Dance sequence reads from left to right and indicates expanding volume of figure in space. desired effect. The circle changed shape. Given poles to extend her arms, more fabric length could be allowed at the sides. The length in the front equaled the dancer's height from head to floor. The circle was elongated in the back to thirteen feet. The pattern was then divided into pie segments. Initially I thought alternating bias and straight grain gores would provide interesting movement when the fabric was tossed into the air to create the alternate leaping and snapping of flame. This method, however, would yield a large number of seams and consume even a greater amount of fabric. Working on the principle of a parachute, I elected to cut each gore with the straight grain going down the center. Thus, each seam would be on the bias. The lighting designer suggested that even smaller pie-shaped wedges could be sewn in at the edge of the circle enlarging the perimeter. This idea ap- * A description from the loan exhibition catalog (see footnote 4 at the end of the preceeding introduction) stated, "Layers of silk were wrapped around the dancer's body in a complicated arrangement of folds so that they could be unfurled as the dance progressed (p. 22)." After several experiments, we concluded that this was not, in fact, how the costume was constructed and employed.---KD