The capacity of her _armoires_ and the size of the accumulated collections they contain were tested some years ago by the special production of Strauss's "Salome" at the Châtelet Theatre in Paris, when Muelle was called upon, at ridiculously short notice, to furnish all costumes for a cast of 150 people. There was a royal ransacking of cupboards and jewel cabinets, but everything was ready on time for the dress rehearsal. [Illustration: DALILA AS I NOW DRESS IT] A greater feather in her cap was the order to costume the new productions of the Russian Ballet, from designs by no less a personage than the great Leon Bakst himself. Then ensued a dyeing of silks and a printing of chiffons, a stringing of beads and knotting of fringes which set the whole establishment humming like a beehive. For all their thousand problems, the costumes were finished and delivered at the appointed time. Since that triumph there has been hardly an important costume event in all Paris in which Muelle has not had a share, if not entire charge. She costumed Astruc's first season in the Théâtre des Champs Elysées. She has been responsible for the costuming of many productions of the Russian Ballet, and for great spectacles like Debussy's "St. Sebastien" and "La Pisanelle" of D'Annunzio. Society knows her as well as the stage, for she has been the presiding genius at many an exquisite fête, Greek, Roman, or Persian, held in lovely gardens behind the prosaic exteriors of exclusive Parisian homes. But all this has not turned her head, nor changed her toward her old friends. She still loves a good gossip. Many a note have we had from her--"I am delighted that Mademoiselle is returning to Paris, and hope that she will come to see me. I have quantities of stories to tell her, and we shall die of laughing." But though she enjoys a choice tidbit, she will tolerate no malicious tale-bearing. She refused an order, tactfully and firmly, from one singer because the lady tried to tell tales out of school against one of Muelle's chosen favourites. Her revenge in this case was typical. She knows that advancing age is the enemy _par excellence_ of popularity for stage people, so she makes a point of always referring to the delinquent as "La Mère So-and-So!"