Evening Republican, Volume 22, Number 105, Rensselaer, Jasper County, 5 May 1919 — Page 3

Pretty, old-fashioned patterns in printed cottons have come back. The voiles and crepes of today, which are now on display in the shops, and have been for some time foreshadowing midsummer, remind one of the lawns and chailies and the popular calico of long ago, in their colorings. They are softer and more sheer than their pred,ecessors and the resemblance Is not In texture, but in the printed patterns, that make these inexpensive dress materials interesting. The prices on -cottons appear to be settling to something like normal again. There are printed voiles very much like printed georgette in pattern and ethers that are copied after ginghams. Besides these, plain colored voiles embroidered in white or in contrasting color, manufactured in dress patterns end in flouncings, promise a summer ih which everyone will wear this cool end attractive and very durable material Designers who understand how to adapt styles to fabrics are responsible for the two delightfully simple frocks that are shown here. At the left a blue and white color combina-

Brilliant Black Hats and Others

i . Brilliant, applied to millinery has either a literal or a figurative meaning end sometimes a handsome piece of headwear deserves the adjective In (both senses. There is never a season. Iwhen the transparent, picturesque black hat, made for more or less youthful wearers, does not appear in models .that deserve to be called brilliant millinery. The big black hat is dear to |the hearts of designers, especially so In a season when it flourishes in transparent fabrics. Such a hat appears in the group above, together with a hat iof black sequins, made for a matron of middle life and a braid and georgette hat that might fit any age between 20 and 50. Everything about the hat at thejeft bespeaks the elegant matron. The shape has a round crown and narrow, poftiy curvingbrim.coveredwith black sequins. The sequins are mounted on fine net and one may infer that the trim facing is of malines. A tall, black jaigrette bears itself proudly at the aide without offense since it is nbt the jfeather of the heron but the cleverest eort of imitation of it. On a wire frame the lovely black bat, made of malines, displays the resources of the milliner’s art in handling this airy fabric. Wires are covered with velvet which proves an asset In Summing up the beauties of the design. The top portion of the crown is of malines And there Is a band of sequins about the side crown with a ,

Summery Afternoon Frocks

tion shows a leaf pattern scattered over a very small check as a background. The bodice in this unpretentious dress is almost plain, with collar and cuffs of white organdie edged with narrow lace. There is a prim little bow with long ends, made of narrow ribbon placed at the throat. It is in the same shade of blue as that in the voile. The skirt is full with plaits that form a drapery on the hips and it joins the bodice with a soft, crushed girdle of the voile. Tiny white buttons, set close together, extend from bodice to skirt at each side. The low canvas shoes and thin white stockings look so well worn with this frock that they make any other kind a second choice. r The other dress pictured is made of voile, printed in a small, all-over pattern, in light brown. Its bodice opens in surplice fashion and fastens with two buttons. Collar and’cuffs of white organdie add their indispensable to it. Tlie skirt is plaited and has a long tunic about the sides and back, ending in a hem with two tucks above it. A cording is let in the material to define the top of the tunic.

narrow ribbon above it. Almost the most Important of its merits lies in the scant flounce of malines about the edge wire. More than all, the shape is a thing of beauty. A hat of braid and crepe georgette is one of those becoming non-commital bits of headwear that accommodate themselves to w-earers yoyng and oth- * erwise. The top crown is soft, without foundation and of georgette, like the side crown, which is supported by a band under the georgette. An odd ornament which looks like embroidery work of straw braid trims it at the front.

For Large Pores.

Use no cold creams nor grease of any kind on the skin when the pores are larger Cleanse the face with hot water and pure soap—glycerin is the best for this—and then rinse for several minutes with cold water, and, after drying gently with a soft towel, apply some of the following astringent on a puff of cotton several times a day and at bedtime: Camphor water, six oundes (not spirits of camphor); tannic acid, fifteen grains. The cape in all its forms is one of the most charming and serviceable <of ‘garments. -

THE EVENING REPUBLICAN, RENSSELAER, IND.

An Insistent Insult

By FIELD DOUGAL

{Copyright.) When Barbara reached the station in Lucca the train was almost clanking out. i “Pronti!” yelled the little-legged conductor, and the engine began its penny-whistle toot. There was no time to hunt for a compartment reserved for women only. Barbara dashed for the nearest door and climbed in just as the wheels creaked starting. She waved a hand to the Partridges, the friends whom she left behind. There was a question ventured from them relative to women traveling alone. “I guess an American girl can take care of herself,” Barbara answered jauntily. “But you may telegraph the Bensons to meet the train in Florence. I forgot that." Then distance reduced her to “Byby” and another wave of the hand. The compartment was empty, anyway, except that in the farther corner was an Italian, come from Pisa, doubtless. But he was asleep and didn’t matter. She slapped open the Ruskin that had been the cause of the Partridges’ discomfiture. “Mornings In Florence” it was, and she read “Before the Soldan” in anticipation of a new visit to Santa Croce. Oh, dear, there was so much to see! She hoped she would remember most of it when she got back to Detroit. Her woman’s f club wanted her to talk on the history of Italian art; she talked very well for a girl of twenty-four, if she did think it herself. At Pistoja a man climbed in at the door opposite, without jolting the Italian. Barbara slapped open her book again, and read “The Golden Gate.” She must remember that Ghirlandajo wasn’t great, after all; Ruskin said so. She didn’t deign to notice the intruder who sat down opposite the sleeper. But the. intruder apparently deigned to notice her. She could catch a hint of a sight of him out of the corner of her eye, enough to know. Well, he had reason; though Barbara only half admitted to herself she admitted it. Now, howeyer, the newcomer actually dared to move over and sit opposite her. , She was too deep in Ruskin to care, of course, but it was queer. And, well—l never! Was he speaking to her? “Lei parla inglese, signorina?” Barbara looked up blankly. She skimmed details; brown hair and eyes, good eyebrows, clean-cut face; thirtyfive, she thought, perhaps a little more. “Suppose I do?” Barbara answered pertly. “Well, then—-perhaps—you will allow me to talk to you?” the man replied, in the intonation of the British Isle. “Why should I?” said Barbara. “We’re both English.” “I’m not, and you know it. I suppose you think that you can talk to me because I’m an American. You English' always think us unconventional. So we are, but —” Barbara paused, breathless. She was taking care of herself. “I didn’t mean to offend you—really. I beg your pardon.” He said it like a gentleman. Barbara felt she had been rude. “I’m not offended,” she said amicably. “It’s just my way.” “American?” quizzically. Seeing his eyes, she liked him for the-slap. “Perhaps; but I’m too patriotic to admit it.” He looked at her. “You must forgive me for speaking to you. I have a Reason." Barbara did not blurt the “Well, I never!” but it thumped inside of her. Then she fell to glancing at the only reason conceivable, and was pleased. “You may talk if you wish. What do you want to talk about?” He cast a half-glance at the Ruskin In her lap. “You are interested in painting?” he suggested. “Yes. I’m looking It up. Been to Lucca to see the Fra Bartolommeos —interesting influence on Raphael.” She poured the phrases headlong. The stranger smiled. “You Americans are very energetic,” he said. i “Don’t you care about pictures?” “Oh, yes,” he answered, “in a lazy way. I have a few at home- —old family Vandykes, you know, and some portraits of the eighteenth century. I’m looking a bit about me here. Been to PistQja for a few days, looking for a Lorenzo di Credi; staying now at Prato for a few days—the elder Lippi at his best, you know, all over the choir.” “Yes, I know. I haven’t seen the Prato frescos yet; but I’m going to run out to them from Florence.” “Why don't v you stop off now at Prato? Well soon be there. I’d like to show the pictures to you. There’s another train for Florence in two hours.” This time Barbara did blurt out: “Well, I never!” Then she added, with pert, offended dignity: “My friends will meet me in Florence station.” She italicized the sentence as she spoke it, to show the man that she was well protected.;. .;• ■; “I shall read my Ruskin till I get there,” she added saucily, ripping the book open upside down.

-2 “I want you not to consider nae rude,’* he answered. “I’m not considerlng you at all," Barbara snapped, her eyes riveted on the topsyturvy volume. “You can wake up that Italian and talk to him if you still feel in need of conversation.” She noticed with exasperation what was wrong with Ruskin, and turned the book about. “I should not continue to bother you if I didn’t have a reason. It is really necessary that I should talk to you.” Barbara studied Ruskin. “What my reason is I cannot explain ; but it is very serious.” Still she .studied. = “I jnust insist that you listen to me.” She raised her hand toward a little brass ring above her head. Then she darted at him: "Do you want me to yank that danger signal and stop the train?” “No! Stop!” he shouted, starting nervously. Barbara reveled in that nervous start of his. “You’re afraid, are you? Well, be quiet, or I’ll do it.” Then she ground her teeth, determined. He was silent for some minutes. Then he tried her on another tack. “We may have mutual acquaintances,” he ventured. “I haven’t told you my name. It is Crosby.” He paused. “Carrol Crosby.” “What! The painter? I don’t believe you.” He drdw forth a card. “Please,” he said pleadingly. She was intent on being intent upon her book, but he had her now. She couldn’t help being curious. She read R. A. upon the card. Her rudeness came over her with a qualm. «I_l’ve heard abbut you from the Bensons,” she said humbly. Tm so sorry.” “Sorry that you’ve heard about me?” He laughed to put her at her ease. “You mean the Hyland Bensons, I suppose. I know his landscapes.” “They’re the people that are to meet me at Florence,” Barbara whimpered. “I’ve been rude. You’ll think me awful. But”—here her spirit sprang to self-defense —“you know what you suggested.” “You believe me now to be a gentleman of honor?” “Oh, don’t! That isn’t kind. It hurts.” “Forgive me,” Crosby said. “But I want you to understand me. I had, and still have, a very good reason for asking you to stop off with me' at Prato. The Fra Filippo Lippis were only an excuse.” “The reason?” There was a flurry in Barbara’s breast. Was he going to be foolish, after all? Other men had been foolish ; they had even praised her turnedup nose. But she knew she wasn’t pretty; at least, she didn’t think so. “It Is not a personal one,” Crosby answered. And Barbara —she didn’t know why —was a little hurt. “What is It, then?” “I cannot tell you; but It is a very potent one. I beg you to believe me when I say that it is necessary—really necessary—that you leave this train with me at Prato.” “I don’t see why.” “Then I shall go with you to Florence.”~ Barbara wondered. “But that wouldn’t do as well,” he added gravely. “If you will get out wdth me at Prato—and you must —I shall tell you the reason as soon as the train has left the station.” “Why not now?” “I have told you that I cannot The next train for Florence will be along in a couple of hours. I will telegraph the Partridges. While you are waiting I shall stay with you, or leave you, just as you choose. My purpose will then be fulfilled.” His purpose! Are you trying to see if you can command me?” Barbara asked him ’sharply. “Men are strong; but women are stubborn.” “I don’t commander beg. You will thank me. The Partridges will thank me. A gentleman would never be as rude as I have been unless he had good reason.” - 4 The word “rude” stung her. “Here’s Prato now. Will you trust me?” His eyes joined his voice in pleading with her. Barbara had never yet been beaten by a man. Her pride still bristled up when th*> train put on the brakes. “Won’t you Srust me?” He asked it as a favor. She wondered now if she would\ yield. The train clattered to a full stop. Crosby opened the door of the compartment. “Come,” he said, commanding. Barbara followed him. He said nothing till the train had gone. “Will you tell me why Pm here?” Barbara asked him pertly. “Yes. But I want to compliment you first upon your fortitude. An English girl would have actef differently. If I had known you from the first, I might have decided not to speak to you, after all.” don’t meT* salJ Barba.rtu “That’s too bad.” “I like you very much,” he answered. “Did you make me get out just to tell me that?” “No.” “Why, then ?’ “Did you notice that Italian in the car?” “It is not my custom to notice strangers.” Then she added, to soothe away the sting: “Especially when they are foreigners qsleep.” “He wasn’t asleep,” said Crosby. “His hat was down. You couldn’t see. 1 sat opposite. His throat was cut from ear to ear.”

Furs, Satin and Soft Felt Hats

Recently, writes a Paris fashion correspondent, j .witnessed an amusing little scene ih which a famous London beauty played the leading role. The background was one of the big department stores on the Boulevard Haussmann, and the beauty was none other than Lady Diana Manners, daughter of the duchess of Rutland. I noticed a considerable crowd of women and girls at the untrimmed hat department. This was nothing new, for nowadays every department of every big store in Paris is crowded, but it struck me that instead of searching for becoming hat shapes for themselves these eager girls and ’ivomen were watching someone else making a choice. I made my way to the scene of , action and there standing before a looking glass, I found a very tall, thin English girl with wonderful golden hair, Starry blue eyes and blushrose cheeks. She was actually making a. restaurant hat before the eyes of those amazed onlookers. With absolute unconcern she pulled on a transparent brim made of black “tulle and then added a- full crown of glittering gold tissue. Then she pushed into place a cluster of metallic flowers and a Louis XV bow of black velvet, gave the whole thing a final pull to make it fit well down on her lovely hair and indicated to the speechless shop girl that she wished the hat made “like that.” It was the prettiest sight you can imagine. A really beautiful girl displaying a wonderful cleverness in the arrangement of fragile materials, above all, the essentially English disregard for the crowd of onlookers. All for Picturesque Dressing. Lady Diana was —as usual —dressed picturesquely. All the duchess of Rutland’s daughters have inherited their mother’s genius where clothes are concerned. It w’ill be remembered that when the duchess was Lady Granby she led a very exclusive circle, in London, who called themselves “The Souls.” All the members of this circle went in for picturesque dressing and the duchess of Rutland Is still famous for her clever arrangements of gorgeous brocades, lengths of rich fur and priceless laces. The day I saw Lady Diana she was wearing a simple one-piece frock, made of navy blue serge, which had a narrow belt of scarlet patent leather. ■Thrust into this belt were two long, white suede gloves and a magnificent red rose. Her wrap, which was thrown carelessly back on her shoulders, was made of black poult de sole and fashioned like an Irish peasant’s cloak, with a plain round yoke into which the-rest of the cloak was gathered. The mantle was lined wdth bishop’s purple crepe de chine and topped with a supple collar of kolinsky. The cloak was tied round Lady Diana’s really lovely throat with wide, black silk ribbons and when the moment came for taking oft the recently “created” hat and putting on one she had worn on entering the estabishment I found that the latter took the form of a fisherman’s cap, made

Quaint toque in “flamingo” red silk crochet, embroidered in blue and black.

of scarlet silk tricot, with quaint black and blue embroideries round the peaked crown. I have sketched this highly original cap for the benefit of fashion’s readers. They will see that it is charmingly becoming and youthful. Cap Well Drawn on Head. some mysterious way the peaked crown was invisibly supported, but the cap was so well drawn on the head that It did not need any hatpins. The duchess of Rutland was an amused spectator of the hat-making episode. She also wore a black cloak, and a black charm euse dress with a single string of magnificent pearls caught in by a diamond brooch. - The full-length figure sketched shows one of Redfern’s new models for early spring wear. The material was stategray cashmere de sole and the trimming consisted of bands—wide and narrow—of course black filet net embroidered in white wools. V This is one of Redfern’s newest ideas and a very effective one; the heavy white wool embroideries look splendid on the coarse black net ground and it is a Style of trimming wfaich can be introduced on almost any

material. It looks particularly well on black satin or on raven’s-wing-bluw cloth. The outline of the coat la novel, and becoming. It is quite long, reaching well below the knees. Then in front there is a straight plastron which seems to tie round the waist.. As a matter of fact, this plastron is part of the coat itself and the whole thing fastens invisibly at the left klde. Redfern is showing a good many spring coats of this length and they are having much success. The accompanying skirt is short and tight and the ensemble is exceedingly chic and smart. The hat shown in this drawing is a new model by Reboux. The brim is longer in front than at the back and the crown is high and full. Style Popular in Paris. A loosely curled feather is laid round one side, with a fascinating tip drooping over the brim in tassel fashion. Please note the round-cut neck of the

Early spring costume in slate-gray cashmere de soie, with bands of the new white wool embroidery.

coat. This is the style now most popular in Paris, for coats as well as for dresses and blouses. Several of our leading dressmakers are trying to make high, tight collars popular— for coats and dresses, but the Parlslennes are holding away from this innovation, except in the matter of wrap coats. All the same we shall certainly see something like a revival of high dress collars this spring. Whether this fashion will quickly become generally popular remains to be proved. I have lately noticed a great many ostrich feathers Introduced on velvet and felt hats. Some of those are of the loose uncurled order, but others are really handsome specimens of the feather tribe. I have also seen clusters of ostrich tips used as trimmings for high Russian toques. This is a revival of an old and very popular fashion. Black satin and soft felt hats will be “the correct thing” all through the spring and summer. The most fashionable milliner in Paris recently told me that soft felt hats will be very much worh this coming summer in conjunction with the most fragile dresses and rich “summer furs.” This indicates that we are in for a picturesque summer season, and that is good news. Summer furs are certain to be more worn than ever ; such /urs as ermine, moleskin, white fox and kolinsky—the latter in the form of square collars for coatees made of pale-hued satins.

Forty-Two Standard Colors.

The Textile Color Card association announced the issuance of a card of 42 standard colors for the manufacture of fall fabrics, the majority making their appearance for the first time. A departure was the Inclusion of ten colors in wool, the association's efforts formerly having been devoted exclusively to the silk trade. Nut and elk browns, and trooper blue were said to be striking features of the wool tones.. Of the silk colors, it was stated, blue* predominate, led by the Introduction of novelties named Louvain. Bruges and Ghent, while peanut and pelt browns; embr., “representing light and fire," and burnt orange were given special mention. >

Red Straw and Dresden Silk.

hats will as usual be to tha fore for dressy wear. In small hats, one style has a red Java straw brim with the crown in the same shade of silk in a dresden pattern. The trim* mlng is a feather mount. Matrons’ hats are in most cases small and high this year. One sees some delightfully stylish models in black Usere with high tulle and osprey trimming. Wing .effects are also seen on many of these hats for elderly women. *3

Grease on Carpets.

Use ammonia almost pure, cover th* spot with white blotting paper and iron lightly. Rub the spot with white flans nel dipped in turpentine.