takes a personal interest in every detail pertaining to his productions, and such condemnation from him is condemnation indeed. Especially when he caps it by saying that he has found that the new costumes have to some extent frequently undone the results of his undress rehearsals, the actresses no longer representing his creations as they did before the dressmakers sent home their gowns, while the variety of their impersonations is swamped by the uniformity of their fashions.
Even while grumbling, Pinero admits that stage costume has made wonderful progress since the time when Robertson's appropriately-dressed plays doomed the theatrical stock wardrobe, and Alfred Thompson initiated reforms making for artistic harmony; nevertheless, Pinero protests that it is time for the dramatist, in the interests of dramatic art, to say to the costumiers and the purveyors of fashion, "Thus far shall ye go, and no farther." Sir James Linton took up this cry, while declaring that the bane of the dressmaker was over all feminine stage costume, and would be, until there arose an autocratic manager. Sir James is severe, and would accept no compromise, insisting that dress in historical plays should be absolutely accurate, quite regardless of the becoming, and asserting that an element of incongruity is always present on the stage, introduced by the mere vanity of the mere woman.
In how far the art of costume may affect the art of drama I have my pet theories, which include a predilection in favour of red of all shades for historical dress; an appreciation of the charm of decoration in black and gold; a recognition of the immense value of black in small quantities wisely
