M. Bonnefois is an artist and a literary man. Last year he published a very pathetic article in the _Union Mutuelle_, “Les Drames de la Vie Foraine,” and I have read some very skilful verses written by him for some of the small reviews published in the South. This man has tastefully grouped a limited number of models, youths and girls, who are not only well trained in their profession, but also good-looking. Amongst them are Suzanne Bertini, the model from the studio of J. P. Laurens; Arabelle, the model from the Bouguereau studio; Jeanne Laurence, the model from the Baudry studio; Antonio Vega, from the Academy of Madrid; Rose Linon, one of the favourite models from the Gervex studio; Berthe Biéville, [p075] Serge Worouzof, from the Academy of Moscow; last and chief, the star of the troupe, the beautiful Mireille, from the Academy of Marseilles. This little Phocean is crowned with beautiful blue-black hair, and has the profile of Pallas Athene, with all the Olympian coldness, the absence of expression, and the gravity which distinguished the goddess. [Illustration] Perhaps, since it is a question of perfection, her arms, like her bust, are a little thin, but Mireille’s statuesque divinity reappears in her legs from the hips to the feet. One lady, whose views upon questions of dress are extremely accurate, and in whose society I was lucky enough to witness this [p076] artistic exhibition, made an observation upon Mdlle. Mireille’s attire which I faithfully transmit to this pretty girl and her directors—directors of conscience and others. An error on the part of the costumier is the cause of the apparent want of harmony in the fine proportions of Mdlle. Mireille’s figure, giving undue importance to the legs. A scarf has been draped across the hips over the salmon-coloured fleshings; it is about the width of a bath-towel, and is so inartistically puffed that its whiteness destroys the harmony of the outlines, and by its vague resemblance to the short breeches worn with trunk hose, it transforms a nude into a travesty. Above the trousers of the page one looks for the shoulders of the man, and because they are missing, Mdlle. Mireille looks too thin. What remedy can be applied to this serious error which spoils our pleasure? There is some difficulty in the matter, I know, but it has been frequently overcome with greater skill: for instance, by the artist who designed a costume for Madame Théo, as Eve before the Fall, which won the approval of all admirers of plastic beauty, without shocking the susceptible. I shall send a photograph of Madame Théo to M. Bonnefois.