Evening star. [volume], September 29, 1894, Page 14, Image 14

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
The Origin of the Odd Figures on
Playing Car da.
THEY REPRESENTED REAL PERSONAGES
History is Written in the Varying
Costumes.
THE EA8TERN ORIGIN
|Trt'ti?n for Tfc? Creelag Star.
THE AS8I8TANT
secretary of t b ?
Smithsonian Institu
tion, Prof. O. Brown
Goode, la preparing a
monograph on play
ing cards and their
history, which will
Include a description
of many Interesting
packs and parts of
packs preserved from
ancient times, and
now kept in the Na
tional Museum, in
cluding specimens with designs executed on
gold and silver, tortoise shell, ivory, mother
of-pearl, parchment, leather, thin tablets of
Wood, small tiles and even large leavea.
The costumes of the pictured playing
cards of the every-day pack are a fasclnat
lrg study In themselves. They are so
quaint and have become so highly conven
tionalized that one would hardly suppose
them to have been copied originally from
real people; Yet such is the fact. The king,
for example, is Henry VIII, as is
proved by existing portraits of that mon
arch, though on the card only a few sugges
tions remain of the fashion and ermiue
trimming of his garments, which were once
covered with correct heraldic devices.
In French and German packs the kings
generally bear scepters or globes as em
blems of authority, but the monarchs of
Early French Playing; Cards, Repre
sent! nc Justice.
eard-lr.nd In England and America are war
riors, tho.<*? of hearts, clubs and diamonds
holding double-edged ? swords. Ths king of
hearts is the most warlike In appearance,
with his sword uplifted as If to strike a
blow. The king of spades alone is armed
with a battle ax. though why nobody
knows. ? [
When Henry III ruled in France the cards
became the reflectors of the extravagant
fashions of the day. The card kings wore
pointed beards, like the effeminate monarch,
with collars stlifly starched, hats with long
plumes, breeches puffed out at the hips, and,
to make thtm look as womanly as possible,
doublets pinched In at the waist. No sooner
bad Henry IV mounted the throne than the
pasteboard kings altered their costumes. At
one time cards were Influenced by the Ital
ian fashions and customs Imported by
Marie dt Medici. During the French revo
lution not only was the royal family de
posed and beheaded, but the same fate fol
lowed their majesties of spades, clubs, dia
ir.on Is and hearts. Their places were sup
plied by the figures of sages and philosoph
ers. But the kinjrs and queens of the pack
returned when the monarchy was restored
in 181.1. Since then they have not been dis
turbed. and they still reign In republican
ft-ance as they do In the United States.
Thr Queen and Her Costume.
The queen of the cards Is Elizabeth of
York, wife of Henry VII, and mother of
Henry VIII. Various reasons may be
Imagined for her rele-tlon and elevation to
the paper throne. Her marriage Joined the
houses of York and I.aneaster, rival claim
ants for the English throne^ and termin
ated forever the wars of the roses. In her
portrait is seen, at a glance, the source of
the cardmaker's Inspiration for the card
Sieen. In the odd-looking head-dressis of
? four royal dames may easily be traced
the resemblance to the straight lappets,
richly embroidered with jewels, forming a
cap. and hanging on either side of the face.
pooxxxxx~yy:yoooo
Comic ??Tarol," ItrprMrBiluf Two As
tronomers.
which make part of the dress in the picture
it Elizabeth. In It her hair, which was of
a pale golden hue. Is bande.l plainly on her
forehead, and she has long, flowing, ermine
edged sleeves. The color of the hair is re
tained to this day. It will be observed that
the queen holds the rose of York In her
hand, this emblem having always been
copied and retained.
These matters of costume are described
!n detail In a work by Mrs. J. K. Van Rens
selaer. entitled 'The Devil's Picture Books,"
from which the writer has obtained a great
part of his information. Ths authoress,
nerself. possesses a fine collection of play
o?g cards from all over the world. Ths
Greatest private collection of playing cards
i existence Is the property of an English
woman, T,afly Charlotte 8chrelber, who Is
now publishing a series of folio volumes. In
which the most notable specimens are re
produced. The history of England may be
read on the cards of her first volume, which
presents a series of pictures Illustrating the
manners and customs of successive epochs.
The cards of Germany, France and Spain
will appear In subsequent folios.
Origin of the Knaves.
Mrs. Van Rensselaer refers to the fact
that the grotesque dress of the knaves of
the English packs has remained almost un
changed during several centuries. It Is
copied from the ordinary costume of the
lower classes in the days of Chaucer.
American cardmakers have cut the knavee
In two, giving to each one two heads and
leaving off the legs. The dress, as shown
In the English cards, appears to consist of
a short Jacket with flowing sleeves, the
body being crossed by a sush. The knave
of hearts has a battle-ax, and In his other
hand a laurel leaf. The knave of diamonds
holds a pike with a hook below the point.
The queer-looking staff of the knave of
clubs Is supposed to have been an arrow.
The peculiar attribute of the knave of
spades Is a twisted ribbon, which may have
been a fool's staff once, with gay ribbons
twined around it. The knaves of hearts
and spades are in profile, while the others
show their full faces. Why this Is so no
body knows; they have had these positions
as far back as the middle of the iifteenth
century.
The knave Is frequently called the Jack
from his buffoon's dress, a slang name for
Jester being Jack. In German packs the
knaves are represented as worklngmen or
peasants. The word for peasant being
Bauer, hence the bowers right and left
of euchre. The English term Jack-a-napes
Is probably derived from Jack-a-Xalpes, or
Jack-of-the-cards, Nalpes being the Span
ish name for the pack.
Cards la Early Days.
Playing cards were brought to Europe
from the east about the time of the cru
sade, very likely by home-returning war
riors. The gypsies, who at that period be
gan to wander over Europe, are said to
have Introduced them, using them as they
do now for telling fortunes. The first
packs contained seventy-eight cards, in
cluding four suits of numbered cards and
twenty-two emblematic picture cards,
which served as trumps. The numbered
cards were marked with swords, cups,
?ticks and money. Each of these suits con
sists of fourteen cards, four of which were
king, queen, knight and knave. The em
blem cards had such pictures on them as
an emperor, Cupid, a chariot, a hermit, the
gallows, death, the pope, fortune, the sun
and the moon.
These early packs were called tarots or
tarocchl. They differed a good deal In
various localities. Pucks closely resem
bling them are found today In parts of
Germany and Switzerland which are not
much frequented by travelers. In cards of
this kind the emblem of death Is numbered
13. The notion of bad luck attached to
Chat number is of oriental origin. A tradi
tion relates that a Venetian?perhaps Marco
Polo or his father, Nlccolo?first brought
cards from China to his native city, which
was the first place in Europe where they
were known.
In China playing cards are called "paper
tickets." They used to be called ''bone
tickets," from the material formerly em
ployed. Several kinds of cards are used
in that country. One pack has thirty-two
covered with small circular dots in red
and black, with court cards of one man and
?cne woman. Chinese cards are printed in
black usually, on thin cardboard, one inch
broad by three and a half Inches long. In
some packs the cards have animals, such
as horses or deer, printed on them. Whist
Is of Chinese origin, and other European
games are more than suspected of being
derived from the same source.
The playing cards of Corea are strips of
thick unpalnted paper half an Inch wide
and six to eight Inches long. The cards
of India proper are circular. Persian can is
are beautifully painted and lacquered. The
quaintest cards are those of Japan. They
differ entirely from any others in the
world, the symbols on them having been
invented on the islands. They are of the
same shape as our cards, of pasteboard,
with black backs, but only about two Inches
long. The designs are stencilled on them,
usually representing the months of the
year by flowers and other emblems. There
are twelve suits of four cards each, with
one plain white card for a Joker. The
Japanese children play with cards that
have songs and proverbs on them.
The modern cards are copies of the
French packs of the fifteenth century, with
modifications. But in Germany the old
fashioned playing cards of that country
are still manufactured, with suits of bells,
hearts, leaves and acorns. Even these,
however, have been so far changed that
the hearts are surrounded by champagne
bottles, the acorns have a loving cup, the
bells are accompanied by a punch bowl
and with the leaves are hour glasses and
goblets as parts of the designs. There are
no queons, the places of these royal ladles
being taken by the knights on horseback
in . beautiful uniforms. A German friar,
Thomas Murer, first conceived the notion
of adapting cards to the lnstruotlon of
children. This idea has been developed un
til now It Is possible to study history, geog
raphy and many sciences with playing
cards. Babies In the nursery learn to spell
and to read from their games.
Hnngary'i Thousandth Year.
From the London Dally News.
The Hungarians are making preparations
on a grand scale for a millennial exhibition,
and the governmant addressed a prayer to
the emperor that he might lend them all
the historic relics In his possession which
have any connection with Hungarian his
tory. The emperor, our Vler na correspond
ent says, granted the request, and a num
ber of Hungarian historians and antiquar
ians have come to Vienna to study the im
perial collections and make a list of the ob
jects In question.
They have selected a great number, which
represent a value of 2,000,000 florins?if the
value of unique historical relics can be ex
pressed In figures. Among these objets are
copies of the portraits in relief of King
Mathlas, Corvlnua, and Queen Beatrix, a
brorze bust of Mary, Queen of Hungary;
broDie reliefs of Adrien Fries, Illustrating
the Hungarian wars; the remnants of the
crown of King Andreas and the Imperial
globe, dating from the fourteenth century;
the double cross that belonged to Lewis the
Great, with relics of Christ's cross;.a map
of Hungary engraved in a metal plate, a
nautilus-shaped cup, with the arms of the
Batthjants.
It Is easy to Imagine what efforts will be
made In Hungary to prevent these objects
from returning to Vienna when once they
have been in'the Hungarian capital; and if
they are left there, surely Prague would
ask for all that referred to Bohemia in the
Imperial collections, and Cracow for all
that referred to Poland.
Winter Exile In the South.
Prom th? Academy.
O alien flowers 1 unseasonable blooms,
Tl.at In this new translucent temperate air
Bide the sad truth, ilk* garland* bung from
tomla!
Winter within la winter erarywhere;
And nothing me your heartlma splendors stead.
Your aloes scarlet, your magnolia's snow;
That, strange to that tar clime irliers I was bred,
8ue*k not of boue and friends and long aco.
-GKOitOS noSSjrjua.
THE PARIS BALLET
The Music, Rhythm and Beauty of
It Gone,
THE FRENCH IDEA OF BALLET
The Effect of the Conventional
Teaching in Grand Opera.
VIENNA'S SUPERIORITY
Correspondence of Tht Evening Star*
PARIS, September 19, 18M.
NB NATURALLY
| Imagines Paris to be
the center of the
w^orld for ballet. The
Parisians themselves
think so. Yet I con
fess that on the eve
of the commence
ment of the Paris
autumn season in
amusements m y
thoughts go back re
gretfully to the
grand opera of Yien
_ na. and that what I
most look forward to In Paris for the coin
ing winter is the advent to the New Olym
pla of a flne ballet troupe from London.
Shall I ever forget my first impressions
of the ballet at Vienna? I had come fresh
from the anatomical displays of half
trained and completely willful pretty gh Is
in the scratch companies of our own
dear land, as unruly and as fleshly as the
heifers In the meadows, whom no ballet
master could drill into shape, without a
spark of sentiment or understanding or
imagination; fresh from the comic opera
and extravaganza choruses, all swaying
rhythmically. Idiotically, in three long rows
to an interpolated waltz song, executed
by a prima donna by the footlights. It
was a change to sit In the Vienna Opera
House of a serious ballet night. It was
an education to watch the unfolding scenes
of the "Tanzmarchen."
This one piece lasted three hours, exclu
sive of the introduction, on Mount Par
nassus, where pretty Marie Kohler tripped
J alone upon her toes, then taught an amla
[ ble but clumsy goat-legged Pan to dance.
He played his pipes while going through
his steps. It was the birth of dancing.
Scene after scene succeeded, religious
I dances by the holy Nile and on the helgh'.s
of Glbea, the feast of Mars In Rome, with
nothing lacking, for it is the Story of the
Dance, until its modern apotheosis In the
Hof-Operntheater?very naturally?with all
the pretty modern ballerinas of Vienna
going up to glory in a blaze of gold and
I pink and white.
Throughout the piece an extra human in
terest was kept up in the sentimental his
tory of a nyinph. On Pama&sus she was
given her choice, either as a reward or
punishment; the Genius of Time was called
upon to pass her through the future; and
she chose to know the future of the dance.
In every scene there was this sweet girl
changed?by the altar of the dog-faced An
nubis,In the holy mysteries of David's danc
ing worship, in the oak forests of Britain
and of France, where silver-bearded Druids
worked themselves to fury. There was one
scene by a castle of the middle ages, where
some yokels came to danoe beneath an elm.
Attracted by the sound of flutes, two ras
cally young pages from the castle slip upon
the scene to lead away the dazzled country
beauties from their hayseed lovers. Again
it was a dance school In the middle of the
present century, where opportunity was
given to see measures trod whose names
are scarcely known now?the courant, the
pavane, the Sarabande, the minuet and the
I gavotte.
In another of their classic pieces?the
"Wlener-waltzer"? it was the history of the
Vienna waits, from Its conception in the
I brain of an old dancing master a century
ago down to the dainty fancies of th*
modern ballerinas, shown to him, by es
pecial favor, in a prophetic dream. He had
I fallen asleep after the chagrin of fruitless
lessons In graceful steps, which he had been
giving to a party of pretentious country
| gentlefolks. The room begins to darken,
and a great mirror seems to change into a
door, as Alms of gauzo rise one by ona.
Out step a dozen delicate and pretty dano
lng girls In modern ballet costume. They
nod knowingly to each other as they tip
toe about the somber little room, holding
their fingers to their lips for silence. Then
one sits at the rickety, tinkling, little spinet
of the time, commences gently one of
Strauss' waltzes, while the orchestra gives
a discreet and gently modulated accom
paniment to the noiseless steps of the kind
hearted dancing girls of 1893?who are
dream shadows, not of the past, but of the \
future.
The French Way.
Now I respectfully submit that this is
| different from the skips and turns of bold
eyed Frnch girls at?well, say the Paris
opera, if you ever get a chance to see
I them?for these dancing ladles seldom con
[ descend to dance; the bold-eyed girls who
leave you no illusion, their armpits black
ened with burnt cork, even when they are
blondes; their mouths obscenely painted out
of shape, dancing of love and only love and
; always love. You will not see the "Pup
peafee" In Paris, the children's story of the
fairy doll who animates the dolls at mid
night in the doll fair. The French would
I laugh at Its simplicity and childishness.
Yet when you have a set of dancers who
can act, aud when you have a German poet
to conceive th? plot?but these you have not
got in Paris.
The Paris opera scarcely gives ten hallet
nights throughout the season. There are
dance interludes in operas, but even these
| are cut down or cut out outrageously. In
Thais the composer, Massenet, pU.~sd a
great deal of very pretty ballet music. As
I originally produced there was a long and
I pleasing ballet in the second act, with
[ demons and good angels and trials and en
chantments. in the good old style. Scarcely
five nights passed when it was all cut out.
Perhaps Miss Sanderson, who Is extremely
influential, thought that the public ought
to be content with what she showed so?
generously. Perhaps the dancing girls of
the grand opera?who all hold government
positions?tired of dancing. Perhaps the |
Paris public?that is to say. the publlo of
the opera?does not care for ballet.
This latter has been often given as the
explanation of the actual decline of serious
| ballet In the gay French capital, where oil
things seem to be upon a reckless gallop
straight to a vulgar anarchy, where what
la gross and mean and low will rule. The
| great restaurants have disappeared before
the triumphant advance of the beer and
sauerkraut brasserie and taverne; the great
cafes have disappeared, because the publlo
prefers to sit between, before and after
meals In the same brasseries. The vulgar
musio halls are emptying the theaters.
For eight years past the gay French cap
ital has been more celebrated for the danc
ing horrors of the Moulin Rouge and the
| Casino than for the classic or even the
| spectacular ballet. The chahut, the "eccen
tric quadrille," with its "split" and "carrv
arms," has been well termed the "phyl
loxera of choreography." And after it, the
specialties in all the music halls. The state
ment of the bare fact that Otero, with her
| diamonds, with her crow's voice and her
stamping heels and silly movements, was
the real dancing celebrity of the last win
ter season, and that ihe Sisters Barrison
(from America) ran her a hot second in
the popular estimation, Is to sum up the
whole situation. It Is very different from
the times one reads of when the Eden
Theater was doing Sieba, Messallna, Vlvi
( ane and DJemmah.
There are six places in the Paris of today
where ballet continues to hold on as some
thing of a specialty. They are the Grand
Opera, the Gaiete Theater, the Chatelet
Theater, the Folies Bergere (variety thea
ter), the Olympla Music Hall and the Nou
veau Theater (attached to the dance hall
of the Casino de Paris). It Is true that
they talk of reopening the Eden Theater,
to revive the ballet glories of 18?3, but
every one predicts that the venture will end
in failure. Add to the places already named
the Porte Saint-Martin, which now and
then gives comic opera on a large scale,
with a dance, and the Boutfes, which some
times made a specialty of the new panto
mime, of which L'Enfant prodigue and
Scaramouche are the best known examqlar
and you will have the tale of the ballet told.
The Grntd Opera Ballet.
I AjB to grand opera ballet. It la sufficient to
say that It Is an ^expensive troupe to keep
up (there are latf In It), although the In
dividual salaries, except to stars, are mod
erate. The opera baUet school Is, like the
opera, a state Institution. Any parent may
place his child in it, and have her education
go on free, on signing a five years' engage
ment for her after graduation. After
graduation, as an actual fact, only a per
centage of the pupUs are received Into the
opera ballet troupe. The others find places
outside. The fortunate girl first goes Into
the quadrilles, at a salary of $180 a year,
then becomes a coryphee at 130*), and then
a "subject" at $400, and often finishes
among the stars. If she has not stopped on
the way in a "petit hotel." There is an
other side, however, to the money qustion,
from the danseuse's point of view. Between
it and the creaking of the bureaucratic
wheels an explanation may be found of
why one seldom sees anything but vague
and transitory dance interludes at the
Grand Opera, in spite of its much boasted
ballet troupe.
All the best seats at the Parts Grand
Opera are sold beforehand, for the season,
to subscribers. Each subscriber has his
seat one night each week. An orchestra
chair costs 2,000 francs, a box 10.000. To
be a subscriber to the opera gives the
right to enter the foyer of the dance and
pay court to the ladles. As the French say.
voila tout. After a girl has passed her ex
aminations and Is received into the quad
rilles, her great preoccupation is. not to dis
tinguish herself in her profession, but to
find a serious friend. It is an understood
thing. Mothers count upon it when they
place their daughters in the classes. The
little girls themselves count on it as they
do their painful exercises. To have one's
horses, and one's house, to have a villa
and to play the races?that is the ambition
of the dancer of the opera. Beside the
regular subscribers, who are pleased enough
to chat with the danseuses, the transient
public of the opera goes to see the house,
admire and be admired. The great public
does not require much dancing?or much
singing either. If the truth be told?so there
la little dancing. Pass the Grand Opera.
I, for one, have never had a moment's
pleasure In It.
At all the other theaters where the dance
still survives, the great majority of all the
more Important "subjects" are girls trained
in the Grand Opera ballet school. Now,
there is something cut and dried about
French teaching which Is paiftful to the
foreigner wherever he encounters it, in
dentistry, in medicine, in social usages, and
even In religion. The girls who graduate
from the Grand Opera ballet school have
all their steps and turns; they do them
just so. as they have been taught. And,
m a single word, they dance like trained
dogs, Laat winter the Empire Music Hall,
in London, sent over to the new Olympla a
company to play the ballot "Brighton." It
had a great success. The star. Miss Love
day (I think that was her name), had move
ments full of flowing grace, a sentimental
face, and pretty pantomimic ways, that
seemed both honest and spontaneous. But
when the ballet of "Brighton" had got well
going, the Olympla manager, following
French custom, began to weed out, one by
one, the "foreign" dancers and to substitute
French girls. At last the star went also.
The Wooden nei?a of It.
It is a woodenness which characterizes
all F-ench ballet of the present hour. I
think It comjs directly from the ballet
school of the Grand Opera. And It, perhaps,
has had no small eftect in weaning the
great public from the classic ballet, to wan
der in the free and easy meadows of the
Moulin Rouge. The wooden girl spins, steps
and bounds, with her fixed smile of Invita
tion. her bold eyes, her painted arm-pits
and her mispalnted mouth. To finish with
the new Olympla, the latest news !s that
it has been sold, tog*ther with the Moulin
Kougo and the Jurdln de Paris, en bloc to
the Empire Music Hall Company of London.
This winter the OlyrnpU will be run as a
lirst-class London music hall, with ballets
from the empire, which will have at least
the virtue of great novelty and life and ac
tion.
At the Galete Theater It Is the habit to
give long ballet pieces, often of considerable
merit, between the acts of some light opera,
like the "Chimes of Normandy." They pay
such dancers as Lltini?who, to be correct,
is not a dancer, but a "mime." The ballet
of the "Chimes of Normandy"?"The Gath
ering of the Apples"?which is now on at
the Galete, Is long, and makes a very pret
ty picture. But it is not great ballet. They
are also always on the lookout for novelties
at the Galete. Not long ago they had a
ballet Interrupt Itself to let a girl do the
"serpentine dance" in a cage of lions. When
Loie Fuller was dancing at the Folles Ber
gere she had a young American girl stay
ing with her, waiting tor a London engage
ment. Her specialty was wing dancing. If
that Is what they call It. a kind of negro
dance, and very entertaining. The ballet
mistress of the Galete was present at one
of her impromptu rehearsals one rainy win
ter afternoon, on the stage of the Folles
Bergere. She liked the wing dance, and she
offered the American girl a good sum week
ly to Interpolate it into a ballet of Breton
fisher girls, in the piece then running. The
offer was accepted; but when Miss
went down to the first rehearsals, the mis
tress of the ballet and the ballet also were
all scandalized because she said she must
black up and wear the costume of a south
ern negro girl. "You can't dance blacked
up! We canrot allow It!" "How shall I do,
then?" "You must wear a premiere's cos
tume?white gauze, whtto tights?you must
make yourself convenable and pretty."
The girl explained It was Impossible to do
a wing dance that way?that It would be
ridiculous. But they were obdurate. At
last they told her that she might dress like
a Breton fisher girl. She refused. She said
it would be too ridiculous. So the engage
ment was canceled on the spot. The
French girls, who were Interested and not
at all Jealous, told her she was foolish.
"What difference does It make to you, If
you get your salary?" they would ask her.
At the Chatelet Theater they run to fairy
pieces and spectacular representations, like
the ever-youthful Michael StrogolT. The
ballet company Is recruited from all over;
though regularly the stars are even better
than the Galete affords Itself. But the
great majority of the coryphees and lesser
lights are distressing in their personal ap
pearance. It Is not alone that they are
often well along In years; both Subra and
Mauri, the two stars of the Grand Opera,
are fat and middle-aged, each having the
appearance of being somebody's aunt or
mother rather than a fairy of the dance.
But the dancers of the Chatelet are also
very plain faced. Here, at least, America
has Its own advantage. Most of our girls
are pretty, to say the least
At the Folles Bergere there Is a very
special company. All the girls are gradu
ates of the Grand Opera school, and some
of them have left the Opera troupe to make
more money in the less aristocratic theater,
Campana. the chief dancer, is a beautiful
young woman and a really good dancer.
There are scarcely more than thirty In the
company. Most all have pretty faces and
do well. The Folles Bergere has long been
known for its ballets. Now and then such
men as Armand Sllvestre and Catulle Men
des write scenarios for this company. Do
ing so, they go in for the beautiful as the
French understand it?love pieces, which
are, nevertheless, utterly uAsentlmental.
What they amount to Is scarcely more than
a series of animated tableaux. Loie Ful
ler's long engagement at the Folles Ber
gere raised the tone of the establishment
very much indeed. And departing she has
left behind her footprints which perhaps
another?but there Is no perhaps about It.
There will certainly be some other serpen
tine dancer at the Folles Bergere during
the coming seson, for Miss Fuller herself
has made other arrangements for Paris.
But the higher tone which she gave to the
establishment of the Kue Kichter has had
an elevating effect even on its ballet.
Without knowing anything about the clas
sic ballet herself, she persuaded the young
ladies who had graduated from the Opera
school to loosen up a bit, to give themselves
more swing, to be lass wooden than their
teachers had trained them up to be.
At the Nouveau Theater the new panto
mime, which was going to astonish the
world a few years ago. Is varied by bal
let pieces scarcely different from 'the Folles
Bergere. As to the new pantomime (l'En
fant Prodlgue, Scaramouche, etc.). will It
have the brilliant future which enthusiasts
were only a short time ago predicting fur
It? Will It become, as some have said, the
sole and only theater of the future? "That
is not flattering to the dramatic authors
who still know how to write dialogue.
There Is little danger of It." This Is what
tho staid and settled Parts critics say of a
very beautiful attempt to give to Paris
something more like the story ballets which
"very one who knows Vienna has learned
to love so well. Tiie attempt Is already a
failure so far as ^he Immediate future la
concerned. The pantomimes were pretty,
but there was not enough real dancing In
them to have suited the Vienna taste.
Meanwhile Parisians who wish to see true
ballet In Its highest form?uniting beauty,
youth, sentiment, story, scene and merito
rious music?must take Vie Orient express
for the Hof-opern theater.
STERLING HEILXQ.
VISITING CARDS
A Glimpse Into the Workshop Where
They Are Made.
THE TRAISED HOD AND EYE
Preparing the Pasteboard for Its
Advent Into Society.
CRESTS AND MONOGRAMS
A!
Written Exclusively for The Evening 8t*r.
T THIS TIME OR
ders for engraved vls
(ltlng cards are being
left In the shops by
those who have de
pleted the contents of
their card cases dur
ing the summer out
ing. How few.though.
even among those
well Informed In mat
ters of greater mo
ment, understand the
difference between an
engraved vli ltlng card
and one printed from type. A very general
expression heard at the engravers" shops
from customers la "to strike off" such a
number of cards, and they are surprised to
learn when they have bought no plate that
such a thing Is necessary.
In many respects the printing of an en
graved card Is a process very similar to
the printing of etchings, st.?el engravings
and other pictorial subjects made on plates
of metal. The pictures or Impressions from
these latter are In minute relief. That 1s,
the Ink lays on the paper like sand on sand
paper, and this relief Is the cause of much
of the softness and beauty of the pictorial
subject, for notwithstanding the minuteness j
of the relief of the lines and dots of ink
above the surface of the paper they each
cast a shadow, and the blending of the real
lines and dots with the shadows creates an
effect that cannot be attained In any other
process. This same effect adds, also, to
the artistic value of an engraved visiting
card or Invitation, and coupled with this
is the advantage of originality, since a per- J
sonal card can, of course, b.i only Imitated
In the general style of the lettering. So
one's card cane Is filled with what may be
considered not Improperly proof engrav
ings.
Ia the Ilanda of the ^ngratrr.
If one des^-es to use engraved cards and
has no pUte, a plate will have to be en
graved. After an order for such has been
left at a shop.lt Is sent.with Instructions as
to the style of lettering and such other de
tails, to the engraver. This artisan sits, usu
ally.at an adjustable sloping table placed be
fore a window?one that opens to
the north. If possible. In order to secure
that subdued light which Is best for all
graphic purposes. He also has before him.
frequently, a screen of white tissue paper,
which further softens the light and prevents
redactions on the bright metal surface upon
| which he engraves. The implement most
I used Is a graver, which Is a little bar of
h?rd steel, generally of a triangular shape,
fitted in a handle and sharpened at the end.
ICngrnvtr at Work.
I obliquely, to a point of requisite filncness.
Then there are a number of subordinate
tools, such as tiny double-pronged forks of
different widths, for marking parallel space
lines on the plate. T squares, burnishers and
scrapers, ull used either to prepare the plate
for the work of the graver or finish it up
after that tool has been used. Copper and
steel plates are used, the former about a
sixteenth of an Inch In thickness and the
latter about double that thickness, and
these are procured from the manufacturers
In a nearly finished condition, and are fur
nished In certain sizes.
When an engraver Is given an order to
execute, say for a visiting card, he first
takes a copper plate that will suit the size
' of card selected, rubs down the surface with
charcoal and oil and then buffs It bright
with a felt buffer. Upon the now highly
! polished surface he slightly scratches, with
a quill or pointed stick of wood, a sketch of
the required name backward, as all such
work must be In reverse on the plate. With
the little forks he scratches next guide
lines for the width and slant. Aided by a
magnifying glass supported In a frame he
proceeds to cut Into the plate, with a
graver, the name he has previously sketched
In This is vt-ry delicate work and easily
shows the skill of an expert In the
beauty and firmness of the lines and curves
and In the formation and Joints of the let
term.
It is obvious that large plate? require
more time, and, whan the subject is an elab
orate design or picture, the adoption of a
combination of mechanical and chemical
means is often necessary to accomplish the
final result. The ruling machine is a deli
cately adjusted piece of mechanism for pro
ducing tints to Imitate the flat wash ittects
In drawings. The fine, close parallel lines
that most often make up the skies in an en
graved picture, the background of a por
trait or the shading of lettering and fancy
work in a letter heading, are done with a
ruling machine. Nearly all fine engravings
have some ruled tints upon them, and others
are almost entirely of these ruled lines, as,
for example, the steel engraved pictorial
calendars, so frequently seen of late on
efflce desks.
Bitten by Acid.
These tints are made by a diamond point
drawn over the plate by the machine, moved
by hand. The plate has been first coated on
I both surfaces with an acid resisting wax.
' and the diamond cuts through this coating
and exposes the surface of the plate in
many fine lines. In order that the latter
may have depth enough in the plate to hold
It k, chemistry is resorts^ to- -that Is, the
plate is subjected to a bath of diluted acid,
which eats into the parts of the waxed plate
exposed by the diamond. This whole opera
tion of coating with wax, ruling and biting
with acid, may bo several times repeated,
with resulting effects of cross hatching,
deeper tints and the like. In most Instances
before this ruling has been done the greater
part of the hand work has been either en
graved or etched with the aid of acid Into
the plate. After the final retouching by the
engraver with his Instruments the finished
plate goes from his hands to the printer.
I.Ike the engraver, the printer may be ao
cording to his abilities and ambition either
an expert or merely a skilled workman, but
In any cas? he Is one who must exercise ex
treme care In his occupation, or the easily
damaged plates he handles will quickly be
tell-tales of his bungling.
For printing from engraved plates a
platen press is used. It is made un of. first,
a bed or slab of Iron, upon whlcn the en
graved plate rests, and this bed 1s supported
between two Iron rollers or cylinders?a
large one on the under side and a smaller
polished surfaced one at the top. The roll
ers are supported Ln Iron tr<upe, at on*
bI4? of which Is a large wh?cl or set of
radiating arms, worked by hand, for turn
ing the small roller, the revolution of which
moves the press bed with Its engraved plate
under tne roller and by pre.isure against the
plate makes the Impression. The frame Is
supplied with screws for regulating the
pressure of the small roller against the bed.
Platen presses differ In some respects ac
cording to make and Improvement In pat
tern. but the foregoing description Is sub
stantially true of all. For ordinary com
mercial printing none of the presses Is
large. The bed reaches about to the prin
ter's waist, and the press doee not exceed
a couple of feet In width.
Having received the plate, the printer de
cides, from the nature of the design or
subject of the engraving, and from the
quality of the paper or card to be used,
whether he will require a hard or soft
"backer," By this Is meant that to make
sure of bringing all the Ink from out of the
plate, the printer will either tightly wrap
the upper roller of the press In several
thicknesses of paper, or In soft blanket*.
Plate Printer at His Press.
He sometimes underlays the plate with
thin paper In places where heavy shadows
appear In the engraving, and thts Insures,
by the differently distributed pressure, a
good rendition of the lights and shales In
the printed Impression, or If the subject be
merely lettering. It brings out the Una IHes
strongly. Hut this proceeding requires the
greatest caiefulnesa and judgment on the
part of the printer.
The pressure necessary to bring all the
Ink out of the lines of the plates on to the
paper having been exactly determined, the
printer begins making the impressions. On
more modern makes of presses the plate,
with Its underlay*. Is kept In a stationary
position on the press bed. without being
lifted from the inking slab to the bed, as in
the old way. The plate is "filled in" either
with a roller made of soft textile materia)
thoroughly coated with an Ink composed of
a mixture of dry color, oils and dryers, or
the Ink Is daubed on with a dauber of simi
lar material to that of the rolltr. In either
way, the plate Is quite coated over with the
Ink. With a soft roll of cheese cloth the
printer dexterously wipes off the Ink from
the surface of the plate, so that none Is re
moved from out of the lines, and then, with
the hand alone and a little whiting, quickly
polishes away the stains left by the oily
Ink. The paper Is then laid upon the plate.
Girls usually do this, and are called feed
ers. The wheel at the slle is then revolved
by the printer, sending the press iwd. with
the plate and paper, under the roller. Mod
erated by the "backer" on the roller, the
lessure. to a certain extent, drives the
ber of the paper down Into the engraved
lines containing the Ink, ahich adheres to
the paper after It Is removed from the plate.
Engraved Letter Paper.
This whole operation of filling in. wiping
and polishing the plate and printing each
Impression separately Is continued until the
onler Is completed. Expedition Is gained on
modern presses by * quicker movement ot
the bed In going under the roller and In Its
being brought back to Its former position
automatically. The Impressions being In re
lief, are easily smirched, and have to be
carefully laid aside In rows to permit the
oily ink to dry. Etchings and the like, which
require artistic development previous to the
pulling of the Impression. such as the mak
ing of tints and high lights on the surface
of the plate by the printer himself, are best
done on the old-fashioned presses of slow
movement.
The monograms, crests and address lines
that are so much used on correspondence
papers nowadays are also usually made In
shops where plate printing Is done, as the
two arts are closely allied. Combinations
of letters making the personal monograms,
or the address lines as they appear on let
ter paper, are engraved most usually on
little blocks of steel, called dies. In a way
similar to engraving on a plate. Crtsts
and coats of arms are best when sunk
Into the die. That Is, the engraver, after
first cutting or etching the ruliraents of
the design in the metal, sinks It de< per by
beating into it with a hard steel punch, and
afterward retouching the design with the
graver. This method In the resulting Im
pression presents a very high relief and
ber.utlful finish. Some engravers make a
specialty of slnHng dies and do no other
kind of engraving.
Stamping from dies is an operation quite
dissimilar to plate printing. The press used
for the purpose Is small, but massive, and
rest* on a stoutly built bench. The die It
held engraved race downward, fastened
In a little movable steel case that lit*
In a groove at the lower end of a
vertically supported short steel bar,
which transmits to the die a stamping
movement, received by the bar being struck
on Its upper surface by the downward revo
lution of an upright steel screw, operated
by hand. The die is drawn upward away
from the paper, after the impression Is
made, by a set of powerful springs.
Like plate printing this process necessi
tates an abundant use of Ink. a very small
quantity of which appears In the impression
on the paper. The die ts removed from the
press, but while still In the small case is
Girl Stamping.
"filled In" by the stamper, with a small
brush full of a thick Ink of the necessary
color and mixed with a brilliant varnish.
This Ink or color, as It is better termed,
fills the engraved depths of the die, while
a great deal more Is left by the brush on
the surface, which has to be wiped off by
passing the die quickly over a pad of
Smooth, thin pr.per. kept for the purpose
on the bench at the right-hand side of the
? tamper.
Perfect relief In a stamped Impression Is
attained by using a counter die, made by
gluing bits of straw board or canl on
the flat surface of an iron slot Immediately
under the die. which, when struck by the
die, becomes a permanent relief Ir.ipies
?ion, which presses the thin sheet of corre
spondence paper up Into the die, whenever
an Impression ts made The pressure la
thus exerted In two directions. The paper
counters require to be trimmed with a band
knife to ault the exact proportions of the
design on the die, otherwise the paper be
comes bruised around the Impression when
?tamped. W. 8. O.
RAILROADS.
PENNSYLVANIA RAILROAD
Station corner of 6th nod h streeta.
Id effc-t Jiilit- 24, IKiK.
10:80 A.M. PENNSYLVANIA LIM ITED.- Pullmaa
CVini]?rtiu?ut, Kleeiiluir. Dining. Sniuking and Ot>ser
ion Car* Hnrrlsburg to Chicago, Cincinnati. In
dlana|>oita, Clevelrod and Toledo. llufiet Tartar
Car to Harrlsl-urg.
10:30 A.M. FAST LINE.-Pullman Buffet Pertsr
Oar to Harrlaburg. I'arlor and Dlulng Can Uu>
rlsburg to Plttaburg.
8:1ft T.M. CHICAGO AND W. IXXT8 EXPRM.
?Pullman Buffet Parlor Car to Harrl?l>urg. Sleep
ln( and Dining Cara Harrlstmrg to ?1. Lou la,
Cincinnati, Loolsrtlle and CTilcago.
7:10 P.M. WEKTKUN EXPRESS. -Pullman Bleep
ing Oar to Chicago, and Uarrlsburg to Cleveland.
Dining Ckr to Chicago,
7:10 P.M. 801THWB<TERN EXPRESS?Pnllmaa
Rl^iilng and Dining Oara to St Louis, and Sleep
ing <Ar Harrlkliurc to Cincinnati.
10:40 P.M. PACfrlO EXPRESS.-Pullman Beep
ing Oar to Pittsburg.
7:6t? a.m. for Kane, Oaaandalgna, lodmtai Ul
?ViT* Falls dallr. except Baals y.
10.Su a.m. for tfllmlra and Reoovo, dally, i
^or Wllllamsport dally. 8 IB pm.
TjlO p.m. for Wllllamsport. Roch?wt*r, huamm
S. . "fS1* Falls dally, except Saturday, erlth
t?p!s* yaahlnfton to Rochester.
10:40 p.m. for Erie. Canandalgua, Koch eater ant
Buffalo dally, and Niagara Falla dally, except Sat
^11 Sl.ej.lng Car Washington to fcmlra,
and Saturdays only Washington to Rochester.
For Philadelphia, New Tort and the Best.
4 p.m. t*?NGKESSIONAL LIMITED," all Par
l?r rV Dlnlrg Oar from Baltimore, foe
New York dally, for Philadelphia week days. 7 ?.
7.:S5? <?"nl,? " 00, *40 (Inning Oar). and
1 .a0kr> ??1- 12 *?. ? ift. 4 90. lOKW
and 11:88 p m On Sunday, 7:20, 7 6.1 (Dlnltw
Oarl, 8:00 11:00 mining Cart am . IS 18. 8 lT
4:30, 10:00 and 11:38 p.m. For Philadelphia only.
Faat Expreaa, 7:60 a.m. weak day*. Kxpreae, 2:0i
and 6:40 p m. dally.
For Boston without change, 7 JO a.m. weak day*
and 8:1ft p.m. dally.
For Baltimore. 8:46. 7:20. 7*0. 7*5. 8 40.
10:30, 11:00 and 11:60 am.. 12 16. 2:01, 8:ll
I4:<si Limited), 4:20. 4:88. 8:40. 8:14. 7:10, MM
10:40, 11:16 find 11:85 D m On Saaday, t:S
7:ftft, 9:00, 8-06. 10:30. 11HI0 am.. 12 16. l:l?
2:01, 8:18 (4:00 Limited). 4.30. #:4t. 4:14, T:10c
10:?0. 10 40 and 11:88 p.m.
Fur Pope'a Creek Una. 7:*0 a.m. and 4:88 p.m.
da%, except Rncdar.
For Annapolla. 7:20, 8-00 and 11 *0 a.m., an*
4:20 p.m. daily, except Sund-ij. Suutlaya, W 00 a.
m. ?rd 4:20 p.m.
Atlantic Ones" Line Kiprna for Richmond. Jack
ornvin, and Tampa, 4:80 a.m.. 8 30 p.m. dally.
Rl' liinond and Atlanta. 8:80 p.m. dally. Richmond
or.ly, 10:87 a.m. week daya.
Accommodation for Quantlco, 7:48 a.m. telly.
And 4:26 p.m. week data.
For Alexandria. 4:80, 8:8ft, 7:46 8:4<h 8 46.
10:57, H:50 a.m.. 13:&>. 1:40, 8:2ft. 4:25, 6 00,
8:37, ?:15, 8:02. 10:06 and ll:t?J>.m. On Sundu
at 4:10. 7:46. 8:48 A.B.. 2:46. 8:16, 6:02 and 10:?
p.m.
Irfaee Alexandria for Waahlngtna. 8*6. 8:48.
7:06, 8:00, #10, 10:16, 10:28 a.?., 1:00. *18.
8:00, 8 23, 6:00. 6:80, 8:18, 7:00, 7:?. 8:16. 10:81
and 11:0S p.m. On Sunday at I'd, HI" 10:28 a.
?>..2:15. 6:10. 7:00. 7:10. 8:18 and 10:62 p.m.
Tl<-ket offloea, northeaat corner of 13th afreet and
Pennsylvania avenue. and at the atatlon. 8th and
B streeta. where ordera can be left far tka cbecfc
lng^ol^bacgag* to duetlnaUoe from holala and r?al
d. tL PREYOST, I. R. WOOD.
Qeneral Macager. Gen'l Paaa. Agt
nell
SOVTHKBN RAIT.WAT.
_ (PIEDMONT AIR UNI).
Schedule la effect July I, 1884.
All tralna arrive and leer* at Pennsylvania Pae
aenger Station. WaaUlngtun. D. C
8:00 a-m. dally?Loeal for DanHIl* and Inter
m4-<llate atatlone. and contMx-ta at Lyocbhorf wttk
tbe Norfolk and Weatern railroad westward, dally,
and at klanaaaaa for Straaburg, dally, except bun
<y
11:01 a m., TTTTI GREAT BOTTHKRt FAST
MA1I -Dally, mx-ratea Pullman Buffet Sleetiera,
New York and Waablngton rla Charlotte and 0a
luinl>la to Karannnh and JackaonTllla, uniting at
Charlotte with Sleeper for Aiiguata, alao cairlaa
tbnHigh Pullman Buffet 8ke*ier New York to Mont
gomery, with cMu<r(km for New Orleana. Oow
necta at AtUnU tor Bl.mlngbam, Ala., Culnmbak
and Orrenrllle, Miaa.
4:46 pm.?Dallr Ibe Orange and Intermediate
?tatlona and throogb train for Front Royal and
8tra?!-nrg. dally, except Sunday.
10:48 p.m ?WASHINGTON AND SOI I H W KJT
EKN \E?TIBCI.FD LIMITED, compoacd of Pull
man Veatlbuled Sl?op?ra and D'nlng Oara. rnna rl?
C*h .rlotte and OoluinMa fn Augneta. Savannah,
a<tne t .-iva. carrying Pullman Sleeper
New Yctk to Tauipa. A 1m operatea Pullman
cle> <ee New York to New Orleana via Atlanta ant
Montgomery, New York to Aoherllle via Salisbury,
Wnahlivrtoo to Mempbla Tin Blrmlngbam. and
Washing on to Amr?:a via Columbia. LHiilag oar
Crven?'.K>ro' to Montgonxry.
TRAINS OX WASlIINGTON AND OHIO DIVI
SION leave Waahlnston at 9:10 a.m., dxlly, 4:88
p.m., dally, except Sunday, and 8:31 p.m. Sunday
only for Rwud Hill, and 4:12 p m.. dally. ?xi-?t
Sunday, for Leeal urg. nnd 8:38 p.m., dally, for
Herndo*. Returning, arrive Waablwton 6:28 a.a~
8 00 p.m., dally, from Koond Hill. 8:14 am.,
dally, except Sunday, from Leeahnrg. and 8:88 a.
m^, dally, except Sunday, from Herndon only.
Tb ouch trains from tbe eoctfc arrive Waahlna>
tea 7:18 a.m., 1:20 p.m. and 8 30 p.m. Manaa
aaa Dlvlaton 8:40 a.m., dally, except Sunday, ant
8:4? a.m. dully from Orange.
Tlcketa. Sleeping Car ri eerratlons and Infill am
Hon fLrrlabed at offl.-ea, 611 and 1800 Peonaylev
nla avcuue, and at Piw-nter Station, PennaylvA
nla Railroad. XYaablngton. D. C
W. H. GREEN, Gen. Man.
W. A. TTRK. Oen. Paaa. Agt.
L. S. Br.OWN. Oen. Agt. Paaa. Dept. )d
BALTIMORE AND OHIO RAIIJtOAD.
Schedule In efllHt Jane 8, 18M.
Lear* Washington from atatloo, corner of New
lereey avenue and C afreet.
For Chicago and Northwaat, Veatltraled Limited
rxpreaa tralna. 11:16 A.B.. 8 00 p.m.
For Cincinnati St. Lou la nnd Indlanapolla. YegtV
buled Limited Yto p.m.. exjriaa, 12 lo night.
For Plttabnrg and Ueralut. iiym dally 11:18
s m. ard 8 36 p.m.
For Islington and Staunton. 11:18 a.m.
Foe Wiccheater and way atatlona. 8:80 e m.
For Loray. Natural Bridge, Roanokr. Knorvin%
Oiattanooga. Memphla and New Orliraaa, 12M
p.m., tally, alecplng eara throngh.
For 141 ray, 3:30 li.m. dally.
For Baltlmoie. week daya, *4 16, 8-06. ? TO,
*7:10. <7:30, (8K? 46 mlnutart, 8:10. ID 80 no^ot
46 minute*) a.m.. xl2:00. 12:?1, 12 16, x2 M
<8:00 46 mlnu'ea), 8 25, *4:28. 4:81. *S OR. xft lK
*5:30. 6:36. X6.2U, 8:80. *S.-<)0, S16, r?:00J xll.M
and 11:86 p.m. Sundaya, *4 20. i7:S0 (*^<1 48
Bilnute*), 8.30, x0.80 a.m.. *12:00. (12:06, lflU
*2:20 (3 00 4.1 minute*) 8:2ft. 4:31. xfi 06. 6:1ft
6:30. x(>:00. x9:00. lOKllfl. xll 8?1. 11:38 r tn.
For Annar^illa. 7:10 and 8:30 a.m.. 1* 18 ant
4:2t> p.m. Sundaya, ? So a m., 4:81 p.m.
Fur Fredeilck. all .13 Am., d:16. a4.3Q, a." .38
p.m.
For Hacrtoirn. all :18 a.m. and aft:S0 p.m.
For Bcrd and way potata bl):4<? p.m.
For Onlthiral urg and way p>1nta. a?*0. a?-68
a.m.. al.,50, rl:00, *4:33. W 3ft. b*A)ft. bll 88
p m.
For Washlncton Junction and way point*, ca oo.
an rm a.m., cl-18 p.m. Expreaa tralna. rtofplng at
crlncl|ial atatlona only, a4 So. aft 80 p m.
ROYAL bLVE LINE F< >R NEW YORK AND
nilLADELPHIA.
For Philadelphia. New York. Bo?ton and thn
raat, dslly. 4 2<\ 8-00 (10:00 a.m ex. Snn Dlnla|
Oarl. (12:00 Dining Oarl. 8KW (6:06 Dining tiart,
6:00 (11:80 p.m. 61ecp!n( Oar, opes at 10:08
o'clocki.
Buffet Parlor Oars on all day tralna.
For Atlantic City, Cap* May. Sea I?1e C"tty ant
Brlgnntlne Bea h, weak taya, 4:10 10:00 a.m,
12.-O0 noon: Sumlayii, 4:2o a.m. and 12,-oo noo?.
a Except Sunday, b Dally, e Sunday only.
< Ii|'i in tralna.
Bncirage called for and checked from hotels ant
naldencea l>y t'nton Tranafer r- wpany on order*
left at ticket office* 4U aat 1361 Pa. bt*^ aal
at depot.
R B. CAMTBEI.K CHAS a SCTLU
aal Gee. Manager. Om Paaa. Agt.
CHESAPEAKE AND OHIO RATT.WAI.
Schedule la effect May U. 18?4.
Tralna leave dally from L'aka atatlon (B. aat
PI, 8th and B sta.
Trirourh the grandeet eeenery la America, with
the bandsom>*t and meet complete ao.id train Bar
?Ice weet from Washington.
2:28 P.M. DAILY. ? ?Cincinnati and St. LooM
8pe<lal"?Solid Vee'lbuled. newly Equ1pt?ed. Ele<?
trlc-llchted. Steam heeted Train. Pullman'a ftoeet
ale, jilna rare Watblnrton to Olndnnetl, Indlanana
1U and St. Loula without change. Dining Oar
from Waehlngtun. Arrlvca Cincinnati 6 00 a m i
IndHnanolls. 11 : 4ft Am., and Chicago. 5 30 p m !
St. l/xit?. 8'ftft p.m.
11:10 P.M. DAH.Y.-Tbe famoea T- 9. T. lim
ited " A aolld veetlbnled train, with dining ear
and Pullman alcepcie for Cincinnati. Lexlngtna aat
I^ulevllle, wlthoJt change. Pullman Sleeper to
Virginia Hot Springs, w.-ek days, arriving 7 IB
a m. Ot-eerratlon car from ninton. Arrive* Ol*.
clnnatl. 6:60 p.m.: Lealnc'oa 8:00 p.m.; I>Hile
Tllle, 8:40 p m : Ind1snapofla. il :1ft p.m.: Chicago,
7:30 a.m., and St Loots, 7:30 a.m.; connects la
Fnlon depot for all polnta.
10:67 LM-. EX<?T 8CVDAT ?For Old POM
Comfort and Norfolk Only rail line.
2:2ft P.M. DAILY.?Expreaa for Gordon* cl tie.
Charlottesville. Wayne-itwro", Stannton atnl prlen
pal Virginia points: dally, except Sunday, tor Rich
mond.
Pullman locations and tlcketa at company's of
?ess, 618 and 1421 Pranayleanls aretne
h. w. rru-m.
my26 Oeneral Pea*.-nger Agent.
. LADIES' GOODS.
MADAME OENESTE. ?10 A ST. SE 'ONE SQ.
from F at. cersi ?Curtains and lace* done na
equal to new: curtalne a *t>eclalty: goods fmndlet
with care, called for and delivered. selft lm*
Ladths- sealskin GARMENTS rxnvrn av6
altered Into Ut-wt stvle*. Furs of sll klnda re
paired. TIIE MIOSES rrNMNGHAM.
Se4 Sm 1808 8th at n w.. near N St.
F1\B BLACK AND WHITE LACES DONE IT1S
first-< las* Parisian style: white and eatln dreaaet,
|?<ea and lace urtalos a sne Islty; prioee rea
eonable. Call MME. VJBOTDf, saenww ts
Mne. Yslmoot, old stand, <11 11th at. a.w.
eel-lm*
ANTON AND CAROI.TVP l FRCTI. *28 CTH ABB
12"0 1208 I t. n w. French dyeing and deanli*
ef every dce<rtptlon: evening and party dressaa
msde a specialty. Our patronage extends lots
tbe most fashionable circles All
STEAM CARPET CLEAN I NO.
AMMoM.imi fa 11. AM GAIU'ET CLEANING
Works ?Catyeu cleaned la the best munnsr.
Osrpets msds asoth proof free of etiam. Mat
treesee mads to orler. Office, 1720 PA are.
llorks, 170t and 1710 E n w. Teleplioee 90s
?b2-tt M. VEWMYER, Ma
UNDERTAKERS.
W. R. S pea re,
Undertaker & Embalmer,
840 F Street Northwest.
Even thing strictly first-class aat en the moat
leaeonabis terms. Telephone call, 840. )al tr
APOUSTPt tctobojtr "
rORNlSHINQ UNDERTAKER AND
_ . . 1834 VEW YORK A I'M. WW.