab—these—these—”’ could from a boy. But I can give you as goo? * Eh bien—chére Madame?” a cigar and as good a drop of Scotch whisk I x “Tam very sorry, cher Maitre, very very rry! But—but I haven't got a piano. IVE minutes later Monsieur Saint Sauveur had taken his leave. There was a sort of neral confusion among us, as there often is among people who have been involved in a a ymmon disaster, and I presently found myself in the hall just behind Lord Notting hi cr imshire, whose ‘Ford’? was waiting at the itrance in company with the enormous limousine which had conveyed Monsieur ~ tl I tint Sauveur and Monsieur de Morisot from 1¢ Hotel des Gazelles to the Villa Karibi. was searching for my hat when I heard Lord Nottinghamshire’s hearty voice saying, My yacht's lying in the harbor. t I ‘Let me give you a lift to the town, sir. I should like She’s a beauty. And no piano aboard » show you over her. can promise you there's Frencu Frocks in the Brid ;’ FOR Vumber as you've ever had in your life. Now what d’you say?”’ What the Master did say I didn’t cate Mor the tumultuous voice of dear Monsieur de Morisot broke in with loud protestations But it didn’t prevail. For by the time I had discovered my hat and got out of the hous Monsieur Saint Sauveur, well wrapped up, was already seated by Lord Nottinghan- shire’s side in the back of the Ford, and as the little black vehicle started asthmaticall down the drive, by the lawn edge and th fat assemblage of palm trees, 1 heard hi f Lordship saying, i “This damned sparking plug’s all wrons but I'll get you to the yacht somehow, a once we're there, well away from all thes musicians, we'll both have a jolly good The rest of the sentence was lost to between the double lines of the arum lilies AMERICAN BRIDES Vext Month Both Baron de Meyer and Van Campen Stewart are busy selecting some of the exquisite costumes Paris has created for the bride for next month’s Harper's Bazar. Not only the gown, of course, but every important accessory, such as the veil, the proper jewelry, and the i bridesmaids’ costumes. (We don’t mean to suggest for one minute that the bridesmaid is merely an accessory although, traditionally, the bridegroom is.) this same issue will be shown the cream of the Paris spring collections im ported by leading NewY ork houses. And in NL AIO LAE ORT acne ae ee ee a —

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for A Pr RIL 1 924 — laf j | G a KNOX? NEW YORK IKINOX Bone the victor in the unending struggle for smart supremacy is the Milan straw. Offset by a rakish tilt of grosgrain ribbon against the deeper hue of the straw itself, this newest of Parisian designs fittingly interprets the tendency of spring. The modest price of eighteen dollars gives a definite idea of how smart a hat may be and still fully measure to the reputation for distinction of Knox women’s hats. KNOX HAT COMPANY 51 Grant Avenue San Francisco 161 Broadway New York City 452 Fifth Avenue New York City

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that the wagon business faded insensibly into the background. But John Metcalf had been dead two years, and the son to whom his con- trolling interest had passed was a man of a different stamp. Horace glared across the table at the vacant chair where Raymond Metcalf had sat but ten minutes ago, and knitted his brows. He had met him for the first time twenty years ago—a good-looking boy, Horace had ad- mitted to his pleased father. Horace had condescended to answer his naive questions about the business; had smiled ponderously; had even endeavored to pat him on the head. HEY had met from time to time during the following years. Raymond, much to Horace’s surprise, had put in his college vaca- tions working in the shops, and Horace, dis- covering him in overalls one sweltering day, had again condescended. “Ah, I see,’ remarked the then treasurer patronizingly, “grinding out a cylinder.” “No,” replied the boy shortly; “scraping a bearing.” Horace had beaten a swift retreat to his journals and ledgers. It would not have been so bad, he ruminated, if Raymond had smiled; if Raymond had passed it off as a joke. But Raymond rarely smiled, and Raymond never spoke an unnecessary word. After that Horace had avoided him. Upon his own ground—figures—Horace felt secure. But when John Metcalf, obviously inspired by his son, had suggested that Metcalf Motors take the unheard-of step of entering a racing team for the Indianapolis Sweepstakes, Horace had been impelled to protest. “Tt’s out of our line,” he had insisted. “We're trying to build the best car in Amer- ica, not the fastest,’”’ and he fell back upon his favorite expression: ‘The man who buys a Metcalf wants luxury—not speed.” Nevertheless the team had been entered and had covered itself with glory, and Horace, footing his figures, had been compelled to admit an increase in sales. After John Metcalf’s death Horace had ventured upon a resumption of the old manner. “Wonderful man, your father, wonderful man!”’ he assured the son. ‘I suppose you'll be taking an active interest in the Works now?” “Ves,” said Raymond. “Glad to hear it! Glad of it, my boy,” ap- proved Horace, hoping that his voice did not betray a sudden sinking feeling in the neigh- borhood of his heart. ‘‘When are you going to begin?” “T have begun,” said Raymond.

ROM that time dated relations which while not openly hostile, were not openly cordial. They might have been described as an armed neutrality. Horace, being instinc- tively honest, recognized the boy’s abilities, and wondered whether Raymond had ever given him credit for the abilities which he himself possessed. Two perilous years had been weathered, and Metcalf Motors was stronger for the storm in which so many com- petitors had foundered. That had _ been Horace’s doing; it had been he who had in- sisted upon conservatism in the heyday of prosperity; he who had trimmed the Metcalf sails to meet the anticipated blast; he who had fought down opposition and imposed his own will upon his associates. Did Raymond understand? Leaning his head upon his hands, he gazed at the empty chair across the table, and pon- dered. All-powerful as majority stock- holder, Raymond could have turned him out long ago—and had not done so. Why not? As a director, young Metcalf attended board meetings in silence, drinking in every word, rarely speaking a dozen himself, puffing ab- sently at a cigaret. The meeting over, become again an employé to whom cigarets were banned, he slipped on overalls and hastened back into the shops. In two years he had risen rapidly, had been promoted from post to post—but no less speedily than he deserved, Horace admitte’ candidly. Horace pondered. The annual election was but a month away. Upon that occasion Ray- mond would disclose his hand. Either his dominating voice would be raised for Horace, or—there would be a new president for Met- calf Motors. It was all wrong. Horace’s HARPER'S Baz FIRE WITH FIRE Percival Wilde’s (Continued from page 107) Story father would never have approved I bygone days proper respect had been i for the older generation; in these hectic Horace’s destiny hung upon the Word of. who might have been his own son ates He gazed around the simply furn room. It had been _ pleasantly thr when for the first time he had taken hin, at the head of the long table. To the Ne up of the great business over which he. presided he had given the best Years of life. Was this the end? Thirty da n : tell the story. rile, Yet the matter of the presidency was the second of Horace’s troubles. "The 4 flew open, and the first of them cata i into the room. m “Hello, Pop!” cried his nineteen-yea; daughter. “Ready to go home?” ~~ Horace turned a cold, unsympathetic upon her. As so often before, he noticed bobbed hair, the collection of tinkling o, ments at her wrist, the abbreviated < Whatever John Spencer had been, at be Horace Spencer might be, Natalie Spencer a flapper. “What’s the ‘matter, Pop?” inquired | offspring. ‘‘Lost your voice?” ‘ Horace bent his gaze upon her. Hoye terrifying to his clerks, he was compelled admit that Natalie did not quail under jt. “You've been putting rouge on your che: again,” he commented severely. ; “Of course. Everybody’s doing it.” “And on your lips.” “No,” corrected his daughter. “Th; done with a lip-stick,” and vaulting lightly a seat on the table before her horrified pare she produced a dainty golden cylinder ; proceeded to demonstrate. “You see,” explained volubly, ‘“you’ve got to be care to get it just in the right place.” With ey solicitude she anointed lips which Hor decided were impudent, but which any ot male would as positively have pronoun kissable. ORACE gazed in fascinated horror as manipulated the offending article, gy ing her operations by means of a mir mirror. What would John Spencer have do he ruminated, if his son had been a daughter and a daughter like this most disconcert one? With what fire might one fight fire? The world had changed grievou Horace decided. “T'm_ ready, Pop,’ announced Nata disposing of lip-stick and mirror, and ris abruptly to her lithe five-foot-five. “C ing?” Horace rose. this morning?” vantly. His daughter smiled. “Bout twelve,” she hazarded. “Twelve?” echoed Horace. “Or one—or maybe half past.” “Aren’t you ashamed of yourself? manded her parent. ‘‘No; why should I be?” challenged : girl. “I didn’t get to bed until—but I'd ter not tell you that. Everybody’s doi she concluded happily, and spun around: room. “This is the very latest; they call it! *Scandal’,” she announced, and demonstrat a few steps. ‘‘Oh, boy!” ““\ most appropriate name,” comment Horace drily. “‘Now let’s go home.” He the way toward the elevators. He was silent as his daughter exper navigated her roadster through the tro “Built for luxury—not speed,’” she quot irreverently, “but you wait till we get out this, and then see us go!”” She smiled hapy “T hit seventy-five miles an hour on %# day.” “You'll hit something else if you dont! out!” ““Haven’t done it yet.” “You'll get arrested.” “Not me,” replied Natalie inclegantly ‘““What time did you get he inquired somewhat irr

had Jim Stanford sitting where you are." ing out behind.” She stepped on the throt absently, and the car leaped suddenly forwa4 “*Tuxury—not speed,’” she quoted age “Gee, I wonder how fast the old bus cant go! (Continued on page 142)

“The Wronging of Edwin Dell,” by Richard Connell, in next month’s, the May, Harper’s Bazar, is a story that is not to be taken too seriously. It will bring back all your fondest memories of “A Little Girl Alone in a Great City” sort—and add a reverse twist all of its own. Horace stood it for one consecutive min

or AP

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for APRIL 1924 A patrician Hickson tailleur as worn by a cweinsome personality — photo- graphed by ALFRED CHENEY JOHNSTON, O many gentlewomen patiently made journeys across the continent to be attired by Hickson, Inc., that it seemed but wise and fair to present our wardrobe in every major city in America. In your city, in the establishment most worthy of the choice there is a presentation of Hickson garments for the drawing- room, street and field—exact replicas of originals in our famous Fifth Avenue Salon. NEW YORK A label respected wherever refinement reigns

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142 y, Cx ~ LOWERLIKE grace and slender- ~7™\¥y ness are the gifts of this exquisite, ® hand-knitted elastic Corset. Its NSS back-flattening plastron—as well as front and side panels—are of rose brocade. Other non-lacing, and back-lacing, styles at stores which feature quality Corsets. LILY OF FRANCE CORSET CO., 1115 Broadway, New York The Lily of France is the beautiful corset worn by beautiful women to make them more beautiful ? \e ( 7 * S -¥)— a” FIRE WITH FIRE Percival Wilde’s Story (Continued from page 140) Then he leaned forward, and switched off the ignition ‘That’s mean,’”’ complained his daughter as the car slowed down; “if you hadn't done that we might have touched eighty.” She turned the switch back and continued at a more moderate pace. “If you didn’t want me to shake up your old bones, you could have aid so. But turning off the juice—that’s kid stuff.” She negotiated a difficult curve with careless expertness. “Ray Metcalf says there’s not a better woman driver in town.” “Ray Metcalf? Raymond Metcalf?” in- quired Horace with sudden interest. “Of course. Only he isn’t ‘Raymond’ when he’s with my crowd.” “He lets you call him ‘ Ray’?”’ “Well, what else would you call him?” inquired Natalie. “It’s his name, isn’t it?” “And you go around with him?” “Oh, he’s one of the boys,” replied his daughter carelessly. Horace subsided into pregnant speechless- ness. Much as he himself disapproved of his uncontrollable daughter, Raymond could hardly disapprove less strongly. The point had not struck him before. “Had a great time last night,” said Natalie. “Eh—what?"’ queried Horace abstract- edly. “Went toa lovely dance. Enid Foster gave a “Was Ray—Raymond—there?” “No,” said the girl carelessly. ‘“‘Why do you ask?” ‘No particular reason,’’said Horace, mak- ing a mental note of the significant fact. * Tell me about the party.” She had barely touched on the high lights when the car turned into Horace’s grounds. ‘Some party,” she concluded. “They would have had Cherry run things, only he asks too much.” * And who is Cherry?” ‘Don’t you know?” inquired Natalie, as she brought the roadster to a halt. “If you want to give a blowout, a real one, mind you, ind you don't care what it costs, you engage Cherry.” ‘And have you ever been to any of his—er blowouts?” Not yet ‘i Horace felt his cranium bursting with a sudden idea. Phat night he discussed it with his wife. She was the best of all possible wives, that he admitted readily. John Spencer had se- lected her himself. Patient. gentle, convinced that any word that came from her husband's lips was endowed with eternal truth, Horace found her a most admirable adversary in debate. He might think that he was right in the beginning; he would be sure that he was right in the end. He might be hesitant and undecided when for the tirst time broaching an idea; he would be positive, confident of his own sagacity, after but a few minutes of argu- ment with his life’s partner. Providence had played a prank upon him in making Natalie his daughter, but Providence, helped a little by John Spencer, had been very good in its choice of his wife. ‘TT's this way,” he confided in the privacy of his study. ** Natalie doesn’t really care for those things. When you come down to bedrock, she’s a woman like you.” ‘Yes, dear.” “That's what I thought you’d say. You're right. There’s no possible question about it; you're absolutely right. Why has she gone in for bobbed hair?) Why does she put paint on her face? Why does she wear short skirts? Why is she a—a flapper?” and he bit out the word with savage reprobation. ‘It's because the other girls are doing it; not that she cares anything about it herself. It means nothing to her—nothing at all.” ‘That's what I've always thought, Hor ace,’ replied his wife, “but I couldn’t have expressed it so well.” Horace nodded earnestly. “Now. when ! was a boy—ah, how well I remember it! I was on the point of cultivating certain bad habits—” ‘No!” interrupted Mrs. Spencer incredu- lously. Yes,” asseverated her husband, “but my father cured me of them. I’ve never told you about it, have 1? Well, listen.”” and Horace launched forth into a recital of the two events which had so indelibly impressed his boy- hood It was a case of fighting fire with fire,” he concluded triumphantly ‘It was cruel” “T may have thought so at the time. But to-day . “To-day?” “I wonder if it isn’t time to apply the same methods to Natalie!” Mrs. Spencer comprehended but slowly. “Don't you see? * Horace elucidated. ** Fire with fire—-Natalie.”. He waved his hand ane paused oratorically. Mrs. Spencer suddenly sat bolt upright. ‘adjured her; ‘I’m fighting fire with ae e y HARPER’S Bazy, for A ** Horace!”’ she exclaimed, “you're not o to make that child smoke a cigar'” > “Heaven forbid!’ said her bys “Though it mightn't be a bad idea.” he reminiscently. es orace! The president of Metcalf Motors en benignly upon his wife. “Don't worry: Natalie’s kind of fire is very much die I’m going to meet her on her own groyn) “And how are you going to do that? ‘I’m going to confront her with the fa, evil! She doesn’t like it any more than yy you can’t tell me anything else. ['q o to show her the thing in all its ugliness: | going to give a dance for her—a real fay dance.” = “Jazz?” inquired Mrs. Spencer “Tf that’s part of the trimmi declared Horace resolutely “Cigarets?” * By the thousand!” “W-wine?” “Oceans of it!” ‘Where are you going to get jt?” Coming to me, throwing her arms around ; neck, turning her back on that sort of t} forever? She'll be crying——I know she'l] crying, and it'll mean that her heart touched. But I'll take her in my arms, ; I'll pet her, and kiss her—” Mrs. Spencer wiped away a tear. “I'm not so sure you ought to do it.” “Why not?’ “Well, for one thing, it will be fri expensive.” Horace gave vent to one of his rare | of profanity “Damn the expense!” he declared, damn it!”’ He turned feverishly to thet phone directors Have you ever heard a man named Cherry?” “Cherry? Cherry?” reiterated Mrs. Spe “You're going to meet him in half an he declared Horace. He turned to the tek phi PrROM Cherry's point of view, Hor orders had been ideal. ‘Carte blanche, t! determined father had commanded flapper dance, with all of the trimmings “A dinner?” inquired Cherry “Yes; if it’s the thing to do.” ‘Breakfast also?” “What do you mean?” “Well, they call it a breakfast,” ex the voung man. “It’s being done “Then we'll do it,”’ declared the president of Metcalf Motors. “Yes, sir,” noted the young man. He low ered his voice to a confidential tone: “At dinner,” he ventured, “I suppose you want wine?” Horace nodded emphatically as you like—but make sure that it’ “Don't worry, Mr. Spencer,” said “T have my personal bootlegger. - ter!’’ He referred to a note-book yi want Spellman’s orchestra.” “Who are they?” inquired — “They call themselves ‘The Kings o! copation.’” “Are they the best?” “It’s a toss-up between them and ! rini's.” “Get both,” commanded Horace, “1 being done.” “Very much so,” assented the young 0 “very much so indeed.” He had made suggestions, to have ea stantly accepted. “It’s a real pleasure business with you,” he assured Horace parting. ‘You can depend upon me; U dance is going to put everything that's done before in the shade It’: going t their eves stick out.” that Fy ORACE remembered that phrase a> own eyes began to protrude upon t night of the dance itself. The whole Jow floor of the Spencer mansion had been tur over to the competent Mr. Cherry, ¢ ace, for the first time in many years, ! the hour of midnight come and go—at his d He had glanced at his watch from on 5 time; festivities would commence, herry : assured him, at even promptly. He watd the passing of the hour; and of the one ett ing. At one-thirty he ventured to appro® his home, only to find it blazing with li nt and to hear weirdly nasal strains proceedin alternately from “The Kings of Syneopation and from Torini’s orchestra. He retreatee the club, to be gree ted vocile rously by hal had not kno" dozen young men whom he l were members, and who entreated nestly, but unavailingly, to tal he recognized as a game of chal forth a second time to the streets An hour later he ventured the scene of the orgy Phe Continued on page 144)

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IM for APRIL 1924 143 “ JOUIR LA MUSE m" LE DERNIER ROMAN AMBRE BYZANTIN CHYPRE PREVERT (Jou Iie" (finger Les Parfums des Jardins de ae ep as =

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A portfolio of Dororuy Dopp advance styles will be mailed YREE on request Prices trom 85.50 to $10.00 at DororHy Dopp Agencies Whatever your requirements, you are assured of comple te satisfaction in Dorotruy Dopp Styles for Dress Pepo-Praxic Patented Flexible Arch Walking Shoes Ease-ARCH (arch supporting) Styles LirrLe Dororuy Correct Shoes tor Misses and Children Exclusive Makers Y DOROTHY DoDD SHOE COMPANY 307 Center Street Boston, «Massachusetts HARPER’S BAZap FIRE WITH FIRE Percival Wilde’s Story (Continued from page 142) he discovered, had found their second wind, and were making the night hideous with inex- haustible energy. He approached near enough to hear laughter and the shuffle of dancing feet, and to observe the triumphant Mr. Cherry, cool and immaculate, surveying the scene from a coign of vantage in the corner of the room. Like a general, the young man was reconnoitering his forces, issuing orders to his aids, keeping well in control of the situation. He spied the master of the house lurking in the outer darkness, and came running. “It’s going great,”’ he declared. ‘‘Couldn’t be better. We'll be ready to serve breakfast pretty soon; come in and have a bite?” Horace declined firmly, and retreated to the shrubbery, to the very great annoyance of a preoccupied couple who had selected the same spot, and who fled in dismay as he almost trod upon them. \t four o’clock Horace resolutely made his way to the servants’ entrance, and thence to his bed. At eleven he woke with a start and glanced at his watch. For the first time he had broken his rule to be at the Works at the stroke of nine. He was aware of a curious sense of pleasure as he aggravated his fault by dressing with meticulous lack of speed. He descended the stairs and surveyed the scene of last night’s festivities. The walls had been decorated with wreaths for the great occasion. Some were still in place, but many lay strewn about the floor, sadly battered by the careless feet of the dancers. One, he noted absently, floated in solitary dignity in the fountain which had been the pride of Horace’s heart. The massive furniture had been replaced by a fleet of circular tables. ‘“‘ Never more than ten to a table,” Cherry had explained. ‘It makes for intimacy.” Now, pushed uncere- moniously into corners, they accentuated the disorderly appearance of the room. Horace noted that one still displayed an array of gaily labeled bottles. They were empty, he dis- covered on investigation. He walked across the floor, making mental note of sundry broken fans, stray fragments of colored chiffon, and a quantity of ownerless hairpins. In a recess where the Kings of Syncopation had held forth, he discovered more bottles. He glanced across the room; as he expected, Torini’s orchestra had evidently partaken of his hospitality as well. He seated himself meditatively at the side of the fountain. His goldfish were uninjured, he observed with relief. A shining object about which the fish were darting attracted his attention. He examined it more closely. It was a silver slipper. He recalled what he had seen in a motion-picture, and he wondered if there had been dancing in the fountain. A generous pool of water, spreading over his waxed floor, assured him that there had been. Cherry had been very thorough, very thor- ough indeed, reflected Horace. H« wandered to the great fireplace, and observed an impressive heap of cigar butts. Many were but half smokea, he noted dispassionately. The cigaret stubs were numberless. He moved away. A quantity of place-cards, flung into a cor- ner, drew his eye. He examined them. So these had been his guests! ‘Mr. Paul Morrison: Table 14.” He knew his father well. “Mr. Stephen Wyant: Table 8.” “Mr. V. V. Halsey: Table 8.” “‘ Miss Beulah Lovejoy: Table 19.” “Mr. James Stanford, Jr.: Table 21.” Twenty-one tables; there must have been ten times as many guests. He did not know the number had been so great. The competent Cherry had even decided who might be invited. ‘Miss Enid Foster: Table tt. Miss Mary Knight: Table 10.". “* Mr. Raymond Metcalf: Table 1.” The name leaped up and struck him in the face. So young Metcalf had been among those present! The possibility that that might happen had never occurred to him. “Hell!” murmured the unhappy father audibly, and again, ‘Hell! Oh, hell!” His daughter’s proclivities for the many sins indulged in by the flapper race might in- deed be cured: but if Metcalf had been there Horace had written his own death warrant as president of Metcalf Motors. He glanced mechanically at his watch. It was nearly twelve. At three that afternoon there would be the annual election of officers. Four hours to wait; two hundred and forty minutes; he wondered, with acute distress, how he would be received by his sedate associates. He pic- tured young Metcalf, with memories oi the night’s orgy, casting his controlling block of votes squarely against him. He shook his head, and sighed. ‘‘ Fire with fire’’; he was about to be consumed by it. Yet it might be worth while if his principal ob- ject had been achieved, if his daughter had come to see the error of her ways. A trim maid rapped timidly at the door. ‘*Miss Natalie would like to see you, sir.” Horace followed her with alacrity. He had pictured the scene many times dur- ing the preceding month. he had pictured it. Horace entered his daughter’s bedroom, Natalie, with a filmy robe thrown over her nightgown, flung herself into her father’s arms, and Horace, pressing her to his hy was conscious of a sudden great affection for his only child. He had applied Spartag methods; the consequences would be no less decisive to himself than to her, yet they were justified—justified a thousand times over, He had been cruel, that he admitted, but ig precisely the same manner his own father had been cruel to him, and he was a better man for it. In years to come—and he visioned the scene happily—Natalie would tell her childreg and her grandchildren about her father’s wisdom. Horace closed his eyes ha Then he bethought himself to bend and kis his offspring gently on the forehead. “Well?” he said invitingly. “Pop, I don’t know how I can ever thank It began quite ag you! Horace nodded contentedly. “T don’t want any thanks,” he assured her. “T did it for your sake.” It was a great mo ment in both of their lives; of that he felt sure, Natalie’s next words came with the force of an unexpected blow. Pop,” she declared, raising a beaming face to his, “it was the most scrumptious affair that’s ever been given in this town!” ““Er—what? W-what did you say?” stammered Horace. “Tt was perfect—simply perfect! I’venever had such a good time in all my life! Oh, boy!” and she kissed her astonished parent full on the lips. Horace felt the world reeling. “Do I understand you to say—” he began, but the offspring interrupted. **Pop,” she announced, “I don’t think I’ve ever appreciated you! I don’t think I've ever given you credit for being the father that you are!’ and Horace felt her arms tighten about his neck. ‘It was a dream; just one long, lovely dream, and I don’t ever want to wake up!” She swooped lightly across the room, and returned with a sheaf of newspapers. “Sit down, Pop, while I read you what the papers say about it.” “The p-p-papers?”’ ‘“*Here’s a whole column; and there’s a half column in this one; and a whole column in this. Pop, just listen!’’ and seating herself on her astonished parent’s lap, the flapper began to read aloud. Horace did not hear a word. His castles had fallen with a crash. What would his own father have done if, after smoking that unfor- getable cigar, Horace had declared he liked it? His imagination reeled at the thought. “Fire with fire’: he had lighted a conflagration which it might be far from easy to put out Horace felt himself at a complete loss for words. The maid came to his rescue. “A gentle man to see you,” she announced. ‘Who is it?” asked Horace dully. “Mr. Metcalf.” “Raymond Metcalf!” “Ray! Oh, father!” Horace noted absently that she had called him “Father” for the first time in years. He descended the stairs with leaden feet. AYMOND greeted him with a smile. Horace made note of the fact. He had so seldom seen him smile. “Get over last night all right, sir?” Horace hung his head. ‘I wasn't there, he said lamely. “T was,” said young Metcalf. “f know it,” admitted Horace shame- facedly. He would have given anything to obliterate that fact. It was too late now. ‘But that’s not what I came to see you about,” pursued Metcalf. He plunged di- rectly into the heart of the subject. “You come up for re-election this afternoon. Horace nodded dumbly. es “‘There’s been a good deal of opposition to you on the part of some of the directors They've had the idea that you're a mossback —an old fogy—a back-number.” “Huh?” queried Horace. “That’s what Stevenson called you, and Houghton, and Perry. Now, a mossback may be all right as the head of a bank, or the prest- dent of an insurance company, but in t automobile business there’s use for 4 little azz. ms Yes; quite so.” said Horace, and wondered what was to follow. P “T may have been undecided up to last night,” confided young Metcalf, “but after last night there's only one possible de- cision.” Horace waited for the blow to fall. “Stevenson's going to be nominated for the presidency this afternoon,” pursued Ray- mond, ‘‘and I’m going to cast every vote I've got—and that’s a clear majority by itself— for you.” “Eh? What?” stammered Horace (Concluded on page 14 af A Pl U

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or 4PRIL 1924 A new use for an old friend ANY users of Listerine have never discovered the unusual properties as a perspiration deodorant, peculiar to this well-known antiseptic. Many times you don’t have access to—or time for—a tub or shower. Yet so often your fastidious inclinations will not permit you to be comfortable in going out without considering these things. Right there Listerine steps in as a friend in need. You simply apply this dependable anti- Note how delightful Try it some time. septic with a towel or wash cloth. and exhilarating the effect really is. It is an interesting thing that this scientific preparation that has been used for so many years as a surgical dressing should possess these remarkable properties as a deodorant. Moreover it is absolutely safe. It will not irritate the most sensitive skin nor injure the most fragile fabric. You will be delighted with this new use.—Lambert Pharmacal Company, St. Louis, U.S. A.

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146 The Marble Gestures Getek Statuary ~a JOY forever/ HE human form is most grace- ful in motion. That is why statuary is so much admired. It crystallizes for all time the fleeting beauty of a gesture. Yet how few women exercise this charm! They possess beautiful arms, delicate hands, and fingers fashioned as sweetly as flowers. Yet how rarely do the fingers unfold like petals? How rarely are the arms raised with the grace of a slender stalk stirring in the wind?) What keeps the modern woman's arms inert and lifeless? Is it the revealing candor of sheer waists and decol- lete gowns? Some women hesitate to remove unwanted hair; but should a living woman be less beautiful than a statue, whose arms are never so disfigured? The masculine and hair-encourag- ing razor is rightly shunned. Note its effect in the magnified cross-section below. Note also the effect of Neet, the velvety scented cream that makes it pos- sible merely to rinse the hair away, leaving arms as white and as free to jesture with as the arms of The Galatea. Figure | shly magnified crs ction of in and hair. New hair grows inthe bulb-like root (papilla Injury tot | hairs frequently causes two or three hairs to grow in place of one. Figure 2 shows the stubs of hair left after shaving with a razor. Note the blunt ends. Shaving stimulates a harsher and quicker growth. Figure 3 shows how Neet dissolves the hair below the surface of the skin, and leaves the projecting end finely tapered. Growth is slower and finer, none of the discomfort of shaving. Satisfaction Guaranteed you to return it to us. If you are unable to tind Neet at your favorite drug or department at once for trial It costs you nothing unless you are perfectly satished. You are invited to test Neet on our ibsolute guarantee of entire satisfaction or re- store, send 10¢ fund. Go to any drug or department store tube. I » the generous package for only 50c —_ : _— . ee ee eee te PHYSICIANS AND NURSES: The sterile, Apply it according to the simple directions J antiseptic hair-dissolving are so enclosed. If, after using Neet, you are not } } j j Fi j , 1ighly developed in Neet, that it is used and thrilled by hair-free loveliness of eee REN ss Gas attra e mn e ded » , s ans. your skin, let us hear from you. Neet must — ‘ tata sate bsolutely please you in every way or you can remail the package t us and we will refund your purchase price plus the postage it costs Hannibal Pharmacal Co., 677 Olive St., St. Louis, Mo. Neet a generous qualities the soft, A liberal trial tube with complete instructions for use will be mailed free to any physiciat or registered nurse requesting it. FIRE WIT Percival Wilde’s HARPER’S BAZ 4p H FIRE Story (Concluded from page 144) ““Mossback? Not after last night! I told them that they didn’t understand you; that they didn’t give you credit; that you were a whole lot deeper than they had any idea “W-what?”’ gasped Spencer. “Last night opened my eyes,” Volunteerej ey Metcalf. “It may be all right for other girls” he broke off, and continued with a twinkle js Now, by George,”’ and the young man brought his eye; “it may be all right for the Presiden: his fist down with a crash, “‘they’ve got to of a motor-car company, but for the girl you understand you, they’ve got to give you going to marry—’”’ He stopped suddenly credit, or we'll pitch them off the board, the ‘That is, if you approve.” ‘ lot of ’em, you and I together!” Again Horace turned to his daughter Horace, too overwhelmed to speak, nodded in silence. “There’s just one more thing, sir,’ con- tinued Metcalf, with a sudden change of tone. ‘Natalie and I were watching the spree last night, off in a corner, and we decided that there were finer things in life than dancing, and jazz, and flappers. They’re all right as far as they go, but they don’t go far enough. So, if you approve,” and the young man became ex- ceedingly deferential, “‘ Natalie and I made up our minds to call last night a sort of grand a finale to her flapper days, and—and to try double harness.” ““W-what did you say?” sputtered Horace. “Tf you approve,” said the young man. Horace Spencer collapsed into a chair. One phrase of what he had just heard stood out above all the others, buzzed through his brain, drilled itself into his consciousness. He re- peated it aloud. ‘“‘A grand finale to her lapper days!” “Why, yes.””. The answer came from Nat- alie herself, dressed in a simple little morning frock, and approaching her father, for the first time in her life, with visible shyness. Horace rose and seized his daughter by the shoulders. He held her off at arm’s length. “A grand finale to the flapper days? Why?” he demanded. “Why? Why?” Natalie dropped her eyes to the ground. “For one thing, Ray objects,’ she murmured. “ And that’s the reason?”’ he challenged, Natalie nodded. “It has been, ever gins the time of the cave-men.’ “And no other reason?” The girl smiled at her father. “Yes” g,. admitted frankly, ‘‘there is another reason There was no longer a trace of shyness, She looked into his eyes. “It came over me sud. denly last night. You flap—because You want to try your wings. y " grown, when you suddenly realize that you'r But when they're fully woman, and not a child She stopped abruptly, and flung herself into her father: arms. wouldn’t have you think anything else for the world, because I know it would break your dear old heart, but with Ray at my sid. watching from a corner, I felt myself growing up—and up—and up!” “Pop, it was a wonderful affair] Over Natalie’s shoulder Horace caught Metcalf’s eyes. The young man smiled. ‘If you approve, he said again, not to be diverted from the main issue. Horace cleared his throat. “Raymond,” he began. “Yes, sir?”’ “T mean, Ray. You don't mind if I call you Ray? **Not at all, sir. I rather like it.” Horace gazed commandingly into his future f son-in-law’s eyes: * : Get me a cigaret.’ VIONNET’S NEW YORK OPENING (Concluded from these strange geometric figures, which laid se out on a table look exactly like a picture puzzle, are fitted together, the result is by no means the stiff, unbending affair one would expect, but a lovely garment that flows like water. In order to protect herself as much as pos- sible from copyists, Madame Vionnet has carried her science of picture puzzles still farther. Instead of using embroideries, which are easily copied, she sometimes has a fabric made with the embroidery woven right into it. One design is so planned that when the material is cut out the pattern will fall exactly as the designer has intended—around the neck, at the hips, on the train. This method precludes the possibility of copying a model, for even if the design is simple, it would be impossible for the fraudulent copyist to set up looms, weave the material, cut the intricate pattern, and make the garment while it is still in fashion. There are certain well-marked which distinguish Vionnet’s models features this There’s absolutely no let down in the interest of the new novel by Hugh Wal pole which starts in this tssue. with a skill that is almost a bit malicious 2ason. Vionnet broideries, elephants last season’s dresses showed. This year si uses It piles climax upon climax page S35) As for the bodices they frequently have larg For trimming she uses ostrich and, in em likes animals—horses, _ tigers ; f h jungle scenes, such as one of he This is pet a dragon in a large design. haps due to her fondness for Oriental design The obi bow on the silver evening wrap 1s example of this. the skirts fit the They are longer than those of mos § of the other dressmakers; many skirts have# two or four points which touch the ground orf even trail; there are trains; hips snugly; they employ an unusual amount of material and are fitted by godets, darts etc., eschewing gathers. they are more often large and blousy than § those of other designers; they are often baggy under the arms; armholes and flowing sleeves, or bell sleeves is as fond of scarfs as the other§ designers and inordinately fond of points such as we see on the sleeves of the coat-dres § on page eighty-three, and the hem of the§ evening gown on page cighty-five. ;

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148 C[he Smart Figure is Flexible —Youthful This Girdle, part fabric and part elastic, is self adjusting and gives natural, easy lines. Of firmly woven material, soft in finish and inserted with resilient elastic webbing and flexible Featherbone, it molds the figure into those lines that are the true significance of comfort and youth. No heavy corset to weigh one down, no high cut model to push the diaphragm up and result in a full bust, no lac- ing to become frayed, no stiff boning to break and tear. It is the ideal garment for the woman who seeks to express youth in her figure. Ask for it by name in your leading local stores “sé + 9° UVTI Featherbone Girdle No. 4070 Cut in even sizes—22 to 32 waist We will be glad to send you this new model, prepaid, in case you are unable to find it locally, on receipt of $2.00 and your waist measure. Lingerie Ribbon needs are anticipated by a variety of colors, weaves and patterns Lingerie Ribbon ii another “Warren’s” product is a dainty accessory for your lingerie BU aime All ready for hanging the plaited, wrapped or straight cut skirt. “Warren’s” Camisole Foundation is a dainty undergarment of “Nika” Pongee (a silky woven fabric) finished with a Girdelin belt and fancy Lingerie Ribbon. General Offices and Factories Three Oaks, Michigan Chicago Toronto New York San Francisco | A ROMANTIC Walpole’s Hugh HARPER'S BAZ4p MACABRE Novel (Continued from page 71) they found some of the smaller places they both knew and loved—Dragoz on the sea beyond Copenhagen, the woods north of Helsingfors, the beaches of Ischia, the enchantment of Girgente with the white goats moving over carpets of flowers through the ruined temples, the silence and mystery of Mull. He knew America, too—the places that foreigners never knew; the teeth-shaped mountains at Las Cruces, the lovely curve of Tacoma, the little humped-up hills of Syra- cuse, the purple horizons beyond Nashville, the lone lake shore of Marquette— ‘* «ND then in this country there is Treliss,” he said softly, staring in front of him. “Treliss?”’ Harkness repeated after him, liking the name “Ves. In North Cornwall place.” He paused—sighed. “T was there more than ten years ago. I shall never go back.” “Why not?” “T liked it too well. I dare say they’ve spoiled it now as they have many others. Thanks to wretched novelists, the railway company and char-a-bancs, Cornwall and Glebeshire are ruined. No, I dare not go A beautiful back. “Was it very beautiful?" Harkness asked. “Ves. Beautiful. Oh, yes. Wonderful. But it wasn’t that. Something happened to me there.” (See ‘‘ Maradick at Forty.’’) ‘So that you dare not go back?” “Ves. Dare is the word. I believe that the same thing would happen again. And I’m too old to stand it. In my case now it would be ludicrous. It was nearly ludicrous then.” Harkness said nothing. “How old are you? If it isn’t an impertinence— “Thirty-five? You're young enough. I was forty. Have you ever noticed about places—?"’ He broke off. “I mean— Well, you know, with people. Suppose that you have been very intimate with some one and then you don’t see him or her for years, and then you meet again— Don’t you find your- self suddenly producing the same set ot thoughts, emotions, moods that have, per- haps, lain dormant for years and that only this one person can call from you? And it is the same with them. Sometimes, of course, in the interval something has died in you or in them, and the second meeting produces nothing. Hands cross over a grave. But if those things haven't died, how wonderful to find them all alive again after all those years, how you had forgotten the way they breathed and spoke and had their being, how interesting to find yourself drawn back again into that old cur- rent, perilous perhaps, but deep, real after all the shams—” He broke off. ‘Places do the same, I think,” he said. “‘If you have the sort of things in you that stir them, they produce in their turn their things . . . and always will, for your kind . . . a sort of secret society; I believe,” he added suddenly, turning on Harkness and looking him in the face, ‘that Treliss might give you something of the same adventure that it gave me—if you want it to, that is—if you need it. Do you want adven- ture, romance, something that will pull you right out of yourself and test you, show you whether you are real or no, give you a crisis that will change you for ever? Do you want it?” Then he changed me more than the war ever did “Do IL want it?’ Harkness was breathing deeply, driven by some excitement that he could not stop to analyze. “I should say so. I want nothing so much. It’s just what I need, what I've been looking for—”’ Then go down there. I believe you're just the kind But go at the right time. There’s a night in August when they have a dance, when they dance all round the town. That’s the time for you to go. That will liberate you, if you throw yourself into it. It’s in August. August the—I’m not quite sure of the date. I'll write to you, if you'll give me your address.” Soon afterwards, with a warm clasp of the hand, they parted. added quietly, reflectively: *‘It WO days later Harkness received a small parcel. Opening it he discovered an old brown-covered book and a letter. The letter was as follows: Dear Mr. Harkness: In all probability, in the cold light of reason and removed from the fumes of the Reform Club, our conversation of yesterday will seem to you nothing but foolishness. Perhaps it was. The merest chance led me to think of some- thing that belongs, for me, to a life quite dead and gone; not perhaps as dead, though, as I had fancied it. In any case, I had not, until yesterday, thought directly of Treliss for years. Let us put it on the simplest ground. If you want a beautiful place, near at hand, for a holi- day, that you have not yet seen, here it is— Treliss, North Cornwall—take the morpj train from Paddington and change at Trewit If you will be advised by me, yoy really should go down for August sixth, when rs J have their dance. I could see that yoy > interested in local customs, and here is q a entertaining one, surviving from Druid times I believe. Go down on the day itself and let that be your first impression of the aa The train gets you in between five and in Take your room at the Man at Arms Hotel ten years ago the most picturesque inn jp Great Britain. I can not, of course, vouch for what it may have become. I should get po at Trewth, which you will reach soon afte four, and walk the three miles to the Pod Well worth doing. j One word more. I am sending you a book A completely forgotten novel by a completely forgotten novelist. Had he lived he would I think, have done work that would have lasted, but he was killed in the first year of the war and his earlier books are uncertain, He hadn’t found himself. This book, as you will see from the inscription, he gave me. | was with him down there. Some things in it seem to me to belong especially to the place. Pages 102 and 236 will show you especially what ] mean. When you are at the ‘Man at Arms’ go and look at the Minstrels’ Gallery, if it isn’t pulled down or turned into a jazz dancing-hall. That, too, will show you what I mean. Or go, perhaps after all is wiser, simply to a beautiful place for a week’s holiday, forget- ting me and anything I have said. Or, as is perhaps wiser still, don’t go at all. In any case, I am your debtor for our delight- ful conversation of yesterday. Sincerely yours, James Maradick. HAT Maradick had said occurred. As the days passed the impression faded, Harkness hoped that he would meet Maradick again. He did not do so. Treliss, too, as the days passed, lost some of the first magic of its name. He had felt a strange excitement when Maradick had first mentioned it, but soon it was the name of a beautiful but distant place, then a seaside resort, then nowhere at all. He did not read Lester’s book. Then an odd thing occurred. It was the last day in July and he was still in London. Nearly every one had gone away—every one whom he knew. There were still many mil- lions of human beings on every side of him, but London was empty for himself and his kind. His club was closed for cleaning pur- poses and the Reform Club was offering him and his fellow clubmen temporary hospitality. He had lunched alone, then had gone up- stairs, sunk into an armchair, and read a news- paper. Read it or seemed to read it. It was time that he went away. Where should he go? There was an uncle who had taken a shooting- box in Scotland. He did not like that uncle. He had an invitation from a kind lady who had a large house in Wiltshire. But the kind lady had asked him because she pitied him, not because she liked him. He knew that very well. He felt terribly lonely, soused suddenly with that despicable self-pity to which he was rather too easily prone. He thought of Baker Lord! how hot it must be there just now! He was half asleep. It was hot enough here. Only one other occupant of the room and he was fast asleep in another armchair. Snoring. The room rocked with his snores. The papers laid neatly one upon another wilted under the heat. The subdued London roar came from behind the windows in rolling waves of heat. A faint iridescence hovered above the enor- mous chairs and sofas that lay like animals panting. He looked across the long room. Almost opposite him was a square of wall that caught the subdued light like a pool of water. He stared at it as though it had demanded his attention. The water seemed to move, to shift. Something was stirring there. He looked more intently. Colors came, shapes shifted. It was a scene, some place. Yes, 4 place. Houses, sand, water. A bay. A curv- ing bay. A long sea line dark like the stroke of a pencil against faint egg-shell blue. Water. A bay bordered by a ring of saffron sand and behind the sand, rising above tt, a town. Tier on tier of houses and behind them again in the farthest distance a fringe of dark wood. He could even see now little fingers, black spots, dotted upon the sand. The sea now was very clear, shimmering mother-of-pearl. A scattering of white ~~ the shore as the long wave-line broke a0 retreated. And the houses tier upon tet. He gazed, filled with an overwhelming breatb- less excitement. He was leaning forward, us hands pressing in upon the arms otf the chair. It stayed, trembling with a kind of person invitation before him. Then suddenly, & though it had nodded and smiled farewe! to him, it vanished. Only the wall was there. (Continued on page 150) PESTLE AF Wt th 1 for

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150 Falling Hair and Baldness? —91% needlessly, Investigation Shows! Is this the End of ’ y . Costs Nothing Unless we grow hair The Van Ess 3-bottle treatment is abso- lutely guaranteed. Youare the sole judge. The warrant is given by your own drug or department store. All we require is their signature showing you have purchased a ninety-day treat- ment. If it fails, we refund your mone: in 7 Bald at 40 Our experience shows falling hair and baldness most always due to Infected Scalp Oil (Sebum). Now usually overcome. Hair actually grown on 91 heads in 100. Written Guarantee to Grow Hair This is a direct offer to grow hair on your head. An offer backed by written guarantee, given by your own drug or depart- ment store. If we fail, it costs you nothing. Over 300,000 women have made this test in the last two years. Science has recently made amazing discoveries in hair treat- ment. We have proven that while 4in 7 are either bald, or partly bald, at 40, only about nine in a hundred need ever be bald. Hair roots seldom die from natural causes. They can be revived. We have proved this by re-growing hair on 91 heads in 100. Highest authorities approve this new way. Great dermatolo- gists now employ it—many charge as much as $300. \) for simi- lar basictreatment. Baldnessisa sympt mm of a disease. itismost frequently a symptom of infection of the scalp oil \Sebum). Infected Sebum Sebum is an oil. It forms at the follicles of the hair. Its natural function is to supply the hair with oil. But it often becomes infected. It cakes on the scalp; clogs the follicles and plugs them. Germs by the millions then start to feed upon the hair. Semi- baldness comes first; then comes total baldness. But remove that infection and your hair will usually return, We back this statement with a money-back guarantee. Hence it is folly for anyone with falling hair not to make the test. Now We Remove It Our treatment is based on new prin- ciples. It penetrates to the follicles of the hair. It kills infection—removes the infected Sebum. Falling hair It revives the sickly, under- nourished hair roots, makes new hair grow. Remember, it is guaranteed. Warrant Given by Your Dealer The guaranteeis positive, and promptly met. You are the judge. Your own drug or department store gives it with each 3-bottle purchase. Go today, ask for the Van Ess Treatment. If your drug or department store cannot sup- ply you—use the coupon. $1.50 per bottle. If you order a 3-bottle, 90-day treatment, we will send you a written money-back guarantee. Send no money, we will supply by parcel post, collect. Orders from outside U. S. # must be accompanied by postal money = ass stops. r l tl s ° e Name Liquid = Scalp Massage | dares. City. Note This New Way— isn e nipples automatic into follicles of the scalp where it can do me good. Itis very easy to apply. min It Massages the Treatment Directly into the Follicles of the Hair You can see fre ta “tonic.” Dron ------------ VAN ESS LABORATORIES, Inc. 52 East Kinzie Street, Chicago, Illinois Please send. Scalp Massage, parcel post. I enclose no money, but agree to pay the postman when he calls. om illustration that Van > You do not rubitin with your fingers. Fach package comes with a ibber massage cap. Tt w. Justinvert bottle, rub your head, and 2 ute each d iy Ess “er } e nipples are hol- lly feed loti n dowr j One is enoug! bottles Van Ess Liquid Ee State... éicnitniommadenamniill A ROMANTIC MACABRE Hugh (Continued from page 148) But the excitement remained, excitement quite unaccountable. He got up, his knees trembling. He looked at the stout-bellying occupant of the other chair, his mouth open, his snores reverberant. He went out. Six days later he was in the train for Treliss. HE train had drawn into Drymouth. An old man was silently looking out at the hurrying crowds on the platform. He was certainly a pessimist and a hater of his kind. He was looking out at the innocent people with a lowering brow as though he would slaughter the lot of them had he the power. “Old Testament Moses,” Harkness named him. After a while the train slowly moved on. They passed above the mean streets, the hoardings with the cheap theaters, the lines with the clothes hanging in the wind, the grimy windows. But even these things the lovely sky, shining, transmuted. They came to the river. It lay on either side of the track, a broad sheet of lovely water spreading, on the left, to the open sea. The warships clustered in dark ebony shadows against the gold; the hills rose soft, bending in kindly peace and happy watchfulness. The train drew into a small wayside station, gay with flowers. The trees blew about it in whispering clusters. The old man got up, gathered his basket, and lumbered out, neither looking at nor speaking to Harkness. He was alone. He felt an overwhelming relief. He had not liked the old man and very obviously the old man had not liked him. But it was not only that he was alone that pleased him. There was something more than that. It was, indeed, as though he were in a new country. The train seemed to be going now more slowly, with a more casual air as though it, too, felt a relief and did not care what happened —time, engagements, schedules, all these were now forgotten as they went com- fortably lumbering, the curving fields em- bracing them, the stream singing to them, the little houses perc hed on the clear-lit sky- line smiling down upon them. It would not be long now before they were in Trewth where he must change. He took his two books and put them away in his bag. Should he send his bag on and walk as Mara- dick had advised him? Three miles. Not far and it was a most lovely day. He could smell the sea now through the windows. It must be only over that ridge of hill. He was strangely, oddly happy. London seemed far, far away. America, too. Any country that had a name, a date, a history. This country was timeless and without a record. How beautifully the hills dipped into the valleys! Streams seemed to be everywhere, little secret colored streams with happy thoughts. Everything and every one surely here was happy. Then suddenly he saw a deserted mine tower like a gaunt and ruined temple. Haggard and fierce it stood against the sky-line and, as Harkness looked back to it, it seemed to raise an arm to heaven in desperate protest. The train drew into Trewth. REWTH was nothing more than a long wooden platform open to all the winds of heaven, and behind it a sort of shed with a ticket-collector’s box on one side of it. Harkness was annoyed to see that others beside himself climbed out and scattered about the platform waiting for the Treliss train to come in. He resented these especially because they were grand and elegant; two men, long, thin, in baggy knickerbockers, carrying themselves as though all the world belonged to them with that indifferent assurance that only English- men have, a large, stout woman quietly but admirably dressed, with a Pekingese and a maid to whom she spoke as Cleopatra to Charmian. Five boxes, gun-cases, magnificent golf-bags, these things were scattered about the naked, bare platform. The wind came from the sea and sported everywhere, flipping at the stout lady’s skirts, laughing at the elegant sportmen’s thin calves) mocking at the pouting Pekingese. It was fresh and lovely: all the cornfields were waving invitation. It was characteristic of Harkness that a fancied haughty glance from the sportsmen’s eye decided him. “Tl walk,” he thought suddenly. He found a young porter who, in anxious fashion, so unlike American porters who were always so superior to the luggage that they conveyed, was wheeling magnificent trunks on a very insecure barrow. “These two boxes of mine,”” Harkness said, stopping him. ‘I want to walk over to Trel- Can they be sent over?” ‘Happen they can,” said the young porter doubtfully. ‘They are labeled to Hotel,’ Harkness said. “They'll be there as soon as you will,” said the young porter, cheered at the sight of an ‘ American tip which he put in his pocket, iss the Man at Arms Walpole’s HARPER’S BAzap Novel thinking in his heart that these foreigne were “dam fools” to throw their tas % around as they did. He advanced toward th stout lady hopefully. She might also pp “i to be American. pire Harkness plunged out of the station ‘ate the broad white road. A _ sign pointed “Treliss—Three Miles.” So Maradkt ha been exactly right. . ~ As he left the village behind him and . 4 Strod on between the cornfields he felt a marvelous freedom. He was heading now directly for the sea. The salt tang of it struck him in the face. Larks were circling in the blue air aboye him, poppies scattered the corn with plashes a crimson. Here and there gaunt rocks Tose from the heart of the gold. No human being was in sight. He seemed to be in unison with the whole of nature and when the road left the fields and dived into the heart of a common his happi- ness was complete. He stood there, his feet pressing in upon the rough springing turi A lark, singing above him, came down as though welcoming him, then circled up and up and up. He raised his head, staring into the pale faint blue until he seemed himself to circle with the bird, the turf pressing him upwards, his hands lifting him, he swinging into spaceless ecstasy. Then his gaze {el} again and swung out beyond and suddenly— there was the sea. ‘ The down ran in a green wave to the bly line of the sky, but in front of him it split breaking into brown rocky patches, and be- tween the brown curves a pool of purple sea lay like water in a cup. He walked forward, deserting for a momut the road. He stood at the edge of the dif and looked down. The tide was high and the line of the sea slipped up to the feet of the cliff, splashed there its white fringe of spray, then very gently fell back. Sea pinks starred the cliffs with color. Sea-gulls whirled, fragments of white foam, against the blue. Just below him one bird sat, its head cocked, waiting. Suddenly with a shrill ery of vigor and assurance it flashed away, curv- ing, circling, bending, dipping as though it were showing to Harkness what it could d He walked along the clitf path happier than he had been for many, many months. This was enough were there no more than this For this at least he must thank Maradick— this peace, this air, this silence. . . Turning a bend of the clitf he saw the town T WAS absolutely the town of his vision He saw, with a strange tightening of his heart as though he were being warned something, that that was so. There was the curving bay with the faint fringe of white penciling the yellow sand, there the houses rising tier on tier above the beach, there the fringe of dusky wood. What did it mean? Why had he a sudden clutch of terror, as though some one was whis| pering to him that he must turn tail and run Nothing could be more lovely than that town} basking in the mellow afternoon light and yet! he was afraid at the sight of it—afraid so that his content and happiness of a moment ag were all gone and of a sudden he longed fer company. He was so well accustomed to his own reacf tions and so deeply despised them that hej shrugged his shoulders and walked forwart | Never, it seemed, was it possible for him t enjoy anything for more than a moment Trouble and regret always came. But t Was not regret, it was rather a kind of for warning. He did not know that he had e before looked on a place for the first time Wi} so odd a mingling of conviction that he h already seen it, of admiration for its beauty) and of some sort of alarmed dismay. Beat! ful it was, more Italian than English, with i white walls, its purple sea and warm-scen! air. So peaceful and of so happy a tranquillit He tried to drive his fear from him, b hung on so that he was often turning back ar looking behind him over his shoulder. He struck the road again. It curved no* white and broad, down the hill toward 0 town. At the very peak of the hill before ® descent began, a man was standing watchiney something. Harkness walked forward, then also sto still. The man was so deeply absorbed th his absorption held you. He was standing the edge of the road and Harkness must P® him. At the crunch of Harkness’s step 02 © gravel of the road the man turned and look at him with startled surprise. Harkness f come across the soft turf of the down an¢ sudden step must have been an alarm. | fellow was broad-shouldered, medium heig clean-shaven, tanned, young, under thi at least, dressed in a suit of dark blue. He! something of a naval air. Harkness was passing, when the mans “Have you the right time on you, SIT’ voice was fresh, pleasant, well educate (Continued on page I 3 et ey ere renee 6 i b £ § i & & e fer

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“Style and Quality Assured” l (] HERE is excep- tional satisfaction in the wearin, of Fiskhats. D. B. Creators CHICAGO SMART models for Easter are on display at the better shops. FISK &@ CO. Millinery PARIS of Correct NEW YORK — —- A ROMANTIC MACABRE Hugh (Continued from page 150) Harkness looked at his watch. “Quarter past five,” he said. He was moving forward when the man, hesitating, spoke again: “You don’t see any one coming up the road?” Harkness stared down the white, sun- bleached expanse. “No,” he said after a moment, “I don’t.” They looked for a while, standing side by side silently. After all, he wasn’t more than a boy—not a day more than twenty-five—but with that grave, reserved look that so many British boys who were old enough to have been in the war had. “Sure you don’t see anybody?” he asked again, ‘“‘coming up that farther bend?” ““No,” said Harkness, shading his eyes with his hand against the sun, “can’t say as do.” “Damn nuisance,” the boy said, “he’s half an hour late now.” The boy stood as though at attention, his figure set, his hands at his side. “Ah, there’s some one,” said Harkness. But it was only an old man with his cart. He slowly pressed up the hill past them, urging his horses with a thick guttural cry, an old man brown as a berry. “T beg your pardon,” the boy turned to Harkness, ‘“‘you’ll think it an awful imperti- nence—but—are you in a terrible hurry?” ““No,”’ said Harkness, “‘not terrible. I want to be at the ‘Man at Arms’ by dinner time. That’s all.” “Oh, you've got lots of time,” the boy said eagerly. “Look here. This is desperately important for me. The man ought to have been here half an hour ago. If he doesn’t come in another twenty minutes I don’t know what I shall do. It’s just occurred to me. There’s another way up this hill—a short cut. He may have chosen that. He may not have understood where it was that I wanted him to meet me. Would you mind—would you do me the favor of just standing here while I go over the hill there to see whether he’s waiting on the other side? I won’t be away more than five minutes; I'd be so awfully grateful.” “Why, of course,” said Harkness. “He’s a fisherman with a black beard. You can’t mistake him. And if he comes, if you’d just ask him to wait for a moment until I’m back.” “Certainly,” said Harkness. “Thanks most awfully. Very decent of you, sir.” The boy touched his cap, climbed the hill and vanished. ARKNESS was alone again—not a sound anywhere. The town shimmered below him in the heat. He waited absorbed by the picture spread out in front of him, then sud- denly apprehensive again and conscious that he was alone. The alarm that he had orig- inally felt at sight of the town had not left him. Suppose the boy did not return? Was playing some joke on him, perhaps? No, whatever else it was, it was not that. The boy had been deeply serious, plunged into some crisis that was of tremendous impor- tance to him. Harkness decided that he would wait until the shadow of a solitary tree to his right reached him and then go. The shadow crept slowly to his feet. At the same moment a figure turned the bend, a man with a black beard. He was walking quickly up the hill, as though he knew that he were late. Harkness went forward to meet him. The man stopped as though surprised. “I beg your pardon,” said Harkness. ‘‘Were you expecting to meet some one here?” “Twas. Yes,” said the man. “He will be back in a moment. He was afraid that you might have come up the other way. He went over the hill to see.” “Aye,” said the man, standing, his legs apart, quite unconcerned. He was a hand- some fellow, broad-shouldered, wearing dark blue trousers and a knitted jersey. ‘‘ You'll be a friend of Mr. Dunbar’s, maybe?” “No, I’m not,” Harkness explained. ‘I was passing and he asked me to wait for a moment and catch you if you came while he was away.” “Aye,” said the fisherman, taking out a large wedge of tobacco and filling his pipe, “I’m a bit later than I said I'd be. Wife kept me.” “Fine evening,” said Harkness. “‘ Aye,” said the man. At that moment the boy came over the hill and joined them. “Very good of you, sir,” he said. ‘‘ You're late, Jabez!” “Good night,” said Harkness and moved down the hill. He could see the two in urgent conversation as he moved forward. The incident occupied his mind. Why had the matter seemed of such importance to the boy? Why a meeting so elaborately ap- pointed out there on the hillside? The fisher- man, too, had seemed surprised that he, a stranger, should be concerned in the matter. Had he been in America the affair would Walpole’s HARPER’S Baz, Novel have been at once explained—bootlecein, course. But here in England... ~” When he reached the bottom of t} he found that he was in the ft ny the town. He was walking now along ri shaded by thick trees and close to at , shore. a The cottages, whitewashed, crooked many of them, thatched, ran down t 4 road, their gardens like little colored fe spreading in front of them. The oui was thick with the scent of flowers, ahov.. of roses. He had never smelt such ross , not in California. ' FTER a while the road broke away an he saw a path that led directly throyo! the trees to the sea. elie. So soon as he had taken some steps acy the soft sand he seemed to be alone in a yor that was watching every movement tha } made. It was as though he were commit; some intrusion. He stopped and looked hy hind him; the thin line of trees had retreate the cottages vanished. Before him was waste of yellow sand, the deep purple of t} sea rose like a wall to his right, hiding. a: were, some farther scene, the sky stretchip over it a pale blue curtain tightly held. | A mist was rising, veiling the town. \ living person was in sight. He reached ; stretch of hard firm sand, thin rivulets ; water lacing it. The air was wonderfully mij and sweet. ; Never before in his life had he known a feeling of anticipation. It was as thoy he knew the stretch of sand to be the la: brook to cross before he would come into som mysterious country. He wanted to keep th moment, not to enter the town, even he hz a mad impulse to walk on the sand for ; hour, to see the color fade from the sky an/ the sea change to a ghostly gray, then tor turn up the hill to Trewth and catch the nig train back to London. It would be wonderful like that; to ha only the impression of the walk from the s tion, the talk with the boy on the hill, th scent of the roses and the afternoon si Everything is destroyed if you go into it t closely, or it is so for me. I should have memory that would last me all my life. But now the town was advancing toward him. His steps made no sound, so that if seemed that he himself stood still, waiting t be seized. He took one last look at the se Then he was caught up and the houses close about him. IX was striking from some distant cloc as he started up the street. At the bottor of the hill there were fishermen’s cottages, nt spread out on the stones to dry, some boat drawn up above a wooden jetty. Then, the street spread out before him, some litt!) shops began. Figures were passing hither a1 thither all transmuted in the afternoon light “Maradick need not have feared,” thought, “this town has not been touche at all.” As he advanced yet farther the houses def lighted him with their broad doorways, ther overhanging eaves, crooked roofs, and wong flights of steps. He came to a place wher wooden stairs led to an upper path that rm before a higher row of houses and under the steps there were shops. ; : He could feel a stir and bustle in the place as though this were a night of fest Groups were gathered at corners, women st in doorways laughing and whispering, a gr0U? of children was marching, wearing cocked hats of paper, beating on a wooden box and blowin on penny trumpets. Then on coming into the Square he paus in sheer delighted wonder. ‘This stands raised plateau above the sea, and the to | hall, solid and virtuous above its flight 7 wide gray steps, is its great glory. tet) seemed to tumble in and out of the Square‘ every side. Ona far corner there was 4 may go-round and there were booths and woot trestles, some tents and flags waving abo‘ them. But just now it was almost desert only a man or two, some children playing and out of the tents, a dog hunting among ™*f scraps of paper that littered the cobbles - A church of Norman architecture filled right side of the Square and, squeezed betwee its gray walls and the modern town hall, ba a tall old tower of infinite age, with thins of windows and iron bars that pushed of against the pale blue sky like pointing DME" ™ There were houses in the Square that * charming, houses with queer bow my and protruding doors like pepper pots, balconies, and here and there old carve ™ ures on the walls, houses that Whistler wou” have loved to etch. Harkness stopped a ae : ‘Can you tell me where | shall find the Ma at Arms Hotel?” he asked. joe “Why, yes,” the man answered, as Wo! Continued on page 154) 7 LF for ¢

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BT aT BT aT AT EW aT AT A) A Bh A A eT” a” a AT A A ae i ray” = j | | -, % I I aI LP av BOHN ~~ SYPHON REFRIGERATOR axa “Pep, éParcrcrar svar A definite superiority in utility and appearance is apparent to the owners of this new model Bohn Syphon Refrigerator. e =. .-.s Wherever perfect refrigeration is required, the Bohn with its much — improved insulation is invariably recommended. hk eh A A ah =. Adopted by the Pullman Company ; every dining car on all railroads is equipped with Bohn Syphon Refrig- erators and is arolling testimonial of unsurpassed efficiency. BOHN REFRIGERATOR COMPANY SAINT PAUL, MINNESOTA Pal at Retail salesrooms in the following cities: re a A a a Fo OT OI OF OF OF OE O7 NEW YORK— East 46th Street i CHICAGO—68 East Washington Street 4 BOSTON—7246 Boylston Street 4 INDIANAPOLIS—144 East Ohio Street ai PITTSBURG—W ood and Diamond Streets N N DETROIT—117 East Grand River Avenue BUFFALO—704 Main Street LOUISVILLE—306 West Walnut Street x ee cere ee A ROMANTIC Hugh Walpole’s HARPER’S Bagg] MACABRE Novel (Continued from page 152) he were surprised that Harkness should not know. “Straight up that street in front of you. You'll find it at the top.” And he did find it at the top after what seemed to him an endless climb. The houses fell away. An iron gate was in front of him as though he were entering some private residence. Going up a long drive he passed beautiful lawns that shone like silk; to the right the grass fell away to a pond fringed with trees. Flowers were around him on every side and again in his nostrils was the heavy scent of innumerable roses. The drive swept a wide circle before the great eighteenth century house that now con- fronted him. But it is not a hotel at all, he thought, and he would have turned back had not, at that moment, a large hotel omnibus swept up to the door and discharged a chatter- ing heap of men and women who scattered the steps, screaming about their luggage, col- lecting children. The spell was suddenly broken. He had not realized | ow alone he had been during the last hour and with what domination his imagination had been working, creating for him a world of his own, encourag- ing in him what hopes, fears, and anticipa- tions! E SLIPPED in after the rest and stood shyly in the hall while the others made their wants triumphantly felt. A man of about forty, stout and round like an egg but very shinily dressed, came forward and, bend- ing and bowing, smiled at the women and spoke deferentially to the men. This must be Mr. Bannister—‘The King of the Castle.” Maradick had told him in the club. ‘‘Not the original Mr. Bannister who made the place what it is. He is, alas, dead and gone. Had he been still there and you had mentioned my name he would have done wonders for you. I don’t know this fellow anc for all I know he may have ruined the place.” However, the original Bannister could not have been politer. Harkness was always afraid of hotel officials and it was only when the invasion had broken up and begun to scatter about the place that he came forward. But Mr. Bannister knew all about him indeed, was expecting him. His luggage had already arrived. He should be shown his room and Mr. Bannister did hope that it would be. ... If anything in the least wasn't ee Harkness started up-stairs. ‘‘There is a lift here, but if the gentleman doesn’t mind His room is only on the second floor and instead of waiting .. .” Of course the gentleman doesn’t mind. And still less does he mind when he sees his room. “This is mine absolutely,” Harkness said, “as though it had been waiting for me for years and years with its curved bow window, its view over that enchanting garden and the line of sea beyond, its white wall unbroken by those colored prints that hotel managers in my own country find it so necessary always to provide. Those chintz curtains with the roses are delicious. Just enough furniture. There is no private bath, of course?” “The bathroom is just across the passage. Very convenient,” said the man. *Yes, in England we haven't reached the private bathroom yet, although we are sup- posed to be so fond of bathing.” “No, sir,” said the man. “Anything else I can do for you?” “No, thank you,” said Harkness, smiling as he looked on the white sunlit walls and check- ing the tip that, American fashion, he was about to give. “How strong the smell of the It is very late for them, isn’t it?” “They are just about over, sir.” “So L should have thought.” roses EFT alone. he slowly unpacked. He liked unpackins and putting things away. It was picking that he detested. He had a few things with him that he always carried when he traveled— a red leather writing-case, a little Japanese fisherman in colored ivory, two figures in red amber, photographs of his sisters in a silver frame. He put out these little things on a table of white wood near his bed, not from any affectation but because when they were there the room seemed suddenly to understand him, to settle about him with a little sigh as though it granted him citizen- ship—for so long as he wished to stay. Then there were his prints. He took out four, the Lepere St. Gilles, Strang’s Etcher, the Rem- brandt Flight into Egypt, and the Whistler Drury Lane. He sighed with satisfaction as, sitting down on his bed, he looked at them. He felt that he needed them to-night as he had never needed them before. The sense of excited anticipa- tion that had increased with him all day was now surely approaching its climax. That excitement had in it the strangest mixture of delight, sensuous thrill, and something that was nothing but panicky terror. Yes, he was frightened. Of what?) Of whom? He could not tell. But only as he looked across the room at those familiar scenes, at the massive dark tree of the “‘St. Gilles” with the } road, the high comfortable hedge, the h “ figures, at the adorable face of the deaken : the Rembrandt, at the little beings Rs : velously placed under the dancing batted the Whistler, at the strong, homely, frj hy countenance of Strang himself, he felt as hehe, so often felt before that those beautify] rte were trying themselves to reassure him, to.) him that they did not change nor alter » that where he would be there they would | too. He took Maradick’s letter from his pocket and read it again. Here he was—now ot must happen next? He would dress new s once for dinner and then walk in the gard, before the light began to fail. Or no. Was: 7 he to go down into the town after dinner to see this dance, to share in it, even? Haj: Maradick said that that was what, above ; else, he must do? And then what was this about a Mins, Gallery somewhere? He would have a y; change his linen, and then begin his explor tions. He undressed, found the bathroom enjoyed himself for twenty minutes or mo; then slipped back across the passage into hj. room again. It was now nearly seven o'cloc As he was dressing the sun was getting low the sky. A beam of sunshine caught the inter: gaze of Strang, who seemed to lean across his etching board as though to tell him, to reassyy him, to warn him. . . . He slipped out of his room and began | explorations. : FE‘ JR a while he wandered, lost in a max passages. He understood that the Mi strels’ Gallery was at the top of the house, }j did not use the lift but climbed the stair meeting a floor that must, he thought, be sery quarters. It had another air, somethin no one; then suddenly he was o arranged, less handsome, old-fashioned though it were even now as it had been tw hundred years ago. A survival, as the « gray tower in the market-place was a surviy For a little while he stood hesitating. T passage was dark and he did not wish t plunge into a servant's room. up here there was no sound at all—an abs lute, deathly stillness! He walked down to the end of the passage then, turning, came to a door that was larger He could see as he lo« ked t than the others. it more closely that there was some fai carving on the woodwork above it. He turn the handle, entered the room, then stoppe with a little cry of surprise and pleasure. Truly, Maradick had been right. Here we a room that, if there was nothing more t come, made the journey sufficiently of valu On the left side of it were broad bright windows and at the farther end, under the Minstrels’ Gallery, windows There were no curtains to the wir An enchanting room! > again. dows—the whole room had an empty, desert air—but the more for that reason the pla was illuminated with the glow of the evening light. The first thing that he realized was view—and what a view! The windows were deep set and hung f ward, it seemed, over the hill, so that gardens, trees were all lost and you saw o! the sea. At this hour you seemed to swing in spa the division lost between sea and sky in t! now nearly horizontal rays of the sun—0! . ° liv a golden glow covering the blue with a dazalins blaze of color. He stood there drinking it then sat in one of the window-seats, his har clasped, lost in happiness. \fter a while he turned back to the root Flecks of dust, changed into gold by t evening light, floated in mid-air. was disregarded indeed The paneled. The little Minstrels’ Gallery ¥ supported on two heavy pillars. dances. B' T what pathos the room had! not greatly since Maradick’s day the history had relentlessly cut away those earit He saw that round the platform of th gallery was intricate carving, and, going ! years. ward more closely to examine, saw that every square was set the head « lion. Some high-backed, quaintly chairs that looked as though they might great age were ranged against the wal Being now right under the some little wooden steps. and then from the gallery's sha down across the room. picture that old scene, something irom Jane Austen with Miss Bates ang ™ Norris stiff-backed against the wall and A Elliott and Elizabeth Bennet, Mr, Collins the negus The fiddlers scraping. Continued on page I the rest. Strange that The roor walls wer The floc} was bare of carpet and had even a faint wax sheen as though, in spite of the room's genet | neglect, it was used, once and again, ! He ¢ know that almost fifteen years be fore, Maradick had felt that same thing. Hé vastly now that pathos was inc reased, ¢ world : of a grinnin: shape be gallery he *# He climbed up the! low looke How clearly he cou stralg | Mr for A

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A ROMANTIC Hugh (Continued from pase 154) refreshment, the night darkening, the car- riages with their lights gathering. The door at the far end of the room 1 closed with a gentle click. He started, not imagining that any one would choose that room at such an hour. Two figures were there in the shadow be yond the end room. The light fell on the man’s face—Harkness could see it very clearly. The other was a woman wearing a white dress. He could not see her face. For an instant they were silent, then the man said something that Harkness could not hear. The girl at once broke out: “No, no. Oh, please, Herrick.” She must be a very young girl. The voice was that of a child. It had in it a desperate note that held Harkness’ attention instantly. The man said something again, very low. “But, if you don’t care,” the girl's voice pleaded, “then let me go back. Oh, Herrick, let me go! Let me go!” “My father does not wish it.” “But I am not married to It is to you. “My father and I are the same. says I must do, I do.” “But you can’t be the same.” Her voice was now quite de ssperate in its urgency. “No one could love his father more than I do and yet we are not the same.’ ‘Nevertheless, you did what your father asked you to do. So -? | “But I didn’t know. I didn’t know. And he didn’t know. He has never seen me fright- ened of anything and now I am frightened. .. . I’ve never said I was to any one before but now . now She was crying ‘softly, terribly, with the terrified crying of real and desperate fear. your father. What he ARKNESS had been about to move.” He did not, unseen and his presence un- realized, wish to overhear, but her tears checked him. Although he could not see her he had detected in her voice a note of pride. He fancied that she would wish anything rather than to be thus seen by a stranger. He stayed where he was. He could see the man’s face, thin, white, the nose long, pointed, a dark, almost grotesque shadow. ““Why are you frightened?” “T don’t know. I can’t tell. been frightened before.” Have I been unkind to you?” ““No, but you don’t love me.”’ “Did I ever pretend to love you? Didn't you know from the very first that no one in the world matters to me except my father? “Tt is of your father that I am afraid. These last three days in that terrible house . . . I’m so frightened, Herrick. I want to go home only for a little while. Just for a week before we go abroad.” ‘All our plans are made now. You know that we a sailing to-morrow evening.” I have never “Oh, I didn’t know. I didn’t know! For- give me, Herrick. You may do anything to me if I can only go home for just some You may do anything. . . to do anything, Hesther. harm. But every one days . “T don’t want No one wishes to do you any whatever my father wishes, that must do. It has always been so.” She seemed to be seized by an absolute frenzy of fear; Harkness could see her white shadow quivering. It appeared to him as though she caught the man by the arm. Her voice came in little breathless stifled cries, — pitiful to hear. ase, ple ase, Herrick. to sir father. I don’t dare. But you—let me go— Oh! let me go—just this once, Herrick: Only this once. I'll only be home for a few days and then I'll come back. Truly, I'll come back. I'll just see father and Bobby, and then I'll come back. They'll be missing me. I know they will. And I'll be going to a foreign country—such a long way. And they'll be wanting me. Bobby’s so young, Herrick, only a_ baby. He’s never had any one to do anything for him but me “You should have thought of that before you married me; you cannot leave me now.” “T won’t leave you. I’ve never broken my I - not speak I don’t dare. word to any one. I won’t break it now. It’s only for a few days.” ‘How can you be so selfish, Hesther, as to want to upset every one’s plans just for a whim of your own? For myself I don’t care. You could go home for ever for all I care. I didn’t want to marry any one. But what my father wished had to be. HE clung to him then, crying again and again between her sobs: “Oh, let me go home! Let me go home! Let me go home! Harkness fancied that the man put his hands on her shoulders. His voice, cold, life- less, impersonal, crossed the room. ‘That is enough. He is waiting for us down-stairs. He will be wondering where » are Walpole’s HARPER'S By, M ACABRR Novel The little white shadow seemed to , the window, toward the limitless expp, sunlit sea. Then a voice, small, proy ‘ s of emotion, said: ii, ‘Father wished me Harkness was once more alone f room, : HEY had gone, but the girls fear mained. It was there as truly as the: figures had been and its reality was < - ; than their reality. aie, Harkness had the sense 0 f having caught, and it was exactly as though nos he stood alone there in the gallery ; ; down into the room, some imp a fe him on the shoulc de or, crying, ‘Now you'r for it! Now you re in for it! The sity has got you now! ~ He was, of course, not “in for jt” How many such conversations between hyp beings there were; it simply was that he }. happened against his will to overhear a ment of one of them. Yes, “against his y; How desperately he wis shed that he had; been there. What induced them to Fm that room and that time for their secret fidences? He felt still in the echo of th voices the effect of their urgency. They had chosen that room because #} was some one watching their every movem and they had had only a few moments T: child—for sure ‘ly she could not be more— almost driven her companion into that th minutes’ conversation, and Harkness « realize how desperate she must have beer have taken such a course. But, after all, it was no business of Girls married every day men whom they not love and, although case, the man also did not love her and t were both of them in evil plight, still that; had happened before and nothing very terr had come of it.

It was no business of his and yet he i wish, all the same, that he could get the rf of the girl’s voice out of his ears. The very pathos of the room that he » in—the lingering of so many old notes th had been rung and rung again, notes of ant pation, triumph, disappointment, resignat made this fresh, living sound the harder escape. ; By Jupiter, the child was frightened—thd was the final ringing of it upon Harkned heart and soul. -But he was going to hag his life sufficiently full were he to step # and rescue every girl frightened by matr mony! Nevertheless, the voice lingered in his ¢ and to be rid of it he left the room stepped carefully down the wooden ste then at the bottom of them under the dark l4 of the gallery he paused. He was suddenly foolishly frightened that he could not 1 i a step. H® WAITED. At last he whispered any one there?” rien There was no answer. He pushed his" then out of the shadow, his heart drumn

against his shirt. There Of course there was not. In his room once more with his friend Strang and the Rembrandt donkey to take him hon he sat on his bed holding his hands bets his knees. He was positively afraid of going dow

dinner. Afraid of what? Afraid of be drawn in. Drawn in to what? That was) cisely what he did not know, but someti that ever since his first glimpse of Marat at the Reform Club had been preparing was that he saw, as he sat there thinking 0! that he feared—this Some thing that wasp. up outside him and with which he he ad not to do at all. Why should he mind because he ha‘ a girl say that she was frightened and wé to go home? And yet he did mind—m

apparently in th 4

was no one ther 1 heat

terribly and with increasing violence every moment that passed. The though that child without a friend and on the edge of an experience that might indeed fatal for her, the thought of it was more he could endure. “But what an old scamp her father ™ be,’ Harkness thought, “to give her up : this toa man for whom she has no love, r doesn’t love her. Why did she do it: what kind of a man is the father-in-2¥ whom she is so afraid and who dominate: ; son soe absolutely? In any case I musts down to dinner. I must just take ¥

comes. ... “Yes, but,” his prudence whispered, meddle in this affair actively. It is smn't the’ of thing i in which you are likely to distit yourself.’ “Noa. by aren * Well then, “TI mean to be.” it isn’t.” be « sareful.’ : : Then suddenly the voice came sharp me clear. “Damn tt od do anything I can!” he crie« aloud, jum} from the bed and went int stairs. Continued on page 155)

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thie on 4 ES, it is true your age is written in the line of your throat —but I can restore your youthful contour. Drooping facial muscles, a sag under the chin, and crepy, loose, wrinkled skin, can be corrected by my method of bringing the life and blood into worn out tissues. Come in and have my Sculptural Patting. treatment or write to me and I will tell you the proper home treatment and which of my preparations to get in your own city (* . ren or direct from me. IN THE MEANTIME GET THESE PREPARATIONS AT YOUR FAVORITE SHOP: If your skin is loose and muscles flabby DOROTHY GRAY’S RUSSIAN ASTRIN- GENT CREAM. Surprising Results! $3.00 If your face is oil DOROTHY GRAY’S RUSSIAN ASTRIN- GENT LOTION. Takes the ugly shine away and tightens and lifts the contour. $3.00 Dorothy Gray’s Chin Strap Lifts and strengthens the muscles on either side of the face as well as under the chin. Made of washable kid. “ $5.50 / If your face is thin DOROTHY GRAYS SPECIAL SKIN FOOD. Fills out the hollows and makes ,an angular face plump and youthful. : $1 and $4.75 Write for My Book EDITION H How If you have lines around your eyes DOROTHY GRAY’S D’OIE. feet. If you have a dry, sensitive skin POUR LA This takes away circles and crow’s $1.50 and $4.00 PATTE DOROTHY GRAY’S TISSUE CREAM. Fills out lines without fattening the face. $1 and $1.75 If you have a sallow, dry, flabby skin DOROTHY GRAY’S OINTMENT. EXTRA Makes the skin shades lighter, BLEACH and brings the natural color into the cheeks. \ thin face can be made plump How A too fat chin can be reduced How Large pores and coarse skin can be made fine How Eyes can be made bright and the lines around them eradicated It Tells . How A sallow skin can be made shades lighter How That droop under the chin can be removed How To increase or lose weight Firm muscles indicate youth. They can be yours e Dorothy FACIAL AESTHETICS TA9 - filth Avenue, Kei Norke $3.00 Grey Special Agencies for Dorothy Gray Preparations New York, N. Y. B. ALTMAN & Co. FRANKLIN SIMON & Co. Joun WANAMAKER STERN Bros. Lorp & TAYLOR Buffalo, N. Y. Fruint & KENT HOTEL STATLER Boston, Mass. ELIZABETH ELLSWORTH Providence, R. I. THE SHEPARD COMPANY Danbury, Conn. Joun McLean, Inc. Hartford, Conn. SAGE ALLEN & Co. Philadelphia, Pa. JoHN WANAMAKER House OF WENGER WALNUT STREET Pittsburgh, Pa. JosepH Horne Baltimore, Md. O'NEILL'S Richmond, Va. MILLER & Ruopes, INc. Norfolk, Va. SmitH & WELTON, INc. Lynchburg, Va. CLAIBORNE DruG Co. Huntington, W. Va. ZENNER BRADSHAW Co. Memphis, Tenn. B. LOWENSTEIN & Bros., INc. Nashville, Tenn. ARMSTRONG'S Chattanooga, Tenn. MILLER Brotuers Co. Louisville, Ky. BESTEN & LANGEN Jacksonville, Fla. COHEN BROTHERS Miami, Fla. BURDINE & QUARTERMAN Tampa, Fla. Maas BROTHERS Chicago, Ill. MANDEL BROTHERS Detroit, Mich. SCHETTLER’S DRUG STORE Atlanta, Ga. FRANKLIN Cox DrucG Co. New Orleans, La. D. H. Ho_mes Co., Ltp. Montgomery, Ala. MONTGOMERY Farr Birmingham, Ala. Louts Saks Co. Indianapolis, Ind. L. S. Ayres & Co. Marion, Ind. QuaLity SHoPp South Bend, Ind. ROBERTSON BROTHERS Co. Kansas City, Mo. UNION STATION DruG STORE St. Joseph, Mo. TOWNSEND, Wyatt & WALL D..G. Ca. St. Louis, Mo. Famous-Barr Co. Duluth, Minn. DututH GLass BLock Co. Oklahoma City, Oklahoma RORABAUGH-BROWN Tulsa, Okla. THE Hunt Company Jackson, Miss. R. E. KENNINGTON Co. Des Moines, Iowa HARRIS EMERY Co. Omaha, Neb. THE LINGERIE SHOP Topeka, Kan. Crossy Bros. Denver, Colo. A. T. Lewis & Sons Dry Goops Co. San Francisco, Cal. RAPHAEL WEILL & Co. Los Angeles, Cal. New York CLoak & Suit House San Antonio, Texas JosKE BROTHERS COMPANY Fort Worth, Texas W. C. Stripcinc Co. Beaumont, Texas THE ROSENTHAL Dry Goons Co. Columbus, Ohio THE MoREHOUSE-MARTENS Co. Cincinnati, Ohio SMITH-Kasson Co. Cleveland, Ohio Tue HIGBEE Co. Canton, Ohio STERN & Mann Co. Akron, Ohio Tue A. Poitsky Co. Syracuse, N. Y. Mary Lynn Lyncu 1920 E. GENESEE ST. Atlantic City, N. J. Dorotuy GRay 1643 BOARDWALK or order direct from Dorothy Gray POSTPAID

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up With garters | } £ $3.50 up / No. 908—This model is made in a | wide variety of attractivematerials, with and without garters, and comes well down over the top of the corset. l Boneless This Newest of All Diaphragm- Reducing Brassieres is an Out- standing Achievement in the History of Corsetry There’s nothing else like it! Think of the genuine enjoyment of being able to sit for several hours at bridge—mah jongg— at the opera—at the theatre—at the movies— without having annoying, uncomfortable bones ‘sticking’ into you. Think of the relief—the supreme pleasure of being really comfortable. Madame Poix’s wonderful new diaphragm- reducing boneless brassiere is the most satisfac- tory garment from the standpoint of comfort, beauty and serviceability you can wear. A. Fr. BRASSIERES are on sale at all leading Department Stores and Corset Shops. Ask for them BY NAME, G. M. POIX, Inc. Also Manufacturers of **Girlish-Form”’ Brassieres » lay 2 ai Se nd today G. M. POIX, Inc., 100 Seventh Avenue Contains for our Secskien. 8. valuable FREE ship i fashion Fascinating Gentlemen: information Stvle Kindly send me your FREE Style . sley B s k Booklet, “‘The Loveliness of Milady. handsomely 00 illustrated NAME ADDRESS 50 A ROMANTIC Hugh (Continued from page 150) AS IIE went down-stairs he felt a tremen- d dous sense of liberation. It was as though he had, after many hesitations and fears, passed through the first room success fully and closed the door behind him. Now there was the second room to be confronted. What he immediately confronted was the garden of the hotel. The sun was slowly setting in the west, and great amber clouds, spreading out in swathes of color, ate up the blue. The bronze sea was held rigid as though it were —_ of metal. The town caught the gold and all the windows suddenly flashed. In the fresh evening light the grass of the lawn seemed to shine with a fresh iridescence—the farther hills were coldly dark. \ window running to the gravel path caught the level rays of the setting sun. A man stepped before this, stopping to light a cigaret, and then, being there, stayed like an Oriental image staring out into the garden. Harkness looked casually, then looked again, then, fascinated, remained watching. He had never before seen such red hair nor so white a face, nor so large a stone as the green one that shone in a ring on the finger of his raised hand. He was lighting his cigaret—it was after this that he fell into rigid immobility, and the fire of the match caught the ring until, like a great eye, it seemed to open, winking at Harkness, and then to regard him with a con- temptuous sti ire. The man’s hair wi is ent brosse, standing straight on end as Loge’s used to do in the old pre-war Bayreuth “Ring.” It was, like Loge’s, a flaming red, short, harsh, instantly arresting. Evening dress. One small black pearl in his shirt. Very small feet in shining shoes. There had stuck in Harkness’ mind a phrase that he had encountered once in George Moore’s desc ription of Verlaine in ** Memories and Opinions’’—*‘I shall not forget the glare of the bald prominent forehead (une (le glabre) ” That was the phrase now, une léte glabre—the forehead glaring like a chal lenge, the red hair springing from it like some- thing alive of its own independence. For the rest this interesting figure had a body round, short, and fat like a ball. Over his protruding stomach stretched a white waistcoat with three little plain black buttons. The color of his face had an unnatural —_ something theatrical like the clown in “Pagliacci,” or again like one of Benda’s Bite Yes, this was the truer comparison, because through the mask the eyes were alive and extremely beautiful, dark, tender, elo- quent, but spoilt because above them the eye- brows were so faint as to be scarcely visible. The mouth in the white of the face was a thin, hard, red scratch. The eyes stared into the garden. The body soon became painted into the window behind it, the short round limbs, the shining shoes, the little black pearl in the gleaming shirt. ARKNESS, from the shadow where he stood, looked and looked again. Then, fearing that he might be perceived and _ his stare be held offensive, he moved forward. The man saw him and, to Harkness’ surprise, stepped forward and spoke to him. “1 beg your pardon,” he said, “but do you happen to have a match? My cigaret did not catch properly and I have used my last match.” Here was another surprise for Harkness. The voice was the most beautiful that he had ever heard from man. Soft, exquisitely melodious, with an inflection in it of friendli- ness, courtesy, and culture that was enchant- ing. Absolutely without affectation. Vhy, ves. Certainly,” said Harkness. He felt for his little gold matchbox, found it, produced a match and, guarding it with his hand, struck it. In the light the other's fore head suddenly sprang up again like a live thing. For an instant two of his fingers rested on Harkness’ hand. They seemed to be so soft as to be quite boneless. ‘Thank you. What an exquis site evening!” ‘Yes,” said Harkness. “This is a very beautiful place.” “Ves,” said the other, “Sis it not? And this is incidentally the best hotel in England.” The voice was so beautiful to Harkness, who was exceedingly sensitive to sound, that his only desire was that by some means he should prolong the conversation so that he might indulge himself in the luxury of it. “T have only just arrived,” he said. “I came only an hour ago and it is my first visit.” ‘Is that so? esa n you have a great treat in store for —_ This is splendid country round here and although everyone has been doing their best to spoil it there are still some lovely Pp laces. Treliss is the only town in Southern ngland where the place is still triumphant over modern improve ments.” The re was a pause, then the “Will you be ~ re for long? “T have no plans,” Harkness a “T wish [ could show you around a little. I know this country very well There is an said: Walpole’s HARPER'S BaAzap MACABRE Novel nothing I enjoy more than showing off our beauties. But unfortunately [ Je a abroad early to-morrow mo rning.” ail Harkness thanked him They wen talking very freely, walking , up and pe: ~. gravel path. The exquisite modulation the man’s voice, its rhythm, a gave Harkness such delight that he id listen for ever. They spoke of foreign mm tries. Harkness had traveled much pi ong membered what he had seen. This man bat been apparently everywhere. — Suddenly a gong sounded. dinner.” They paused. The aaa “T beg your pardon. You tell me that pt an American and I know therefore that _ are not hampered by ridiculous conventional. ties. Are you alone? ; pt am,” said Harkness. “Well, the *n—why not dine with us? There is myself, my son, and a ch: arming girl to whom he has lately been married. Do me thet pleasure. Or, if people ‘are a bore to you, he quite a and say so. ‘T shall be delighted,” said H: urkness, “Good. My name is Crispin. ‘Harkness is mine. They walked in together. Sentleness 5 h, there's H* HAD, as he walked into the hall, an overwhelming sense that everything that was occurring to him had happened to him be fore, and it was only part of this dream convi tion that Crispin should pause and say: ‘Here they are, waiting for us,” and lead him up to the girl who, half an hour before, had been with him in the little gallery, He had even a moment of protesting panic crying to the little imp whose voice he had sen heard that evening: ‘‘ Let me out of this, am not so passive as you fancy. Itisa hal I am here for. There is no knight- ~errantry j me—you have caught the wrong man for that.” But the girl's face stopped him. She was beautiful. He had from the first instant « seeing her no doubt of that, and it was as though her voice had already built her up for} him in that dim room. i Straight and dark, her face had child-like purity in its rounded cheeks, its large brow and wondering eyes, its mouth set now in proud determination but trembling a littl behind that pride, its cheeks very soft ant faintly colored. Her hair was piled up a though it were only recently that it had come to that distinction. She was wearing a very simple white frock that looked as though it had been made by some little local dress make: of her own place. She had been prou of it, delighted with it, Harkness could be sure, perhaps only a week or two ago. Now experienc es were coming to her thick and fast She was clutching them all to her, determ to face them whatever they might be, finding] them, as Harkness knew from what he had} overheard, more terrible than she had ever conceives . ‘ She had been crying, as he knew, only hi an hour ago, but now there were no traces tears, only a faint shell-like flush on. her ( he a ks. The man standing beside her was not 1 more than a boy, but il, ee ss the he had seldom perceived an uglier cout nance. A large, broad nose, a long, thin like a hatchet, gray colorless eyes, and body upon which the evening awkwardly, here was ugliness itself, bu true unpleasantness came from the aloofness that lay in the unblinking eyes, t hard, straight mouth ; “He might be walking in his sleep, Hark ness thought, “for all the life he s showin: What a pair for the girl to be in the hands¢ Harkness was introduced. ete a ne oles “Hesther, my dear, this is Mr. Ha who is going to give us the pleasure ol ¢ with us. Mr. Harkness, this is my Herrick.” HE litthe man led the way, an interesting to perceive the dignity with which he moved. He that admirably surmounted the that the short legs and stumpy body would, 19§ a less clever performer, have | tailed. He did not strut, nor trot, nor p& out his stomach and follow it rt resolve. His dignity was real, almost reg not absurd. He walked slowly, loo him as he went. He stopped at t of the dining-hall, now crowded spoke to the head waiter, a looking fellow, who was at once and started down the room to a reser The diners looked up and progress, but Harkness noticed smiled. When they came to th ay middle of the room, Mr. Crispin objectes* and they were at once shown to an ther beside the window and looking out to ne “Tt will amuse you to see the room, Hest! You sit there. You can look it of the W Continued on pa Mote Mae nd athe Sia}

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tionali- There 0 whom 1€ that you, be Pig F NSS ww ay | BOSTON: 192 BOYLSTON ST. (T\anal x “I am very fond of the company of ladies. I like their beauty, I like their delicacy. I like their vivacity and I like their silence.” AMUEL JOHNSON was a scholar, but he was also a S man. He was “fond of the company of ladies,” and among the qualities which he admired in women it is interesting that, first of all, he said, “I like their beauty.” The importance of personal loveliness in the success of life cannot be overemphasized. It is a profound truth that if you look your best, you are your best, physically, mentally, yes and spiritually. As a flower blooms in the sun, so do you bloom when you feel the warming glow of your friends’ admiration. And beauty is so easily coaxed into being, so easily kept! Intelligent care of the health, that is all. Elizabeth Arden has studied this subject deeply, the making and keeping of women’s health and loveliness, and the treatments, given at her various Salons by care- fully trained attendants, are as sound and scientific as they are delightful and refreshing. An hour spent in a soft lounging chair in one of Miss Arden’s charming treatment rooms is an hour of revela- tion! Whatever the condition of your skin, dry, under- fed, or tired and sagging perhaps, tiny lines, sallowness— you are studied by an expert and given personal treat- ment. And as the attendant cleanses and softens, lifts drooping muscles and pats in the delicious astringents, your look of fatigue begins to disappear, your face begins to glow and aglance in the mirror is telling you how you used to look! For it is a fact that Elizabeth Arden’s treatments make the face look years and years younger. Then the body must not be neglected. The Elizabeth Arden Exercises for Health and Beauty are the founda- tion of loveliness. For these scientific movements, created especially for women, put every part of the body in happy working order. Beauty is impossible with- out perfect health. Elizabeth Arden’s Exercises develop beautiful proportions, normalize the weight, and stim- ulate every bodily process which contributes to a clear healthy skin. Don’t wait but send immediately for the Beauty Records. ($12 for the complete set.) EVERY SKIN NEEDS THESE FIVE PREPARATIONS: VENETIAN CLEANSING CREAM. Soft, melting; cleanses deeply and gently; leaves the skin pure and soft. $3. VENETIAN ARDENA SKIN TONIC. Tones, firms and whitens the skin; keeps it clear and radiant. 85c $2, $3.75 contours. $2.25, $4. VENETIAN SPECIAL ASTRINGENT. Braces and lifts sagging muscles; strengthens the VENETIAN VELVA CREAM. Delicate nour- ishing cream; softens and refines the skin; keeps it smooth and velvety. $1, $2, $3. VENETIAN PORE CREAM. Closes open pores, corrects their laxness, refines the coarsest skin. $1, $2.50. ARDEN BEAUTY BOX. Superb travelling case of black cobra leather, containing 20 Vene- tian Preparations and other accessories. $60. VENETIAN WATERPROOF CREAM. A marvelous finish for the neck and arms. Gives the skina pearly waterproof lustre. For evening and sports $3. Write for Elizabeth Arden’s attractive new booklets. They are sent on request—Postage paid on mail orders exceeding $10 The Arden Venetian Preparations and chic Babani Perfumes are on sale at the Elizabeth Arden Salons and also at 700 smart shops all overthe world LONDON: 25 OLD BOND STREET ELIZABETH ARDEN 673-C FIFTH AVENUE, NEW YORK SAN FRANCISCO: 233 GRANT AVE. ATLANTIC CITY: RITZ-CARLTON HOTEL PARIS: 2 RUE DE LA PAIX DETROIT: 318 BOOK BUILDING WASHINGTON: 1147 CONNECTICUT AVE

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160 : ON ae : Lal bi ' | These subway passengers owe much of their security to the controller handle shown in the circle above. If the motor- man’s grasp relaxes, through accident or illness, the handle springs back, cuts off the electric power, and stops the train. Kept safe by the “dead man’s handle” General Electric engineers are at the service of every manufac- turer who seeks larger produc- tion with lower costs, and safety first. GENERAL ELECTRIC This safety device helps to make our city sub- ways and elevated lines the safest railroads in the world. It is one of the many contributions to security developed by General Electric engineers. Since its formation in 1892, General Electric Company has been re- sponsible for many in- ventions, each marking a forward step in elec- trical progress. A ROMANTIC Hugh Walpole’s HARPER’S BAzap MACABRE Novel (Continued from page 158) dow, too, when you are bored with people. Will you sit here, Mr. Harkness, on my right?” Harkness was now opposite the girl and looking out to the sea that was lit with a bronze flame that played on the air like a search-light. The window was slightly open, and he could hear the sounds from the town, the merry-go-round, a harsh trumpet, and once and again a bell. - O YOU mind that window?” Crispin asked him. “I think it is rather pleasant. You don’t mind it, Hesther dear? They are having festivities down there this evening. The night of their annual ceremony when they dance round the town—something as old as the hill on which the town is built, I fancy. You ought to go down and look at them, Mr Harkness.” “IT thin I shall,” Harkness replied, smiling. He noticed that now that the man was seated he did not look small. His neck was thick, his shoulders broad, that forehead in the brilliantly lit room absolutely gleamed, the red hair springing up from it like a chal- lenge. The mention of the dance led Crispin to talk of other strange customs that he had known in many parts of the world, especially in the East. Yes, he had been in the East very often, and especially in China. The old China was going. You would have to hurry up if you were to see it with any color left. It was too bad that the West could not leave the East alone. “The matter with the West, Mr. Harkness, is that it always must be improving every- thing and everybody. It can’t leave well alone. It must be thrusting its morals and customs on people who have very nice ones of their own—only they are not Western, that’s all. We have too many conventional ideas over here. Superstitious observances that are just as foolish as any in the South Seas— more foolish, indeed. Now I’m shocking you, Hesther, I’m afraid. Hesther,” he explained to Harkness, “is the daughter of an English country doctor—a very fine fellow. But she hasn't traveled much yet. She only married my son a month ago. This is their honey- moon, and it is very nice of them to take their old father along with them. He appreciates it, my dear.” He raised his glass and bowed to her. She smiled very faintly, staring at him for an instant with her large brown eyes, then look- ing down at her plate. “T have been driven,” Crispin explained, “into the East by my collector’s passion as much as anything. You know perhaps what it is to be a collector, not of anything especial, but a collector. Something in the blood worse than drugs or drink. Something that only death can cure. I don’t know whether you care for pretty things, Mr. Harkness, but I have some pieces of jade and amber that would please you, I think. I have, I think, one of the best collections of jade in Europe.” Harkness said something polite. “The trouble with the collector is that he is always so much more deeply interested in his collection than any one else and he is not so interested in a thing when he owns it as he was when he was wondering whether he could afford it. “However, women like my jade. Their fingers itch. It is pleasant to see them. Have you ever felt the collector’s passion yourself?” “In a tiny way only,” said Harkness. “I have always loved prints very dearly, etchings especially.” “Why, Herrick! Listen to that! Mr. Harkness cares about etchings! We must show him some of ours. I have a ‘Hundred Guilders’ and a ‘De Jonghe’ that are truly superb. Yes, we have an enthusiasm in common there.” For the first time Harkness addressed the girl directly: “Do you also care about etchings, Mrs. Crispin?” She flushed as she answered him: “I am afraid that I know nothing about them. Our things at home are not very valuable, I am afraid—except to us,’’ she added. She spoke so softly that Harkness scarcely caught her words. ‘Ah, but Hesther will learn,’ Crispin said. ‘‘She has a fine taste already. It needs only some more experience. You are learning already, are you _ not, Hesther?” “Yes,” she answered, almost in a whisper, then looked up directly at Harkness. He could not mistake her glance. It was an appeal absolutely for help. He could see that she was at the end of her control. Her hand was trembling against the cloth. She had been drinking some of her Burgundy, and he guessed that this was a desperate measure. He divined that she was urging herself to soy act from which, during all these weeks re had been shuddering. —_ food, the wine, the lights, Cris, strange and beautiful voice were accompans ments to some act that he saw now i in front of him, or rather waiting, as q pr waits, into which now of his own free will hes about to step to be whirled to some terns destination. F He tried to put purpose into his g! to her, as though he would say, “ee some use to you. Iam here for that. Yoy A trust me.” He felt that she knew that she could. sh might, such was her case, trust any one at this crisis, but she had been watching him, he felt sure, throughout the meal, listening to his voice, studying his movements, wondering, perhaps, whether he too were in this cop. spiracy against her. He had the sudden conviction that on an instant she had resolved that she could trus him and had he had time to do as was usual with him, to step back and regard himself, he would have been amazed at his own happiness IS own heart was beating furiously Th Af le HEY had come to the dessert. Crispin as though he had no purpose in life but to make everyone happy, was cracking walnuts for his daughter-in-law and talking about a thousand things. There was nothing appar- ently that he did not know and nothing that he did not wish to hand over to his dear friends. “It is too bad that I can’t show you my ‘Hundred Guilders’.”” He cracked a walnut, and his soft, boneless fingers seemed suddenly to be endowed with an amazing strength. “But why shouldn’t I? What are you doing this evening?” “T have no plans,” said Harkness, “] thought I would go, perhaps, down to the market and look at the fun.” ““VYes—well ... Let me see. But that will fit splendidly. We have an engagement for an hour or two—to say good-by to an old friend. Why not join us here at—say—half past ten? I have my car here. It is only half an hour’s drive. Come out for an hour or two and see my things. It will give me so much pleasure to show you what I have. I can offer you a good cigar, too, and some brandy that should please you. What do you say?” Harkness looked across at the girl. ‘Thank you,” he said gravely. ‘I shall be delighted.” “That's splendid. Very good of you. house also should interest you. Very old and curious. It has a history, too. I have rented it for the last year. I shall be quite sorry to leave it.” Then, smiling, he leant across— ‘What do you say, Hesther? Shall we have our coffee outside?” “Yes. Thank you,” she answered with a curious childish inflection, as though she were repeating some lesson that was only half remembered. She rose and started down the room. Hark- ness followed her. Half way to the door Crispin was stopped for a moment by the head waiter and stayed with his son. Harkness spoke rapidly. ‘‘There is no time at all, but I want you to know that I was in the room at the top of the house just now when you were there. I heard everything I apologize for overhearing. I could not escape, but I want you to know that if there's anything I can do—anything in the world— I will do it. Tell me if there is. We have only a moment.” : On looking back afterwards he thought it marvelous of her that, realizing who was be- «| hind them, she scarcely turned her head, showed no emotion, but speaking swiftly answered: “Ves, I am in great trouble—desperate trouble. I am sure you are kind. There's a thing you can do.” “Tell me,” he urged. They were now neatly : by the door and the two men were coming Up “T have a friend. I told him that if I would § agree to his plan I would send a message t him to-night. I did not mean to agree, but now—I'm not brave enough to go on. He is to be at half past nine at a little hotel—The Feathered Duck—on the sea-front. Aay one will tell you where it is. His name Is Dunbar. He is young, short; you cant mls take him. He will be waiting there. Go to him. Tell him I agree. I'll never forget, . -- Crispin’s forehead confronted them. ° What do you say to this? Here is a sheltered corner. Dunbar? Dunbar? Where had he hear the name before? They all sat down. ; (To be continued in the May issue) Let the Smart Dog article in this issue remind you that you can secure just the smart dog you want by writing to Frank F. Dole, Director of the Harper’s Bazar Dog Department. or Al = RENE mre r

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orecasting the Moder AFTERNOON EVENING SPORTS THE PRESENTATIONS OF iby MILGRINC yous GOWNS - FROCKS .- SUITS WRAPS - MILLINERY - FURS The Interpretations & a ss “America’s Foremost Fashion Creator” NU. LG HC BROADWAY at 74th ST.. NEW YORK Ri In CHICAGO: 600 Michigan Blvd. South The Foremost Houses throughout the Country feature Milgrim Mode3 It is not a Milgrim Model Unless it Bears the Milgrim Label i $ § 3 To give adequate service to its distin- guished clientele of smart Americans and visiting Europeans, Campbell Studio has removed to 580 FIFTH AVENUE , equipment of the new studios includes all the new devices that help to enhance the artistic quality of modern photographs. CAMPBELL STUDIO 580 Fifth Avenue NewYork Sittings also taken at the home Franklin Simon & Co, Fifth Avenue, 37th and 38th Streets, New York Entire Contents Copy righted, Sate by Franklin Simon & Co., fy | fy ae Underneath the visible art of the gown is the invisible artistry of the corvel. LA SUPREME BONE-LESS STEP-IN GIRDLE A new model of knitted flesh color elastic with fashioned front; 14 inches long. 12.50

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When Film is Combated People love to show their teeth Please see how clean teeth look JOU are brushing teeth, per- haps, in a way which leaves much film. And that film is the teeth’s chief enemy. It is like washing hands without removing the grime. There is a better way which millions are employing. You see the results in prettier teeth wherever you look today. This is to offer you a test. Why teeth look dingy You feel on your teeth a vis- cous coat, called film. Under old-way brushing, much of it clings and stays. Soon it be- comes discolored, then forms dingy coats. That is why teeth lose luster. Film also holds food sub- stance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay. Germs breed by millions in it. They, with tartar, are the chief cause of pyorrhea. A few tooth troubles constantly increasing. Beautiful teeth were seen often than So dental science sought ways to fight film. Two ways were dis- covered. One disinte- grates the film at all stages of formation. years ago, were less nowadays. film, Never film spnim oT |10-DAY TUBE FREE | |THE PEPSODENT COMPANY — | Dept. 803, 1104S. Wabash Ave., Chicago, Ill Mail 1o-day tube of Pepsodent to Only one tube to a family Protect the Enamel Px psod nt di integrates the then re moves it with an agent far than enamel combatant which contains harsh grit One removes it without harm- ful scouring. Able authorities proved these methods effective. A new-type tooth paste has been created and you may apply these methods daily. The name is Pepsodent. The use has spread the world over. Leading dentists every- where advise it. Careful peo- ple of some 50 nations now employ it daily. Delightful results Pepsodent does more than fight film. It multiplies the alkalinity of the saliva, which is there to neutralize mouth acids. It multiplies the starch digestant in the saliva, there to digest starch deposits on teeth. A few-day test will bring results amazing and delightful. You will never again go with- out them. Send the coupon for a ten- day tube. Note how clean the teeth feel after using. Mark the absence of the viscous film. See how teeth become whiter as the film-coats disappear. In a week you will know what clean teeth mean, and you will always want then, if only for beauty’s sake. Cut out coupon now. softer use a PAT. OFF Pepsadent The New-Day Dentifrice A scientific tooth paste now advised by leading O adavisec V ieading dentists the world over. THE SMART DOG Helen (Concluded from page 91) The present-day toy dog has to bark at burglars to earn fashion’s Grade A rating in these perilous crime wave days when one great insurance company has set the example of reducing burglar insurance ten to fifteen per cent. if there’s a dog in the house. The old-fashioned lap dog barked to hear himseli bark, instead of in the performance of his congenital duty. The trick of the thing now is to reduce a regular he-dog to convenient size for traveling incognito in a ventilated suit- case to Palm Beach—all without !osing one hair of his watch-dog instinct. And _ the uglier they can keep him along certain ap- proved smart lines, the better. UST such expensive little beasts are the Brussels griffons and Cairn terriers. The Brussels griffon with his insolent monkey face and beard—who knows what virile fierce blood flows in his stylish little veins? Certainly there’s a dash somewhere of Irish terrier. Doubtless there is blood from the big rough-coated hunting griffons. The dogs of Belgium are like its people. A touch of everything went in before the breed became established. The armies of the world have passed over that ill-starred soil; the dogs of the world accompanied its armies. Those little Belgian griffons may have ghostlike memories of the greyhounds of Julius Cesar. \nyway. somewhere along the line, this exotic little piece of dog flesh picked up the instinct of a watch-dog. As to the Cairn terrier he is a grizzly, short- legged little chap—but as gentle and shy as mid-Victorian maidenhood, with sensitive feelings sticking out on the point of each wiry gray hair—feelings that get hurt when she whom he adores even speaks crossly to him. He lies on the floor instead of in her lap from no soft lap-dog stock came his ancestors out of the fierce Hebrides), but he places soft paws shyly on her knees and watches her face to see if that visitor has a right to be or not to be. If all seems well, he quietly ignores the stranger, and shyly slips under the sofa. But with night, he returns to primal dog- hood! In this double night life the shy, silent little brute issues sharp warning barks and fiercely attacks the intruder with a dog size bite. Benignant Newfoundlands named Rover are most assuredly no longer done in the best families. The smart mode favors just that touch of meanness, to make doubly sure that one’s expensive pup (that cost one such a pretty penny) will not only check crime waves, but also remain snobbishly one-man. N THAT haughty one-man platform came the German police dog to the dizzy heights of fashion in the post-war spring of 1919. No dog ever made such a social splash and then stopped splashing as did the police dog. The real inside truth of the matter was that the artificial prices these dogs were bringing we far to stimulate the vogue for them. Dox were being imported by practical dealers and sold for $2000 that were not worth a tenth that price by European dog standards. Nor was the price bubble all. That wild strain of the wolf that has made the police dog so securely one-man is oddly enough, so dog gossips assert, showing up a bit wilder in the second generation than in the original im portations. We are not breeding them as skilfully in this country—and that’s not so good under our democratic one hundred per cent. Americanized law, which shows all the favoritism to the low-born deliverers of meat and of groceries. The German law allows its dogs a few perquisites, such as the man who comes to read the gas meter. The smart mode likes its dogs to snub the advances of the proletariat—but not to bite it. The fashion forecast now indicates that the Kerry Blue terriers (actually blue, these fellows) may come to fill the expensive place that was scheduled, four short years ago, for the German police dog. He is an Irish dog with an Irish temperament of being on the lookout for trouble and going half-way to meet it—but at the same time he has achieved the talent of a suppressed nationality for knowing how to get along diplomatica!ly with an alien constabulary. Thereby hangs a tale that is all mixed up with international politics. This dog has been the house watch-dog of the Irish gentry throughout the long centuries of the English occupation. Unsung and un- known to the world at large, the breed has been kept true while he has been learning house etiquette and this invaluable snob business from the ground up. Only eight or ten years ago was he recognized by the Kennel Club. Several of these terriers have Bullitt Lowry’s Article HARPER’S Bag, been brought into this country by wome fashion, which would seem a portent roe are in for a run here. att For that’s just the way a dog fashion « started. If the right people of fashiy : not take up a dog, its name wil] never “ among the Social Register’s mighty, 4 " tion and more ago collies were at the heigh | the fashion. That was when J, P Mo Mrs. Phoebe Hearst, and Samuel Unters were breeding them. These particular ne stopped breeding collies. After the laps few years, during which time the ver tegrity of the breed was threatened devor but not quite such fashionable hande itty the collie, imported the best collies of ¢, land, bred him true and fine. Neverthe, the collie has never regained his artij price rating. The wire-haired fox terrier js fashionab}; England and in this country—not just cause he is a game little sport of a gentlem but because the Duchess of Newcastle. oth titled supporters, and the “right” Ameri have among them spent more than a mill dollars on him since 1898—thereby separati him by eons of social space from his shor haired cousin, whose prestige js spee waning. Dogs, like movie stars, can get { “wrong”’ kind of publicity. Publicity, req to achieve its end, should be of the kind un which the Pomeranian first entered Enolay when some one of her German relat presented him to Queen Victoria. With s a start the Pom has never lost its social dr while just a wee small touch of jac attained some few thousand years ago wh he “abode in Egypt” has kept the Pom enou: of a pc rsonal snob to hold up his end of | social game. Y THIS same token of social drag, ; Springer spaniel is another sure fash forecast of the season. He is a sort of sporti spaniel, developed in the last few years int Scottish and Welsh shooting lodges of British nobility. He locates game and retrie it on land or water. A sort of three-in-one like a polish advertisement. (This is n worthy in England where the setters 2 pointers are not taught to retrieve.) Dou sure is the Springer spaniel to take hold America with the “right” people, beca the right people here happen to be the ve ones who will appreciate a good field dog aly practical working lines. Again we strike th deep currents of sociological causes that under the sparkling surface of fashion. As it was when George Washington bred famous pack of foxhounds, the field dog } become again the personal dog of the count place. No longer do Great Danes (Lit Lord Fauntleroy style), noble St. Bernar and soft-eyed collies idly adorn the landscay of estates whose castellated towers rise 0 the Hudson, Castle-on-the-Rhine-wise. | stead we find practical common-sense spor ing dogs, English setters and_ pointers « Chesapeake retrievers. “Idleness is no more fashionable for ¢ now than it is for society women,” is the ¥ Mrs. Wagstaff explains the phenomen Which explains, too, why the decorative W hound (which so went to the heads oft magazine cover artists) lasted just one} in the society of our eastern seaboard, bel being relegated to the scenarioed estates Hollywood, there to register ancestry act the “fillums.”” The Russian wolfhound not make good because the coyote, out 5 Dakota way, is the only real game of his that this country can furnish—and everybody knows, coyote hunting h arrived at social recognition. A hun to stay in the fashion, has got to hunt . . . “a . 1 7 For our Freud-wise civilization no 100 wants its dogs to have suppressed Ge surging within them—blind instincts to! or to retrieve, or to bite a hole in a bur unappeased, and building up “complet Ah’s me, the suppressed desires in the s of the toy spaniels of the world! Howt little hearts must have panted to ret even a lace handkerchief. In our ™ world of sports and of psychoanalysis King Charles spaniels, which for centur have graced the silken laps of queens 4? countesses and of de Juxe courtesans, ™ give way to the ancient sporting stock which they sprang. That is, unless the gets so common that Mr. Babbitt hims pays the dog tax on a Springer spanie which event society will have to look ar for another “model.” oo That is the positive decree of fashion. As this issue is devoted so largely to Paris fashions, the next Harper's Bazar will contain an unusually large number of the best fashions to be seen in the best New York shops. et

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ZA jor APRIL 1924 Go know and enjoy the full wcury of bathing Be, i — ; EAU | » ; ie % a / COLOGNE a e ie AUA FLEURS HOUBIGANT (ame | | ) i et = a a I et _—_—_—_-_—_ ——__—~_—~_ } re OT > waned you have _ duis delightful requisites will you know and enjoy the full luxury of the bath. Houbigant’s Bath Salts for the tub. For friction after the bath, Houbigant’s Eau de Cologne. Before dressing, Houbigant’s Dusting Powder. All come in assorted size packages, and in the popular odeurs. HOUBIGANT, Inc. Se ute nati ee ei $$ OO New York, 16 West Forty-NintH STREET MontreaL, 46 St. ALEXANDER STREET Bath Salts, $1.50 to $3.50 Fougere Royale Dusting Powder, $1.50 and $2.75 Le Parfum Ideal La Rose France Le Parfum Ideal Les Temps de Lilas Quelques Fleurs Verveine Quelques Fleurs Mon Boudoir Eau de Cologne Florale, $1.50 to Ss.50 Prices apply in U. S. A. only HOU BIGANT Extraits, Eaux de Toilette, Poudres, Poudres a Sachet, Poudres de Talc, Cl LA Poudres Compactes, Rouges, Savons, Sels pour le Bain, Brillantines

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164

‘BLUE -LINE- HOSIERY: Ries ate eS) Blue Line Chiffon Hose is beautifully sheer and clear in texture. The wearing quality of each pair is assured. A new process of treating the silk threads strengthens them toanamazing degree and helps to prevent runs. Blue Line Hose in heavier weights as well as the new chiffon mentioned above is featured by the following: Abraham & Straus,Inc. Brooklyn, N. Y. L. S. Ayres & Co. Indianapolis, Ind L. Bamberger & Co. Newark, N. J. Bullock's Los Angeles, Cal. Daniels & Fisher StoresCo. Denver,Colo. The Dayton Company Minneapolis, Minn The Famous-Barr Co. St. Louis, Mo William Filene’s Sons Co Boston, Mass Hess Bros. Allentown, Pa. Geo. Innes Dry Goods Co. Wichita, Kan. Lasalle & Koch Co. Toledo, Ohio F. & R. Lazarus Co. Columbus, Ohio T. S. Martin Co. Sioux City, lowa National Hosiery StoresCo. New York.N.Y. Edward M. Reynolds Omaha, Neb The Rike Kumler Company Dayton, Ohio J. Samuels & Bro. Providence, R. I. Wm. Taylor Son & Co. Cleveland, Ohio Weinstock, Lubin & Co. Sacramento, Cal. Younker Bros. Inc. Des Moines, lowa

HARPER’S BAZasg for A

lI

(Left) “‘ Les gaily striped. A similar fabric, but while and red. Simla’ RODIER BASES THE WORK OF : VIDUAL CRAFTSMAN _ INCE several countries, America included, 4 have been able by superior machines to faithfully reproduce the work of the French looms, the manufactured textile, no matter how ingeniously made, has lost its value to the French. The French perform the initial labor, supply the taste, the inspira- tion, the genius, and the countries who copy them make the profits by having greater facilities for labor and cheaper raw materials. LATIN CRAFTSMANSHIP BU! * Rodier has obviated this difficulty of competition in a rather remarkable way; he has chosen to do the purely artistic, rather than the commercial thing. He has pinned all his faith to the native clever craftsmanship of the Latin, and has chosen to produce fabrics that are virtually all hand-loomed. This thing of handicraft, the intangible something that each artizan puts into his Sangle s de Feriana”’ (Top) “Le Roumecla Fleuri’’; heavy yellow waist < cotton embroidered on a fiber silk and cotton ground. (Below) The i (Right) “‘ Tchinellaine de the bu oO Val | your b fully s ’,a soft velour type of wool fabric of Hindu inspiration. is of Tunisian origin, very

HIS SUCCESS ON 2 THE INDI. work, something of himself it is, cannot | copied. No one workman can actually copy another he can make the same gestures, but in spite fn himself, he will weave into the fabric his ow Thi versonality. It is, of course, this slight irregu. 4 . fasity that gives all hand-work its charm — imbues it with personality that no machine, Means made product ever achieves. the M Rodier trades upon this fact, and revived the old spirit of craftsmanship in his manu look

facture of textiles. He has actually rein) don’t | stated the workman as individual, an artiz order who uses heart and brain, and who is not : slave to a machine. This is made possible by actuall hand-driven machines that depend upon thé ends f human equation for their operations, require the weaver to use his mind, his f sonality, and his hand. We are showing, on this page and a page 166, sketches of some of the neq (Concluded on page 106) i A The gives 1 boyish

| differe vou’ve lerent corset metho draw i you ar | ally ta but su The Girdle oneness Bm. canta caused even 4 F of the F especi: Ing p = Over t the Sa

“Tes a reg | ance i as snu tached ‘ ; and g Pekins Popla Sanglee” is a wool fabric 2 resembling covert cloth, in beige, red, and white.

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ON

typ APRIL 1924 165 Waist and ‘Hips ‘Reduced in Jen Seconds ‘With New ‘Kind of Girdle The Moment You Put on This New Kind of Girdle Your Waist and Hips Look Inches Thinner—and you Get Thin While Looking Thin, for This New Invention Produces the Same Results as an Expert Masseur. Makes Fat Vanish with Surprising Rapidity While You Walk, Play, Work or Sleep. Yet Does It So Gently That You Hardly Know It Is There. No More Heart-straining Exercises—No More Disagreeable Starv- ing Diets—No More Harmful Medicines—No More Bitter Self-Denials. T LAST! <A wonderful new scientific A girdle that improves your appear- ance immediately and reduces your waist and hips almost “while you wait!” The instant you put on the new girdle the bulky fat on the waist and hips seems to vanish, the waist-line lengthens, and vour body becomes erect, graceful, youth- fully slender! And then—with every step you make, with every breath you take, with every little motion, this new kind of girdle gently massages away the disfigur- ing, useless fat—and you look and feel many years younger! Look More Slender At Once! Think of it—no more protruding ab- domen—no more heavy bulging hips. By means of this new invention, known as the Madame X Reducing Girdle, you can look more slender immediately! You don’t have to wait until the fat is gone in order to appear slim and youthful! You actually look thin while getting thin! It ends forever the need for stiff corsets and gives you with comfort, Fashion’s straight boyish lines! Actually Reduces Fat The Madame N Reducing different from anything else ‘ - Girdle is causes a more vigorous circulation of the blood, not only through these parts, but throughout the entire body! Particularly around the abdomen and hips, this gentle massage is so effec- tive that it often brings about a re- markable reduction in weight in the first few days. Those who have worn it say you feel like a new person when you put on the Madame NX _ Reducing Girdle. You'll look better and feel better. You'll be surprised how quickly you’ll be able to walk, dance, climb, indulge in outdoor sports. Many say it is fine for constipation which is often present in people inclined to be stout. For away Madame driving excess flesh the X Reducing Girdle supports the muscles of the back and sides, thus _pre- venting fatigue, helps hold in their proper place the internal or- gans which are often misplaced in stout people —and this brings re- newed vitality and aids the vital organs to function besides

vou’ve seen or tried—far dif- ierent from ordinary special corsets or other reducing methods. It does not merely craw in your waist and make you appear more slim; it actu- ally takes off the fat, gently but surely! The Madame X Reducing Girdle is built upon scientific massage principles which have caused reductions of 5, 10, 20, ‘ven 40 pounds. It is made ithe most resilient rubber— especially designed for reduc- Mg purposes—and is worn over the undergarment. Gives Without Girdle instantly

Look Thin While Getting Thin

Im proves your appearance every second of day to re= duce the excess fat. normally again. Free Booklet Tells All You can’t appreciate how marvelous the Madame X Reducing Girdle really is un- til you have a complete de- scription of it. Send no money in advance—just mail the cou-

pon and learn all about this easy and pleasant way of be- with Girdle Coming fashionably — slender. works for you ff \iail the coupon now and you'll get a full description

the same slim appearance as a regular corset without the stiff appear- ance and without any discomfort. [its aS snugly as a kid glove—has garters at- tached—and so constructed that it touches and gently massages every portion of the ‘Surface continually! The constant massage of the Madame X Reducing Girdle and our reduced price, special trial offer. The Thompson-Barlow Co., Inc. Dept. G1124, 404 Fourth Ave., New York

5) LAE DL PEPE EDA DONIC A ODP OBOE PO DEVENS EF OF COMED PAO CA OWA OO BOOS OD OOO SP PPO VEDI AOS DANIAN API CAR ODEAC SE PPS HADI AAD AON OARS.

The Madame X Reducing Girdle takes the place of stiff corsets and gives you with comfort Fashion's straight boyish lines. Makes you look and feel years younger. The patented open-front insures perfect comfort while you sit, work or play. And the special lacing makes belt easy lo adjust as you become more slender THE THOMPSON-BARLOW CO., Inc., Dept. G1124 404 Fourth Ave., New York Please send me, without obligation, free description of the Madame X Reducing Girdle and also details of your special reduced price offer Name.... PN a tas ib Wi cnaeiae wea? oaeidwaadesien alae

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THE MENDEL-DRUCKER COMPANY AM\ENDELIRUNX DUST-PROOF / WARP- PROOF Wherever travel takes you, take a Mendel Wardrobe Trunk. You need never be “clothes-conscious”’ at any time on your trip. The exclusive Men- del dust-proof moulding assures absolutely that your wardrobe will reach each “‘stop- over,’ dustless and spotlessly fresh as when it was packed. The new Mendel Trunx are exceptionally attractive. They are commodious, acces- sible, richly and beautifully lined, quickly opened and closed, easy to pack, and equipped with every convenience that makes a trunk a useful traveling com- panion Have your luggage dealer show you the many new Mendel features. Mendel Style Book for 1924 on request CINCINNATI, OHTO “Le Clan Natline” is one of the typical plaided fabrics that characterize the Rodier collection of this season. RODIER BASES Rodier fabrics produced in this way. They are fabrics with distinct personality, the un- doubted work of the human mind and hand, WHAT Morirs HESE fabrics are influenced in_ their design by the French colonial arts, by the Orient, by the native arts of the entire world. Most of the new fabrics are characteristically simple in design, this season more than last. There are many widely striped fabrics, large gay plaids and fabrics in solid color marked by almost crude motifs. It is a singularly effec- tive season, one of almost violent character. We have shown only a few of the most representative of these fabrics. The sketches can scarcely show the curi- ously complex weaving of the actual fabrics, and the play of shining threads and dull on the unusual superimposed type of ornament used so much in the Rodier fabrics this season. INFLUENCES THE A Few or THE FABRICS HE fabric shown at the very top of page 104 is a remarkable sort of crépe made HIS SUCCESS ON THE WORK OF THE INDI. VIDUAL CRAFTSMAN Concluded from page 164) HARPER’S BAzZy fiber silk threads. The design is in yer heavy cotton thread, applied so that : almost exactly imitates hand embroider The fabric directly below it is much the san: type, with design a little finer, and in re The fabric at the left was inspired by som native design from Tunis. It has, also, muc of the character of the American Navajj Indian blanket. It is striped black and whit wool and a wild rich sort of blue, broken by irregular streaks of bright red and yellov The fabric at the right is of Hindu influence That at the bottom of the page, typical « the season, is beige wool, almost like cover cloth, with red and white stripes and bars. THe SMART ScorcH Pra Ar THE top of this page is a typicd Scotch wool plaid with a black ground plaided with green, yellow, and blue. At the bottom of the page is a rough, hom spun type of wool fabric, tan barred with re and black. With it is shown, at the left, remarkable, rather soft and loosely wove wool fabric in red and yellow and red an blue, and patterned with irregular diamond of white cotton threads and stiff shining — in green, black, and yellow. 1 ge mi come — ° * + ~ . * Below) * Flamme- laine” is an irregularly and loosely woven woo! Tt fabric patlerned with : J ‘ ; ’ diamonds of vivid color. ; . ry ‘ ladle ——e q f 4 > . e . . > ee . . ¥: Late ie eee Set 3 Se (Above) “Le Grantc Grillage” is an irregular homes pun type of fabric with little irregular “buttons” of running through it. The irregular threads are white on a tan ground. thread for

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for APRIL 1924 “Hlowets of Love (FLEURS D’ AMOUR) The name of a Fragrance — : the fragrance of the dream flowers : of Love — Youth, Beauty, Romance, Spring — A fragrance possible of creation only as the inspiration of genius and the 4 inherited instinct of the artiste-parfumeur thru three generations of uninterrupted work— The most luxurious perfume in the world. ON Le JADE The Precious Perfume “Sweet as the breath of an Oriental Spring, whispering of the flowers of Buddha.” Growing more and more precious, as fashion- able approval of its new and alluring appeal increases its un- in ver that precedented demand. broider ; : , — Fleurs d’ Amour and Le Jade are obtainable in all the most 1 in red desirable toilet preparations. Extrait, Eau de Toilette, by som Savon, Poudre, Sachet, etc. $0, Much Nava} nd white wa sia OGER:& GALLET @y% | yellow sere . nfluence Parfumeurs — Paris 3 \ vs 25 WEST 328d STREET, NEW YORK rN | 1 bars. ales em ; will v BEST DEALERS t ; EVERYWHERE { _ typicg - ground “Fashion in Fragrance,” h, home &x Roger & Gallet’s new guide with ne to Parisian Toilette Specialties, e left mailed on request. y wove! red an liamond ete. ‘S-U.S. Pat. Off. applied for © Reg. U. S. Pat. Off.

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168 7 West 42nd Street at Fifth Ave., New York ART IN SHOS:! Dainty Shoes Dainty Prices — Where Fifth Avenue meets 42nd Street, the most fashionable shoes are purchased by New York’selite. Youcanbuy [2 these same models by mail—and absolute sat- | isfaction is assured at ¢, prices never beyond the \.__ most conservative. Reg. U.S. Pat. Off. FRANCINE—black satin, ARLOTTA fawn su fawn suede with tan cal with tan calf trim... $10.85 ri n or ps - leather. i , - ee $12.00 White French kid. $11.50 Pearl grey kid with battle- hip kid trim, field mouse kid with darker brown kid trim $15.00 TATHAM —fawn ied MAURETA—bDlack sued grey suede, patent leath with — leather trit or white. kidskin. Fic] squirrel-g suede wit mouse French kid, Pearl grey Sens wie, fawn sued grey French kid, Belgiun with tan calf trim. . .$14.00 blue Fre1 id. 9.50 Write for the PEACOCK STYLE BOOK It brings you the accepted Peacock models for Spring— smart new touches and effects that Fifth Avenue has ap- proved for this season. It enables you to select your Spring footwear with the same assurance of absolute satisfaction that you would enjoy through a personal visit to our New York Salons. Send for your copy cf the ‘‘ Peacock Style Book” today! Mito The PEACOCK SHOP New York Paris 309 Oxford Street, London Y Y | prefer to omit this or that from her diet. | ciate TO OW well one likes the slender mode may be influenced, perhaps, by how gra ciously this mode deals with one’s well dis reveals a flat possibly be that should be can not a silhouette where there form. For one posed toward series of curves surtaces. If a condition like would be pathetic. mal weight now becomes so simple this were unalterable But training down to nor- a matter | that no longer will the stout woman be con- sidered unfortunate. She merely will be looked upon as indolent. Overweight may be dieted off, exercised off, or, by a new, easy, and utterly harmless but it can not simply be laughed off as a joke, for the silhouette is now, more than ever before, a serious problem. There remains but to determine upon the method rolled off; most intelligent course of action. If one is fond of walking, one may wish to “hike” one- self into the envied category of the slender; a woman who is not over-fond of eating mi iv But for the perfectly normal woman, too busy to “hike,” and too indulgent to sacrifice the endless fattening foods, there is still another way—a reducer that rolls the excess flesh from only the desired parts of the body. OMEN who have endeavored to fatten up neck and arms, but who have merely increased waist or hip-line, and women who, in trying to reduce hips, have sacrificed the lovely full line of throat or arms, will appre- all this means, It is particularly inter- esting that its creator was one of those disap- pointed seekers after slenderness, and that the inspiration for a reducer of this type arose from her own need. Her story is worth telling, for it coincides with that of many women. “I have always been fat,” she says in a singularly amusing little booklec, “‘from ten to fifty pounds over- weight. IL have tried everything, all the methods that helped others; but none of them seemed successful in my case.” Dieting made her irritable. skipping, dancing, rolling on various calisthenics rendered that when she ate enough te make her feel physically right she regained all the weight she had lost. Any small improvement that resulted contined itself to the least important parts of the body; back, hips, and thighs remained practically unchanged. Finally, out of perfect despair, returned a thought heard first in school, that fat cells are Strenuous rope- the tloor, and her so hungry the most easily broken down of any in the body. Something was to grow out of this. One day, while this undaunted woman was floor, the only the idea pre- rolling over and over on the process that was at all effective, HARPER’S BAZ4) MEET THE SILHOUETTE sented itself that the perfect reducer must a method that intensified the results of th rolling. If rolling on the smooth floor w good, rolling with a corrugated surface woul be a hundred times better. A device much like a corrugated rolling has evolved from this inspiration. The r ducer, which revolves on a rod, must | clasped firmly in two hands and worked ba and forth over the portion of the body to reduced. The flesh is thus manipulated f ways at once, from side to side by the enery of the user, and up and down through 1 movement of the corrugated surface. Th breaks up the fatty tissue, which is then ried off naturally through the proper chann of the body. Not only is the weight removed from t desired spot, but no trace of flabbiness r mains. The flesh becomes firm and compat and the skin tightens. This is indeed a = mendous step in the direction of preservin a youthful appearance. Directions for the use of this reducer a extremely simple. Clasp the handles one each hand, place the reducer on the fles portion you wish reduced, and roll backwar and forward, up and down, as the case! quires. se the instrument gently for a days, increasing the pressure and lengtt application a little each day Ten minute the morning and ten minutes at night isa! time required. However, since there is preparation necessary, and since the re¢ may be used with or without clothing, it he picked up and used at any time durin day, and the oftener the better. HIE reducer is well made and hand car and will last forever. It may be wa with soap and water, scrubbed, in fact ce and sterilized in every way without 1 it. It comes in lavender and violet a priced at $12.50. ; The booklet issued with this instrun contains a particularly intelligent little at on foods, called “‘ Eating,” as contrasted dieting. ‘‘Eat,” it instructs, “until } hunger, not your appetite, has been sats It recommends a limited diet rather restricted one. To quote: You must ! without any one kind of food. Don't le one stop you from eating starches and The human body requires a certain amo sugar, acids, starches, and so forth, in to make it a perfectly healthy body. Note—Harper’s Bazar will send ) and address of the firm mentioned & will be very xlad to purchase Jor you the a described. Address Harper's Basar Sho Service, 119 West goth Street, New York, + r jor:

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ZA} f 0 r APRIL 1924 OR the summer home here is a winsome combination—one _of the many offered in our large selection. The Cretonne, with peacock and clematis motif may be had at $3.00 per yard lor the 30-inch width. The Ecru Marquisette curtain is spe- cially priced at $2.50 per pair. A tasteful decoration! i rite for our illustrated booklet No. 32 featur- ing newest spring designs in Fabrics and Laces. MM? Gibbon 6G? 3 West 37th Street--New York NEAR FIFTH AVENUE HOUSEHOLD LINEN INTERIOR DECORATIONS LACE CURTAINS . " made Furniture Send for brochure Wit FAGs i z SH 5 5 ee: aa ALY _JP 616 FIFTH AVENUE a NEW YORK HIS sideboard is from a new antique mahogany Georgian dining suite, built in a size suitable for a large room. The Prima Vera panels in old satinwood color are hand decorated after Pergalesi by Tobey graduate artists. The Tobey Furniture Company Wabash Avenue CHICAGO Fifth Avenue NEW YORK _

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170 PARIS ADOPTS the TRIM TAILLEUR and ADVISES THIS REDUCER Bg OU must have slender hips, shapely arms Yo, and slim ankles to look young and stylish. 2 You can quickly acquire the fashionable + slim silhouette by using the Francis Jordan Reducer, the one sure method of reducing all over or in fat spots Its scientifically corrugated surface massages the flesh four ways at once, breaks up the fatty tissue, stimulates circulation and the surplus fat is carried out of the system by this increased circulation. No diet. No exercise. Twenty minutes a day and the fat rolls away! My reducer is sold by most of the better stores which are listed below. send me a check for $12.50 tion book prepaid in plain New York Franklin Simon & Co some of Buy from your favorite dealer—or I will mail Reducer and instruc- package Dayton Rike-Kumler Co. Bonwit-Teller & Co Brooklyn Abraham & Straus Chicago Marshall Field & Co. E. Burnhan, Inc. Chas. A. Stevens & Bros. Philadelphia John Wanamaker Bonwit Teller & Company Pittsburgh Joseph Horne Co. Providence The Gladdings D. ¢ Company Washington Woodward & Lothrop Indianapolis William H. Bloch Company Kansas City Harzteld Columbus The F. &R. LazarusCo. Louisville Kaufman & Strauss Los Angeles Bullock's Blackstone’s Ville de Paris ** Boston Wm. Filene’s Sons E.T.Slattery Company San Francisco City of Paris Livingston Brothers L.S.Ayres& Company Cleveland Halle Brothers Cincinnati Oakland TheCapwell Company H.&S.PogueCompany Seattle McAlpin Company London Frederick & Nelson Selfridge & Co. Ltd y interesting free booklet “HOW TO REDUCE FAT SPOTS.’ Dept.B-4 826 Fifth Ave Los Angeles BARON EARLIEST SPORTS CLOTHES O' ACTUAL sports clothes, there are, so far, but few on view, but it is early in the season. A charming little suit of some suéde material has a scarlet waistcoat, and another of gray flannel is almost a man’s outfit, with a Norfolk jacket. The brown and beige kasha ensemble, the one with the horizontal striped skirt, also the afternoon ensemble in black and red, are great successes. An almond green Georgette crépe gown is combined with a long brown coat embroidered in gold and lined in green. A little sports coat, to be worn over a plain beige gown, is made entirely of small wooden beads, beige, brown, and red. It is very new. A real invention is a series of butterfly dancing frocks, named “Winged Victories.” They are all made of black chiffon and have great wings attached to the back of the gowns. These wings are black, incrusted with patches of colored chiffon. The black and pink gown and the one with jade-green are particularly attractive. Among the many white evening gowns, I noticed one with an excessively short flounce-like overskirt composed entirely of silver tubes and beads. A Nile green crépe gown is trimmed with chinchilla, and a corn- flower blue lace frock is one of many other lace frocks, some in black, some in cream, and one in beige and gold. They all of them are elegant and distinguished, but none of them can be adequately described to you in mere words. I have not had an opportunity of visiting the Jenny establishment for quite a while, and was extremely interested in the unusually large and very beautiful collection which passed before me. Madame Jenny is a Parisienne to her finger tips, her creations essentially Parisian. This term implies modern tendencies, such as plainness, ele- gance, and, especially, youthful lines. In character her models are similar to most of this year’s spring styles, yet have a touch stamping them unmistakably and individu- ally Jenny. They are straight and waistless, for there is hardly a belt in the collection. Neck-lines are varied, some have high backs and low fronts, some V-shaped, others are draped, and a number of white collars are to be seen on tailored gowns. Buttons used decoratively are a feature in this house, both in horizontal or vertical alignments. Old- fashioned ruchings are revived, either small and narrow or quite important, in the style of 1830. There are a number of ensembles in black and yellow, slim black marocain coats worn over beltless yellow tunics, both coat and tunic discreetly decorated by narrow silk braids fon sur ton. STRAIGHT LINE CHEZ JENNY NOTHER of these ensembles has a be- frilled and much plaited butter-colored tunic, worn with an unusually slender sleeve- less coat of black satin. Black and white, always a distinguished combination, is par- ticularly pleasing when it has lines of gold to enliven the white satin material. Evening gowns at Jenny’s are straight and plain. There are a profusion of robes perlées and embroidered chemises, which reveal un- usual understanding of color harmonies, good taste, and intelligent designing. A dance frock, a remarkable achievement, boasts of myriads of tubes and paillettes in shades of violet, green, coral, and rose, embroidered on a golden orange crépe. Madame Jenny is particularly gifted and successful in the blending of pale shades, blues and rose, or mauves, greens, and blues, on golden tissues. She gives to the many beads an immaterial and blended aspect which has always been, and still is, a very individual and distinctive feature of this house. Molyneux’s collection is delightful, the best set of clothes he has yet produced. They are surprisingly Parisian to have been designed by an Englishman. He is very true to his established standards, for there is no super- fluity and no useless fluff on his models. They are all straight, Jess draped or bouffant than in almost any other house. A long, slim bodice, with or without sleeves, an uninter- rupted line down to the skirt hem, is the key- note of the collection. For day wear there are a number of two-piece ensembles in kasha or marocain, as well as printed textures. These latter have tubelike coats of the same material, or of harmonizing crépe, in some cases banded by gray fox, or by flounces of ostrich feathers THE ENSEMBLES CHEZ MoLyYNEUX NSEMBLES in black, white, and gray are particularly numerous. Some cloth skirts and a few long coats are finished off by tiers of scallops, in one instance the scallops reaching almost to the low waist-line. DE MEYER ATTENDg THE OPENINGS (Continued from page 79) HARPER’S BAZAR A champagne-colored chemise engg tiers of champagne-colored lace flounces, 7 is beltless and very “chic.” A brown - line hat, worn with this model, is autiseees by a towering erection of brown peg plumes. — The Molyneux evening gowns are supreme) plain and simple, nevertheless magnifens Even though elemental in line, the mater employed are exceptionally splendid a a instances embroidered from neck to = His embroideries are very individual, es} identified anywhere. T s Another gown had bright blue dragons oyt lined in silver tubes; while a third one slim and straight frock, was dec orated with fantastic blossoms of every known color snl description, a riot of brilliant tubes, a lovely flower garden. ‘ Brocades are used sparingly, but there a metal tissues and a variety of crépe sows which strike a very successful note. I recgl. lect a lovely ensemble, chiffon and ostrich feather fringes, of a perfect shade of Parm violet. A similar white gown, tucked ap! plaited, was shown with a huge white feath; boa. Molyneux is very fond of ostrich feathers, and shows these boas in matchinz colors with many of his models. After years of rest, they reappear in modernized propor: tions, and may get very popular. Quite a feature of this house are pajamas They are shown as ensembles, combined with dressing gowns. ; a Very THE LELONG OPENING R. LUCIEN LELONG inaugurated not only his new collection, but also his entirely new installation in his new hoid prive de la rue Matignon, decorated in ex- cellent taste by Maurice Chalom. His opening took the form of a brilliant evening reception, to which were bidden not only the representatives of the press but al a great number of his favorite clients. T were speeches by Mr. Lelong, replies by Madame Colette, the famous author, as wl as by a fair member of the American pres, who delivered a charming little allocution in great style. Mr. Lelong challenged the press. He desired to hear the truth, nothing but the truth, to be severely criticized if it had to be. It would, however, have shown poor judgment and poor taste if any one had denied “ beauty” to what we were privileged to see, for t collection is beautiful and very complete. It includes sports clothes, golf suits, a yachting outfit, and pajamas. There are organdies and linen dresses, and the evening gowns are splendid. The lines are vey youthful, rather short, with many plaiting and with much embroidery. Strong | favored, so is black and white; there are a goo! many high collars, and many models, even those for sports purposes, have nosleeves. A feature of the collection is the intelligent use made of Bianchini’s printed crépe Mr. Bianchini is a great artist. His wor expresses it, for his interesting designs 4 his colorings strike a note of real art, modem in feeling and perfect in taste. BIANCHINI’S FIGURED CREPES OME of these figured crépes used for th upper part of some models are incrusteé into satin skirts, and used for the linings 0 the matching coats. Some very simple navy marocain gowns have unique embroider mostly at the waist, one called Punch a Judy, in vivid colors, and another represtt' § ing an entire race-course, the horses wf their jockeys riding their race around Ut waist, in lieu of a belt. ; ; A number of colored metal evening enset bles, as “Aurore” and “Solei! Couchant, ! instance, are covered by unique crystal en broideries, fully justifying the poetic name given these models. : : Evening wraps, are, as a matter of cour combined with their own gowns. The sump! ousness in texture and embroideries a by Mr. Lelong augurs well for the futt this house. DOUCET, THE IMPECCABI HE Doucet collection onc lishes the dignity of tradition and & taste. Mr. Doucet, this grand setgneur ds couture, presents clothes design: d for women every age, for the average human shape not exclusively models for sylphlike hiple beings, such as are the “mannequins of? day.” Nevertheless, he strikes a very you ful and Parisian note in all his creations. Fat (Continued on page 172) again esta for A |

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Zag for APRIL 1924 171 IDs. Special Double-Cowl Phaeton ends jp ces, J} MD crino. mounted Paradise ipremely Mificen t. Ca-green ONS Out. Very The new Locomobile which has just been announced to the public is an expression of the most exacting standards in quality and refinement ever attained by this company in its twenty-five years of experience in producing motor cars of the highest character. tind at Ge LOCOMOBILE COMPANY OF AMERICA + BRIDGEPORT, CONN. 1H LOCOMOBILE THE BEST BUILT CAR IN AMERICA 5 —— A — $$ — we TNR eA U TANT TUNEUTUTTORTEREUTTUOEOOUTONEOTOO TOT ATEOTTEN UOT TUE TTT TT TOPTREETETTEORUUOT AU EETURUOUSOOOOEOOOOTTOTOOOTUOPEECOTEOORECOOOCOOUTOOTOOOTUCCOTTCETTTTOSSETEUTCATOA TORU TOOT ONT TNTOREO TUCO OT OT UOTOOTOTOUTTOEOTOUOTUGTODUOUORUCUTOUEOUTUOOIVOROOCOKOYCQUNOQOGUUHNOUUTE rilliant cece = : — =e = = TIE = = Terr Jranklin Simon & Co, Fifth Avenue, 37th and 38th Streets, New York lof Good Taste s|| ©2HE FRANKLIN SIMON “|| SHOPPING SERVICE 7 THE NEw BaBy Book Is Now READY Treasured Things of Yesterday EAUTIFUL gifts created by Ben- venuto Cellini to gladden the hearts of VE kings, have through the centuries brought joy to all lovers of the beautiful. \nd today—the figure of Benvenuto on the trade mark of the Schmidt Collection, beckons you to treasured things of Today and Yesterday—unique and beautiful gifts i Everything for the baby —Layettes nav) ° , , deris ¢ . . that have been gathered from every land. h at from Paris and London, Specialist Here expert collectors will help you to = select that distinctive gift you want for 1) Bhscc, Wacniiny Bact IT ect that dsntive it you d th 10CS, urse! y urniture anc oys Easter, for the bride or for any anniversary. & FOR FIFTY-FIVE YEARS Importers of old and modern silver, Sheffield plate, old and modern glass, garnitures and fine porcelains. eel —viewed at leisure and shopped for at your convenience. If you cannot come to New Y ork our ex peri- enced shoppers will shop for you. Complimentary Copy will be sent to Harper Ss Bazar readers upon request. 8 East 48th Street, New York Los Angeles Boston Washington, D. C. 2320 W. 7th St. 587 Boylston St. 1211 Connecticut Ave., N.W. NEWPORT PASADENA MAGNOLIA Pa The edition is limited ~ write at once for your copy. —_

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172 HARPER’S B4z,h EO 1 1 PN ik MEYER ATTENDs ; & oy ats ». 7 out of 10 long and languish for beauty It is a regrettable truth that the beauty of 7 women out of 10 goes unfulfilled—that they long and languish for the beauty of the other 3. To these 7 women Madame Rubinstein, speaking with all the authority of her world-wide experience, says: **Unhappiness is only skin-deep.” But beauty of face is also ‘*skin-deep”’ and can be acquired by authoritative, scientific, individualized treatment. You need Helena Rubinstein. You need the certainty of her aid. Her certainty is based on the experience of a life devoted to the scientific analysis of every beauty problem which faces women— problems such as wrinkles, crowsfeet, relaxed muscles, moth-patches, en- larged pores, double chin, dry skin, Blackheads, oily skin, sallowness— and the rest of the family of blemishes. You need Helena Rubinstein. From her numerous scientific Valaze Beauty Specialties she has selected 7 peculiarly essential beauty aids. Her experience, knowledge and skill are fully expressed in these—they are true finger posts along the RIGHT road to Beauty. Valaze Cleansing and Massage Cream Of exquisite softness. Used for gen- eral cleansing; clears the skin of im- purities,and prevents a dry, harsh con- dition $.75, $1.25, $2.50, $5.00 Valaze Skin-toning Lotion A mild but bracing tonic, gives sap- fulness and elasticity to the skin and should replace the water-wash. $1.25, $2.50 Skin-toning Lotion Special, for dry skins. $1.25, $2.25, $4.50 Valaze Anthosoros Rich, feeding, anti-wrinkle cream Wards off flabbiness and overcomes which restores and rebuilds the tis- faded appearance of the skin. sues, smooths and freshens the skin. $1.00, $2.50, $4.50 A specialty for lines, crows-feet, hollows and scraggy necks. $1.75, $3.50 Valaze Roman Jelly The Astringent Balm (For younger women)—A rejuvenat- ing balm-tonic, tightens loosening skin and smooths away lines and wrinkles. $1.00, $2.00 (For older women) —Valaze Georgine Lactee—a powerful balsam tonic of heavier consistency than Roman Jelly to flex the muscles and keep them $3.00, $6.00 Valaze Pasteurized Face Cream The ‘wonder cream”’ that revitalizes as it cleanses. Keeps the skin humid, nourished and aglow with vitality and skin-health; for thin faces and necks, puffiness under the eyes, chap- ped lips and hands; for all ages and all types of skins. $1.00 Valaze Beautifying Skinfood An active, stimulating, skin-regu- lating cream which purifies, whitens and refines the complexion. Pro- motes the growth of skin cells, thus removing the discolored pigment. Valaze Beauty Grains A skin-enlivening wash, more pene- trative than soap, removes impurities, keeps texture fine and pores small, gives a velvet-smooth finish. $1.00, $2.00 Valaze Blackhead and Open Pore Paste, another soap substitute, refines coarse texture, removes greasiness, gently dislodges blackheads and re- duces enlarged pores resulting from - acne or other causes. $1.00, $2.00 firm. Where to obtain Valaze Preparations These Valaze Beauty Preparations are now within reach of the average woman’s purse. To be had at the best stores, or order direct from Madame Rubinstein, enclosing check or money-order. Send for Madame Rubinstein’s newest treat- ment booklet —‘“‘ Beauty for Every Woman.” oul of 10 46 W. 57th STREET, NEW YORK 30 N. Michigan Ave BOSTON — Thorndike Bldg., 234 Boylston LONDON —- 26 Grafton St. W. 1 DETROIT — 1540 Wash. NEWARK, N. J. 951 Broad St. PARIS Rue du Fbg. St. Honore. CHICAGO- Street, Suite 204. Blvd. Suite 628. — 126 THE OPENINGS (Continued from page 170) morning and afternoon wear, there are, to start with, some very serviceable ensembles, with jackets or long coats, and several sports costumes, which are lovely. Rodier’s kashas, plain and figured, are much used. There is especially a beige and red kasha ensemble which has cream Coromandel! designs which is very successful. Charming is a white kasha coat embroidered with pink, lined with a checked pink and white crépe. The white gown has scarfs of pink and white used about the neck and tied around the waist. Doucet, in common with most other houses this spring. makes a great use of checks and plaids. Brilliant red combined with dull black is also much favored. A novelty is a gown of beige crépe, with a rather full and shaped overskirt, which, however, does not meet in front, but can be turned up at the back. It then reveals bold checks. Buttoned on each shoulder, it becomes a very serviceable cape. A few of the most successful models in this house have, as usual, been designed by Mr. de la Pena. There is an ensemble of embroid- ered white crépe combined with a black satin coat decorated by narrow lines of leopard, which is very chic. Leopard and phoque are much used at Doucet's. The quantity of eve- ning gowns is quite bewildering. There are startling new colorings and new ways of using tubes; in some instances these manage to look like fringes, yet not quite, and some of the skirts are distinctly original in cut. A daring combination, successfully carried out, combines orange, violet crystals, and long cornflower blue tube fringes. A blue net scarf pulls it all together. Almond-green satin drips from top to bottom with silver and crystal fringes. ‘‘Capricieuse”’ has an atmosphere of Greece. So has “ Lumineuse,”’ a new version of the transparent chemise in white or pink Georg- ette profusely embroidered with shiny silver nailheads, tubes, and diamanté. The entire series of these bejeweled gowns is indescribably elegant; they have a distinct atmosphere of novelty about them. LENIEF’S COLLECTION HE Lenief collection can be characterized in three words—slim, slight, and slender. The line is elongated without a disturbing fulness of any kind, though always pleasing and wearable. Suits, or rather, two or three- piece ensembles, in this house, are little gems. They are neat and straight and novel in detail, so as to almost strike one as a novelty. Rep and alpaca in all shades, the new note of the season, are threatening the supremacy of marocain. Gowns which hitherto would, as a matter of course, have been fashioned in crépe, are now made in this new soft alpaca. \ feature of this house are blouses, part of three-piece suits. They all have a wide band, binding the hips, with much fulness above, in varied interpretations. Two suits have re- mained in my mind, one a navy alpaca worn with a sapphire and silver brocade blouse, with touches of sapphire blue on the coat, and an- other in navy rep, combined with a red crépe blouse, embroidered in navy wools. There is a deep band of red embroidery below the hip- line on the coat. Many of the gowns are be!t- less—in some instances cut like pinafores, flounced and tied at the back. One of these designed in black has embroidery of brown, orange, and greenish beads. There are any number of unusual printed crépes. Some look like Chinese cioisonné work, others look very modern and decorative, in grays and blacks on cream foundations. Evening gowns are equally slender, for there are few draperies, and no floating panels at all, even though there may be floating —— Colorings are never crude at Lenief’s. fe uses few contrasting shades. Gold, silver, and soft-toned metal tissues form the majority of the evening gowns, as well as evening wraps. Fringes of all sorts, mostly of ostrich feathers or of crystal and silver tubes, are again much to the fore. A narrow coat and cape of pink metal cloth has pockets and long tassels of diamonds. It is worn over a pink Georgette gown embroidered in silver flowers. Lenief’s collection is exquisite; Germaine is an excellent manager; and least but not last, the mannequins are all lovely, and particularly well selected. LOUVISEBOULANGER HIS is the first time I have been able to form an opinion on a Louiseboulanger collection as, since Madame Boulanger has set up in business for herself, it has not been my privilege to see any of her openings. Here is a great creative and very Parisian artist, full of individual thought, whose models bear the stamp of a strong and vital personality. All of them have a cachet of their own, without being in the least eccentric; on the contrary, they are subdued, Parisian, and especially very wearable. Possibly the subtle charm of her creations does not appeal to the usual type of “f buyer” who makes or mars the styles ei Madame Boulanger, however, _. artist should and she makes very f¢ iy sions. Guided by an unfailing instinct her most unobtrusive materials prov re interesting and novel textures, — Plaids of all sorts are made sage ag — in woolen st in chiffon, and there is even a so with Scotch plaidings of a a om which forms one of Madame Boulanger attractive evening gowns. Her lines, oo straight for serviceable suit ensembles “4 a little less rigid for the evening, — As much net is used through the collection for both skirts and flounces, the skirts sea necessarily quite bouffant in some mn | combination of very brilliant flowered met brocades, with flounces of brown, bej - gray net, produce very new effects, ™e Many models both for day and even wear carry with them a promise of spring ang even summer; flowery gauzes woven with gold printed floral chiffons, or embroidered te. tures, rose, green, blue, beige. Gowns hen very full apron effects, sashes, floating sleeves and panels. They are airy and very delighti for dancing. Collar effects on wraps are up usual. They are most of them made of the coat material, and have big fur Pieces, even entire foxes, at the lower edge of the turnback. evidently more for decoration than fg warmth. One has very specially remained i; my mind—it is of a Japanese looking brocade silver, coral and black, the collar decorated by beige ermine. Beige ermine is very chic, — Some tailleurs pour le matin have the Waist at its normal line, the only ones in Paris, by: 4 great feature uffs, in alpacg most of them, very smart and simple, arf elongated to a degree. A novel suit has a cog of black rep over a red Scotch plaid blous both coat and blouse have the sleeves cut : wide kimono shape. They are held togethe with a big black bow, becoming full, elhor sleeves. THE ExaQurtIsItTE LAnviy HE Lanvin collection this spring is larg and exquisite. Exquisite in line, in color. ing, in detail, and remarkable for its perfec finish. Everything in this house is smoothe! and rounded out. There are no edge: Madame Lanvin is indeed a past mistress ir the art of dressmaking. Even if she hast’ given to this year’s fashions an entirely nes aspect, she has at least taught us the decora tive use of buttons. We none of us knew they could be as effective. Trimmings, tuck: embroidery, in fact all handwork, has alway: been a great feature of the house. The Lan vin originality is very great, and this season has taken the form of buttons. Not neces rily are they of plain horn, in fact most of then are unique creations—yet they are buttons placed in lines, forming patterned texture: thousands sewn side by side, or aligned flying streamers. White is greatly favored 1 every fabric and for all types of dresses. De: icate embroideries and the popular touches blue show up beautifully on this plain bacé- ground. For street wear there are plaited skirts av! attached blouses, mostly of white, crépe, to 0 worn under short and loose box-coats # smocklike jackets. One in black velvet line with blue over white cashmere is charming A novelty are coats in toile de soie with cor trasting stitchings, geometrical _ patter worked in threads. Madame Lanvin does not follow slavish) the present vogue of the matching ensembles She takes liberties. She combines apparent) unsuited garments into a perfect ensemble, for instance, a white plaited gown with ana skirt border, to be worn in combination Wl’ a yellow kasha coat with navy buttons, of! black serge skirt and white blouse with a green cape of a rough texture embroidered : red, the embroidery probably consisting ‘ buttons, I can’t recall. This year's favor color scheme seems white, with black softened royal blue. ; There are quite a number of the customé robes de style, picturesque frocks, most 4 included in the collection for art’s sake an uphold the Lanvin traditions. They sa a ioned of organdie and marquisette, and © bine the most ingenious and delightful touche of the early Victorian styles with mois dressmaking. Very lovely is an entire cP tion of rose and of white mousseline on evening gowns. All of these are embroider $ ; hese with pearls, with silver, and with tubes. Th gowns are vaporous, slim, thinning, “ romantic. Can anything at night be more becom : than either brilliant white or gowns o! 0 shades of pink? There are hardly any ™ stones used on any of the dresses, and the practically no brocade. Materials at riched by handwork, and rendered the precious and exclusive. (Concluded on page 174) for A 186

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Sa 00a" Corselettes are made only by the Warner Brothers Company, 347 Madison Avenue, New York; 367 West Adams Street, Chicago; 28 Geary Street, San Francisco; 356.8t. Antoine Street, Montreal, __—s = oe DR. R. NEWMAN LICENSED PHYSICIAN 286 Fifth Avenue, New York Announces his home treatment for reducing weight or taking off adipose tissue. The arrangement of his “pay-when- teduced” offer in- sures satisfaction. No ioss of time or inconvenience involved. He will be glad to furnish proof and testimonials on request. i rree Trial Treatment sent on request anywhere DR. R. NEWMAN 286 Fifth Ave. New York ———— Lak) ee ee ee 7S ere farners CORSELETTE (Reg. U.S. Pat. Off) Side-fastening — Smooth-fitting Combining delightful freedom of movement with unbroken contours, Warner’s Corselette is the perfect substitute for a corset and a bras- sitre. Accepted as the smart, convenient and comfortable undergarment for sports wear, it is likewise ideal for young girls, for women who are slender and—as an occasional relaxation— for women who usually wear a corset. This charming side-fastening style combines a top of Italian silk with a skirt of brocade with four deftly-shaped gores of elastic webbing. Style 3236—$7.50 Similar styles from $3.50 to $20.00 SEND FOR FOLDER ee sterdhoes and Jiosieny” | | | In quest of Beauty she found HAPPINESS x. ‘ 4 ad ney = Rey a O RUNS the legend of the princess who journeyed far and wide seeking Beauty. Wher- ever she found it, in the castle of the king or in the peasant’s cottage— there, too, dwelt Happiness. Se ARMAND, the man » who originated Cold a Cream Powder, has found the same Truth in our day and genera- tion. Living by his “Creed of Beauty,” he has brought in- creased happiness to women all over the world. He knows that women enjoy life most when they look their best. ARMAND Cold Cream Powder makes it possi- ble for you to look your loveliest always. Added to its gracious perfume, and the finest, softest powder, is a magic touch of cold cream. This keeps the powder al- ways in place—you have the satisfaction of knowing you need not worry about your complexion. There are other ARMAND secrets of happiness. If you would like to learn them, send 25c for the Week-end Package. It contains eight ARMAND aids—and a little book, the “Creed of Beauty.” The Cold Cream Powder comes in White, Creme, Pink, Brunette, Tint Natural, and the new Gipsy Flame. Everywhere $1.00. ARMAND—Des Moines ArMAND, Ltp.—St. Thomas, Ontario, Canada No matter where purchased—if any Armand product does not entirely please you, you may take it back and your money will be returned. ARMAND COLD CREAM POWDER In-The - PINK: & ‘WHITE « BOXES

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The SULTAN . . $25 to 100 according. to. lensth = Li nace a hal

BARON DE DRECOLL PRESENTS THE STRAIGHT LINE AT DRECOLL’S I witnessed one of the + large ‘st collections of the season. Having started at three o'clock with tailored suits, they were at five-thirty stil! parading evening dresses before an enormous crowd of specta tors. The Drecoll collection is extremely varied; it includes ful!-skirted models in taffeta and organdie, as well as one or two youthful bouffant chiffon evening dresses. The general line, however, is straight, with or without belts, and with or without draped ettects. There is hardly a gown or suit without a har- monizing scarf, either as part of the neck-line or worn unattached. High collars, button ed, are quite a feature; in fact, the neck-line is given special attention in this house, and a great many models have piqué or white marocain collars \s in most other collections, black, all black, or black with white or with color, is very po] ular, but there is little embroidery on day gowns. An ensemble composed of a well-cut and flaring black skirt is worn with a shaped coat, which is embroidered in white Angora wool and silver. \ngora is used ; so are long, fine great deal, this spring, and frin res. They are very effec tive on long, narrow coats. A scarlet sports cape, over a white kasha gown, has huge whit: embroidered squares on the cape, and a yellow woolen coat, to be worn over a -ellow crépe chintz-like died < flowers gown, has immense appliquéd on it There is a large assortment of evening dresses. Many are of lace, some beautiful ones, gorgeously ee and quite a number are of brocade, ich is very much

used at Drecoll’s. I remember noticing a tortoise-shel!-colored lace model heavily embroidered with brown paillettes, and one of silver lace called “* Mas ZY, draped over gok 1 tissue, with the overskirt finished off by brown marabout and a golden sash. Futuristic circles and squares, orangé green, and violet, printed on pink chiffon are amusing, even if not excess ively becoming. Another model in black satin is enveloped by scarlet and silver brocade, the long train- scarf of the same brocade ending in a length of black satin. The gown for some unknown reason is called ‘La Loc: indi era.” There are fewer plain chemise evening frocks at Dre coll’s, and many more draped brocade gown than elsewhere.

TS Chéruit—Madame Wormser colle tion, had, alas, been shown when IT called at that house I was or in time to see the last few evening gowns. I am, therefore, unable to speak of the collection in detail However, Madame Wormser, the presiding genius of this establishment, always desirous of being courteous, and after having reproved me for coming so late. had one or two of the new creations put on for my benefit. I am, therefore, only telling you of the few models I was privileged to see.

Spring days bring thoughts of summer-time. summer-time is camp-time. st the This month’s Harper’s Bazar has a list of round the camp-fire—ju need. eighty-two camps. Find

MEYER THE OPENINGS (Concluded from page 172) HARPER’S ATTENDS

» house of Chéruit, alwa LYS in quest nov sity and new ideas, has probably prodt the one and only new silhouette of the se as Madame Wormser says, a hazard venture in these days of standardized fashions Her new silhouette is beltless, Straight, the skirt-edge, however, having a considerable circumference, which permits of its being draped up, low on the right hip. This pro- duces rippling godets and much fulness, all the right side. In addition, and to make skirt stand out, the edge is bordered by :

on

which vary with the model. The one shown, called “Romance,” was of 2 i satin and had borders of copper and silver metal tissue on the skirt edge.

LLOT’s COLLECTION i ne last collection I will ‘*. ak of, while i t is by no means the lea is the one Callot’s. This opening iouet ically closes the long list of great houses to bring out their novelties. In this collection, created by Madame Gerber, with its surprising and de- lightful color harmonies, the master’s ha for instance, is felt in a long cape of mellowed

jade-green combined with soft royal blue, or in a dance frock of yellow, of orange, and silvery blue net flounces. Or. in another n tg g

blending of cerise, : Such net gowns, par- at Callot’s, are like the some rare tropical such gowns in a ht and quite a an astounding yellow, and violet. ‘icularly successful brilliant plumage of bird. An entire ballroom would prove a deli novelty. ; Beautiful metal brocades are, as a matter ot course, to be found in this house, for, after all t better substitute for a vobe de gala has nevet been invented, especially when : enriched by embroideries and j |, more espe series of

yor and, i ally, when designed by allot. \ lovely frown, espe ially So, is m ide of a bluish ar silver brocade, fhe full and open in front over a short and narrow blue-mauve under- skirt. There is a deep collar of magnificent Venise guipure bordered by gold lace and decorated by sapphi res and pearls. A vari interpretation of this gown reappears ever scason It is perfect. \ pearl-gray satin drape with a scant pink bod | trailing gow! is an immens

| 1are of lace embroider U ld enveloping the figure entiré ly. I are yellow an orange flowers at the waist. -\ chemise gown of bright blue satin has a skirt shaped | a butterfly, with embroideries of blue s and gold. \ delightful robe dinte made of white plaited crépe edge «d by stripe of pink, green, gold, and black. Over it | : worn a short Chinese casague of green sat embroidered all over with ¢ pe sign of big There are delightful potent tafe with many scallops, mauves oranges, edged with net—some with dist skirts, one, especially, a great Scotch tart of pink and green. ; There are the usual and_ necessary bla models, with jetted panels, and there aret famous Indo-Chinese embroidered new versions of the Callot theme, 1n val interpretations.

roses. 2 fowns

- Ly) And

Days in the open, nights children summer that the one for your child there.

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71 endt art bla ret ‘Ow! varity 2 hk

——— =>» \\\ and will The one © eo WY SE -

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[° ELY hair is essentially feminine and appealing. \n extra hair piece of the fine H. & O. qualit: texture will add to your youth and good looks. It be entirely indistinguishable from your own hair. WUINET Transformation, illustrated above, is of the newest and most stylish coiffures in vogue \ among distinguished and fastidious women. For comfort and conv enience, your hair can be adjusted in tl out Try \\ Ask kinds. 1e morning and be beautiful and stylish through- the day. m this H. & O. Transformation at your hairdresser. to see the H. & O. Style Book of smart hair pieces of all Or write us for a copy, giving your hairdresser’s name and address. \ Whe 105-107 East 16th Street ther you want a switch, pompadour, wig, or curls, the H. & O. quality of hair is the best obtainable. This Label of Quality is your guarantce! (H.&O REG D| Hair Goods sold at \\ HYMAN & OPPENHEIM \akers for 50 vears of fine hair pieces more becoming than your own New York City the leading shops Tl SS — ———— —— lo SS eee em — SS —= —

jor the Undsual Boudoir ~ Dolly Madison Bed Spreads FOR the bedréom that whispers of intimate individuality there Is nO more subtle expression than, found in the decorative effects of Dolly Madison Bed Spreads and Crinkle Cloth. Only in Dolly Madison can you find the popular, crinkled solid-color and iridescent effects as well.as the dainty stripes. Dolly Madison Bed Spreads’and Crinkle Cloth wash easily and Tequire no ironing. Always look for the Dolly Madison label. No spteadis genuine without it. - GEORGE ROYLE &'CO., Mfrs., Philadelphia

Posing and Furniture Erskine -Danforth.Corp. Send 25¢ for Doll's Bedspread

ee DOLLY/

© Ded. Ste” Spreads ¢) MADISON aa .

— Preside non : 4 iff ‘Map fH, yA i a HY Bl wesite

j

[;

HE finesse of perfect womanship com- bined with the lure of beautiful lines lends that subtle touch so indicative of

Women who look to Mangone for fashion guid- ance are being served by the smartest shops of more than 200 cities in United States and Canada. For information, write: MANGONE, NEW YORK

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176 Hose Supporters Keep stockings taut without tearing or turning because of the all rubber oblong button—hump-loop clasp. YUCH a little thing as to whether a but- ton should be round or G&& oblong makes a great big difference in stock- ing appearance and wear. Unlike the round or circular button the pull comes not on one or two threads but many threads. The stocking does not slip in the clasp which is one of the causes of a twisted stocking. In the case of 12 cents, | VESESDASOOSLSSLOELSLODLODLEEEEESSSODLLSOOOET children’s stockings the clasp and oblong rubber but- ton is especially im- portant. No amount of rough playing or tumbling about can make the Velvet Grip Clasp let g Made in healthy surroundings ~ ). clean, by George Frost Company, Boston, for Infants, Children, Misses and Women; as well as the Boston Garter for men. Boston Garters for men are also equipped with Velvet Grip Clasp. == =| ¥ / ($a) “Baby Midget” an infant size “pin-on.” +] ot supply you write us Silk 18 cent , RENEE THE PARIS OPENINGS STEWART ; 2 rue de la Paix. IIE eternal question of what we are to wear has been decided for us by the grandes maisons of Paris, and for the moment there is no appealing against their decision. We are to wear. first of all, the straight frock—the straight, short or long jacket, the straight plain or plaited skirt, the straight tunic, the straight cloak and, of course, the “*tube”’ frock, straight and slender and beltless, widened sometimes by a circular flounce from the knee or by inverted plaits across the lower part of the skirt front, or by a circular flounce attached low on the hips and falling to within three or four inches of the skirt edge. Renée makes the tube frock of three thick- nesses of mousseline, trims it with bars of stitched embroidery posed aslant at intervals from bust to knee, flinging out below a triple flounce, or widens the lower part of the skirt by an inconspicuous plait or two. Charlotte makes it of beige rep, severely straight and long-sleeved, trimmed only with narrow twin straps of beige leather—two outlining each “slit” pocket and two simulating an opening at the throat. (EUILLET employs rose mousseline in the tiniest of box-plaits for a pretty tube frock, trimming it with silver-beaded galon. A wide band of rough silver cloth em- broidered again with silver is attached at the knee and falls over the straight silver under- flounce. Each maison shows its own particular version of the tube frock, and each is almost prettier than the other. Each house also shows its own version of the tunic, which may be tubelike over a narrow underskirt of the same or a contrasting color, tucked vertically at the hips with the plaits flying out below like a ruffle over the narrow underskirt, attached at the shoulders to a shallow yoke and falling out in one or more ruffles below the knee, or slit up the front over the slender satin underslip. Then there are the tunic-blouses, long straight plaited or tucked tunic-blouses in white satin, printed crépe, or plain bright colored crépe over tailored skirts of wool or satin. Rolande makes such a blouse of silver gauze, edging it with black satin and embroi- dering it with rough silver and gold; or of bright red crépe with a great splash of blue crépe and gold and silver cloth applied to the lower front—a bit of decoration which is quite Chinese in effect. Sometimes this blouse is made of printed crépe with a narrow plaited ruffle at the knee and on the very short sleeves. The scarf collar is also favored by every house in Paris, being attached to cloaks and jackets and to day and evening gowns or employed separately. This scarf is made of printed crépe on a cloak of dark blue rep, one end of the collar being elongated and falling to the ankles in the form of a scarf. There is a scarf of plaid silk mousseline on a long coat CAMPEN HARPER’S BAZAR Black three thicknesses and stitched in spiral bands. The deep V neck-line of the wrap is mousseline used in for bordered with white cre pe. of blue alpaca; a moderately long scarf is attached to each end of the collar of plaid wool fabric on a plain coat of thin wool mate- rial lined with printed crépe; black lace makes a scarf on a black lace evening gown, the scarf being attached at the shoulder with a rose; plaid mousseline on a plaid mousseline frock; a black crépe scarf is flounced on the end and attached to a black crépe evening gown; a scarf of fur with ends of beige crépe F on a beige crépe marocain coat, of ostrich [ feathers or of crépe romain trimmed with 7 ostrich feathers, of silver gauze and spangled tulle—in short, the scarf may be made of every fabric and attached to almost any frock. LAITS are featured also in every spring collection. Box-plaits of every width and length employed singly or in groups, side plaits, sun-plaits, inverted plaits and plaits made on special machines. Patou tapers § plaited flounces from hem to hip. Other houses employ plaited panels or panes formed of plaited flounces. Narrow plaited ruffles finish the edges of skirts and form the sleeves of printed crépe frocks, and narrow plaited ruffles edge muslin collars and cufs on severe little frocks of black alpaca. Ostrich feather trimming is used by almost every Paris house, great fluffy flounces knotted flues finishing the skirts of evening gowns, forming collars on evening cloaks, ot collars and cuffs on afternoon cloaks, : dripping from the hip of some slim sheatd gown. 5 Plaids in all stuffs are smart this seasoD, very many frocks being made wholly o partly of cross-barred stuffs. Plain fabric are rendered into plaids by means of er broidery. Deeuillet, for instance, shows 4 straight gold cloth jacket cross-barred wit black embroidery and red beads and bounl & all about with black and red. ; Alpaca and “satin alpaca.”’ lustrous sala on one side and alpaca on the other, are mue used for simple frocks. Printed crépes a worn under satin, wool, or crépe coats line with similar crépe, and entire costumes, ?§ one-piece frock under a straight or flounce? unlined coat, are made of crépe, edged trimmed a bit with plain crépe of 4 darket color. ree The ensemble is another important featur of the spring collection; the simple frock . muslin, crépe, lace, or thin wool fabric that ! worn under a slender cloak of some = In heavy stuffs a cape is often shown — of a cloak with a one-piece frock of plaid & lain wool or jersey. _ . Almost every house shows tailored frock PTT EOS I re or cloaks of English tweed or cheviot, -— a few of gray flannel. The jackets are us) short and straight or belted, and simp blouses are worn under them. Several houst (Continued on page 178)

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for April 1924 Th TO DEALERS: Paige Franchise may ye available in your com- us about it. For Spring what shall it be? A Parisian replica from our Rue Lafay- ette office—a sportive mode, distinctly Amer- ican—or a tailored hat whose mannish sever- ity reveals its London origin. Paige styles will please you and Paige econ- omy will permit you to select a mode for every mood...a hat for each occasion. Whichever be your choice, it will pay you to seek out the local Paige representative. We will be glad to fur- nish you his name. Ts 29 West 38th St., New York (In Paris: 103 Rue Lafayette) Hang Your Shoes on a Fastens on inside of closet door. Whe opened, your shoes are out in plain sight. shoes off the floor fe f Does away with pickir Takes up no extra room. Get a set today for each of your closet doors 1é¢ your Dealer's Black Enamel, Nickel or Bronze: pair, $3.00; one, $1.50 Hand Painted floral designs on black enamel; set of three, $6.00; pair, $4.00; one, $2.00 __ Widths: 20 West of Rockies and Canada, 10c extra per rack NEATWAY CO. ""752.Wert Larned Se.. { Closet Shoe- Rack When the door 1s Ke eps safe from being stepped o1 x up shoes when sweeping. or mailed postpaid: set of three, $4.50: and 24 inches WwW, He Sleeps. on the Infant’s Gums Teeth come easily. : You Sleep. CONTAINS NO NARCOTIC. Geo J. WALLAU, Inc., 6, Cliff St. New-York, N.Y. U. S. & Porto-Rico, Distributors. Etablissements FUMOUZE, 78, Faubourg Saint-Denis - PARIS Bs Miss Georgina gilvie (= SISTERS were the first to de- velop a Tonic for Every Type of Scalp. rhe tremendous success of the Ogilvie Sisters is due to the fact that they understand the indi- viduality of scalps. No single tonic can benefit all scalps—it is too much to expect. The Ogilvie Sisters realize this perfectly and with infinite patience and scientific care they have developed three formulae —each for a special purpose. In their own Fifth Avenue salon they have used these tonics so successfully that they have built for themselves a unique reputation among smart women who are also wise enough to realize the value of common sense in personal care. Now you may secure these tonics for your own home use. EACH TYPE OF SCALP NEEDS ITS OWN TONIC The Oily Scalp: Among women this is the most nmon ailment of the Modern life is a strain on the nerves and those whict control the oil glands of the scalp are soon af- fected. confinements, and nm periods of over-work or excessive dryness. strain, the scalp is ‘‘out-of- The scalp is tense and is continually TI air falls—usually some time peeling and the hair becomes brit- after the crisis. the tle, breaking off at the ends. Another comm« The Dry Scalp: nalit abnorr y is This condition calls for great care. The “Special Remedy’ scalp, renders it Sete olor 8 oz. $2 8 oz. $2 glossy appearance. retarding greyness. Ogilvie Sisters are recognized specialists in hair coloring. Consultations with- out obligation may be secured at the Fifth Avenue Salon by appointment. Have You Oily Hair? } Dry Hair? Falling Hair? Check the condition which applies to your own scalp and send this advertise- ment. Ogilvie Sisters will be glad to i to send book- 1 Sense let, *‘ Bea Methods.” (Address Dept. 6. ~] Hair, Scalp and Henna Specialists 505 Fifth Avenue ( Dept. 6), New York City 23 Rue de la Paix 308 Boylston St. Paris Boston, Mass. Also on sale at: FRANKLIN, SIMON & Co. City or Paris, San Francisco 1106 Connecticut Avenue Washington, D.C, B. ALTMAN & Co. James McCREERY & Co. Lorp & TAYLOR STERN Bros. JOHN WANAMAKER

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the fur. Because you are not always the same Elizabeth Arden has chosen a perfect Babani Perfume to match your every mood and frock Are you always you? you feel that you are again the little elf-child that you used to be? Sometimes aren’t you the stately queen of your romantic books? Of course! whom you meet. for every event that you face. your perfume, too! many cannot express the style of every costume. Elizabeth Arden brings to you from Paris the smartest perfumes of the world—the chic fragrances of Babani. Do use them wisely, de Delhi is for moments of magnificence, for gowns of brocade and formality. sachet, and fits the fragile chiffons of evening or the soft fluff of under-things. ful, with just a hint of spice. Still another is gay, colorful, daring. There is a Babani Perfume for every mood. Elizabeth Arde ha plac ed these exclusive and ex pre. perfumes on sale with her Venetian Toilet Preparation at all the smart shop They are contained in the most fascinating bottles and boxes. And to make the use these ragray most su ful, Baba makes also ch arm? ] ttle aton r to f had a j ” r Perfumes of (e) RY \\ of Paris Ambre de Delhi $2.75 $7.00 $0.00 $12.00 Ifghani 2.75 7.00 9.00 9.50 Ving 2.75 6.50 9.00 9.50 Ligéia ? 7.00 9.50 10.00 Jasmin de Corée 6.50 8.50 Sousouki 75 6.50 9.00 12.00 eg ee eee RENT oe ee tal a tf 1 like Elizabeth Arden t gest ect sympathetic | perfume cks, check the phras ich interest you, and mail thi ) wth Arden. She will answer by personal letter. wv ! hlond | for | ] blond P { ] brunet { vagger tal dre} | | dignified | for Afternoon you ) | | vivacio i ) { ] with soft hostess gow: { ] practic { ] with smart bridge frock [ ] imaginative for Evenin ] { ] with formal brocaded go { { ] with filmy dance frock li { . a { ] for sp t i | | for ui { | for p urn imp ELIZABETH ARDEN The same you? Sometimes don’t You are new and different for every person You change your frock and your ways And you must change One perfume cannot always match facets of your personality. One perfume subtly, fittingly. Babani’s Ambre It is particularly successful on 3abani’s Sousoukt has the wistful sweetness of Another Babani perfume is youth- 673-C FIFTH AVENUE, NEW YORK 25 Old Bond Street, London 2 rue de la Puix, Paris THE PARIS OPENINGS Continued from page 1760) show a frock which is straight and often beltless in the back, while in front jacket- fronts fall open over a silk or wool jersey blouse. Great clusters of roses are posed at the hip on some of the new evening gowns, and flowers are pinned to many day frocks as well. Many evening frocks are of black lace or pale rose, silver-and-mauve or copper, gold lace over some pale color. Day frocks are made of light or dark brown or gray lace, combined often with crépe of the same shade. HERE are many slender, beautifully beaded frocks and a certain number of meta! cloth frocks and cloaks—silver generally being preferred. There is much “picture” embroidery of the most startling sort. One frock is adorned with a jazz band done in beads across the lower side of the corsage. Another shows a Punch-and-Judy show, also in beads. The front of an Agnés model shows a slender staircase aslant across the corsage, little figures with Chinese umbrellas ascending and descending upon it. Another shows a sailing ship done in white on a blue, blue sea. All the flora and fauna of the jungle are per- petrated in beads on some of the new models. Fur trims many new garments; collars and cuffs of chinchilla and other furs including red fox and red skunk (white skunk dyed red), fringes of gazelle and badger edging tailored coats, bands of ermine on several evening gowns, and collars of white fox on summer wraps of white crépe. Grébe is used not a little, and Deeuillet shows civet dyed light green. Toile de Jouy is embroidered with gold and silver and copper thread and made into smart short and long day coats and evening wraps. Chanel decorates her black mousseline evening gowns with insertions of colored mousseline. Heavy cream lace is made into coats for the races, and Martial and Armand show a coarse lace frock which replaces the simple tricot frock of last season. Several houses show a certain number of models inspired by the Directoire; Poiret shows bustle drapery and many period frocks, in- cluding a pure Directoire model. But the great maiority of the new frocks are either beltless or girdled in some fashion at the hips. Very many day frocks are sleeveless or have very short sleeves. Trained evening gowns are rarely seen. Chinese embroideries are favored and there is a new metal eyelet em- broidery with disks of mica set into the little rings of metal. Collars of lace in white, cream, black, beige, or in two colors are many simple day frocks. Belts of suéde appear on frocks of crépe, alpaca, or satin and black satin is used enormously for frocks of all sorts—many frocks are ef plain stuffs combined with contrasting colors or printed crépe, and very new is the use of dark green satin tor day gowns, either tailored or trim- med with dark green lace. red, blue, seen on HARPER’S Bagy, This floating silhouette : its broken hem-line is eae Of white Geor- gelle crépe over a glittering slip of silver cloth. this season. CHARLOTTE CHANEL HE silhouette at Chanel’s is generally straight with some slightly circular skirt- fronts, flounces, and apron tunics. Several o the cloaks also show this slightly flaring effect. Skirts are short, frocks are sleeveles or have short or long close sleeves, with here and there a sleeve which is scantily gathered into a narrow cuff at the wrist or is finished ir some other fashion. Mixed brown and gray tweed or cheviot kasha in plain colors or the mixed effect which} Rodier shows this season, checked or plaid a striped wool fabrics and alpaca are used for tailored frocks. Jackets are usually short and straight—one or two show a flare at the hips —skirts are straight and narrow and cost sleeves are long and straight and cufied some instances with fur. Fur appears on several of the cloaks. A silver brocade evening cloak v an enormous collar of brown fur, a brown wo § day cloak collared and cuffed with brow rabbit, a beige crépe cloak with an odd scat collar, cuffs, and band at the hem of sf fluffy beige fur, and one or two other fur trimmed garments. As always Chanel shows many [rocks plain and printed crépe and satin. These straight, simple little medels with | apron fronts or circular or gathered | apron flounces, with the simplest of co cut more or less in one with the skirt or simpe little blouses drawn closely ui down over tht skirts. And over almost every one of thet frocks is worn a cloak or a short jacket. 12 two instances the short jacket is made of gt and colored embroidery or brocade bordered with fabric matching the frock — Exceedingly lovely is a group of modes 5 crépe Georgette; one of black crepe : many falling panels, one of black crepe wid & “wing panels on each side showing insertiols § of green crépe, one with pink crépe insertion and one or two with vivid blue or violet cré insertions. All these frocks are more tél usually pretty and graceful. Charming also is a group of lace black lace and dark blue lace with dainty i ; scarves tossed about the shoulders. One these scarfs is pinned to the shoulder wit a pink rose. There are several beaded frocks one of black crépe with narrow black beat fringe, one of white satin with a silver beaded circular peplum, and one of white satin wit a beaded skirt and fur-edged ruffles of lace across the hips only Several evening {rods show odd wings of lace flying out from each side of the under the arms. ge ywn corsage LANVEIN nvin’s somewhat longer at Lanvi KIRTS are afternod than in the other houses —many i ot gowns extending quite to the ank cs Z evening gowns almost touching the foot (Continued on page 1 for ee ee a = ere

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ZA} Geor- lering

APRIL 1924 f or

— The EMPRESSES are Giants of the St.Lawrence < Route to EU _ Ls yin Lf

The Route of Old French Explorers UXURIOUS hotels plying be- tween Montreal, Quebec and Europe—these Canadian Pacific liners. You catch an Empress at Quebec, or a Mono- class Cabin Ship (comfort with economy) at Montreal. There are many advantages in going this way: Old French Canada before you sail. Then two days down sheltered St. Law- rence Boulevard. Then, on the Empresses, only four days open Atlantic. You get your “sea legs” before you get to sea. The Empresses sail to Cherbourg, Southampton and Hamburg, the Monoclass liners to Liverpool, Southampton, Glasgow, Belfast, Cherbourg and Antwerp. See any Canadian Pacific Steam- ship Agent. Offices everywhere. In New York at 44th and Madison. In Chicago at 40 N. Dearborn. In San Francisco at 675 Market St. In Montreal at 141 St. James St. Canadian Pacific It Spans the World = tiideeeeeeree etn nee ns

“Sleupelle REGISTERED DRESSES FURORE! The most discriminating women simply adore them! They are not merely youthful—not merely charming—nor even merely inexpensive. They are distinguished by still another very vital point: an exclusive fabric of which no Dresses but “Fleurelle” are made—a fabric that has the combined virtues of Plisse and Mate- lasse—with beautiful puff-puff rows of refined lustre. Splendid for Spring and Summer!

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tleurelle’’ Fabric ** Fleurelle’’ “Dresses The “3 are created by is created by

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180 KAPOCK GUARANTEED Silky Su nfast Fabrics Walls— and wherever silky fabrics are used for your Draperies, Furniture, Every woman is not an expert in- terior decorator, but any woman can select KAPOCK. And KAPOCK alone will do more towards im- proving the appearance of a home, than probably any other single item. KAPOCK, with its exquisite texture, its marvelous designs, its fairyland tones——its richness —can accomplish wonders, and at a moderate cost. Remember, too, that KAPOCK’S double width permits of splitting. This plus its extreme durability, its sun and tub fast features, make KAPOCK a most economical pur- chase. Send toc in cush for New Drapery KAPOCK SKETCH BOOK Beautifully illustrated in colors A. THEO. ABBOTT & CoO. Dept. J. Philadelphia, Pa. Beware of ition KAPOCK has its name on selvag K APOCK i sun-tested fabric since 1913 Bet PAUL CARET Another ensemble of black crépe points edged with black ciré inlo innumerable HARPER’S marocain, cul braid with collar and cuffs of point de Venise lace. THE PARIS (Continued The silhouette in general is straight but rather ample, the waist-line is at the hips and sleeves are sometimes very short or flare slightly from the middle of the upper arm, are full and gathered into a cuff, or are long and rather close fitting. Jackets are often short and straight with large patch pockets covered with an em- broidery of small porcelain buttons of differ- ent colors, sewn on in a decorative fashion. There is very much of this button embroidery on all sorts of frocks—on girdles and all the falling strapswhich Madame Lanvinemploys so much, on cuffs, about the throat, and every- where, in fact, where a button may be sewn on. An evening frock of silver lace bordered with white crépe is trimmed with large crystal buttons Some Lanvin jackets flare from the shoul- ders, rounding down from the throat in front, and many of them have great white organdie collars which are scalloped or cut in squares on the edge, where they show a thread of white or colored embroidery. These large collars appear also on long cloaks which flare in a circular fashion from the knee, on short rounded jackets of dark velvet which are worn over white frocks, and on many of the one-piece frocks of rep or other thin wool materials {nd many of these coats are practically collarless sé ave for the wide trans parent collar of organdie Some jackets are stitched in diamonds, forming a sort of plaid, the crossings of the stitched bars marked each with a button. A long white silk coat is stitched in parallel lines, forming a sort of padded stripe, and several evening capes, rounded down from. the throat into a circular flare, are “quilted” oddly in Lanvin’s best style Many frocks have corsages of another color. Much light gray-green is employed this season with everywhere touches of vivid coral in sleeves, girdles, embroideries and the like. Much white satin is used for evening frocks and cloaks, a pearl-and-paillette embroidered white satin frock shows pantalettes of silver lace, and many evening frocks are made of palest coral crépe Georgette embroidered with opalescent paillettes, very dainty and pretty. \s usual Lanvin shows many period gowns \ pretty one is of black organdie over silver cloth, and several taffeta frocks which show OPENINGS rom page 17S) a pronounced pouch below the corsage in the black. In one case a full pouched doubk ruffle of black taffeta which crosses the sides and back is lifted in the back by a bow « black, gray, and white checked taffeta, while a ruffle of checked taffeta falls out below and down on each side to the hem Several very striking cloaks are made of black and white appliqué—great oblongs and squares of one color being applied at regular intervals to the other. Ample and wide sleeved, with a drooping effect at the shoul ders, these cloaks are very smart. Lanvin features also an odd_ pocket, like the half of a very “baggy” bag, shirred witha frill at the top and sewn to the sides of a frock. Very large, embroidered, buttoned and pouched, these pockets appear on many models \ dark green sleeveless cloak has under sleeves of white satin, flaring from a dos embroidered top. Many evening gowns show loose panels of mousseline falling from shoul ders or hips and sometimes trailing. Several frocks have a loose corsage of other colored crépe—the crépe forming a yoke across the front. The Lanvin scarf is often buttoned on t the top of the corsage across the throat, the two ends being thrown backward over the shoulders. LOUISEBOULANGER AILORED jackets here are knee-lengt! and straight, over straight tailored skirts which are belted at the normal waist- Collars are of ordinary size—in some house collars are extremely practically collarless and straight. Odd plaids, large and small are used for tailored costumes. One or t¥ are decorated with groups of very tiny folds 0! the fabric—patches of incrusted trimming Others are finished on the edges and seam with very narrow folds of leather A brown plaid coat-wrap is doubled unde above the knee and attached to a belt—t flat pouch being lined with plain beige mate- rial. A brown “mixed” cheviot is trimm with bands of brown leather. A large irregulat yellow and white plaid three-quarter coat (Continued on page 1S and sleeves are - Sars ad STR small or jackets ar Every The H

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Z SET RELL LLNS LN. TOR AR APRIL 1924 or te SS REAM NTE TE i ee after a few weeks’ wear. Only a transformation made of the finest natur- q yar wavy hair, skillfully worked and masterfully Is SN, SS WOO» YY Vid Zw My Ps ® . f Ny ®) A Pierre Zi My - G* Y Transformation y ) j is worth being { “i | extravagant about! j sie ‘RB m 4 yj y;, OST women know I ZF that. They know that \ ZS although a _ lower-priced Nyy yi Y article may look as good Was in the beginning, it does not continue to look so \N N styled, will continue to give satisfaction long after the slightly higher price has ceased to matter. Such a j transformation one buys \ at Pierre’s. G \ e YX Y 28 West 57th St. © New Yor >) ig 25 In your own shade 125 of powder and rouge. By mail from Everywhere. us on receipt of price. The Odds Are Three to One For Tre-Jur Where other compacts hold only powder, or powder and rouge, TRE-JUR provides powder, rouge and lipstick. Where Milady once cluttered her bag with separate beauty-aids, she now buys and carries them in one dainty, jewel-like case. Without, TRE-JUR is exquisitely beautiful; within, it is marvelously convenient. And despite all advantages, it is .nexpensive- $1.25. Refills 75c. The House of Tre-Jur: United Toilet Goods Co., 19 W. 18th St., New York COAT —and Something New in SUITS The COAT Swanka — A versatile, new mannish model of Sum- mer-weight Swansdown. Flaring, three-quarter lines: masculine revers and patch pockets. Crepe de Chine lining. Exquisite tailoring. Ideal for Golf, Motoring— for all out-door occasions. In all “Swansdown” colours. The SUIT Manya—a delightful version of the boyish silhouette. Of the new “Cheney” Bengaline—a heavily corded silk —splendid for Summer wear. The velvet-collared jac- quette features the new link-button closing. Wrap- around skirt with low, slim hip-line. Black, Navy, Mocha, Graystone. Exemplary of the many other ‘‘House of Swansdown’’ creations—all pre- eminently smart, outstandingly exclusive, and very moderately priced. ADADRADRANI nnn Featured Fonuine J wansdou wy Write for . PARIS . P prominently by £Dy il intensely N e ° the best stores ; Ey Me interesting everywhere Curtom-Made Fashion book CVV US REG APPLIED FOR Cnnn Look for the above Label A Coat Without it is nota SWansdown. The HOUSE of SWANSDOWN HUROWITZ & ERDRICH 31 East 32nd Street, New York City

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Quality OMEN of quality, women of unlimited wealth, the finest women in the land, select with discrimi- nation from the products which the market offers, those of quality. That is why we have cables and wires from Luxor to Palm Beach, from Europeans as well as Ameri- cans for the famous, scientific Marie Earle Prepara- those who know, as the toilet tions recognized by preparations of quality the world over. So many requests came from the women who form the best clientele of the quality stores throughout the country, that these stores, without solicitation from us, requested that we send them our full line of Marie Karle Toilet Preparat ions. The Marie Earle Preparations, have been evolved from the formule and knowledge imparted to her by her brilliant uncle, a London skin specialist, who at- tained the highest honors in his profession. ] Lovely women from all parts of the world visit the salons of Marie Earle for her famous treatments. If it is inconvenient for you to call and have her diag- nose the particular needs of your individual skin, write and ask her what she recommends to make your skin radiantly healthful, and lovely to look upon. Remember you can have, for the asking, the advice -\Mlarie Earle. of this justly famous skin specialist Join the exclusive group of women who are patrons ( rf \larie earle. Write today for her questionnaire. laarue Carele 600 Madison Avenue, New York 1635 Connecticut Avenue, Washington 23 Rue Pasquier, Paris GEORGETTI! A one-piece daylime frock alpaca that Paris is now typical model of the “little An evening wrap has a strange Chinese atmos phere, given it by Chinese brocade in color or black, and a wide fluttering band of iridescent green cock’s feathers. White satin is draped in into a large bow on one by a large THE PARIS Continued shows insertions or applied bits of plain fabric. A long plaid cloak is plaited onto a deep yoke in the back. A black frock i trimmed with gold galon and black ciré ribbon. Louiseboulanger shows a pretty costume in which a sort of casaque is worn over a printed crépe tunic—the lower edges curved in huge scallops. A printed crépe frock in tones of yellow has a paneled skirt with one panel, shirred at the top, falling below the skirt-edge. Frocks of printed mousseline in delightful shades of green and rose, with filmy voluminous skirts, show a mousseline scarf of rose or some plain color draped from shoulder to shoulder, outlining the U of the corsage. Very dainty is a plaid green and white mousseline lamé—each fold showing a golden sheen. A casaqgue of cyclamen satin is embroi dered all over delicately with gold in a Persian design. For informal dinners this is a most charming garment—a draped fold of cyclamen satin falling from the side of the casague down over the black skirt. A pretty frock with very slightly circular, pointed flounces is made of changeable alpaca in gray and pervenche. A plaid frock—the tissue woven with gold—is trimmed with em broidered cabochons, like large buttons of silver fabric. A frock of delicate silver lac« is similarly trimmed. Odd is a slender frock with two great pufis of looped silver gauze with appliqué embroidery in colors falling in front from the girdle—one on each side. A frock of sheerest organdie embroidered with gold has wide full panels, with rounded tops, of plain white organdie set into the embroi dered skirt, one at the left side-back and one on the left in front, resulting in an interesting one-sided effect. Louiseboulanger’s frocks are all interesting They are like no others. Each frock embodies a certain idea, consistently carried out. They are not frocks for the crowd—these models of 2” frac k so good this season. HARPER’S BAZ4) . Wye 9 iy WW is made of the new soft sill using so much. This is a lines of 1885 and ts caught hip where it is fastened > pink rose. OPENINGS rom page 180 Louiseboulanger—but, rather, thoughtful dis tinguished creations for women of taste MADELEINE ET MADELEINI HIS house. under new management! shows an interesting collection of frocks which the straight line is more or less depart from—skirts being draped or flounced showing, as in one instance, a flat fold lope across the front. A three-quarter coat lightest brown crépe is finished with a wi double flounce of crépe—verv pretty. jer? Uj] Pil \ pale rose crépe evening gown with rather close “period” corsage and full shows a crépe flounce at the hips, 4 which is lifted abruptly in front and the et attached to the corsage just below the bus a knot of roses being tucked in below. Many frocks are made or trimmed wit lace, which is everywhere smart this seas There are a number of straight simple @ frocks also—notably one of blue linen wt overlapping buttoned—or unbuttoned—skir panels, and a straight black alpaca frock wi a straight band flounce which is attached the line of the hips across the front and f loose in the back on each side—the ends ty loosely once low in the back. : This same idea appears also in an evens gown of brilliant red crépe—the flounce being wider and the tied ends tr on the floor. Za Odd is a téte de négre crépe Irock wilh ¢ tucked corsage attached in deep sca below the girdle to a skirt mack entirely ‘ ribbon—narrow satin ribbons sewn on CO wise. Interesting also is a blac! of tailleur, made of crépe marocain a wide silk braid. The skirt 1s overlappe’ front—the left side being buttoned in 4 ag over on the right side. When the Ja my removed this point toned = fastened with a single button | loops— (Continued on page 1° 4 ailing frock, a sort iin and vey is unbut Lats CRS WOES RI, VE) lin from h formati, time ir ie ft & © A mar a livens 1 Pa *

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F $ from § forma S Of blemishes, ant Dre = At any social function, No feet Will be as sure Of their charm And smartness As those that wear These Sommers Shoes. Black satin, $14.50 Patent leather with black lizard, $15.00 Brown alligator with brown kid, $16.50 Black satin with cut steel beads, $16.50 Sommers Shoes Are designed To make the feet Look smaller. SOMMERS -Inc. 27 W.5OTH SINEET New York Famous Beauty Cha toward b ures Senttoyou withoutcost. : : Vorb Shatter Yreams FVERY woman can now guard against lines of care and age—can drop years her appearance —can prevent the tion of wrinkles, and at the same improve the texture of her skin. EDD Remover time § A marvelous discovery that softens and Ivens the skin; moulds it into a firm, g Smooth surface. Bleaches the skin clear tened and Even the very deep lines are immediately Ero ty : = | entirely disappear by a faithful use of rinkle Remover. No other product-even claims to B dowh at Eco Wrinkl : 7 F ve Wrinkle Remover unfailingly accomplishes, Monev hack uarantee JDO U XAwlrk? SEND THIS COUPON TODAY Case M, Anderson, c/o V.Vivaudou, Inc. ..(Dept.1004), New York | le ry Reader Heater | Move; . } . T and the other remarkable Ego Treatments. | W a la Spirite & REGALISTE Corsets HETHER you are slender and sylphlike or well developed in figure, you will appreciate the ease with which you can be fitted to a C/B model—in a Claspon or a Back Lace. This Claspon (No. 850) for slender figures, is finished with a band of elastic at back which makes it fit snugly and prevents its “riding up.” The Faultless Front Claspon (641, 640) assures “FOR THE WOMA OF FASHION" that trig, well groomed appearance to the tall full, or tall medium figure. No. 850—Brocade and Elastic ‘ No. 641—Elastic Top - - ? No. 640—Low Bust ° * ” $5.00 3.50 3.50 SNS NSS NASSAR 2s =; 6. \ YAY VAYAYIAYA A Sere, = -~™ q esses as) co -. Cc Spring ostume ~ OULD Madame be truly smart this Spring—would she have each costume the acme of smartness? Then it is necessary for her to possess proper furs—a smart Jacquette or a soft neckpiece to complete the tailored ensemble. The style authorities are agreed on what will be the vogue. Your furrier will feature the finest furs. And the name “Federal” denotes the newest and most fashionable colors— the dyes that are absolutely correct and dependable. Ask your furrier for Federal dyed furs. Among the favor- ites for Spring are White Foxes and Ermines for neck- pieces—Moire Caracul for jacquettes and a host of color- ful fur trimmings for suits and mira FEDERAL - = FUR DYEING CORP. O° 203-064 Unough he YAS, aN SSS = Y SSSA 6s) é SSS Cr 4 STN A A CAN AOL OPPREL LAD SAP AP AAA EEL AE AES EE * F o*s ethan ddd

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184 ABSLCN THE IDEAL LIQUID COLORLESS DEODORANT (Contains no staining artificial colors) She Knows She Will Be Popular This Evening HE has been invited by the man she adores. She w) has spent days thinking about this important event and has sought every means for making herself more attractive. But with all her charm, she must particularly avoid any offense that might accompany dancing in a heated ball-room. She has no fears, however. She knows that AB- SCENT will not only remedy excessive perspiration but will also destroy all odors. You can free yourself of the worry of perspiration with its attending odors and clothing stains in using AB-SCENT—the new colorless and odorless deodorant (containing no staining artificial colors). No longer need you be annoyed, for this sy delightful creation, formulated by a_ phy- a sician, is absolutely harmless, does all that j ae you desire AND DOES NOT ITCH, burn, or irritate. It is recommended for personal use and will not rot your garments. Men well women are using it, for they realize that bathing alone cannot pre- vent an unclean armpit or perspired feet; neither can perfumes and powders hide the offensive odors caused by perspiration. But AB-SCENT will the condition of which you yourself may be unconscious. as as correct Too often do we fail to detect our own faults, and when they are of so personal a nature that even our friends hesitate to tell us, it 1s pardmount that we take every precaution to eliminate them. You can be at ease, now that AB-SCENT is at your command. ‘Try it once and cleanliness will take on a new meaning. \B-SCENT can be had at all good stores. If your dealer cannot supply you can btain it direct by mail in a plain wrapper — 50¢ by addressing you, sean JORDERV Dey 362 Firta AVENUE, New York Cis Prepared by the makers of ZIP Send your dealer's name re vith your order and u ee vill also receive attractive ° 1B) eA amples of Madame oO AS) Berthe's Face Powder and SD MEL \ Massage & Cleansing ex 7 Cream.) ee CREATIONS NEW YORK THE PARIS (Continued left side of the skirt suddenly falling loose like pointed drapery, making of the tailored under- dress a smart afterneon gown. LucIEN LELONG UCIEN LELONG shows his spring collection 4 in his new maison at 16, rue Matignon, where he is installed in an old private hotel with salons walled in gold and ivory and fit- ting-rooms decorated in striking and _ in- dividual fashion. The models are shown first on a little stage against the background of curtains of dark velvet—and the models are charming. Particularly pretty are the printed and plaid crépes, which are often combined with plain stuffs or form the corsage and lining of a three-piece costume. Skirts are short, the waist-line is at the hips—nowhere this season is it quite so low as last—and many frocks are sleeveless. Lelong also shows the plaited frock, in variety—wide box plaits across the front of a one-piece frock, small side plaits forming panels on frocks of plain or plaited crépe, or forming, as in one model, the front and back panels of the corsage—the plaited section being edged below the girdle with a narrow plaited ruffle. Several trouser skirts are shown in the collection—wide trousers divided only from half-way above the knee, the opening veiled with an overlapping front panel which may be buttoned down the left side-front or left un- buttoned for greater freedom of movement. This group of divided skirts is extremely in- teresting, the models being admirably suited for golf and all out-door sports. Lelong decorates a aumber of his models with picture embroidery, done in colored beads. A dog’s head with a flying collar appears on one corsage front, a gondola on Venetian waters on another—this done in colored thread—yachts sailing a summer sea on another and a guignol on another. Every- where just now in Paris we see this amusing picture embroidery. There are several very lovely frocks of mousseline in the collection—low-waisted flounced models of pastel-tinted transpar- encies, all very dainty and charming. Many plaid frocks are shown also—striking plaids combined in singularly happy fashion with plain stuffs. An organdie coat, short and straight, is braided with white soutache forming a sort of plaid. Lelong shows many stately beaded and draped evening gowns, and a number of tube evening frocks with flounces from the knee or above; and a very lovely bride’s gown with a charmingly arranged veil. JENNY HE JENNY models are essentially youth- ful—short skirts, straight slender frocks and tunics, simple plaited or flounced models under straight cloaks which fall to about four inches of the skirt-edge, and trim one- piece frocks. The neck-line is varied. We see the familiar bateau, the V, the rather narrow “square” neck-line, and others that touch the base of the throat with smart little turn-over collars. iin Gl HARPER’S BAZ Ap OPENINGS jrom page 182) The Jenny models form interestin There are a number of straight tailored fro, with short straight jackets over gay — of printed crépe or embroidered pe Nee number of rather loose or tube-like pan which are three-quarter length and fall oy long sleeveless tunics of some light color. slender cloak of black crépe Georgette almos covered with lengthwise and crossw vo of black rep, is worn over a long broidered tube tunic. There are a reat m; of these long light-colored tunics jp wie satin, printed crépe and other thin gyj Some are open-fronted, = med with flat flounces panels. Small buttons are employed yer decoratively on many of them, particul i on a straight tunic of vivid yellow crépe > a plaited flounce across the front only whi is worn under a sleeveless yellow crépe az also showing a plaited flounce. The fronts : the coat are adorned with black and yell buttons and yellow buttons also finish t edges of the flounce. % _Another type of frock consists of a slende- slip of rep, crépe, or satin with a plaited slightly circular flounce swinging from the hi to below the knee. One such flounce js ol embroidered with small squares of bright re and yellow galalith and needlework, a sort tapestry design. The sleeves are long q close-fitting from elbow to wrist and bulg softly just below the shoulder. Sometime the bulge is accentuated with a crosswise { or some other inconspicuous trimming Many afternoon and evening frocks crépe, brocade, or Georgette are flounced o part way round—a flounce crossing one h from middle front to middle back or ther abouts and a similar flounce low on the sir rg SToun. rise ban ds yellow en, and some are trim or short SWinging on the opposite side. These models are be less, as are very many of the Jenny models In another group a straight plaited, printed or embroidered tunic falls from a yoke | some sort to within four inches of the edge the underskirt. A black crépe tunic falls j this fashion from a cream lace yoke over narrow underskirt of cream lace. Several ; these models are flatly plaited, and some them are trimmed with metal galon whi Jenny uses consistently but sparingly throug! out her collection. In silver, gold or coy this is a very effective trimming Several black frocks are decvrated with g beads—a pocket beaded with gold, the er of a cravat glittering with gold beads, narn gold fringes edging the scalloped skirt. Ver many slender straight evening gowns ar wonderfully beaded with many colors, th result being extremely rich and _ beautify ” t PR RT RE There are several striking black and whit § frocks, several full skirts of taffeta or beade crépe below close long straight corsages and silver-beaded bride’s gown wreathed wit orange buds with a long court train of whit satin bordered with silver lace. AGNES HORN of eccentricities is the Agnés ¢ lection, which contains a great number charming models each interesting in desig and all wearable. The silhouette is straigh with many little variations, skirts are rathe Continued on page 186) Si i le se ' * . Left) This is the son coat the Parisienne ish wearing. White Oro cloth with bands of dy tross on collar and c® . e ra Alpaca is used for m 4 x of these little Paris JOG ” This one is black, # rose broadcloth. Wornst b SURGETTE a printed crépe blou 4 f or - W

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> OE AE 6 RTT . CIT

Paris Office ) | of | | Harper’ s Bazar 4 —

| rue de la Paix

AN ADDRESS TO REMEMBER WHEN YOU GO ABROAD THIS SPRING oo indeed, Madame, you will find the Paris office a great convenience in many ways if you accept our urgent invitation to make use of it. Advice about Shopping Foremost, perhaps, in the way the Paris office may be of service to you is in giving you the most practic) iS

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= HARPER’S BAZAR ETTERS of ap- probation are constantly reaching us from the kind of woman whose ver- dict is particularly gratifying and valu- able. A dollar purchase of “‘Le Triomphe French Miniature” will convince you. A lady writes us: “All my friends like my perfume. It is so JEAN different from any other and so distinct- MAGNIN ; y . ., ii . B ively smart. I really think that Le Tri Very pliable gold lamé tissue is used for this tech ” . . . omphe” is suggestive of a choice refine- evening wrap, banded with cerise velvet and : R ment, only detected in the woman who rows of steel braid, and edged with white fox. Se possesses the quintessence of good taste.” De. THE PARIS OPENINGS om Le ] riomphe (Continued from page 184) -_ short, sleeves are long and closefitting or taffetas, and muslins—plaids of startling wae colorings and large design. There are a num- ber of black satin frocks, some of alpaca, a lace coat or two, and several frocks made wholly or partly of lace. A frock of guipure in vegetable silk is designed to replace the simple summer frock of tricot. A lace coat is collared and cuffed with monkey. An evening wrap formed of a straight, wide long scarf of black velvet is very picturesque. very short—one balloon puff at a striped silk elbow—and the waist-line is low. Printed crépe is combined with plain in many instances or combined with black satin or thin wool stuffs. A twine-colored etamine tunic is very decoratively embroidered with red, blue, and black thread. This tunic is belted and edged with dark blue rep or some other thin wool fabric, while the straight un- Buck 26 Sout = Guel French PARIS Miniature | derskirt and simple three-quarter coat are of A long scarf of black wool rep—or some similar [ Arall good stores. | similar stuff—the coat widely banded with — material—matching the frock, is embroidered De Luxe flacons embroidered etamine. : its length with gold. Collars of evening wraps | Similar is a dull rose crépe combined with are made of pink ostrich feathers and a § up to $10.00 dark blue—the crépe figured with blue-green rhinestone-embroidered white satin frock Another lady writes us: shows a long double plume of pink ostrich and other pastel shades. A_ straight-backed x do 4 (Continued on page 188) ? dark blue frock opens in front like a little “Le Triomphe Poudre de Gueldy 1S fine—literally, bolero over an embroidered yellow chemisette, and the undersleeves are yellow also. Jackets are usually straight ches Agnés, for its remarkable fine texture gives my complexion such a lovely soft smoothness. And I just love the White Elephants and the small Tortoises on the box. p They are truly symbolic of good fortune for they bring the Good Fortune of Good Looks.” Besides Le Triomphe Poudre de Gueldy you can also obtain Talcum. Powder and Toilet Water in this beltless or belted across the back or front only, and skirts are straight and narrow. Plaits appear here and there, and small tucks decorate the jacket of a beige tailleur. Agnés employs black satin and white satin, pink lace, rhinestone and bead embroidery, silver embroidery and silver lace (silver lace flounces trim a slender silver cloth frock), flower designs in colored embroideries, some plaids, and a very little taffeta. MARTIAL AND ARMAND [\ preparing the Martial and Armand col- lection Madame Vallet must have been dreaming of the Directoire. Not that the ee rad same exquisite odeur. models are strictly Directoire in style, but A Packed and Sealed i there are a hundred little details here and pty wes | there which suggest that epoc h. ; First of all the waist-line, not a true Di- voo rectoire waist-line, but still generally higher re Face Powder than last season, with always some detail of pre: trimming which carries the eye even higher. ore; It may be a seam, a pocket or a bit of trim- f ming; or the skirt may be lifted a bit on the f front of the corsage, raising the waist-line in OUT front only. There are many short bolero-like jackets in FUR the collection, several short bolero-fronted frocks, many high flaring muslin collars, and many smartly knotted cravats. Jacket collars If una and cuffs also are inspired by the Directoire, write t while there is a cloak in pure style and very many scarfs of all sorts. \ ‘a i There are also a number of models which eA ah Ald al a) are altogether modern style and some ve a = aie sia dia (; smart tailored frocks of the sporting valu. } ao \ black and white checked tailored jacket is q tied at the waist-line by straps of the checked & TRAN & GUELDY INC.., 21 East 40th Street New York N. Y. fabric tied in a smart bow. A smart black / vous | 26W.3 . ? —" . frock is trimmed with applied squares of small oan H | -— black and white checked fabric, with the : , = o osnanen arranged in checkerboard fashion on Rather typical of the season. Dark s the black jacket and skirt. a - ‘ved wis bands of Many plaids and checks appear in the blu tes P combine d with a Washing | nae q ‘ aoe : . : rnidery r1v Color. Martial and Armand collection, in wool stuffs, Russian embroidery in ga) iia,

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for APRIL 1924 Reduce Your Flesh with Dr. Walter’s Rubber Reducing Garments HE entire body, or any part, can be reduced without dieting by dissolving the fat through perspi- ration. My garments have been worn by men and wo- men for 20 years. They are invalu- able to those suffering from rheumatism. Reducing Corset Send waist and hip eee ae Reducing Corset: In dark or cream colored rubber, re- duces abdomen, hips, thighs anc waist line. « « »« $22.00 Brassiere . . $7.00 Neck and Chin educer $3.50 Chin Reducer $2.50 Anklets, for reducing a nd sha ping the ankles. Send ankle measurement. Per pair $7.00 Extra high $9.00 Brassiere, Neck and Chin Reducer ee Send for my illustrated booklet -|Dr. Jeanne E. Walter j 389 Fifth Avenue, New York Near 36th St., Suite 605 : : Philadelphia Washington Mary Kammerer Gibson Co., Inc. | : 221 South 11th St. 917 G Street N. W. ling Chicago San Francisco— | jum Buck & Rayner Adele Millar | a, a 26 South State St. 229 Post St. nade pure the coat wide que. nilar ered Taps da § Tock | trich & f Spring Modes for Stout WV omen opie BRYANT selects for adaptation the leading vogues of Spring . Presenting extra-sizes in a great variety of versions. OUTERWEAR UNDERWEAR FURS MILLINERY SHOES i unable to visit any of our stores, rite to Dept. K2 for new Style Book fane PHryant a 26 W. 39th St., 21 W. 38th St., New York Hanover Place, nr. Fulton St., B’klyn ee CHICAGO Washington cor. Wabash ie 1452 Farmer St. | | DETROIT | ie Chick Chick. by presenting Le Cuicx Cuicx the spirit of Easter is symbolized in a delight- fully unique manner, typically Parisian. The alluring bottle embodies an odor, charming an ideal gift for Easter. in its simplicity From the Ateliers of Vigny, Paris, Creator of GOLLIWOGG and LA FLEUR CELESTE PERFUMES Vigny Perfumescan be obtained in 1-oz. and 32-0z bottles. Also in Powders, Talcums, Sachets and Toilet Waters, and in Lionel Square Compacts, Lionel Double Compacts and Lionettes. If not at your dealer's, write direct to LIONEL TRADING COMPANY, Inc. 320 Fifth Avenue, New York City La FleurCéleste A fragrance which im- mediately characterizes the wearer as a connois seur of the finer things. ie Lionette Miniature frost- ed flacons with silk tassel. Price «+ « « $1.00 Lionel Double Compact Bevel Mirror, Rouge and Pow- der on one level. Price . «++ $1.50 Golliwogg Perfume de Vigny, Paris. The “De Luxe” Perfume of subtle charm and linger- ingmystery, which enhances the per’ sonality. aeeadeiall GRAY HAIR BANISHED IN 15 MINUTES N coloring her _ hair, every woman realizes that its shade must be in harmony with the rest of her appearance. The color must suit her individual- itv; otherwise she will suffer the disappointment and humiliation of having hair obviously dyed. The new American Inecto Rapid, Notox, is specifi- cally guaranteed to color in I5 minutes gray, faded or streaked hair to any de- sired natural shade; and to color it permanently. Inecto Rapid, Notox, comes in 18 distinct shades, from radiant blonde to raven black. One of these will meet the requirements of any,woman desiring to improve her appear- ance. The results from any of the shades cannot be distin- guished from Nature’s coloring, even under the microscope. Hair colored by Inecto Rapid, Notox, is colored permanently. It will neither rub off nor be changed in any way by sunlight, shampooing, salt water, Russian or Turkish baths, nor by per- manent waving or any other form of hair treatment. Inecto Rapid, Notox, is guaran- teed, too, to preserve the beauty and lustre of the hair. It con- tains no para phenalinediamene, and in no way affects the texture or growth of the hair. The thousands of hairdressing hops from Coast to Coast using Inecto Rapid, Notox, endorse it unreservedly. In New York it i used in the ultra-fashionable shops at the Hotels Biltmore, Pennsylvania, Commodore, Wal- dorf-Astoria, and the Knicker- bocker. very woman who is not com pletely satished with the color and texture of her hair should investigate Inecto Rapid, Notox. SEND NO MONEY Just send us your name on th coupon and we will mail you full details and our Beauty Analysis Chart, enabling you to find the 1 shade that suits you individua INECTO, Inc., 33-35 West 46th Street, New York, N. Y. INECTO, Inc., 33-35 West 46th St. New York, N. Y. Please send me gratis full details o Inccto Rapid. Notox, and the “Beauty Analysis Chart Form Je22

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188

New and Wonderful Comfort Given to Stylish Shoes

A uhict Arch mode new ij eelure anil } cleveriy comoines | Satin, suede—and comfort! ad karl) A ul

fort is

oxford of smart 7gn for wear particu- with the dainty actht Fa liienuyr, Feeture Arch Colon ial ich shows he w well com masked by style. ‘eh W

RIGID —when the % of the body r the arch—and yet Absolutely § proved is | Hair Color | be approve of leading Board of

Several evening gowns arf short a , almost lon: and sleeves a models of rout

a sheath of palest ts crépe Georgette embroidered with diamo4 several belt le Special Tri all offer $1.0. Wri close loc EMI * Dept. U, 81 des Milt S¥S) SS. aN T: Ww unrul Parm is as charr More fe rm; than rests Ret minut

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24] APRIL 1924 189 jor She Banished Her Gray Hair! Safely Instantaneously Forever ruined Manya first impression has been ruined by some | seemingly little thing

In 30 Minutes | fresh attractive youthfulness, from that “getting old” look, that is what thousands of men and women have a hieved through the use of Tausig’s Im- | proved Instantaneous Hair Color Restorer. AUSIQS IMPROVED i es sO Casy to get oft on the wrong foot with people—whether it be in an important business contact or simply in a casual social ; : = meeting. ors the hair. It gives a life and istre, as well as any desired shade from radiant blonde to raven black. It defies detection and is pr of against perspirat ion, wing and curling. It pays in life to be able to

make people like you. And

“T want to thank vou for having brought ZIP to professionals. It is indeed the only actual hair Acts instantaneously. Easy to Apply. So so otten It 1s some seemingly uick, so harmless, so easy to apply, that in 30 minutes in the privacy of your own room you can restore gray, or fi ided lrair, ts youthful loveliness. Experts could t detect it.

very little thing that may

hold vou back.

destroyer.” MARGARET IRVING.

Absolutely Safe and Harmless. Tausig’s Im- For example, quite un ‘proved is the first and only Instantaneous Hair Color Restorer patented by the U. S. to be approved and endorsed by 16 Professors of leading universities, also the N. Y. City ' Board of Health. | Special Trial Offer: I’or a short time we shall offer a complete $3.00 outtit for only $1.00. Write now. State color desired or nelose lock of hair. EMPRESS COMPANY consciously vou watch a person's teeth when he or she is In conversation with ITS OFF ae If they are unclean, ] because nngenyen ti and if you are a fastidious person, you 9 ; ITS OUT will automatically hold this

d Dept. U, 810 Eighth Avenue, New York City 4 ‘ \ iI tl Ss gainst them. And a 1e Mt Se soem 53S win oun Free Yourself of | tile ida: snc etal te t | & s e being made of you. Objectionable Hair | Listerine Tooth Paste cleans teeth a new way. At last our chemists have dis- on, Tg: with lasting results

( ef Pa ” | Y H like every woman’s, lies in your being attractivels covered a polishing ingredi- Our appiness, ai i, i ea BS re e with : I cheeks reflecting the bloom of youth; lips simulating the perfection of the rosebud ent inal reany Cleans Win ‘ gi yaa telah a 7 Dos rests your own hair! seni, ‘sates ‘stacindieaa: “ LISTERINE Secret’ in which leading actresses tell how to be beautilul ¢

a ¥ by using ZIP. (Please print your name : Booklet on Regu (5 Pome TOOTH PASTE 18 West 57th Street Face Powder wit! is L Tube—25 F : ie Comatimnant ze ADe— 2 rents i New York City ~7 ——— : 7 ADDRES ia oe betes i bot Gru et NE i SOS < eS SO 2s. Grow II City AND Sratt

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190 Sheer fashionable fabrics look best with Dain tymode ITHOUT the refined charm of this new and exclusive Lingerie Supporteur you cannot achieve the ultimate desired effect in the gowns and blouses of the season’s modes. And its comfort and security make it as practical for daily and sports wear as it is attrac- tive when worn with the daintiest formal gown. At Jewelry Stores, and the Larger Department Stores B. A. BALLOU & Co., INC. “Pins for Every Purpose” PROVIDENCE, R. I aint¥mog The Effective, Comfortable ec Lingerie Supporteur 2 REGISTERED MTEMTS PE MONG 1m © 3 AmO FOR EIGH COUNTRIES © 1924. B. A. 3. & CO., INC., PROV., FP. 1, U.S.A THE PARIS OPENINGS (Continned from page 188) A black satin frock is trimmed with pink ostrich, and several are embroidered. Evening cloaks are made of silver cloth and gold and black brocade—this trimmed with black ostrich dusted with gold, and a very charming tea-gown is made of silver-mauve lace over rose satin and trimmed with pink roses. Colors are employed judiciously in the Doucet collection. Pretty use is made of mauve and the nasturtium tones, and there is very much black, embroidered with silver or rhinestones for evening, and embroidered or trimmed with fur for day wear. MOLYNEUX HEZ Molyneux the silhouette remains straight and slender, with many straight tunics, flat flounces—many skirts are formed of several flat shaped flounces—long close sleeves and very short narrow ones. Printed crépes are used for frocks designed for the races or garden-parties and there are one or two dancing frocks of this dainty tinted silk. There is much black crépe and black satin—many of the black frocks being combined with white or embroidered with colored beads or gold and silver embroidery, the “picture’’ embroidery which is so much in evidence this season. Across a white evening frock, for instance, sails a fairy bark in rhine- stones and pearls on a sea of pale green and crystal beads under bead clouds of pink and orange; and there are other amusing designs. Light soft green, palest peach color and all shades of rose, champagne, all shades of brown, Chinese red—usually combined with black or blue—and very much black and white are the colors employed by Molyneux this season. There is some plaid, much lace, very many scarfs of all sorts on gowns of all sorts, and much applied flower trimming. Ostrich plumes appear also in scarfs match- ing the color of the evening gown and as fringes on the edges of tunics. A dinner gown of printed mousseline is trimmed in this fashion; and many of the Molyneux tunics, by the way, are slashed up in the back, open- ing sometimes for several inches over the underslip. DRECOLL LENDER also is the silhouette chez Drecoll, the skirts seven or eight inches from the floor, the waist-line at the hips, except in half a dozen frocks where it is posed at **normal” or a little above; and sleeves, if any, are long and close fitting. Very many frocks are beltless or show merely a decorative waist- line, and some are belted across the front only. Jackets are short or knee length and quite tubelike, and many of them are adorned with scarf collars or short or half-length capes; and there are several long sports capes and afternoon capes. Drecoll makes most decora- tive use of the circular ruffle, which not only forms the lower part of many tunics or flares suddenly on the side of an otherwise straight frock, but forms one of the most marked fea tures of the collection. This flounce may be twelve inches wide or even wider, sometimes being of uneven width. Forming the lower part of a slender tube frock it flares easily across the front and climbs on the side to the top and back of the shoulder, rippling prettily with every movement of the wearer. In some instances this flounce rounds out to a greater width between hem and shoulder, and occasionally twin frills are em- ployed, rippling down the back from each shoulder and across the front of the skirt. One such frock of black mousseline is em- broidered on the “wings” with green and silver beads. Oddly smart is the frock called ‘‘ Smoking,” in dark blue rep with a white faille collar and girdle gilet which is wide in front and finished with straps which are drawn through slits on the sides and buckled in the back. A smart yellow kasha cloak is collared with leopard. A pretty printed crépe frock is worn under an unlined printed crépe coat, both bordered with black satin. A gay plaid tunic with a plaited panel down each side from under the arm is girdled with black varnished leather and worn over a black skirt. Drecoll shows many scarf collars, some of which are drawn under straps at the low waist-line in the prevailing fashion There are many black lace gowns, black satin trimmed with a stringy sort of black fringe which is knotted into the satin and covers the lower part of the skirt and sleeves, frocks of silver and tinted laces, mousseline frocks trimmed with ostrich, and beaded frocks of the most elaborate sort with picturesque head-dresses of silver and beadwork. LENIEF ENIEF shows the straight silhouette, with a low waist-line, long close sleeves or no sleeves at all, and skirts seven or eight inches from the floor. The low waist-line is especially HARPER’S Baggy, interesting and Lenief exploits it j pleasing fashion throughout his co] One frock is seamed straight a back, the back skirt section lapping Over ani buckling across the front panel. The steatal corsage is open to the bust-line in front. he., either buttoned to the top of the strate collar or thrown open, forming smal] tees Another frock opens jacket fashion jp in : a narrow strap of the material buck, across the otherwise straight flat back rs eral other models show this narrow strap » buckle, never a button, low jn the hat Again a dark blue jacket-like corsage drawn down over a wide band of old | crépe de Chine which, visible for three or m,, inches below the corsage, forms a sop girdle. A dark blue wool crépe frock has a yj plaited girdle of bright red crépe dray: ha Most lection CTOSS the aight x back ~~ U . / NX i f f HX / f LY | FSS ; WY LAS \ MOLYNEUX Molyneux cuts a perfectly straight white broad-cloth wrap into scal- loped tiers like flower petals. tightly about the hips with a row of wh buttons down the side. Over this a! crépe scarf, lined with blue and white print crépe is tied once, the ends falling int back. A similar scarf throat. A straight frock of black and white print crépe has a girdle-like inset band of cr across the back, just below the hips on! sides, and drooping lower in a shallow | the back. A straight beltless black frock wi an almost imperceptible flare to the front the skirt shows inset bands of violet and blue about the hips—these bands droopits slightly in front and outlined with gold Frock after frock shows this elaboratt the low waist-line, either in draped ' girdles, inset bands, applied lace, curv seams, or contrasting color. The Le! blouse of printed and embroidered crépe. § and red or silver and blue brocade is finished with a wide, flat girdle-like band! about the hips, the blouse above this bé pouching the merest trifle in front and brea! ing in a fetching wrinkle in the back. Many of these blouses appear in the col tion, worn under tailored coats and als corsages of simple country frocks—the s#! being often of closely plaited crépe , The Lenief jacket is either straight or slightly curved to the figure in front. * ° sometimes quite collarless and often the cou and revers are very narrow, sometimes C* sisting merely of a bit of ribbon. The even cloak is of brilliant brocade of gold or woven with pale colors, and it is cut rather the lines of a day cloak—very odd and ne A vivid red and silver crépe tube tu ; finished with rich rounded oblongs em)" ered elaborately with silver soutache ! which black stones are set. The underskil'* of silver cloth. gaa Another tube tunic called “Zodiac” 5° (Concluded on page 12) is tossed about tx] “”~ opera ie OC CI. CY pe | ~ .) PTR iy PK = Dae Ea i aN ser ie ol, ts: a ee a Ce I Oe ns i CE Ss re, Ie es nC es ee Oe Oe gr ——.

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Y 36 West 50th Street Y) New York City

eH fl MODEL which represents the : triumph of the simple line. ! every foot Becoming to and correct for every occasion. 7: \ll black satin, $15.00 Fi Black suéde with Hl patent leather i trimming. $16.50 | : Copper kid with q: bronze kid trimming, $138.50 a Colored metal bro- 3 kid trimming, $19.50 Our spring Catalog H contains the newest styles in French tootwear. iF cade with gold } s = Send for it Mail orders carefully filled. f f The French Bootery, Inc. E 36 West 50th Street, New York On the Street of Footwear Fashion

Smartway Cori

A De Bevoise Creation Certain to Satisfy Inimitable, long line design. Cut and finished with utmost precision. And made of the finest materials obtainable. Hooks and eyes will not pull out —a new garment if they do! VICTOR Hook and Eye Tape is used exclusively — assuring that hooks and eyes are riveted to a special three-ply

The guaranteed Hook and Eve Tape that won't pr ull Out tape with non-rustable eyelets.

AINE tite is ee

Bathing > \J an Luxury for baths that induce the never- imitated natural glow, velvety smo and petal warmth of lovely, healthy the rt hness rose- skin. These celebrated Bath Salts are not merely a scented luxury—they are a necessity to} the bath of fastidious women.

makers of No. 471 White Rose G1 rine Soap, and 4711 E le C iogne. \MULHENS « KROPFF, | a “3 W. 45TH STREET I nc.

ee ee iad ee ee ee ee es i in i i i i a i i i a i a a a Sachet Face Baths the healthful French method of beauty

“ACH Sachet is a little bag of pure herbs. Squeeze 4 y ip . it into your ablution water and you have the most 3 J e ° e a fragrant, refreshing, wholesome face bath that ever brought clear-skinned loveliness to woman. Sachets de Beauté—Splen ju Prevent wrinkle banish lines and-+traces of fatigue, < ess and brilli to a faded —- xion. Seve Dermale -a vivifying, ning tonic wl ev

Especially | and e mcrae inti ) sagging muscles. used with the sachets. $2.50. . - 1! the Dar Na- By mail from V. Darsy or at the following shops: lon. superfaous hair Pei ibody, 551 Boylston Street. San Francisco: Salon de Jeunesse, 353 Sutter Street. The give complete Darsy treatment Boston: Caroline T. White House; Darsy latter shop is authoriz sed to touch and = sanitar yee , a Se Ye eee care for which the Visit the Salon for French Facial Treatments Viapey arial Tent Write for booklet and questionnaire 17-A West 49th St. ou cannot call at V DARS Y the Salon, send for - home treatment, suf- ficient for everal P New York applications. With 54 Rue du Faubourg St. Honoré, Paris full directions, $4.

is eradicated by an expert who practices that same lightness of ments are famous. If 2444444444 4444444444 64444244444 DA icc ci dain eo hi Le ee ee ee ee ee er ee

‘MAH JON The popular and fascinating g game

Learn to play COMPLETE SET ti Counters, Dice. Racks, Rules, playing directions and novel perpetual score card. Sent postpaid in attractive box on re- ceipt of $1. Satisfaction guaranteed or money back. DON’T DELAY ORDER TODAY ORIENTAL SPECIALTY COMPANY 152 West 42nd Street Dept. H. B. and BEGIN TO PLAY $7.00 PER SET New York | | Youth and Beauty

Tike most care- fully dressed wo- men select Sheridan costumes for these subtle touches of that make each gown a joy to be- hold! This frock is of black lace over flesh satin —delightfully French. Black and Flesh rib- bons outline the bouffant hips and also form the bow at the front which falls in two streamers. May be had in cream lace or any other color combination. Shei?’ GOWNS @r HATS 366 Filthawenue Near 35% Street. NEW YORK.

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Polishing. the Silver Spoon oy E peopleare all for beauty unadorned. They forgetthatevensilverspoonsyou're born with need polishing. Styles in beauty havechanged, yousee. There’smoreemphasis on good groomingnowadays. Andso,across the dressing table,questionsarise. About the choice of powder, the use of rouge. About different lightings, different costumes. | All this has been covered delightfully in the little book, What Every Woman Does not Know, written by one of America’s sanest beauty authorities. This book is free toevery purchaser of Bourjois MANon LescautT* Face Powder. You can’t fail to find it a handy addition to your dressing table. Most druggists sell MANon Lescaut. When you buy it, ask for a copy of What Every Woman Does not Know. If your druggist does not have MANon Lescaut, ask him to order it. If you are not within range of a dealer's services, mail the coupon to us with $1.50 in check or money order. We will send you a full-size package of MANon LescauT and a copy of What Every Woman Does not Know.

Bourjois Bourjois Rouge Mandarine* Ashes of Roses* No. 83 Rouge No. 83 A light shade, to accent- uate ear apd skin that is white and features | that are fair. 75¢ Ne d A dark rouge, pre- ferred by women of deep complexions and dark eyes. 75¢ ot sas OLS MANON LESCAUT owder *Reg.U.S.Pat.Off.

A. BOURJOIS & CO., Inc. 31 West 34th Street With this coupon is enclosed $1.50 in Money Order 0 tamps Check L) for which send me at once one full-size box of MANON LESCAUT White Natureile 0 PARIS NEW YORK

Rose) Rachel Peaches*_] Peaches-and-Cream* () (Check powder ( ©)~ wanted) and 1 free copy of What Every Woman Does NOT Know. = Name ____ —- o Address Ss ee es a

THE PARIS HARPER’S BAZAR OPENINGS (Concluded from page 190) bright red crépe embroidered with gold and colors and edged with a ten-inch band of vio- let crépe similarly embroidered with the signs of the zodiac. The underskirt is of gold cloth, like a slightly fulled ruffle. Other even- ing frocks of the pastel and metal brocades so featured by Lenief are slightly draped. Very lovely are these silvery gold, gleaming stuffs touched with rose, light green, blue, and other pale colors. \ vivid red, brown, and white plaid cloak prepares one for a brown and white plaid tussur frock with a full “apron” panel in front. Plaid crépe blouses, plaid collars and cuffs on sports coats and other plaids appear in this collection, which contains many dis- creetly embroidered corsages and decorative trimmings, and I must not forget to mention the wide box plait which appears on the front of nany new tailored skirts, nor the twin box plaits similarly placed on frocks of crépe, nor the bust to knee trimming which appears on several models, the crosswise seam at the bust- line which Lenief uses so much in his collection, nor the great variety of buckles, large and small, which clasp girdles of all sorts. BERTHE \¥ \DAME BERTHE also is devoted to 4 the straight silhouette, featuring straight long or three-quarter coats of rep, crépe, or satin over dainty frocks of printed mousseline or crépe. Similar crépe lines the coat and often forms the coat collar which, rather wide and of ordinary length on the right side, lengthens out in a long scarf on the left. This scarf, which falls to the skirt-edge or below. may be tossed over the right shoulder or twisted like a choker about the throat, and forms a picturesque feature of the collection The frocks of printed mousseline are often- est belted across the front only above “‘ wing” panels which are slightly fulled on; and they are usually sleeveless. One or two models are trimmed with lace. An odd feature of several frocks of crépe or satin is a sort of U-shaped “bib” which falls from the shoulders in front almost to the hips. In one or two models this bib is double, a bib of crépe under a bib of lace. Another pretty idea presented in Ma dame Berthe’s collection is a little plaited cape, slit on each side for the passage of the arms, which is attached to a straight fold which ties in front like a cravat In dispensing with the girdle Madame Berthe, in several of her straight frocks, draws the scanty folds of material to each side, where they are held with narrow tied folds of crépe. This tightens the straight robe at the hips, resulting in a very pretty silhouette. Berthe employs English tweeds for tailored frocks, which consist this season of simple one-piece frocks with the shortest of sleeves, the narrowest of leather girdles or none at all and smart little pockets under straight three quarter coats of tweed. The ensemble is exceedingly smart. Two or three black lace evening gowns are shown, one combined with cream lace, one beaded with jet, and one of filmy black lace Black mousseline also forms several pretty gowns. | Ma its $ Vou illu = Box a

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ZAR aist-line N front, for APRIL 1.924 AMERICAN { YWEET smell of ( WY forests—of fir and pine—or your fz ivorite flowers—nature’s own | fragrance—fresh, {{ sweet and })} imprisoned in Lucas }/ American Incense. BuRN it in your living room, den or library. Ask —~ from ment gift shops. Lucas aad Incense \ Exclusiz Patented \\ LOUIS LUCAS CO., INC. Jamestown, N. Y. on Chautauqua Lake virile are for it—cones, sticks or powder depart- stores, drug stores or XK - Paris New York CHIC \IODES : for all occasions SUITS WRAPS FROCKS SPORTSWEAR of Individuality and Charm especially designed for “The Miss and the Small Woman’”’ KONDAZIAN SOLD BY SMART SHOPS NEW YORK -E + )N f é Willowcraft Furniture Genuine French Willow Best Grade Those who know good furni- Willowcraft for its correct and beautiful de- ture select ‘igns, fine workmanship and great durability. Do Not Confuse Willowcraft 100 per cent Wood) with Fibre Furniture Made of Twisted Paper If your-dealer cannot you Willowcraft illustrated catalog. show writ e { yr Willoweraft Shops Cambridge 40, Mass. —_ Hand Painted Watch Size Vanities Hand Painted are distinctively different. In Many Different Designs Containing powder and rouge Compacts- I'rench ingredients un peu d’ambre fascinating and appealing. 1 finest delicately enn seal with Vanities Sold by all the leading Shops. If you cannot obtain this latest Immortelle design send $1.50 for style pictured. Postpaid on ap- proval. LA MINNUETTE TRADING CO. 201 EAST 16th ST., NEW YORK REDUC Easily ... _ Naturally a The easiest, the most comfortable, and the most natural of Basw Breadiadas, way of reducing. For years th e standard weight-reducing food among America’s most cor servative families. Eater Help reduce your weight as a food yoy your regu ale ir meals, without inconvenience, annoyance or nbarrassment, it functions in nature's ow1 in a natural way. The new Basy Bread Doctors’ Essential Foods Co., you. Sendforit. Itis Orange, N. J. free. It will point the Gentlemen way to better health, Have lost thirty pounds; added vitality, an would like information as to duced weight. how to remain at My present weight Please accept my thanks for the courtesies and business-like methods extended me in the dealings with you W. H. W., Ohio- DOCTORS’ ESSENTIAL FOODS CO. 39 Oakwood Avenue BASY way Ho dvens, no tir areees rcises, No starvation diet. ooklet explains the process t Orange New Jersey a REGISTERED —~ TRADE MARK | | Just mail coupon Cnt... inal Touch Pl Ti The Secret — Pearls HAT delight pearls bring to every woman! Their touch of distinction completes the newest frock. The knowledge of their aid to beauty... . no other gem is so completely woman’s, no other can bring such assurance. And among smartly gowned women Deltah Pearls are much in vogue .... you see them every- where. Their exceptional fidelity, in reproducing each tiny curve and dimple of the Oriental, has created a sensation. Leading jewelers are now ofter- ing these celebrated gems, imported direct from our Paris and Geneva laboratories. The very latest designs in varying lengths from chokers to three-strand ropes are ready for your selection—clasped in gold, platinum or diamonds— prices range from the modest, inexpensive strings to elab- orate, costly strings. Deltah Pearls are for sale through- out the country by leading jewelers, men who take pride in giving their customers the best. Please inspect these matchless gems. Become ac- quainted with theirabsolute superior- ity. To know Deltahs is to preferthem. NOTED style authority and fashion editor has just prepared an interesting little book, **The Charm of Pearls.” This tells of the latest modes in the wearing of pearls. ... the lengthsappro- priate for various Occasions individual and artistic methods of adocning the neck, wrists and coiffure . noting especially those used by prominent women ot society and the stage. y L. Heller & Son, Inc., Dept. 3 358 Fifth Ave., New York City Please send me your free Booklet: ‘‘The Charm of Pearls.’ EE STREET. aw Ste

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The Popular Whiting & Davis Renaissance Design

y _<wa Gifts That fast” —€s WHITING & DAVIS CO Adding Beauty to Beauty— ADIANTLY beautiful as the happy Spring bride herself is the gift of a Whiting & Davis Mesh Bag. No gift can convey more delicately the esteem and ex-

quisite taste of the giver. Happy the bridesmaids, too, who receive a Whiting & Davis Mesh Bag And the Bride of Yesterday, on her anniversary, thrills to mark the momentous occasion. to the beauty imprisoned in shimmering silver or mellow gold. Doubly dear to feminine hearts for its smart correctness, as well as its daily usefulness. In the brilliance of the fashion promenade, the silken shimmering beauty of the Mesh Bag adds a note of consummate splendor to Easter costumes. WHITING & DAVIS COMPANY Plainville (Norfolk County) Mass. In Canada, Sherbrooke, Que. Made in America Preferred by American Women |

Mesh Bags

[Whitin ig v Davis és

J In the Better Grades, Made of the Famous Whiting’ Soldered Mesh _— [=== = Ay

“WZOUR skin is so lovely, neither time nor weather seem to mar it.” “Well, my dear, you know I don’t rely en- tirely on good fortune.” Nor should any woman, who wishes to keep young and fresh, rely altogether on nature for a fair skin. For the woman who is endowed with a clear complexion, creams and treat- ments help her to keep it so, and for the woman with irregularities in her skin, syste- matic treatment, cleansing, and rebuilding dead tissues aid greatly in gaining her the most coveted asset—a youthful skin. One of our well-known beauty specialists, the daughter of a doctor scientist and chemist, claims that the line of a woman’s throat sig- nifies her age. We all know that a sagging or double chin can be remedied by the training of the muscles of the throat. When we are in our “teens” and are exercising and growing, nature uses up all of the surplus material. But in later years, when we feel inclined to sit on our overstuffed furniture or in our limousines on a trip to the shops, after we have grown all we shall longitudinally, we become, unless we strive not to, a little loose in outline. None of us want to look old or even middle-aged. We want youthful skins and contours. And this we can have and can keep by using preparations and treat- ments intended solely for this purpose. If one is in town and can indulge in these professional treatments one goes to a salon which is daintily perfumed and decorated, and rests in a spacious chair covered with white linen and forgets everything in the soothing, relaxing and invigorating patting of trained fingers. There is practically no massage given, only the tap, tap, tap all over the face and neck until from absolute relaxation and comfort one drops off to sleep. HE process of treatment is a series of studied combinations of creams, astrin- gents, and compresses that are found neces- sary for each individual skin. No two treatments are exactly alike. If you have a thin face you are treated with fattening creams, or if fat, with non-fattening creams, and large pores are made into small ones. Always, with any of the creams, astringents are used until a perfect balance is obtained, leaving the skin young and glowing. This beauty specialist has also discovered a remedy for puffiness under the eyes, which, when applied regularly, seems by some miracle to flatten out the bulge and restore the natural contour. She also has prepared an eye lotion which brightens and clears the eye and takes out all irritation. This lotion is so healing and strengthening that some claim they no longer need Then, for the lines around the eyes, she has prepared a thick paste that adheres to the lids and doesn’t get into the eve or down the cheek or on the pillow. \n eyelash and eyebrow grower, which doesn’t injure the eyes and adds a lustrous look that no one is loath to have, aids in making the brows and lashes thicker and healthier. \ll of these culturist preparations are the result of careful study both here and abroad with the leading skin specialists and doctors. Indeed, she has traveled everywhere seeking information, new ideas, and discoveries in order that she might perfect her work. Not all of us, though, have access to our vest beauty houses and for those, preparations and treatments are prescribed by letter and sent to the individual according to the re- quirements of her skin. All of the creams glasses. Nole IN THE VANITY SHOPS HARPER’S BAZAR and lotions are fragrant and delightful. Ip. struction is also given that teaches you how to use your own fingers to make the muscle firm and to invigorate the circulation, feed the dry tissues, dry the oily ones, smooth out the wrinkles and tighten the large pores, For reducing a double chin, first cleanse the skin thoroughly of all particles of dirt and grime with cleansing cream, then remove with soft tissue or linen. and apply tissue cream over the entire face and neck, patting with the two middle fingers, first gently, then more firmly, even to slapping the muscles under the chin for about ten minutes. Cleanse again and apply skin tonic and when dry pat Russian astringent under the chin, around the neck, over the muscles in front of the ears, and the lines on either side of the mouth. Allow this to dry and then remove and add a small amount of Russian astringent cream, mixed with skin tonic and smooth this over the face and neck, patting gently on the face and firmly under the chin. The chin strap, she advocates for resting in the afternoon or after a fatiguing trip, not to be worn all night, but to be aided with the muscular treatment, so that eventually the relaxed muscles tighten and grow firm of their own accord. LACKHEADS can be easily removed after using cleansing cream which softens the outer cuticle. The fingers should be padded well with soft cotton to press out the oily matter which has clogged up the pores. Then pore paste should be applied and left on for about thirty minutes and this should be followed by skin food, or tonic. If the skin is oily, a pore lotion should be used and if dry, a pore cream. If you are going on a long trip, an attractive bag is fitted out containing all of the re quirements of your own particular skin. It is made of black walrus grained leather and is lined with rubberized silk, an ideal com- panion, for $60.00. For the short trip a smaller case is made containing all the neces sary preparations for daily care for $12.00. The cleansing cream, for freshening the skin and removing all of the impurities, is $1.00, $1.75, $2.75 and $5.25. The orange flower skin tonic, which is used instead of soap and water for closing the pores, whiten- ing and making the skin firm, is $.85, $1.75, $3.25. The Russian astringent, which makes relaxed muscles firm, contracts loose and flabby skin and tends to dry an oily skia, is $3.00 and $5.50. The Russian cream, for softening and ironing out the lines of the face, is $3.00 and $5.50. Tissue cream, a non fattening skin food, which nourishes and strengthens the tissues, and is especially good for a sensitive skin, is $1.00, $1.75 and $4.59. Special skin food, which is very nourishing for thin faces, filling out the hollows and wrinkles, is $1.00, $1.75 and $4.50. Pour la Patte d’Oie, which is an unustl paste for removing the lines about the eyes and strengthening the tissues, is $1.50 $4.00. Muscle oil, which has very penetrat ing powers and builds up the broken-down tissues, is $1.00, $2.50 and $5.00. Eylat for puffiness under the eyes, is $2.50. eye lotion, for tired eyes, is $1.25. Theeye brow aad eyelash grower is $2.00. Pore paste, for enlarged pores and black- heads. is $1.00. Pore lotion, for shiny n0® and unhealthy condition of the pores 5 $2.00 and $4.00. The patter for restora the contour by a truly scientific method $2.50. and the chin strap is $5 50. Harper's Basar will send you the name and address of the firm mentioned above; or will be very glad to purchase for vou any of the articles described. Shopping Service, 119 West goth Street, New

Address Harper’s Bazar York, N Y.

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