Terpsichore, viewing certain of her local devotees—males masquera ing as Holstein cattle and gemini nity so scantly attired that the jeircumspect refrain from raising leven the voice in public—would flee. We insinuate no decadence of lovely woman. Our plaint is that garb so rational should reveal the feminine form is not always divine, Burton, writing to-day, would supplement-his Anatomy of Melancholy with the Bfelancholy of Anatomy.
The figures of Euphrosyne, Aglaia and Thalia grace the JGarden of the Rival Orchestras, where @ cynical landscape architect Fas placed them facing the dance floor. That is, the first named faces it. Her companions have not only averted their countenances but Uuried them each against a convenient shoulder of Euphrosyne who appears to comfort them. At first view, we concluded that their pose was' prompted by realization of, lack of raiment and we com-raénded their manner of screening Euphrosyne. The latter's unwavering gaze upon the dance floor, however, impelled ours thitherward to cur further enlightenment and edfication.
Karl, the Kangaroo, and Helena, the Hippo, tread a measure. Helena is unaware that Siccawei's scismo graph is registering tremors. If we do not here record her emotions, it is not because of any difficulty' guaging them, X-rays are not required. After an interval of fasinated observation we rise, deterentially salute the marble group and murmur sympathetically, "Ladies, we quite understand."
Text read from the printed page and cleaned; old type leaves the occasional error.