to quote the song from _Patience_? Only a century ago Englishwomen had adorably drooping shoulders and soft arms; their contours were well rounded or they were miserable. To-day it is the round who are miserable. So marked a physical change is more than accident: it is a symptom of some constitutional or systematic change, and it has let the flapper in as a concrete symbol of the revolution. Personally I could welcome the return of a measure of rotundity, both in form and manner, not the too doughy rotundity of, say, an Amelia Sedley, but something more in the manner of George du Maurier’s drawings in _Punch_ of Mrs Ponsonby de Tomkyns and the statuesque ladies who attended her “at homes.” To George du Maurier that was the English type, and his admiration of it is clear in every line. He idealised possibly, but such idealism does him artistically infinite credit. Angularity, for him, was only the price paid in lost charm for intellect, as in his three Miss Bilderbogies: only extreme cleverness, in his view, could excuse such absence of contour in a woman, and even then the excuse would have to be explicitly made with some humility. Where has it all gone, that amplitude, that richness that was present to his eyes and fed his imagination? One would say that there must have been a shortage of cream somewhere to have so encouraged the Bilderbogie strain and repressed the Ponsonby de Tomkyns. It may have been that there was too much cream in the Ponsonby de Tomkyns stratum and too little elsewhere, an error now remedied by a more even distribution. Let us hope so, in the expectation that the traditional creaminess of things English may again become visible in the community. English girls were once compared to rosebuds and cream: the rose is still there, and no nation can compete with it, but when it comes to a question of cream, the best that the average flapper can boast in her composition is a fairly stiff admixture of milk and soda.