The Sunday Oregonian., April 16, 1911, SECTION FIVE, Page 4, Image 56

TIIE SUNDAY OREGONIAX. rORTLAXD. APRIL 16. 1911.
EASTER SHOPS FEATURE DAINTY
GOWNS FOR THE WEE FOLKS
Kw York Modiste. Via With Parisian Importer, to Achiere Beautiful Creations, as They Do for Mothers and Big Sisters.
. o S 1 i . ?
N ( v-. - .-r- ) v f i " - ..; .... s
NEW TUK. April u. 1 1
joy. mo der to th fmlnlne hrart.
of blowominf ronn id prrny ri
mnu U not 11 for "rown-up" thc
days. The wee folk of the fair sex
eem to be coming more end more Into
Importance each Eaitertide. and ome
of the dainty coitumri that are to be
worn by amall a-trla thla year are quite
a elaborate and Interesting: aa those of
their charminc mothers or elder sisters.
Some of the most fashionable mo
distes are making specialties of Juve
nile frocks, and the children'! ready-to-wear
departments In the big stores
are taking on equal importance with
the sections reserved f4r mUaes and
women. There are even Importations"
for little folk, with the stamp of Paris
looming large.
Some especially dainty and attractive
little frocka. representative of the lat
est Juvenile modes, are shown in the
areompanylng pictures.
A type of the more elaborate frock la
shown in No. 1. which Is an especially
pretty and dainty combination of blue
and pink, against the softent and pur
est of white. Flowered tolle du Jole In
pastel pink and blue tints la used for
the bordering and paneling, the founda
tion frock being of sheer white voile.
White rat-tall braid Is used In a pretty
scroll pattern against the delicate col
oring of the flowered material, and la
laid aa to conceal the edge where
the bordering and paneling Joins the
tucked voile.
Girdle and ItocH( Match.
The girdle and rosette are of ribbon
matching the soft nattier blue tone that
dominates In the flowered material, and
there Is an over-girdle of rat-tall
worked in a lattice and scroll pattern.
Sleeves and neck are finished with a
"QUO VADIS?" MOST SPECTACULAR OF
MODERN OPERATIC STAGE OFFERINGS
Jean Noumea Opera Based on Sienkiewicx'i Book First Produced by Henri ViUefranck Music Is Dissonant Until
Christianity Is Brought Into PI ay, When Character Changes.
BY IXIUC FKAXCKS BAVEK.
NBW TORK. April li (Special.)
"Vjuo VadlsT a brilliant spectacle
was the iaat novelty given at the
Metropolitan thla season, as the opera
house will close on Saturday night. New
York has been Indebted to the Chicago
Opera Company for some truly enjoyable
offerings this season In point of the fact
that to thta organisation has fallen such
fsvortte a CampanlnU Uary Garden.
Ilenaud. Dalmorea. Sammarco. Mine.
Bressler-Glanoll and a few others who
have been presented at JI too rare Inter
vals. Through Mr. Dtppel we bave also
been privileged to hear "Natoma" by
Victor Herbert, and the charming little
Secret of Suxanne" by Wolf-Ferrari
was also well worthy the enterprise of
a combination such mm Saromurco and
Carolina White proved to be. Tha Chi
cago Opera Company closed Its series of
ten performances on Tursday night at
the Metropolitan In the latest novelty,
which had an additional Interest In the
tact that so many of the members parti
cipated in tha performance.
Quo Vadlsr the well-known
-Whither?" of th Kaselan 3len-klewV-s.
which some years ao
gained much notoriety. has served
Jan Nouaues mlth a book suffi
ciently colored to make one of the most
spectacular off-r!ns: that the modern
operatic stage has known. Henry Cain,
who put Into Irrlc text the S!enklelcx
novel, la one of the most successful of
the French literati, and outside of his
own novels and some written in collabo
ration with Jean R chepin. he ha num
bered among tola libretto tboa of "la
avanaJse." "Sspho' and other French
oparaa seas known la this country. This
1 -. i v ' - - - 1 ..;
rf,::-: V--fte;,-'; .r..r
was the first time that an opera by
Nougues had a performance In this coun
try. He wss born In 1S76, and as the
son of a rich wine merchant he was
allowed, at the age of sixteen, to make
a serious study of music. But It was
not as a rich man that Nougues achieved
success because he had run through a
considerable fortune before he was 28
and only then he began serious compo
sition for the lyric stage. Several. of
his works had been produced at the
Opera Comlque of I'aris before he of
fered to that management "Quo VadlsT"
which made an anneal to them. He
then took It to Nice, but there, too.
failed to Interest the management. It
Is said that while thero. Nougues met
MI'S tJrenvtlle. then singing at the opera
and after hearing the work she was so
Impressed that she brought It before
the serious consideration of the man
ager Henri Vlllefranck. who was In
duced to produce It. with Miss Oren
vllle In the part of Kunlce, which she
sang at this production.
The musio Is quite as dissonant and
as Incoherent as the present day seems
to require. It runs along in little
shrieks and outbursts until the scene
where Christianity Is brought Into the
story, and then It changes character
materially, and Nougues, like many of
bis brother composers of France, proves
a mastery In ecclesiastical writing, such
as Is to be noted In the choral effects
which follow the appearance of St.
Peter, and In this form Is written the
first effective entre'aete. To Huberdeau.
who was cast aa Peter, came the first
grateful music, and he sang It with
all possible art and an adralrabla.
resonant musical voice. His Impersona
tion, noble In line and In bearing, was
a relief from much else which had gone
before. F.ven some of thla music Is
empty and commonplace, and much of
the other Is blatant and flashy, with,
however, the usual French skill In tone
color and some interesting orchestra
tion. Kenan d'a Art Dominates.
As always, the personality and the
rare art of Renaud dominated the work,
and aa usual bis presence gave It a
dignity which It needed in order to
raise it from the veriest melodrama
of the most sensational nature. There
were few moments when his singing
could be effective, as It was usually
pitted against the most disconcerting
orchestral hindrance. Instead of support,
always. Indeed, until the very last aria
In the llnal act. for which act logically
there Is no reaaon and only the pleaaur
to be derived from Renaud and the
picture wHilch surrounds him Is suf
ficient excuse to be reconciled to it. Du
franne as Chilon, a cynical philosopher,
gave thn most significant Impersona
tion of the opera, and he brought to It
many of his best "qualities and much
beauty of voice. Neron and Popee, the
Emperor and Empress, were repre
sented by Arimond. the basso and Mme.
de Clsneros, the excellent contralto, and
a very beautiful woman, formerly of the
Manhattan. The part offers little except
an opportunity to set forth the regal
beauty of the contralto and the basso
contributed more to the realism of the
picture than to the musical side, be
cause, even as he -Is supposed to sign
while P.ome is burning, she has not
even given the slightest chance at any
time.
Lygie and Vlnlclus, around whose
love theme some tenderness might have
crept Into the music, were Imperso
nated by Mile. Zepllll and Mr. Ouarda
bassl, formerly a baritone of the Metro
politan, now a tenor and far from sig
nificant In the role he attempted on this
occasion, and wnioh was sung In the
double piping of satin to match the
color tones, made the more dainty by a
scattering of French knots in blue,
pink and white.
That the modish short-walated effect
is not to be monopolized by "big folks"
Is made clear by the extremely dainty
little frock of baby-bluff and white
shown In No. I. The material is of the
finest and sheerest batiste, with row
upon row of exquisitely fine lace
whipped down by hand. There is a
square neck, and the simple little
sleeves stop short at the dimpled el
bows. The waist-piece Is finely tucked, and
disappears under the sash of soft, wide
blue ribbon, which is placed high and
runs upward at the back, disappear
ing under a monster rosette well above
the waist line. The bonnet Is of white
shirred chiffon with a crown of baby
blue straw and ribbons, and rosettes of
the same pretty tone. There is a fin
ishing touch of white leaves and tiny
blue roses made of the blue ribbon,
woven Into a wreath that encircles the
orown.
Semi-Princess Smart.
In the longer-waisted Juvenile modes
the seml-prlncess effects are very
smart, and these are particularly
charming, and effective In the distinct
ly l'ngerle styles. One of the features
of these models is the tendency to
wards trimming at the height of the
hip. these styles emphasizing the slen
derness of slender little maids most
gracefully. No. 3 shows an Imported
French frock of very fine French lawn
trimmed with fine Valenciennes Inser
tion and lace, and a flounce of the -lawn
and lace Joined on at the hip line with
a double row of the Insertion. The
skirt, by the way. is extremely short,
falling barely to the knees, according
to the French custom. The snsh is of
soft pink ribbon and does not encircle
the hips, merely crossing at the back
and disappearing under the double ro
settes that are placed a
front at either side.
little to the
Philadelphia representation by Dal
mores. Singing Parts Few.
There were 29 Impersonations all
told, with comparatively few singing
parts of Importance. Among these
Mme. Bressler-Gianoll stood forth as
one of the Christian martyrs, a distinct
artist in every pose and at every point,
and the Messrs. Wheeler, well-known
bankers and society men of Philadel
phia, contributed their .athletic size to
the parts of L'rsus. the giant who
watched over Lygie and Crotoh, a glad
iator of herculean proportions. The
roles of Eunice and Iras were sung by
Miss Grenvllle and Marie Cavan, the
latter with little more of a singing
part than an opening duet with Eunice
at the rise of the curtain. Miss Gren
vllle, while beautiful to the eye, and
indeed with a voice not without possi
bilities, has not arrived . at the stage
where it is under her control. She was
off the pitch much of the time, and fre
quently forced her companions to Join
her.
I'pon Campanini again fell the ex
ceedingly difficult task of preparing
this work. ' which by reason of Its
strange musical construction and Its
rapidly shifting situations was of ex
treme difficulty. The successful issue
to which he carried it again demon
strated his mastery and his keen musi
cal Insight and understanding of the
stage.
There was much applause for the In
dividuals, for Campanini and here and
there for the brilliancy In general, but
it Is doubtful that the music made a
deep Impression.
Stage Pictures Kssenlial.
The success of "Quo Vadis" will be
In the future, as it has been in the past,
dependant upon the extraordinarily
brilliant stage pictures, which one after
the other are disclosed, a brilliancy of
the most picturesque period of Roman
plendor. .This production left little to
e desired In the way of stage setting,
and not many minutes after the cur
tain was up the audience realized this
fact. '
"Quo VadlsT Is an historical opera in
five acts founded on Henryk Slenkie
wics's great story of Imperial Rome at
the dawn of the Christian era. The
music is. by Jean KooKues, Lho.younif
French composer who is new to fame,
and the book Is by Henri Cain. The
first production of "Quo Vadis?' on
any stage took place at Nice on Feb
ruary 19. 1909.
The rising curtain shows the beauti
ful gardens of the court of the palace
of Petrone. the arbiter of Roman fash
ion. Two lovely slaves, Eunice and Iras,
are arranging the altar of Venus for a
celebration that is to be given next
day in honor of the goddess. Chilon, a
philosopher and cynic, comes with some
Jewels, which he says bring remarkable
luck. During his conversation with the
two slaves the love of Eunice for her
master. Petrone, is disclosed.
Boon Petrone arrives with his nephew
Vlnlclus. a young warrior who has Just
returned from triumphant battles. But
since he has come back to Rome Vinl
cius has been in love with a girl whom
he saw by accident at the baths. Now
he is not interested in the present that
Petrone wishes to give him the beau
tiful Grecian. Eunice. He tells Petrone
that he has seen but once the woman
who has enchanted him. Then she
would not even speak to him. but fled,
leaving in the sand a mysterious de
sign a fish. When consulted about
this. Chilon says that the girl is a Ly
gtan hostage, the daughter of a bar
baric king, who has been given into
the care of Aulus. Viniclus charges
Chilon to learn all he can about the
girL On his part Petrone will Induce
k a vmnarnr Veron tn have Lvsie pres
ent at the festival to be given the next
day at the Imperial Palace on the Pal
atine. Then Petrone and Vlnlclus go
off through the gardens. Eunice takes
the amber and Ivory seat on which Pe
trone has been sitting and places it be
fore a marble statue of the Arbiter.
Standing on the seat, she embraces and
kisses the statue.
Vrsus Saves Jjlgit.
The second act takes place on the
terraces of Neron's palace. The night
is radiant, and in the distance the Tiber
reflects the light of the moon. Far
away stretches the Rome of the Cae-
. i ,ha Fmnrql. is nfifVOUS
Bars. i ijniw. - - - '
and anxious, and orders her slaves to
watch Neron. At the suggestion of Pe
trone,. the Emperor has had Lydie
brought from the house of Aulus to the
palaco. Seeing the beautiful girl. Pop
pee believes she has a rival. But Pe
trone reassures by saying that Lyfl
has been brought to the palace for Vln
lclus. '
An Pnnnifl and Petrone
enter the banquet hall than Lygie and
Viniclus appear, the latter eloquent in
his avowals of love. But Llgle repels
his overtures, and Viniclus, drunk with
wine and passion, tries to take her by
force But at this moment, Ursus, the
giant slave of Lygle-s. tears her from
the arms of Viniclus and flees with her
from the palace.
The Emperor and his guests come out
and hilariously take possession of the
cardens. Neron has given orders that
fire be set to the four corners of the
city so that his dream can be realized
to sinx before a city in flames The
heavens begin to glow with light; al
ready the conflagration has begun. But
suddenly there is a rush on the palace
The populace, enraged by the report
that the Emperor has fired the city,
charge, up the Palatine and overcome
the guard. But In the midst of the tu
mult Petrone steps forth and calms the
murderous mob by promising to rebuild
the city and give the people food and
amusement. The shouts of derision now
turn to cries of praise for Neron who
sings while Rome burns The crtln
falls on a magnificent tableau the Im
perial City in flames.
Act three shows the banks of the Ti
ber near the bridge of Subliclus. Chi
lon, in search of Lygie and the meaning
. . i u innv, in all the
, or tne mysienvu . ---
I nooks and corners along the river. All
! at once, by chance, everything is re
vealed to him. The Ash is the sign of
j the rallying of the Christians who at
1 nightfall come to this very spot. Elated
at his discovery, ne goes m ."
thing to Vlnlclus.
The guard passes and all the taverns
are closed. By little groups the Chris
tians arrive, among them Lygie. The
Apostle Peter descends from a barque
thorn strange story. He
i-says that he was about to leave the
wU leed city or noma wnen
peared to him. The master told him
that when Peter forsook his people he
would come back to Rome to be cruci
fied again. Then. Peter says, he re
turned to the city. When the Chris
tians disperse Peter and Lygie remain
behind. The girl tells the apostle of
her love for Viniclus. which she thinks
is a sin But Peter tells her that love
Is never a sin. and that some day Vin
iclus may be converted to the true
faith. Together they enter the house
of Demas.
Chilon reappears and with him are
Vlnlclus and the gladiator, Croton. The
,. hoon hrthert to kidnap Ly-
(tie from her fearful guardian. Ursus.
Viniclus and Croton enter uem uou
in search of Lygie. while Chilon re
mains on the outside and congratulates
i himself on the sum of money ne wiu
: make out of the adventure. But there
i is a cry from within, and Ursus comes
! out carrying on his shoulder Croton.
i whose back he has broken. Vlnlclus
does not appear, for he has been badly
i wounded. Chilon runs off in terror,
i swearing that he will be revenged and
' that he will disclose the hiding places
! of the hated Christians,
j The first scene of act four shows the
prison of the great Coliseum. Here the
i-ih-i-.t..... n hav, hn betraved by
Chilon and accused of burning the city,
are locked up. But they are soon to
be sent out into the arena beyond to
be devoured by wild beasts. Viniclus,
who was wounded by Ursus, has been
nursed by Lygie and has, through her
influence, become a Christian. Now he
has bribed his guard and has come to
save her. The road is clear and they
will flee the city together. But at this
moment Petrone appears. "Escape is
Impossible!" he declares. "The games
are about to start." Lygie must go out
and he devoured with the others. The
two lovers are brutally separated by
the soldiers.
The next scene shows a large part
of the Coliseum Itself. On the right is
! tne imperial mg, ana nci ju hc.
j above It. The. Roman populace hasf as
sembled to see the delivery of the Chris
tlons to the beasts. Neron announces
I a sensational combat. The giant. Ursus.
i is to fiaht a bull on the back of which
! Lvgie is bound. The combat begins, and
i with breathless anxiety the people watch
' the struggle between beast and man.
' Soon tumultuous shouts tell of the vic
tory of Ursus. The giant appears tri
; umphant. carrying Lygie toward the
royal box to win the approval ana merty
of the Emperor. But at this sight Vini
clus appears in the arena. He shouts
that he has fought for the Roman peo-
i V. Y. n vlntnrintl, nTlfl that the
I" girl he loves must be shown mercy. The
people are touched Dy inis appem aim
demand that Lygie be pardoned.
The last act takes plae on the ter
races of Petrone's villa at Antlum. from
which through the trees Is seen the blue
of the sky and the sea. Petrone is tired
of life. It has given him many loves
and many pleasures, and now he wlehes
to leave It as a satisfied diner leaves the
table. He has gathered all his friends
for a last banquet, and he reads to them
his farewell letter to Neron, in which
he sarcastically tells tie Emperor of
his cruelties and his mistakes as a ruler.
Viniclus and Lygie want him to flee
with them to Sicily. When he refuses
to go they depart alone. Petrone tells
Eunice that he has bequeathed to her
all his possessions, BUI ma rauium
slaves refuses his offers. She declares
that all she asks Is to die with him. for
he is her only love and that to. live with
out him would be torture. The arbiter
Is astonished to learn that he has been
the object of sincere passion from Eu
nice, and he accedes to her wish. The
doctor opens their veins, and. embracing
each other, they die together on a bed
of roses,
JUVENILE AND ADULT
MODES SHOW HARMONY
Characteristic Costumes for Mother and Child Are of Tunic Effect Girl's
Frock Is of Pink Linen With Wide Belt.
f ..... .
4
GOWNS OF TUNIC STYLE SUITABLE) FOR MOTHER AND CHILD.
NEW TORK, April 15. (Special.)
The pleasing harmony of Juvenile
and adult modes that s characteristic
of the moment Is demonstrated In the
accompanying illustration, where a
elmple adaptation of the tunlo style
to the costume of a girl of 12 years is
shown beside the pretty tunic gown of
her mother.
The material of the juvenile frock
Is of pink linen and the little dress
has a straight tunic over a kilted skirt
of the linen, the tunic being belted in
with a very wide, loose bqlt of black
varnished leather, Just below the waist
line. Bands of white pique .add a
emart touch to the simple pink linen
tunic.
COLORINGTHE EASTER EGG
JUST as truly as the evergreen tree f
Is the symbol of Christmas so
somehow, some way, the egg stands i
for -Easter, and may no child or grown- j
. . i j ....... A.in With I
Up WOO goes lo ueu liaot '
dreams of wee chicks and mysterious
egg-bringing bunnies be disappointed on
the morrow.
They say that our feudal ancestors
used to pay part of their rent in eggs,
which were due on Easter morning. If
you were a landlord you always had
eggs a-plenty on Easter day and the only
thing to do was to eat them. What
would these medieval old lords have said
if this tribute of eggs had come in in
deep green, blue, yellow and variegated
specimens?
It's not such an easy matter, this egg
dyeing, either, and if you don't mind the
directions strictly you are apt to make
a bad business of it. Most egg dyes now-a-days
are absolutely harmless, and you
should take pains to see that it is this
sort of coloring material that you are
buying. The task of blowing out your
eggs before dyeing is a great bother
and wasteful, as you are quite apt to
spoil some of your eggs in the process.
The best method is to dye your eggs
Just before breakfast, or before you want
to serve them. If your dyes are all ready
and you have read over your direc
tions beforehand, you need allow only
10 or 15 minutes for the task. Have
your dyes ready in old teacups green,
light blue, orange, rose red, purple, pink,
yellow and scarlet are the usual colors.
Cook your eggs to the desired degree of
hardness and then quickly drop them
from the boiling water into the hot dye,
and as soon as they have taken the de
sired hue remove them from the dye and
place in the dish from which they are
to be served. If you possess one of those
delightful, brooding-hen egg dishes, serve
your colored eggs In it, or stretch a
point and buy one of these dishes to de
light the younger members of your fam
ily. If you do not care to do this, ar
range a nest of lettuce leaves, crisp,
white leaves that delight the eye as well
as the taste.
Many people who do not care for eggs
for breakfast have an egg supper on
Easter day. This simplifies the coloring
process, as cold boiled eggs are quite as
acceptable for supper as are hot eggs.
For these you can make use of the
decalcomania and transfer papers made
for this purpose. The egg should be cool
or cold and the transfer sheet placed as
smoothly as possible on the egg. Smooth
the paper down with a damp cloth and
then remove the paper, leaving the Im
print of the design on the face of the
egg. To add to the variety, dye eome
of your eggs in light shades and then
after they have been cooled, add the
decalcomania design. With a paint
brush you can easily add to the variety
of the design. Using some of the egg
dyes as you would water colors, paint
v. -V s
ft
The adult costume is of fine bor
dered batiste In combination with a
novelty tub silk in a pin stripe pattern.
The broad collar, with flaring revera,
is a modish feature of this costume,
as are also the ornamental braid-covered
buttons with braid "frogs."
The prevailing tone of the tub silk
is a pretty shade between lavender
and heliotrope, and this is exactly
matched in the coloring of the border
in batiste overskirt and bodice. The
note of heliotrope and lavender Is car
ried out in the hat. which is of pale
heliotrope straw with lace bands that
show black, gold and lavender, and a
rich plume, shading from deep hello
trope to pale lavender. The parasol
borderlngs show the same tones.
the names of the various members or
the family in contrasting colors on some
Of your eggs. This can either be done
to hot eggs or to cold eggs.
If you are near a large market you
can easily secure ducks' eggs. Whether
you like the taste of these eggs or not,
you will find that their size makes them
bring delight to the youngsters. A pretty
centerpiece for Easter day is made from
a small round basket, lined with grass
or straw and filled with ducks' eggs.
Brooding over these eggs, or perched on
the side of the basket, you can have
one of those delightful, little, yellow
ducks sold at the confectionery or fa
vor store.
Cleaning Compounds.
Mix one ounce of borax and one ounce
gum camphor with one quart boiling
water. When cool add one pint of alco
hol. Bottle and cork tightly. When
wanted for use shake well and sponge
the garments to be cleaned. This is an
excellent mixture for cleaning soiled
black cashmere and woolen dresses,
coat collars and black felt hats.
Sponge Cake Hint. (
Sprinkle a little white sugar over
sponge cake Just before setting it in
the oven to bake. It will form a dain
ty crust over the top.
Cookies.
In making cookies, if the dough is
thoroughly chilled it will not only be
lighter, but will not stick to the board
when rolling. Some housekeepers also
chill their douerhnuts before frying.
To Keep the Hair
Light and Fluffy
(Kroni Chicago Inter Ocean)
The proper care of the hair does not
require a woman to scour her scalp
with soap and drench her hair with
water until a shampoo, including dry
ing the hair, takes the better part of
the day. In fact, the less soap and
water used on the hair tile better, as
alkali and moisture tend to make the
hair coarse, dull and brittle.
If you want to keep the scalp clean
and the hair light and fluffy, try dry
shampooing. Put In a quart Jar. or
any other handy container, four ounces
of powdered orris root and four ounces
of therox. Stir and shake until thor
oughly mixed. A beautiful cleansing
powder with a delicate perfume will be
the result.
Sprinkle a tablespoonful of this mix
ture on the head and then brush It
well through the hair. This brings out
the natural color of the hair, makes It
soft and glossy, and if continued regu
larly, tends to make the hair long and
abundant, for it is a natural hair
grower. Adv.