In the last act of Mr. Bernard Shaw' s "Fanny's First Play," Miss Lillah Mccarthy (Mrs. Granville Barker) wears a gown made of white silk crepe with pink n i n o n tunic, embroidered with t i n y white beads and pink silk floss, a dress which she considers the prettiest she has ever worn, while Miss Julia Neilson (Mrs. Fred Terry) does not think she has ever worn anything so becoming as the black satin and tulle dress, trimmed with silver and brilliant glistening jet embroidery, which she wore in the third act of "The Popinjay."

Some fascinating models of elegance and artistic beauty were worn by Miss Marie Illington and Miss Mabel Love in "98.9," which Mr. Robert Loraine produced at the Criterion, and those who saw the play will probably agree with Miss Illington, who recently remarked that it would be difficult to imagine a more charming dress than that which was designed for her to wear in the first act of that play. It was of old-gold satin, veiled with golden brown chiffon, with a velvet waistbelt. The ninon tunic was arranged over an under-dress of charmeuse, across the front of which bands of wide gold insertion were arranged, crossing in the centre. The skirt, cut with a narrow square train, was edged with gold galon, and this, together with the gold insertion, appeared on the kimono corsage of ninon and lace. The plain belt of gold-coloured velvet had one long loop falling perfectly straight down the back to the edge of the tunic, the square train being of the satin.

Miss Mabel Love's favourite dress was the evening frock she wore in the second act of the same play. This was of ivory-white satin, the material being drawn across the front of the skirt, and caught at the right side with a diamond and ruby ornament, being continued to the back, where its two leaf-like folds formed a short train. Diamond and ruby trimming formed the corsage and sleeves, a band of similar trimming, to which was affixed a giant pink osprey, forming a striking head-dress.

A really wonderful array of lovely dresses was to be seen in the second act of Sir Arthur P i n e r o ' s play "The Mind the Paint Girl," at the Duke of York's Theatre, and Miss Nina Sevening does not think she has worn a prettier dress on the stage than the one in which she appeared in this act. It was composed of palest pink chiffon, veiling strips of silver trimming. The drapery was of rose-pink charmeuse, a full long sailor collar being made of pink chiffon, with sprays of silver embroidery, edged with silver trimming, and a piping of pale rose-pink satin.

A gorgeous dress of black satin and tulle with silver and jet embroidery, well suited to the stately figure of the wearer, Miss Julia Neilson, in "The Popinjay"

Ellis & Walery

This collar was finished in front with silver embroidery stole ends, which were themselves finished with silver tassels. The waistband was composed of narrow strips of satin in two shades of blue, one dark and one light, with buckles at the front and side made of silver bugles, with touches of blue and pink.

"I have worn more elaborate dresses perhaps, but I do not think I have worn one so dainty and charming as that in which I appear in the first act of 'the Sunshine Girl'," says Miss Olive May. "It is of embroidered lawn, the trimmings being of Valenciennes, the pale blue cord at the throat being finished with tassels. The belt of folded white satin is made with bow and ends, the front of the frock being decorated with blue satin -covered buttons. The lower part of the skirt is trimmed with blue satin ribbons run under the Valenciennes, while the side of the skirt i s decorated with little blue satin bows. With this frock I wear a hat of white s tr a w, underlined with blue and trimmed with a flower aigrette."

Miss Iris Hoey, in the second act of "A Member of Tattersall's," at Whitney's Theatre wore a gown which she considers is probably her most becoming stage dress. It was of pearl-white tulle, made over white satin, with waistband of pink, and gathered closely round the waist. The bodice was outlined at the neck and edge of sleeves with rather large single pearls at the waist being a large shamrock-shaped ornament of dull gold and silver. A hem of pink roses, crushed closely together, formed a thick ruche round the edge of the gown, which was also veiled with tulle. The skirt had a double drapery of tulle, which fell from the sides of the waist, and was caught round at the back and each side with a pink rose. Altogether a dress to be desired, and one perfect in artistic feeling and combination of delicate colouring.

In connection with these beautiful and e v anescent triumphs of the art of dress, a reflection cannot but arise of curiosity mingled with regret. What were the stage gowns of the past, in which such actresses as the glorious Mrs. Siddons, the irresistible Peg Woffington, the fascinating Mrs.bracegirdle, and sweet "Nell of Old Drury" played their famous parts, and achieved their fleeting triumphs? How interesting it would be to study their stage dresses, as we may study the sartorial relics of long-dead queens and empresses.

Why, too, should not these lovely creations of the modern stage be preserved for pos-terity in a theatrical museum? They are in many cases worthy of immortality, if only on account of their intrinsic beauty, and if to that factor we add their historic interest for future generations of lovers of the stage, there is sufficient ground surely for the matter to be considered seriously. The cost would be insignificant compared with the interest to be derived from such a collection.

An evening frock of ivory-white satin, with diamond and ruby corsage trimming, worn by Miss Mabel Love in "98.9," A giant pink osprey formed the head-dress worn with the costume Dover Street Studios