dead-seriousness of youth.

Passionate young propagandists as they were, they even preferred to
abandon their homes for a while--rather than their bloomers--and, taking
a studio together in New York, started out to earn their own living by
the teaching of art. Those were the days of the really brave women.

But to return to the less abstract topic of the bloomers, I often tease
Luccia and Irene about them, seeking for further information as to why
they ever came to retrograde from a position so heroically taken, one of
such serious import to human progress, and to condescend once more to
don the livery of feminine servitude, and appear, as they do today, in
delicate draperies which the eye searches in vain for any hint of
sanguinary revolution. Luccia always looks shamefaced at the question.
She still feels guilty, I can see, of a traitorous backsliding and
occasionally threatens to make up for it by a return to masculine
costume--looking the most exquisite piece of Dresden china as she says
it. I have seen that masculine tyrant of hers smiling knowingly to
himself on such occasions, and it has not been difficult to guess why
and when those historic bloomers disappeared into the limbo of lost
causes. There is little doubt that when Love came in by the door, the
bloomers went out, so to speak, by the window.

Irene seems to have held out longer, and, doubtless, scornful of her
more frivolous comrade's defection, steadfastly kept the faith awhile
unsupported, walking the world in bloomered loneliness--till a like
event overtook her. Such is the end of every maid's revolt! But Irene,
to this day, retains more of her student seriousness than her more
worldly-minded friend. Her face is of the round cherubic type, and her
large heavy-lidded eyes have a touch of demureness veiling humour no