5
TTTF. SFTTDAY OHEGOXTAX, rtfTCTXAXD, JANUARY 24, 1909.
Some New Conceits Shown in Prevailing
Styles of Ultra-Fashionable Dress Waists
Local Department Stores and Outfitting Establishments .Have Many Attractive Displays of These Indispensable
Items of the Feminine Wardrobe.
.
''1 U ' tlfe W; fife j
THAT n
fominii
is now
HAT most Indispensable item of Die
aino wardrobe, the drese waLt,
low at the heiplit of Its glory in
the loral department stores and outfitting
establishments. The difficulties that the
dr.ss waist bridges for the woman of lim
ited nieans. and the emergencies It fill
for even the fortunate one who possesses
an extorsive wardrobe, are almost Innum
erable. Where an elaborate sown would
be too conspicuous, and a severe tailor-
made waist worn with a tailored suit out
of harmony, the dress blouse, dainty with
frills and ruffles, solves the problem and
tnkea the happy medium.
The dres waists and fancy bloutes this
eaeon are more than usually attractive.
The designers have let fancy run free In
the matter of fluffy frills and furbelows.
nd the quaint old-fashioned effects so
much In vogue, are worked out chann
Jncly In too dainty affairs of dollrate tint
and texture that one may slip on with
one's street suit to handily, for an after
noon or evening at the theater, or for
the informal dinner.
The accompanying; sketch, made by
The Oregonlan's fashion artist from the
displays of several local merchants, show
a f.w typical styles In fancy dre?j waive,
a'eo a, number of smart and dressy neck
wear accessories.
Shows I 'I no Combination.
The central figures show a pretty waist
In a chartnlna- combination of robln's-cgs
blue and cream, the body material being
of soft, filmy novelty Roods. In the dain
tiest of cream tones, and the touches of
bine belr.jr in the smart velvet tie at the
Berk, the dlrectolre belt of dlrectolre sat
in, and a filmy V of embroidered blue
chiffon fllllr In between the ruffiea be
low the bust line In the front. The yoke
Is of tucked material, and neck and sleeve
flounce are finished with fine Valen
ciennes lace- The sleeves are of the mous
cjurialre design, the himy material being;
draped closely about the arm. and the
s.eeve extending. In Its final flounce, well
out towards the fiiurer-tlps. Just below
the elbow a full ruff breaks the Ions; line
of the sleeve. The double ruffle extending
over both shoulders narrows and ter
minates at the high, directoire sash. In
the back.
Has IXenvy AH-Ovr Lace.
A beautiful combination of champarne
color and black Is shown In No. 6. The
leevee and body of this waist are of
heavy all-over lace, fitted closely to the
lines of the arms and figure, and the
drano of a soft, novelty material In the
delicate pinkish yellow of the champagne
tone, is hung loosely siarpllced. across the
b;i?t and unner arm, as shown in the
H
BT I.IIXIAV TINflLB
Bread Series No. 4.
AVIXG good materials and suitable
utensils at hand, the next thing to
consider In the making of bread is
the process of mixing and baking bread
dough, talcing each step In detail. Of
the two methods In general use. one la
known as the "sponge process." the otner
as "off-hand process." Kacb. hss Its
oifn particular advantages and disad
vantages. In the first process the steps are as
follows:
1. Setting the sponge.
I. tJrowth of the yeast.
Mixing.
Kneading.
First rising.
Shaping.
Second rising.
Baking.
Cooling.
Scald the liquid, melting the short
ening with It. if shortening Is used; pour
Into the bread pan and cool to lukewarm.
In the meantime, dissolve the yeast cake
In a little lukewarm water; or. If com
pressed yeast Is used. It may be rubbed
Into a soft paste with a teaspoonful of
powdered sugar and then dissolved In
lukewarm water.
Blcud the yeast and lukewarm wetting
by stirring, adding salt and sugar (if
used). Then sift In enough warm, but
Veicb. The snrolteed effect, draped clos- not- I,our xo """ ra.uer nnn
r to the shoulder, la carried out In the Datter. The exact sUffnesa of the batter
back, which has the high empire lines
this effect being secured by the easti belt.
A band of black velvet ribbon, over the
right shoulder, affords a mock support for
the drap?, and two ornamental buttons,
in black and pale gold, are used where
this band joins the drape. Another or
namental button of the same design, but
of larger size. Is used where the drape
loops over in the front. A narrow band
of black velvet ribbon encircles the high
neck. Just under the double frill of Cham
pa crecolorpl chiffon, and the directoire
sash Is of the material, with long stream
ers of the mme hanging from the left
side, at the front.
The net waist 1s losing Its popularity.
but a few smart net and heavy lace
waists are still seen In the displays. Xo.
1 shows one of the new net waists. It Is
of extremely heavy net In smoke color,
with bands of heavy lace insertion, and
the sleeves show wide horizontal tucks,
with a frilled and pointed finish running
out over the hand.
Xo. 6 shows a pretty and simple little
neglige blouse of white dimity, with front
piece, collar and cuffs of blue and white
striped goods. One of the smart new
patterns In linen waists la shown In No.
. This design shows the new style of
cuffs, and demonstrates the tendency
towards fanciful touches in contrast with
the former severity of linen w-aists. It
will be noticed that embroidered medal
lions are a feature of this waist, the me
dallions being in evidence even in the
design of the collar.
. Some New Accessories.
Several new idVas in accessories are
shown in Xo. 10 and Xo. 15. and three of
the new styles In card-cases and purses
are also sketched. Xo. 7 shows a dainty
and elaborate embroidered collar with
one of the smart new Jabots, and In Xo.
9 Is sketched one of tha pretty new em
broidered ties to be worn with, the plain
or embroidered linen collar.
Attention to Every Detail
Neessaryjn Making Bread
Lilian Tingle Outlines Two Processes of Mixing and Baking That Will
Be Found Easy to Follow.
8.
.
i.
Is not very Important, so do not be afraid
of adding too much or too little at this
time. It Is. however, well to notice how
much you use for this, so that you will
have an Idea of how much more will be
needed for the final mixing. Usually
you will need about three pints of flour
for one pint liquid. This quantity should
give two medium-sized loaves of bread,
or a "double loaf" and a small pan of
biscuit.
Now cover the pan and set In a warm
place (70 degrees F.). It may conveni
ently be set overnight In cool weather,
as the temperature of the room will fall
during the night, and retard the growth
of yesst. With this method. If you want
the baking In the afternoon (as Is con
venient in many households). It Is well
to "set the sponge' In the evening In
Winter; late at night or very early In the
morning In the Spring and Fall, and In
the morning In Summer. Tou will soon
find that within certain limits you can
have the bread ready for baking when
ever you please, and that you can hasten
or retard It according to circumstances
o that yon need nerer suffer the agon
ies recorded by Jane Welsh Carlyle. Per
haps you remember how she describes
herself as "Ignorant of every branch of
useful knowledge, though a capital L&tln
si holar and a fair mathematician"; and
how, owing to her husband's indigestion
nH to the lack of capable servants, she
found It behooved her to learn how to
cook.
She says: "So I sent for Oobbett's
'Cottage Economy.' and fell to work at a
loaf of bread. But knowing nothing about
the process of fermentation or the heat
of ovens, it came to pass that my loaf
got put Into the oven at the time that
myself ought to have been put to bed,
and I remained the only person not asleep
In a house In the middle of a desert. One
o'clock Btruckl and then two!! and then
three!!! And still I was sitting there In
the midst of an Immense solitude, my
whole body aching with weariness, my
head aching with a sense of forlornes
and degradation. That I, who had been
so petted at home, who had been never
required to do anything but cultivate my
mind, should have to pass the hours of
the night watching a loaf of bread which
mightn't turn out bread after all! . . .
I laid my head on the table and sobbed
aloud."
Judging from confidences I have re
ceived it would appear that Mrs. Carlyle
Is not the only novice who has sat up
with a badly calculated and obdurate
batch of bread.
2. To return to our rising- sponge'.
When ready for use It should be light
as froth from bottom to top. Now Is
the time to add the extra sugar or
shortening; to any portion of It that Is
to be reserved for rich rolls, buns or
coffee cake.
3. To the rlatn sponge sift in the
rest of the dry, warm flour, beating
with a wooden spoon or heavy knife
until the mixture Is too stiff -for beat
ing. 4. If no bread mixer is used turn
the mass of dough upon a well-floured
moulding board and knead thoroughly.
There is a "knack," in Jcneadins; ef- i
fectlvely and with minimum exertion
which Is best learned by watching a
good bread mixer. Kneading: Is a fine
exercise for rounding out scraggy
arms; but I prefer the bread mixer
from motives both of cleanliness and
of economy In time and strength.
Twenty minutes or more may be re
quired If muscles are used; Ave minutes
with the mixer. The object of knead
ing Is to develop the gluten in the
dough, and to distribute the yeast
evenly, so that a fine, even texture is
secured. Dough Is sufficiently kneaded-
when It has a firm elastic texture, re
bounds when prodded with a finger,
feels smooth and satiny, and does not
stick to hands or board.
5. Now return the dough to the bowl
or pan, and brush over with melted fat
to keep out the 'r and prevent the
formation of a hard, dry crust. Cover
with a cloth and" keep at about 70 de
grees Fahrenheit until the mixture has
risen to double its bulk.
S. When risen, work the dough down
slightly and shape Into loaves or rolls,
without overhandling. Place In slightly
greased pans, and brush the top again
with grease to prevent hardening. Iet
the loaf only half fill the pan and have
the rolls only about half the size you
wish them to be when finished.
7.. Cover the pans with a; cloth; keep
warm until the bread again doubles in
bulk. Remember that does not mean
necessarily "twice as high." If your
pan Is too wide for the amount of
dough, the bread will spread into a
rather flat loaf, but still may be light
and sweet. Don't wait until you find
yourself face to face with Jo's famous
question in "Little Women:" "Is bread
'riz' enough when It runs over the
pans?"
8. The oven should be 400 degrees to
450 degrees Fahrenheit. A rough test
con be made with a teaspoonful of flour
on a bit of paper. If It begins to brown
In two minutes, the oven is right for
rolls:. and if in five minutes, for loaves.
Use an asbestos mat If the oven Is In
clined to burn at the bottom. Fifty to
60 minutes will be required for a roe-Hlum-slzed
loaf. The heat should be
steady, tending to decrease toward the'
end.
The loaves should be a delicate brown
at the end of 15 or 10 minutes and may
later he covered with caper. If nec
essary to prevent burning. Slack baked j
bread Is abominable and indigestime. .
It may contain uncooked starch, living
bacteria, and moulds; and will some
times sour in the oven or after cak
ing. To insure thorough cooking,
loaves should not be too large, since
on account of the moisture present the
center of the loaf never becomes hotter
than 212 degrees and may be much
lower.
J. Cool thoroughly, with free circu
lation of air, before putting away.
Never wrap bread in a cloth. If a soft
crust Is liked, brush over with butter
or lard. A crisp crust Is, however, more
wholesome.
In the "off hand" method the steps
are similar In number; but all the flour
Is added to the wetting at once as the
first step, and the long kneading given
as the second. The bread is allowed to
double in bulk and Is then cut or
worked down as a fourth step. The
rest of the process Is as above. Some
times in the "off hand" method, only
one rising is given before shaping. Tf
one veast cake Is used to one pint of
liquid the whole of this process can be
carried out in five or six hours; and,
generally speaking. It is quicker, more
easily watched, and less likely to pro
duce sour bread than the "sponge process."-
It is consequently growing in
popularity, and from its convenience Is
the method usually taught In cooking
schools. It is best with compressed
yeast, but the sponge method is some
times more advantageous with dry
yeast, and i3 generally preferred for
fancy breads. With good materials and
THE MODERN WAY
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care as to cleanliness and temperature
equally good bread is possible by either
method.
Robert Burns' 150th Anniversary
Eev. C. E. Cline Gives an Appreciation of the Scotch Poet, Showing
Latter 's Mastery of the Emotional and Intellectual.
RUisliKX SUK-NS. scoicn poet, ourn
January 25, 1759, Is a reaction from
the artificial classic verse of Dante,
Milton and Pope. Most persons, scholars
Included, now care little for speculative
assertion about devils and angels, and
have no particular liking for stern pic
tures of woe..
It Is therefore refreshing to walk
through God's out of doors and, hear the
songs redolent of the soil, by a sensible
man whose work It was to follow tne
plow dally. It Is fortunate that Burns
was a toiler and that what little time
he had for llterany study was spent In
Dorinc over the old songs of Kamsay
and Ferguson, who but for Burns would
long since have passed Into oblivion.
The secret of Burns popularity as
noet Is not hard to find. It lies in the
ease with which he unites tne emouonai
and the Intellectual, gliding along with
simplicity into the most melodious
erse. His lines possess more ease, aim
plicity and naturalness, and withal more
perfect metrical structure tnan any
ther writer. Here is an instance:
Some books are Hps frae end to end.
And some great lies were never pen'cd
Ev'n ministers they lia'e been kenned
In holy rupture.
Arousing wiild at timPi to rend
Anil natl't v-t ,Si-rt;if ui e.
But this that I am gaun to tell.
Which latalv on a nicht befell.
Is Juat as trua's the devil's in hell.
That e'ar ha nearer cornea ourael'
'S a muckla pity.
Here is no effort to embellish thought
by hlsh-soundlng phrases. The power to
produce highest errect wun simple speecn
Is the best evidence of genius and abil-
r. .. ... .
Tarn O Shanter was written in a aay.
In fact, none of Burns' poems were re
volved In the mind slowly and added to
from year to year, as was the case wltn
Goethe, In writing "Faust." Burns' mel
ody Is therefore more wonderful because
of the absence of laijorious enori.
An a. eed Scotchman, a Btone-cutter By
trade, in whose house I lived for a time
when I was a Joy. and who had many
times seen Burns In his father's home,
related, as I remember it, the following
Incident: Once they sat down with the
poet to a plain meal, placed on their
humble table In three small platters. As
was the custom, the host said, "Robie.
return thanks!" Whereupon Burns, with
out hesitation, bowed his head and said:
The Lord that blessed the loavea and fishes.
Look upon these three small dishes;
Though they may seem but small.
Make them sufficient for ua all.
The attraction of Burns' songs Is that
they fairly sing themselves and for the
reason that he was divinely Inspired In
the sense that Shakespeare was Inspired.
Burns had an Instinctive sense of what
words were best stilted to what he want
ed to say in verse, putting them together
In exquisite poetlo structure, as natural
ly as a child laughs at play.
The power to appeal to the emotions
In good taste Is the distinctive trait of
all popular literature. Burns always
writes so you feel It. One reason is, he
Is describing scenes and experiences
through which you have passed yourself,
or at least he makes you think you
have. TVho that has lived in the coun
try, among the birds, does not feel a
kindred thrill in these lines:
Te bruak my heart ye little birds.
With wanton In the flowing thorn.
Ye mind me o' departed Joys,
Departed never to return.
Burns restored passion to English lit
erature, utterly frozen out of it by
Dante. Milton and. Pope. His passionate
treatment of love is most characteristic.
"My Nannie's Awa," "O were I on Per-
nassus Hill. "open tne L'oor to aie,
Ob!" may lack, reverence, but they lack
x
nothing eUe. His lines to a mouse
whose nest had been turned up by the
plow are pathetic:
That wee bit heap o' leaves anrt atubble
Has coat thee mony a weary nlbblo!
Now thou'a turned out for a' thy trouble,
etc.
He found without effort expression for
every mood and every condition. He
makes us grieve not only for the poor
little mouse turned out of house and
home, but for the little flower as well;
and one can scarcely refrain from tears
In reading the fate of the poor little
daisy:
There In thy scanty mantle clad.
Thy snowy bosom Unwarti spread,
Thou lifts thy unassuming head
In humble guise:
But now the share upturns thy bed, .
And low thou lies.
Is a glance at his human
And here
sympathies:
Ae fond kiss, and then vm sever;
Ae farewell, alas! forever!
Had wa never loved ao kindly,
Had we never loved so blindly.
Never met or never parted.
We had ne'er been broken-hearted.
Burns' humor crops out everywhere,
an IngTedient without which no man can
be really irreat. The secret of Burns'
popularity Is not to be found In any one
thing, for he was many-sided, but that
which appeals most to the greatest num
ber of readers Is his humanity.
Many common people there are, not
endowed with power to see the excel
lence and beauty of classic verse, but
they know much of sorrow, love, Joy
and mirth. Burns' homanlty, common
sense, pathos and humor Interpret these.
It is his power with these common, sen
sible folk that critics admire, his warm,
wide, human sympathies give him pop
ularity with the masses of all clime?, a
popularity steadily growing after a cen
tury and a quarter and destined to In
crease through all time. C. K. CLINE.
Middle-Parted Hair Again.
Philadelphia Record.
"It will soon be the fashion again to
wear the hair parted In the middle." said
the boss barber In a downtown shop.
"For a good many years the style has
been dictating a side part, but now the
middle is winning its way back. lead
ing actors. I guess, are the cause of the
change, although I am not sure of that
point. Nevertheless, I notice that a great
many stars part their hair In the middle.
At any rate, we are getting a number Of
requests from young chaps to train their
hair for a middle part, so I guess It is
coming all right. Only a year or so ago
I can well remember that we used to
consider the man who parted his hair
In the middle a sissy, and rather made
fun of him. The well-groomed man dur
ing this period brushed his lonp part
back on the head, thus training his lialr
and giving a very distinguished appear
ance. I must confess that I liked this
side part very much, but I fear very
much that It is fated to co the Journey
when the parted-in-the-middle style gets
popular. Another stylo that, bids fair to
be revived in the face of all this prize
fight talk of Jeffries and Jack Johnson
getting together Is the one-time famous
pompadour made famous by Jim Corbett
Pompadour Jim they used to call him.
However, that's farther In the future
than the part in the middle, which I
think will be the rage in the very near
future."
and forget his usual hobbles because of
his anticipation of a night of distress.
In the reality, he ought to prepare himself
for sleep by congenial activity, in which
his mind will be weaned away from the
fear of not sleeping. Once more, work
Is an enemy to the fears and impulsions,
to the strange sense of unreality and other
morbid symptoms which accompany
psycliasthenla. Work restores to such a
sufferer "the function of the real." It is
only throush contact with reality that
man, whether normal or abnormal, can
find abiding satisfaction.
It is proposed to bilild a motor approach
road to London, a dlatanre of 15 miles, with
a width of 40 to 60 feet. The highest
Kradlent is 1 in 30. It will cost $200,000 a
mi!".
A
ft
4
Good Work Cures Ncrvea.
P.ev. S. S. McComb. In Harper's.
Work, again. Is the enemy of Insomnia.
The sufferer from bad or broken sleep is
Ill&oie xo Rive up uuties or to DO JMacK
In their performance, to Abandon exercise
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