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 of a Hungarian band, young ladies wearing "creations" in costume, stood, sat, turned, twisted and twirled, and finally walked down the room between rows of spectators to show themselves and the gowns they carried, off to the best possible advantage. The whole thing was much better than a stage comedy. Nothing could surpass the quaint peacock-*like vanity of the girl mannequins who strutted up and down, moving their arms about to exhibit their sleeves and swaying their hips to accentuate the fall and flow of flounces and draperies. It was a marvellous sight to behold, and it irresistibly reminded one of a party of impudent children trying on for fun all their mother's and elder sisters' best "long dresses" while the unsuspecting owners were out of the way. There was a "programme" of the performance fearfully and wonderfully worded, the composition, so we were afterwards "with bated breath" informed, of Madame la Modiste's sister, a lady, who by virtue of having written two small skits on the manners, customs and modes of society, is, in some obliging quarters of the Press called a "novelist." This programme instructed us as to the proper views we were expected to take of the costumes paraded before us, as follows:

FOR THE DINNER PARTY

Topas Elusive Joy Pleasure's Thrall Red Mouth of a Venomous Flower

The "Red Mouth of a Venomous Flower" was a harmless-looking girl in a bright scarlet toilette,—*