Mr. Henry James has written some charming paragraphs on the symbolic value of clothes, as illustrated by the costumes worn by the French actresses of the Comedie,--women to whose unerring taste dress affords an expression of fine dramatic quality. He describes with enthusiasm the appearance of Madame Nathalie, when playing the part of an elderly provincial bourgeoise in a curtain-lifter called "Le Village." "It was the quiet felicity of the old lady's dress that used to charm me. She wore a large black silk mantilla of a peculiar cut, which looked as if she had just taken it tenderly out of some old wardrobe where it lay folded in lavender, and a large dark bonnet, adorned with handsome black silk loops and bows. The extreme suggestiveness, and yet the taste and temperateness of this costume, seemed to me inimitable. The bonnet alone, with its handsome, decent, virtuous bows, was worth coming to see." If we compare this "quiet felicity" of the artist with the absurd travesties worn on our American stage, we can better understand the pleasure which filled Mr. James's heart. What, for example, would Madame Nathalie have thought of the modish gowns which Mrs. Fiske introduces into the middle-class Norwegian life of Ibsen's dramas? No plays can less well bear such inaccuracies, because they depend on their stage-setting to bring before our eyes their alien aspect, to make us feel an atmosphere with which we are wholly unfamiliar. The accessories are few, but of supreme importance; and it is inconceivable that a keenly intelligent actress like Mrs. Fiske should sacrifice _vraisemblance_ to a meaningless refinement. In the second act of "Rosmersholm," to take a single instance, the text calls for a morning wrapper, a thing so manifestly careless and informal that the school-master, Kroll, is scandalized at seeing Rebecca in it, and says so plainly. But as Mrs. Fiske plays the scene in a tea-gown of elaborate elegance, in which she might with propriety have received the Archbishop of Canterbury, Kroll's studied apologies for intruding upon her before she has had time to dress, and the whole suggestion of undue intimacy between Rebecca and Rosmer, which Ibsen meant to convey, is irrevocably lost. And to weaken a situation for the sake of being prettily dressed would be impossible to a French actress, trained in the delicacies of her art.