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a&fefc: - , '^ylU'««SU». i"* ^ :-,u^Jf.-,.-. IfStfSW.rV- A-ate#®***"-. - A*•' W*' * 5T*.,:->:"•*"""FtWlr& *t ;*.'y|r^7r^. r; •it- ••<"•'*4 -W^,# *' «"> ' -• A ,% y " ti?v *> :*'*' <>.** _ ' , f •_'? * McHENKY PLAINDEALER, McHENRY, tfi» JRTOMrw* 2 A 5 ?K« Panels Are in PSji Great Variety HB Leading Woman cum bade from rehetml tired and spent, every nerve fiber aching, mentally brulf id. The role of Theo In "The Eternal Triangle" was the beat part that had ever been given her to create^ and willy-nilly, she had to create It as the Big Man, her actor-manager husband, decreed. The part fitted her like a glove. And the Big Man made her murder it. Once, he had taught her. In her ignorance she sad married him so that he might teach her. Now phe had *got beyond his teaching, and he did not Itnow it. In his vanity he thought he had "made" yfrer. He lived, fattened on that thrived on the Reflected glory of her alt, and ghonl-lUce on the ; Ivoman herself. . There- was no escape for her from his exactions this piece. The author was abroad, in 111- lth, so he could not be present at rehearsals, oreover, because this was his first play, the Big took liberties with it as might a theatrical lebrlty. This one rehearsed his wife with the assiduity of an animal trainer, bullying her before the t vfwhole company until they tittered and then grew Ipilent with sympathy. The Big Man came Into the room noisily. (was jhim. He He was big in physique and In self-suffl- ,ttlency. His face still showed signs of exaspera- •< y "Rotten I Simply rotten P he threw at her, strid- ;; vhng np and down. "Five years of drilling things i'i |lnto you, and you're as dense as when I married X/ "you. Tou queer the business, you slur your lines. I* 'Ton--you haven't an ounce of the real stuff In you. , vjDon't look at me with that martyred expression! I'd get rid of you if we didn't have to open on ^INew Year's Eve. Now, look here, we'll go through that business In Act n again, right here, now, until (jcV 'you get it right--my way--see? What's the cue? can't ask you to sacrifice yourself. . . ., (He it?' takes her in his arms). Come ontM The Big Man's temper was smarting under a i recent newspaper criticism In which It was sug- > v tested that In his next production he should give •<:f premier place to his wife. He specially resented * -U •E the advice, because the writer hinted that the Big Man, dramatically speaking, did not count "Come on!" he repeated. "No." He stared at her. She had never disobeyed Ma before. It nearly staggered him. Tm too tired tonight Besides, I don't agree (hat the scene should be played your way. That was not the author's Intention." He took her by the wrist. "By gad, youH be •aylng the play was written fot ym next I" It had been. The author had seen her on the . Stage once. He had purposely written his playground lier, because her personality had impressed "" him. The Leading Woman did not know this. Neither did the Big Man. "You've got to do what I tell you. If you're tired, what about n»e7" Bather than aigue, she gave in. It wasn't (worth It--arguing with a man who could only reason like a woman. The worst of It was, she could pee through him now. She knew he was Jealous. fthy knew he to»k a perverse pleasure In trying to queer her "baslness." She was perfectly well •ware that cou-d he have dispensed with her, he would have dole so; only box-oflice receipts had o good* slice he had starred her. After he had -gonJ the Leatypg Woman turned the key in the [* locla There was adtrs^M one way by which she couf secure oblivion of *r mental sufferings. Not by torphla, or drink, buwhv letters. A score of the#, written by her, nearly but not addressed^ iayn a locked drawer of hel| escritoire. She dl<jt notteven know the man whV, in them, she ln- •okfL Her eyes had never s^en him. To write was one of those queer feminine impulses women who suffer give way to In order to their hearts from breaking. They were the onl4lo\f-letters she had ever written to a man. t ook up her pen now, striving for calmness writing to her Unknown: i, my dear, I am so terribly sad, and I fun lely that I feel like a little child crying In farlt ... It can't go on. I can't bear it iuimer. Sometimes in my agony I have told f is do as other women do, to be worldly, n augh and console myself with the first uian who comes my way. Pride stops me, deep regard for you. Unknown. Shall I (ever see you? Will you ever become real, my Ideal? Shall I never know what love is? For now jmy heart is virgin. •Think of it, Half-of-My-Soul, wherever you aret I am a wife. And I have never known what It la to love, except Intangibly, as I love you. That is my punishment for having married without re? flection. Beloved, I was such a child, and thought nothing mattered except my art "Sometimes, when I first began to write to you. Unknown, I used to ask myself what would happen should I ever meet you? I know, as I know still, that I should recognize you, and at once. I used to think of myself as ever bent to the Bl* Man's will. But I know jiow that this would not be right. He has so long forfeited my loyalty. All that Is best In me belongs to you, whoever and wMfrever you are. I could not keep away if yc* , needed me. And I an a religious woman. "All this life I .am living Is wrong, unnatunA. Surely It can't go on. I am twenty-six--oh, dearest only twfenty-*i* and there is nothing left te me but work. . . . And In work I cannot forget because it is emotional. ... "I am going to write a little prayer here. I have prayed it waking and in my dreams. I send It sow on the wings of my spirit, this petition of my soul, that somewhere and sometime I may see you, know you, if, only once .... a face In the crowd." She was strung up and she covered pases, gl£ log her emotions full play. To a woman of acuta sensibility there Is something very convincing In the idea of a soulmate. It was that Leading 'Woman's consolation and her beacon of hope. During the following weeks while the new play ZY&S tvazn&mzut arnzrr* An infinite variety of changes is rung on the panel. There are long panels hanging below the bottom of the skirt and those that are short. There are wide ones and others that are nothing more than narrow strips of ribbon. Some are plaited, others are plain. They may hang perfectly loose and straight, or be In a series of loops lying fiat against the foundation dress. These, writes a fashion correspondent, are only a few of the simplest thing one may do with panels. A fresh surprise in the way of applying them to dresses Is sprung almost every day. When designers set their minds on one particular phase of dress, and it becomes a -favorite with them, there is apparently no limit to which imagination may run. One firm has made a favorite of the panel skirt, although it does not hold entirely to this type, but, like other makers, is extremely versatile. It shows a number of draped skirts. In both day and evening dresses, but the panel Is paramount. It is Introduced even Into draped models. For Instance, If the drapery is across the front, the back is in the form of a straight hanging panel. Or the treatment may be reversed and the drapery placed at the back and the front formed by two straight panels. The scarf movement on evening and afternoon dresses is closely akin to the panel, the scarfs falling from the belt of the dress to the bottom of the skirt, where they are caught be> neath the hem. They do all sorts of other Interesting things as well, such as forming bodices and swathing the shoulders in various ways, hut in the skirt treatment only lies their resemblance to the panel. All of the trailing sash ends and trains so popular at the moment are twin sisters of the panel. The apron tunic, too. Is a very near relative. Many interesting tilings are now being <lone with this form of panel. A remarkable model of brown satin shows* the apron tunic and front of the blouse cut in one, the plaited GIVEN HIGH. PUCE International Honors AwardeJ Western Canada Products. *Yoifv& qorro/ was being rehearsed she wrote more frequently to the Unknown than she ever had before. Her need was greater. The Big Man's professional Jealousy had outtan bis discretion and his business InBtlnct As tlie first night approached, reckless of consequences, he deliberately sliced and cut her part except where it fed hi* own. The Leading Woman •aid nothing. She knew It would be useless. Quite at the last moment, too, the Big Man made a vital alteration In the principal scene of the second act, delaying her entrance so that he might have the stage to himself as long as possible. It was an error of Judgment which even vanity did not excuse; and In the sense that it maimed the play and injured the actreaa, it was a crime. The Leading Woman knew the play was a good play, and that there was one way to save It The remedy lay with her. If, instead of acquiescing In her belated appearance In the second act she came in as arranged In the author's script, the Big Man would have no alternative but to go on with the action as It had been written. Should she do It? All she knew on the opening night was that she could pull the play out of the lire if she dared. Before the first act was over any help of hers aeemed hopeless. It hung fire, was received with comparative silence. When the curtain fell she ten minutes In which to make up her mind whether or not to take the step she contemplated. 8he stood on the stage, looking At the house through a peep-hole in the proscenium. Right In the center of tlie front row of stalls the seated figure of a man enchained her gaxe. It seemed as If he returned It, for his eyes were fixed on the precise spot from which she regarded him. She went hot and then cold; for she knew beyond a shadow of doubt, as women do sense such tilings, that the man In front was he whom •he had called her Unknown; for whom she had kept her heart empty all the lean years of-her married life. She went quickly back to her dressing-room. Not only for the author's sake, but for her own; her mind was made up to revert to the earlier entrance and risk everything. Including the Big Man's displeasure. She was going to act for the Man In Front, to forget that she was the wife as well as the victim and chattel of the Big Man. She dressed feverishly. Theo she sent for the ptage-manager. Tn going to -take my original cue in the second V^et," ghe told him. "Ifs my responsibility, of ^ course. I'm going to play my part as the author wrote It I shall speak my original lines, and those engaged in the scene will Ignore the cuts made yesterday. Will you please tell them to be prepared? Th£ prompter as well." The stage-manager had always considered the Leading Woman a pliable, weak creature. Hie inexplicable change In her left him so amazed that he had no word to say. She passed him on her way to the stage, stood behind the center entrance for her cue . . and took it The Big Man gasped and forgot his part which was nothing new. Beneath the artificial color his face was livid with rage. Hie bouse applauded as the Leading Woman took the stage. Under cover of the noise, he Jerked out: "What the devil are you up tat By thundery m make you pay for this." She was smiling, looking Into the black void of the house. Het Hps moved, answering him: "Tea, afterward*. ... I don't mind paying then." From that moment she took the play into het hands and made it what it was meant to be. Ths members of the company, Inspired by her revolt, and latent dislike of the Big Man, supported her loyally. With the vigor of the big scene restored to it the play took on a new and convincing aspect Even the Impotence of the Big Man conld not arrest it progress. The inspiration of the Leading Woman carried it on the flood tide ts success. The emasculated first act was forgotten. Finally, the curtain descended on a play made. At the end, the call for the author grew vehement The author was not in the house. Then they called for the Leading Woman again, and she, coming forward, bowed ... to the Man in Front . . . and then she trembled and grew weak, because he looked straight back at her and smiled. The Big Man made her pay when they got home that night. Exactly how does not matter. Thla is a civilized world, but the veneer of civilization lies very thin on natures such as his. She sat up all night writing to the Unknown whom she had seen at last. Bodily pain and mental anguish were forgotten In the ecstacy thai drove her pen over the paper. "I have seen you! I knew you I My heart has shaken hands with you . . . and oh! if you would call to me, how gladly would I come." The next evening she pleaded she was too 1U to play. She really was. But the Big Man laughed. She had reverted to the original script She would play it so every night, ... *** for it after. The Man In Front was there. He was there the next night And each night the Big Man made her pay so terribly that the last shred of her allegiance to him slipped from her. On the third night at the end of the performance, as she was preparing to go home, the triephone bell in her dressing-room rang. She picked up the receiver. " T e s ? . . . I ' m t h e l e a d i n g w o m a n , . To whom am I speaking?" "The author of the piece," was the answer alM received promptly. She grew faint at the. sound of the voice. "I want to thank you for what you have dow for my play. The papers are full of you. 1 wasn't able to be present although seats wen sent I was there in spirit I think. ... It mean so much to me." • voice within her asked a question. "What seat--did they give you?" "The middle of the front NOT o< IM Mailt Number ten." Her voice grew staccato. "Tou weren't there? Tou sent no substitute?" "No. I can't even drive round and thank yon, The doctor won't let me out" Words dried in her throat She got them out harshly. •*Shall I come to youl. . 4 The address? When will I? Now!" Before she left the tbetiat, ah* questioned th« man in the box office. "Number ten, front row of the stalls. Who bad itr "Nobody, MdiM. It waa teesned tor th« author." "Did yon let anybody else have It in his absence?" "No, madame. It has been empty each night.' The cab stopped at the hotel. She got out Tb« elevator took her to an upper floor. At th« door to a room she dismissed the bellboy. Alone In the long corridor she paused for s moment her knuckles poised over the door paneL What was the opening of that door going to mean to her ... the shutting of another? She knocked softly. There was no answer. She went In, closing the door quietly behind her, her eyes going instantly to the still figure In the arm-chair. It was the man she had seen In the theater-- in the seat that had been empty all along. Waltlug for her, convalescent after a long Illness, h« had fallen asleep. Standing there, her eyes took their fill of him, Her senses swam with the Joy of looking upon him while be was unconscious of her presence^ Her eyes loved him. The room was untidy. Inhospitable as a hotel apartment always Is. It needed a woman's touch. There was a writing-table by his side with papers on it and a woman's photograph . . . hers! The grate was full of ashes, the fire low. Silent ly she stepped across the room and knelt by the frate. 'The man, roused out of a fitful slumber, awoki to see the woman tidying up his hearth. And thus, early la the year, a new happlnesa was dawning. Skirts ef Floating Panela. A panel may be a highly oma mental affair, supporting costly furs or embroideries, which are increasingly beautiful. This firm makes skirts entirely of floating panels, a popular way of evolving models from the softer materials, such as chiffons and laces. Bolt after bolt of ribbon has been called npon to serve as panels. A dress has been developed In black crepe de chine, with an elaborate trimming on the skirt consisting of little fan-shaped pieces of plaited crepe at even intervals across the front and of blue ribbon panels. These ribbon panels are spaced so as to fail between the rows of plaited triangles, excepting over each hip, where the ribbon Is looped In sash effect The high collar and the deep shoulder yoke are cut in one with the bodice. The short sleeves are set in at a very low shoulder line. A tou< l> of blue Is gtven to the blouse through the buttons and a band of ribbon, which outlines the collar. A pew and remarkable use Of panels appears In a model which Is developed In black satin. The skirt Is made entirely of narrow panels, placed diagonally so that they give the appearance of being cut In pointed outline. The high collar and long sleeves are featured In this model. Four motifs down the front of the bodice are of red velvet outlined with red beads and embroidered through the center with a running stitch of black. Panels formed of straight bands of embroidery are used on a blue serge dress. These fall from the shoulders, both back and front, and are caught In at a low moyen-age waistline and under the hem of the skirt. A second type of panel Is Introduced at either side In the form of knife plaitings. Fan-8hap»d and Contrasting Color. Among the newest panels are those of fan-shape. 'It Is not at all necessary to make them, or any other panel for that matter, of the same material as the dress. In fact It Is much smarter to have them of a contrasting color and fabric. They may be of embroidered net or lace, or even embroidered cloth of gold on the more elaborate frocks. On cloth dresses the panels may be ornamented with an applique embroidery of the material. Biack Satin Frock With 8kirt Made ef Narrow Panels Placed Diagonally. sides falling from a deep shoulder yoke. Fullness Is inserted in the skirt by means of plaited side panels. The edge of the skirt and the sides of the apron tunic are finished with' a bead embroidery. Panel of Plaid Cloth, One model of beige serge has a front panel of plaid cloth In a combination of deep red and beige. The lower half of the bodice is embroidered in red. carrying out the pattern of the plaid material. The buttons and little narrow belt are also of red. The high collar is cut in one with the bodice. Dressmakers deserve considerable credit for their tenacity of purpose In holding to the idea of launching the high collar. Everybody despaired of their ever bringing this about. This season sees the high collar going over the top, or over the ears and chin, at any rate. Like many a more serious thing in life, the very boldness with which it was presented probably has been largely Instrumental In securing Its acceptance. Now It Is exaggerated to the verge of eccentricity on some models, so that in contrast the collar of ordinary height seems simple, Indeed, and something to b* readily ae> cepted. Custom Approves Odd Fashions The bizarre exaggeration of the collar Is a species of advertising for high collars In general and should be looked upon as such. Nobody Is expected to take very seriously these great puffed affairs that the wearer can barely see over. Last year designers appeared to undertake the exploiting of thla fash- Ion In fear and trembling. They Just naturally believed that because women had worn the open.necked frock for so long they would not acccpt the high collar. Consequently. they showed it on only a few models and every woman took It at the dressmaker's own valuation. A claim for the low collar has been that It was more becoming to most women than the high one We have only to look back a little way Into the past to realize that this statement Is not true A few years ago. after the flattering high collar and Jabot, the open-necked dress with collar and revers appeared quite unbecoming. It is. after all. largely a matter of what we become accustomed to seeing women wear. There are chin muffling collars on day dresses and suits, and even on a few dinner dresses. Of course, on the latter the collar must necessarily be of some filmy material, such as chiffon or tulle. Consequently, It is more like a scarf swathing the neck and tying at the side. Then there Is the good old-fashioned stock collar, buttoning straight down the front, although on many of the models the high collar is left open, to give freedom to the throat Ever so many of the high collars are edged with fur. They also offer an excellent opportunity for the Introduction of beautiful embroideries. f What Can le D*m Intelligence and Industry, « flood, Low-Prtc*d Land. Ae 1920 International Live Stirk - show at Chicago was probably the best that has ever been held, and as la pointed out by a Canadian newspaper writer, the number and quality of tbt exhibits "Indicated a new milestone on the road of progress.'* This year It was truly "International." The part that Canada took showed a spirit ef friendliness on both sides of the line that was highly pleasing. Six provinces of Canada were represented in varying degrees, and when the handsome share of the prizes that were carried off by our northern neighbors, achieving phenomenal success In view of tremendous competition, Is considered, there Is reason te . hope that in the minds of these people there will grow an esteem for tha International that will be helpful ta both countries. Canada won a number of championships, not the least of which was tha sweepstakes carried off by Mr. J. CL Mitchell, of Dahlnda, Saskatchewan. In tliis award may be seen an object lesson, going to show that if Is not always the man born with a silver spoon In his mouth to whom tha greatest degree of success will attach. It will be Interesting to relate that Mr. Mitchell, the recipient of these great honors, came from the manufacturing city of Manchester, England, unacquainted with farming, but with the lure of the land upon him. Because he bad been told of the success that followed the tiller of the soil ef Western Canada, fifteen years ago he decided to make his home In Canada, tnd selected as a homestead the land upon which he grew the wheat that has brought him a world's championihlp. It Is true he had his ups and downs, but be continued and is now enjoying the fruits of his labor and the experience gained in a manner »f life that was enjoyable. But ha Is still a simple farmer and will continue growing grains that, with the knowledge he possesses, industry that is essential, and above all, a soil and climate that are favorable, will Bern re many more world's champloa ihlps. Well, then, too, there was bora at Stratford, Ontario, a boy named La cas, now of man's estate. Although a town boy he always had a desire for farming. He moved to Alberta to the neighborhood of Cay ley, and those who have had no Idea where Cayley is will know now, for Mr. Lucas has plsced It' "on the map." He had some if his 49.2-lbs.-to-the-bushel oats at the International, and with 240 competitors against him he took the Championship and sweepstakes. This was a notable achievement As has >een said, when he was a boy be took 1 liking to farming, but the greatest Bhstacle in the way of realization of tits dream* was the practical impoe* liblllty of a man without a large imount of capital purchasing tha high-priced farm lands of the settled parts in the neighborhood he lived IB. However, after leaving school ha beard of the law-priced lands of Westmi Canada. This was his opportunity, and be embraced it Beginning tt IB years of age with 160 acres of rlrgln prairie, and with no practical farming experience, he has now, by perseverance and Industry, increased his holdings to nearly 1,000 acres. Such Is the brief history of the man who carried off the championship for the best grown oats, and It is also an example that might well be followed by many who are struggling today against the prices received for the produce grown on high-priced land, or to those who, as was the case with Mr. Lucas, bad little means but aa abundance of energy and a flood of ambition. Nowhere are there offered inducements such as are offered la Western Canada. There were 25 prizes offered to tha class for hard spring wheats and 20 of them went to Western Casada j* Advertisement YM American politics consists of tha rolling of logs, the pulling of wirea and the laying of pipes. Ribbon Sashes. The lovely new ribbons are made up Into long sashes, with wide silk fringe knotted at their ends. They are particularly attractive, though they cost a good deal. One thing, though the present wide ribbons are expensive, they are surely beautiful enough to warrant the paying of any amount one may be able to afford for them. Style Notes of Interest THE CUSTOM OP OIFT*. Almost everywhere the custom of making presents on the first day of the new year has been observed, originated, or wher#, it would be exftreroely difficult If not actually impossible, to say. It is sufficient to -know that the observance has the sanction of remote antiquity. In the Eighth century B. C. Tatius, king of the Sabines, according to tradition, began the cusUrti among the Romans. A* first the gifts <"**a merely emWamatic and of little price, being branchea cut from the wood consecrated to Strenia, the goddess of strength. These were presented to the king as an omen When it | of good fortune. The gifts became more pretentious as time went on*" Begin Year With fAareh. Although the calendars of all nations now make January 1 New Year's day, there are many races who do Oot consider that the year begins at that time. The Natchez Indians, for lnlanaa, begin ibak imp w^ <¥«mh> which they consider "Deer Month," while Janoary, coming In the middle of cold weather, has the gloomy title, "Cold Meal Month." It Is, however, a turkey month, too, sometimes, though October la the real "Turkey Month," and in both seasons wrestling matches are held with turkeys as prizes. : Oylvester AberMk New Tear's Eve in Germany is Sylvester Abend and a night of jollity. TN Germans celebrate it with much less sentiment and beauty than their Christmas, but with a good deal more llcensc. It Is the termination of the Christmas holidays, and the common people let themselves go; while even the better classes Indulge freely In the flowing bowl. Drinking is the principal form which the celebration takesfc In the ttomes the punch bowl is filled and emptied--several times over; the restaurants are crowded with those who either have no homes to drink in or who prefer these pul> Ilea #- High-Collared Gowne Favored; Seven- Eighth Sleeve Is Popular; Sash la Tied in Front High-collared gown* ar* w*»ato« their way. Bead girdles are admirable for tne simple duvetyn frock. Spring styles for children are now being brought out by manufacturers Swathed turbans of gold, and silver cloth are popular for evening W<Corsage bouquets of artificial flowers are quite taking the place of the natural ones. A great favorite with the mode Is the seven-eighth sleeve. This sleeve l*» ! frequently bell shap«$ and embroidered or trimmed with fur at the lower edge. Many semiprecious stones are used In the dashing head dressings which are to he worn with evening Nooks this winter. The newest "wrinkle" is to tie your sash in front. Not directly In the middle of the front, of course, but a little toward left or right. Slynx fur, which Is the skin of the young South American sheep. Is dyed in blege and all other colors or is used in Its natural grayish hue. Velvet will lead for evening wear for both gowns and wraps, arid novel forms of embroidery in unusual color combinations are used on these lu*. trous fabrics In some Instances. The trimming range favors severely tailored bindings of self or contrasting fabrics in contrasting color, and runs the gamut to the most elaborate embroideries of silk, chenille, wool or beads, with nail heads in high favor to piece out New French Veils. „ The new French veils are of plain, fine mesh over the face. The part that goes on the hat is embroidered in scrolls and vines and gives a trimming to the perfectly plain toque.' ASPIRIN Name "Bayer" on Genuine Take Aspirin eaty as told in each package of genuine Bayer Tablets of Aspirin. Then you will be following the directions and dosage worked out by 'physicians during 21 years, and proved safe by millions. Take ne hances with substitutes. If you *e the Bayer Cross on tablets, you can Jake them without fear for Colds, * Headache, Neuralgia. Rheumatism. Karache, Toothache. Lumbago and for Pain. Han«iv tin boxes of twelve' tablets cost few cents. Druggists alio sell larger packages. Aspirin Is the trade mark of Bayer Manufacture of1 Monoacetlcacldester of SalicyUcartA--> Ad*. Self-restraint la the on* remedy ta twe the world to sweet repose. Constipation c*n be cured witboet Nature's own remedy--wlected Uartield Te*.--Adv. Contact with s too-sharp one's confidence In humanity. C«te* CarkaUult* tyriettr and heals buruin*. itehins *nd toi vurlr^f. akin diseases. It instantly slop* P»<% of bums. Heals without scars. Jte W, Ask your druKSist. or *»nd 39c W. Cole Co., Kockford. 1U., for a A4v« Truth Is mighty and 011 '«•»»» should be Imparted la dribWta 'XI L:*' hy.,'- • "• 4