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nS                          A FEW MEMORIES
while good cut and color, which give picturesque-ness to the simplest garment, were entirely lacking. This was largely due to the fact that stock actors, whose salaries were small, furnished, in most cases, their own wardrobes, and four or five dresses did them service for all the plays of a season. One hauberk in its time played many parts. I have seen Claude Melnotte, a colonel in the French army under General Bonaparte, appear in the gray uniform of a Confederate soldier. Greek and Roman maidens posed in high heels, chignons, and bends miscalled " Grecian," and medieval Italians strutted the stage in French clothes of the last century. But even this was an improvement on the white wig and red coat worn by David Garrick in " Macbeth." I confess to having donned stiff skirts and French heels in a Greek part for several seasons. One seemed at the mercy of the costumer, who, in spite of prints and prayers, invariably finished a classic robe with a modern balayeuse. I was beginning to despair of ever possessing anything like a real tunica when Mr. Frank D. Millet came to my rescue. From that time my classic wardrobe was entirely satisfactory, for not only did this excellent artist and friend design the most charming and correct cos-