We

How unbecoming were those thick and mat-like curled fringes that came down to the eyes, depriving the face of every ray of animation, or those others, curled likewise, and lying in a straight line across the forehead, bringing out all the animal character, and imparting a sulky expression to an otherwise cheerful countenance. all know the girl who invariably covers up the middle of her forehead, and leaves her temples bare; her friend who cuts a scrubby little straight fringe, and lets it stick out in every direction, at its own sweet will; and the third variety who scorns fringes of all kinds, and pulling her hair straight off her brow, rolls it behind into a pellet the size of a walnut.

Again, there is the girl who has abundant hair, and does not seem to know what to do with it, so plaits it closely into innumerable small plaits, or twists it tightly into rolls all round her head, and goes about as neat and ugly as possible. Finally, we have the matron, who bands her straight locks down by her ears, or conceals the thin place on top of her head by a band. So far as fashion is concerned, the hair is still dressed very simply in a twist at the back, and adorned only by a single handsome comb of tortoise-shell, inlaid with steel or silver. Fringes are either brushed back entirely, or are arranged softly and lightly by those whose foreheads are too high to bear the severer mode. The rest of the hair is waved and knotted behind.

Some time ago I had the advantage of a conversation on the subject of hair-dressing with Mr. H. Lichtenfeld, at 79, Regent Street, and he imparted to me a little useful advice on the subject of hairdressing in general. To wear the hair brushed right off the face, he said, demands a perfect forehead. If the forehead be very broad, the hair should be drawn tightly at the sides. If the back of the head is unduly developed, the hair should be slightly raised behind and dressed flatly. If the cheek bones are too prominent, fluff out the hair. For a large face, dress the hair high and broad, never narrow it on top. A girl with a face of this description and full, fat cheeks should never wear a pointed fringe, which throws out and accentuates all her defects, increasing the heaviness of her natural appearance to the most unbecoming extent. For a very wide, wellshaped forehead, the hair should be softly turned back in the centre and fringed on each temple. If the forehead be less good, the centre piece may be waved and slightly

puffed forward so as to improve its shape. A very hard and masculine face looks best, perhaps, with the hair cut short and curled.

A girl with a pretty neck should, at least for the evening, dress her hair low en catogan. A woman whose neck is short should give it length by having her locks combed or twisted straight up at the back and arranged as high on her head as possible.

To Mr. E. Smith, the well-known hairdresser, of 87, Westbourne Grove, I am also indebted for many hints, some of which

PARISIAN MODE OF DRESSING THE HAIR.

may be useful to my readers. He further assisted by permitting our artist to sketch certain styles suited to women of different types and ages. Much that he said coincided with the views expressed by Mr. Lichtenfeld.

Nothing, he declared, was more becoming to an elderly lady than waved hair dressed loosely, as it gave softness to the face. For a girl of sixteen or seventeen he recommended the pretty coiffure we show on the centre figure, with a slight pointed fringe on the forehead and the hair dressed low at the back. He, too, warned broadfaced people against pointed fringes, which make the features hard, and are only suited to small faces with narrow foreheads.

Coils variously arranged have long since replaced the ugly "bun." A woman who wishes to look young will accomplish her object best by adopting a fringe that suits her. If she has this cut for the first time, she may prefer to have it on the temples only. When hair is getting thin in front, it is well to wave it. Those who object for one reason or another to a fringe had better cut their front hair rather, but not very short, wave, and turn it loosely back à la Pompadour.

To give smartness to heavy features the fringe should be divided to one side and brought somewhat to a point, the back being

waved. The parting in the centre, now so general, ages the wearer if the hair is waved from it and brought over the ears, but if the hair be waved from the side and then brought loosely over the ears the effect, on the contrary, is youthful. Mr. Smith added that nothing was as destructive to the hair as straining the roots by tying them too tightly. The various styles we show from his designs are intended for a woman of about thirty-five (No. 1), for a young girl going to her first ball (No. 2), and for an old lady (No. 3). The best of present

fashions is that they are so adaptable. Elaboration is quite out of favour, and while now more than ever an effort is being made to suit individual faces, the hair on the whole is simply arranged.

The belle tête de coiffeur is rarely or never seen in real life, and when it is, unless exceptionally artistic, it has a stiff and formal effect, quite opposed to latter-day notions. of the becoming. I will conclude these remarks on the dressing of the hair by a useful hint to girls being arrayed for a ball.

If unable to judge of the effect of one's hair, as often happens by artificial light, hold a white towel with both hands behind the head or have it held. Against this background every twist, coil, and curl will show up, and any stray locks before unnoticed may be confined within due bounds.

HATS.

Most of you, my dear readers, know the name of Monsieur Chevreul, the famous French chemist, discoverer of aniline, who

died a few years ago at an advanced age, but probably you do not associate him with anything as frivolous as hats. Nevertheless to Mons. Chevreul we owe a series of rules founded on scientific principles, which form perhaps the best and safest guide in the choice of headgear.

"In purchasing hats," says the sage, "avoid heavy trimmings, as also square and other eccentric shapes. For these an original style of hair-dressing is absolutely necessary, and this most women lack courage to adopt. The head should have that easy, that dégagé air that gives a certain elegance to the whole person.

"The largest hats covered with feathers and drapery, when trimmed with taste, preserve that appearance of lightness that is desirable and becoming. The large hats of Marie Antoinette's time, high and beplumed though they were, did not lack grace. On the other hand, bonnets modelled on the toques worn in the reign of Henry III. of France should be large enough to frame the head.

"A black hat, with white feathers or flowers, or with pink or red flowers, suits fair women. It is not unbecoming to brunettes, but on them is less effective. They may add orange or yellow flowers or trimmings.

"A dead white hat suits only clear white or rosy complexions, whether dark or fair, but hats of gauze, crêpe, or tulle suit all complexions. For fair women white hats may be trimmed with white, pink, and, above all, with blue flowers. Dark women should avoid blue and choose red, pink, or orange in its place.

"Light blue hats are particularly suitable to blondes. They may be trimmed with white flowers, sometimes with yellow or orange-coloured flowers, but never with pink

or violet. The brunette who risks wearing a blue hat must on no account omit orange or yellow trimmings.

"A green hat throws up a clear white or delicately pink complexion. On it white, red, or above all pink, flowers may be placed.

"A pink hat should not come near the skin. It should be separated from it by the hair, by a white or still better by a green trimming. White flowers with abundant foliage are very effective on pink.

"A red hat more or less deep in shade is only to be recommended to women whose faces are somewhat too florid.

Be

"Avoid yellow and orange hats. cautious with regard to violet and purple hats, which are always unbecoming to the complexion unless they are separated from the skin not only by the hair but by yellow trimmings. The same remark applies to yellow hats, which brunettes alone can venture to wear without a trimming of blue or violet."

To continue as we have begun on the subject of colours, a girl of the indefinite. colouring so common amongst us-light brown hair without gloss or gleams of gold, a dull complexion and grey or blue eyes, a girl who is fair rather than dark, but not pronouncedly fair, will look best in black velvet, and after that in glossy satin or other shiny material, in pale, warm pink, in warmish, pale blue, very dark blue, invisible green, and creamy white. She should avoid loud and striking ornaments, preferring those that are artistic, rare, and curious, especially in moonstones, pearls, turquoises, or sapphires.

A fair girl with chestnut hair and blue eyes is safe in almost any colour except mauves and pale undecided colours. The sapphire is her stone, and if she has a bright colour, the pink topaz.

A golden-haired girl with a rosy skin. looks best in turquoise blue and turquoise ornaments, in purple and amethysts, in warm greens and emeralds, in amber, in warm greys, black, or cream, in fawns, browns, écru, and flame colour.

A brunette with black hair, dark eyes, and a pale sallow skin, will find black, black and white, deep dull reds, dark warm greys, flame, and tan most suitable. Rubies will look superb massed on her rel gown, or with grey she may wear steel or jet; while diamonds, gold, and opals will set off her colouring. If instead of a pale sallow skin. she has a complexion of a rich warm brown, all the deep and showy colours will suit heramber and other yellows, reds, flame, maizè,

and so on, but cold colours and black must be avoided.

A brunette with grey eyes, a fair skin and bright rosy colour, a type that is not unusual amongst Irish girls, looks well in bright and dark greens, mauves and purples, blue, white, cream white, fawns, grey, browns, reds, gold, black, blue and lilac, and may by way of ornament wear any sort of gem that matches the colours given.

To benefit women whose shade of colouring is less clearly defined than those we have given, we repeat the safe rule-for street wear, match your hair; for the house, your eyes; for the evening, your skin; and you can never be inharmoniously costumed.

Generally speaking, light colours are becoming and dark colours unbecoming to the complexion. White of a suitable shade throws out the gleam of a woman's teeth and eyeballs, and thus gives vividness to an otherwise uninteresting face.

Just as it is necessary to study one's style of hair-dressing at the glass to obtain the best results, trying fifty different arrangements before hitting on that which suits to perfection, it is well for a woman doubtful as to the colouring that most becomes her, to try a hundred different shades one after another until she is able to pick out those which heighten her natural good looks. If she examines her eyes closely she will probably see innumerable streaks of blue or grey, or green, or yellow, or brown, any one of which accurately matched will make her look radiant. Having chosen those she prefers, let her select in turn jewels that match her gown, or another of the colours in her eyes, and the result will be a perfect picture.

Our full- -page illustration shows an evening dress of pearl satin, the bodice covered with cream accordion pleated chiffon, and the sleeves having three flounces of satin with chiffon falling over. Wide chené silk ribbon with a pattern of pale pink roses comes from the waist at the back where the rosettes are placed, and passing over the shoulder fastens at the waist in front with two old paste buckles, falling in long ends to the bottom of the skirt. Lappets of old lace, appliquéd on ribbon, come over the shoulders. wreath of pink roses edges the bodice and sleeves. The cloak is in beaver-coloured velvet, trimmed with sable and lined with pale yellow satin. The cape, which is also of pale yellow satin, is covered with guipure appliqué.

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66

HO dare say that Chaucer and Shakespeare, Byron, Dryden, Burns, and Wordsworth have only been properly enjoyed by readers of equal intellectual rank with those poets themselves? It is flat blasphemy. The scheme of Providence is happily far otherwise. In matters intellectual poor men may live like princes on the endless resources of the rich. Where money is concerned I am quite of Dr. Johnson's opinion. that when all is said and done, it is better being rich than poor; but, so far as the enjoyments of the fruits of taste are concerned, the mere consumer is perhaps more to be envied than the producer, who usually endures much anguish and dolor."

AUGUSTINE BIRRELL.

"When Morewood was at work he painted portraits, and painted them uncommonly well. Of course he made his moan at being compelled to spend all his time on this work. He was not, equally of course, in any way compelled, except in the sense that if you want to make a large income, you must earn it. This is the sense in which many people are compelled to do work, which they give you to understand is not the most suited to their genius, and it must be admitted that although their words are foolish, not to say insincere, yet their deeds are sensible. There can be no mistake about the income, and there often is about the genius." "Father Stafford "-ANTHONY HOPE.

"Yes, my dear curate,' said the Professor, what I am enjoying is the champagne that you drink, and what you are enjoying is the champagne that I drink. This is altruism; this is benevolence; this is the sublime outcome of enlightened modern thought. The pleasures of the table, in themselves, are low and beastly ones, but if we each of us are only glad because the others are enjoying them, they become holy and glorious beyond description.'

Punch.

"I have nothing to say again' Craig, on'y it is a pity he couldna be hatched o'er again, an' hatched different.'

Mrs. Poyser in GEORGE ELIOT'S "Adam Bede."

"Seared is, of course, my heart; but unsubdued

Is, and shall be, my appetite for food." "Verses and Translations"-C. S. CALVERLEY.

"Our loves and our friendships are like steeplechases, their vitality depends on the greatness of the obstacles."