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 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.

If the feeling for clothes, the sense of their correspondence with time and place, with public enthusiasms and with private sensibilities, has always belonged to France, it was a no less dominant note in Italy during the two hundred years in which she eclipsed and bewildered the rest of Christendom; and it bore fruit in 200