lower leg, but in more cases it is due to lack of muscular development. In the former case the services of the surgeon will be required to remedy the fault. In the latter, physical development will do away with the appearance of weakness. The best exercise to that end will be found in swinging the legs out backward and forward and horizontally to the sides, until the muscles are made strong and firm and completely under the control of the will.

Bent Knees. Walking with the knees slightly bent gives a general effect of old age, weakness, and decrepitude. There should be a sensation in the knee of straightness and temporary rigidity while that leg is energized. The knee should lock, so to speak.

Kicking up your Toe. The defect of presenting too much of the sole of your foot to the gaze of the observer, due to kicking up your toe just before placing it on the ground, is often seen and leads to setting the backward edge of your heel too strongly down, with a consequent and unnecessary jar to the whole frame. Remember that this kicking up of your toe is an essential feature of the "goose-step." Not only in the drawing-room and the street, but at all times, grace is secured by letting your heel touch the

ground almost simultaneously with the ball of your foot, which nevertheless must always strike the ground first.

Walking in Scallops. When your foot is swung somewhat around the other rather than being placed on either side of the middle line, the result is much lost motion, as persons given to this habit generally direct their steps first toward the shop window, then to the curbstone in circular form, or what may be termed "scallops."

Walking with Yourself. There are many to be discerned in the street who seem to be engaged entirely in the subjective process of walking; there being no outside manifestation of a desire to reach a destination.

Walking away from Yourself. This form of walk is revealed in a long stride with a far-away look in the eye, indicating an unconsciousness of immediate persons or objects.

Q. Which is preferable, an objective or subjective mode of walking?

A. A forceful objective stride and the class which it typifies are better than a "mincing" subjective mode of progression; one shows character, the other an apparent lack of it. One stands for self-possession and mastery; the other indicates a small mind and leads to other defects.

Q. Do the faults described proceed from bodily or muscular defect?

A. As a rule, they are caused by mental states. Each is, in a certain sense, an indication of the broader aspects of character.

Q. Is such indication a true disclosure of character?

A. It is rather a caricature or exaggeration of the inner man than a true disclosure. Sometimes the slightest idiosyncrasies, through force of habit, become magnified into actual grotesqueness.

Q. In what does the remedy consist?

A. In enlarging the breadth of view, first by calling attention to the defect, then by inducing the person at fault to view himself in his relation to the rest of the world with an eye more nearly just.

Q. Should there be a motion of my arms in walking?

A. There should be neither an obtrusive movement of your arms to and fro or in and about, nor a constrained withholding of them from a slow, graceful swing.

Q. Should my body swing sidewise in walking? A. There should be no swinging sidewise of the upper half of the trunk from the waist, sometimes called the "knife-blade motion." It is not

only wasted motion, but it retards progress by turning forward motion into lateral.

Q. Are my head and neck concerned in my walk? A. The head should sway gracefully in response to the demand for compensation and balanced equilibrium. If kept stiffly erect from the neck, compensations have to be sought elsewhere and exaggerations develop.

Q. Does my clothing affect my walk?

A. Many defects in gait and carriage may be laid to the raiment of civilization.

Q. Do men walk with more freedom than women?

A. Yes, as a rule; yet in early times it was the goddess, not the god, whose motion from place to place constituted the ideal.

Q. Where may the causes for the faulty gait of civilized women be sought?

A. First, in skirts and other garments which impede the free and graceful movement of the legs from hip to knee. Secondly, in the concealment which these coverings afford to faults congenital and acquired. That the faults in the walk of adult women are rather acquired than congenital finds proof in the easily verified observation that little girls walk quite as well as their brothers of equal age, if not better.

Q. What may be said of the walk in stage representation?

A. In stage representation the ability to assume a walk in accord with the character in representation is of the first importance. Any discrepancy in the gait and carriage is quite as offensive as misreading. An instance at hand may be found in the walk of Sir Peter and of Lady Teazle. He takes short steps in two-four time, advancing his right foot and bringing his left in alignment with it; while Lady Teazle takes two normal, rhythmical steps to his four.

Q. What is the value of pivoting?

A. Pivoting is essential in the graceful walk and in the act of turning. The raising of your heels consecutively enables all changes of direction to be made without the taking of several short, ineffective steps.

Q. What is the final essential of an attractive walk?

A. Style. All defects removed and the art of pivoting made second nature, it becomes possible at last to attain not merely grace, but style, an air, as if in full possession of all that is best in yourself and in the world about you. Then, for the first time, you come into complete mastery of your own individuality.