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The dis-union of the acting community and the un natural union of the two great theatres, according to the reckoning of many, threaten portentous results, though in our opinion, a crisis will speedily arrive, at which alteration must tend to improvement. If monopoly be broken down (which must eventually take place), we may reckon upon the most beneficial effects being produced by competition; authors as well as actors will get a fair rate of remuneration for their labors, and there will be more admirers of dramatic entertainment, and still better for the profession, more payers for it. We cannot conclude these hasty remarks better than by recommending to our much-esteemed and very numerous readers, to take a hint from an experienced veteran in stage matters, Mr. Mathews, who in his comic delineations, recommends that the Public instead of debating upon the absence or necessity of the legitimate Drama, should put their hands in their pockets once or twice a week, and just take a peep at what is going forward to amuse them.

The King's Theatre.-This establishment is amongst the very few, just now in a flourishing condition, they have a very admirable troupe of vocal performers, which is equalled if not surpassed by the excellence of the Ballet Company, in which there is a well-assorted congregation of the cleverest amongst the Italian and French artists. Of the former we have M. & Mme. Cortesi, Mad. Pallerini, and M. Ronzani, &c. Of the latter, Pauline Leroux, Adèle, de Chavigny, Proche, Albert, Coulon, &c. Taglioni, although claimed by the French school, we will not class with any, she is a host in herself.-The performance of Inez de Castro was a very great treat-the perfection of the respective schools was here fully shown.-Seeing alone can give an adequate idea of the effect of the infinitely varied pantomimic action.

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Covent Garden.-One of the greatest attractions of late here, has been the representation of Mozart's Magic Flute:"Of the merits of the piece it would be superfluous to say a word.-The services of part of the old company and of the German Company have here given the piece an increased interest. Mad. Devrient gave great effect to her part by the excellent management of her powerful voice, and Haitzinger as Prince Tamino entered into his character with a fervency of feeling rarely excelled.

Haymarket. The "Field of Forty Footsteps" was lately revived here, but though well cast, was unsuccessful. Miss Cawse who has lately joined the Company, Miss Turpin who is a young lady of very promising talents, and Brindall in Guy Mannering, contributed to render it highly agreeable and effective. Vestris and Farren are to be added early this month.

On the fifth, there will be an attractive and somewhat unique entertainment at the Great Concert Room, at the King's Theatre, for the Benefit of M. Mars, a French writer, who has been for some years known to the English public. He will take a part in a Vaudeville of his own composition; M. Laporte, and M. Cloup will sustain the principal parts.

Music and Dancing will be also among the chief attractions of the evening, for which we understand are engaged some of the principal performers of the King's

Theatre.

FANCY FAIR.

The Annual Ladies Bazaar, in the Regent's Park, held last month, in aid of the Royal Dispensary for Diseases of the Ear, under the patronage of their Majesties, and the principal Nobility, closed with the greatest eclat, Of this Institution we do not speak too highly, when we say that perhaps no other charity has in the same space of time (about 17 years) done more for the releif of the afflicted poor.-Diseases of the ear are of a peculiarly distressing nature, and require for their successful treatment, a degree of minute knowledge of the organ to be acquired only by long and almost undivided attention; hence so little has hitherto been effected for this class of sufferers by general practitioners; and diseases, which in their incipient stages might speedily have been removed, have become, through neglect or improper treatment, confirmed and incurable. Infants born deaf and dumb have also been treated most irrationally; for instead of being examined by a competent person, as soon as the defect of hearing and speech is discovered, they are kept by Institutions founded for the purpose of teaching them, in a state of deafness and dumbness, till 10 or 12 years of age, and then are taught by signs a kind of parrot education, which can seldom be of much use to themselves, and which it is always painful to witness. The plan of Mr. Curtis, the excellent surgeon of the Royal Dispensary for Diseases of the Ear is diametrically opposed to this false system; he recommends that if a child does not hear and speak when two years old, it ought to be examined by an experienced aurist, and if no organic defect be discovered, that then measures should be immediately taken for developing the faculties of hearing and speech. Mr. Curtis has had many gratifying proofs of the success of his treatment; two of them were noticed by the Lord Mayor, in the Gardens, who though somewhat sceptical on the possibility of such cures, confessed that all his doubts were thereby removed. We rejoice to know that this Institution has now overcome the obstacles with which all infant societies have to contend, and is in a flourishing condition; for we think that it is one of national importance.

LONDON AND PARISIAN FASHIONS FROM A VARIETY OF THE MOST AUTHENTIC SOURCES INCLUDING COPIOUS EXTRACTS FROM "Le Petit Courrier des Dames"-" Journal des Dames et des Modes, L'Observateur des Modes et L'Indiscret"-" Le Follet Courrier des Salons"-" Le Mercure des Salons," &c. &c.

DRESSES.-The make of a corsage is entirely concealed under the mantilla, and the mantilla at present is a prevailing fashion. This sort of trimming therefore, though very elegant in itself, has deprived the corsage of its usual elegant variations, and innovations.

The mode of redingotes are in particular favour this year, and are of different sorts, and worn both as morning and evening dresses. Some are made like tunics, and worn over an embroidered dress. They are composed of a light silk material, or of chali; the skirt is open on the side and lined with green, blue, straw, or cherry-coloured sarcenet, which though of a colour cor

responding with the dress, should be sufficiently distinct to avoid its resembling an envers. The pelerine should be edged with black blond.

There is scarcely an article of the toilet on which black blond or lace is not displayed. Redingotes composed either of gros de Naples or foulards, are entirely trimmed with black lace.

Many pretty aprons are composed of blue or rosecoloured gros de Naples, embroidered Greek and other designs in black silk; trimmed with black blond; the pocket holes are edged with a narrow lace in gathers, terminated at bottom by a gauze noeud with tassels; when the apron has shoulder straps, they are also trimmed with lace, which projects on the sleeves and has a very pretty effect.

We have noticed an India muslin dress with printed Persian designs from the edge of the hem to above the knee. This dress, much lighter in designs than the embroidered cashmeres which have been so long fashionable, appeared to us to be a very happy innovation, and we have no doubt but that some of the large houses will shortly bring out some of the same description, which will be a relief to the eye, after the multitude of designs which have so long covered both foulards and chalis.

A handsome dress redingote, was composed of poult de soie with roses on a white ground. The under dress ornamented with a deep flounce of white lace; the skirt wide open towards the bottom, trimmed with a ruche; the outside corsage half-high mounting, flat, closed en coeur and ornamented with a mantilla of white lace, which formed pélerine over the back and shoulders; under dress, the corsage deep cut, and close fitting; the sleeves short, trimmed with large sabots of white lace, descending below the elbow.

A very handsome white silk muslin dress, embroidered with pale rose coloured floss silk, the front and hem bordered with a similar embroidery, the corners rounded; trimmed all round and on each side with a round ruche of silk tulle; the skirt entirely lined with rosecoloured sarcenet. Nothing could be lighter, more elegant and fresh looking than this toilet. The profusion of silk net on so transparent a material is very becoming to the features.

NEGLIGES.-White muslin striped or checkered is the material most employed for wrappers. Pelerines are indispensable with those redingotes; the pelerines and sides are always trimmed with a narrow lace.

Jaconot and muslin wrappers or redingotes should be bordered with an open worked hem, which, round the skirt and on both sides in front should not be above three or four inches deep. Above the border a narrow serpentine embroidery, either a myrtle leaf or small rose buds. These wrappers form large plaits deep and close to one another all round the waist. The sleeves of the ordinary cut, only less narrow towards the arm, when the dress is a complete neglige. Below the waistband is a small plaited cuff, or a flat laid Valencienne lace.

FLOWERS.-Pinks are in great vogue this season; they are more generally employed in small bouquets of various shades, and displayed on the upper part of the crown of Tuscan straw hats; the stems are encircled by a ribbon which forms the ties.

A new sort of honeysuckle called rondbékias, is much employed on rice straw hats.

The melianthus with its pale green blossoms hanging in clusters, is a very pretty ornament.

SCARFS.-Clear muslin scarfs, brown ground with designs, such as palms, bouquets, or foliage; woollen muslin scarfs, or muslin printed, are well adapted for summer demi-toilets.

LINEN. Nothing can be prettier than the night dress made wrapper-fashion; they are open in front down to the waist, trimmed with a plaited cambric frill, edged with narrow lace, a large square falling collar similarly trimmed, and round the neck a row of cambric formiug ruche; the same at the bottom of the sleeves, which are mounted on a very narrow wristband. The two sides of the opening in front, the wristbands, and the collar, are sometimes ornamented with a narrow embroidery, the lace is then placed flat instead of on the edge of the trimming. They generally are composed of cambric, jacconot, or long cloth; these last are more negliges, and are trimmed only with a broad hem, back stitched, and a plaited ruche round the neck. Under this last trimming a small foulard point is often tied.

HATS AND CAPOTES.-Quilled crape capotes are seen, which have high pointed crowns. A nœud or a flower is placed on the top in front of the shape, and from this ornament originates the brides or ties.

Clear muslin capotes lined with pink, are generally adopted for morning negliges.

Some clear muslin hats are embroidered in small colonades that widen from the crown to the edge of the shape, the ends concealed under a garland which borders the shape. Flowers of a light shade or iced ribbons form the trimmings of these hats. We have seen a very handsome one, lined with pink and ornamented on one side with a rose encircled with buds. The crown was round, and the brides were fastened under a nœud placed on the summit.

We have seen a most becoming hat of British plaited straw dashed with green, lined with green poult de soie, ornamented with wheat-ears and dark blue ribbons.

A rice straw capote, lined with white crape, trimmed with cherry-coloured, light-green and mais ribbons iced. Poult de soie hats covered with Iris coloured crape, are next to rice straws, the most fashionable hats.

Rice straw is still in great favor for promenade dress hats, and evening negliges.

We have seen one with a fine tuscan plait let in, which supported a beautiful moss rose and bud; the shape was lined with rose coloured gros de Naples, iced; two flat circles of rose-coloured taffeta ribbon, iced, were twined round the crown. This mode of encircling the crown is much adopted for English straw capotes.

By one of those caprices of fashion, which it would be difficult to account for, during the last week or two, most of the light green crape hats are ornamented with deep coloured bluebell-flowers.

CAPS.-We have some pretty black blond caps, the crowns of which were entirely cut, allowing the graceful disposal of the curls and plaited tresses to be seen. The trimming in front was composed of blond, with a very light and open embroidered design, arched over a garland of dwarf roses without leaves, which crossed the forehead. On one side, above the ear, was a rose coloured gauze ribbon nœud, with long ends falling on the neck; this small cap, a little inclined on one side, formed a couronne of blond and roses, coquettishly displayed on the head.

The trimmings of tulle or muslin caps are still narrow. The crowns close fitting to the head. Some morning caps are trimmed with a double row of lace, instead of a ruche. Ribbons are displayed in innumerable variety. Some forming two circles round the head and fastened on the side; others are cut out in the shape of leaves and cross the forehead. A sort of small cockade, composed of rose-coloured gauze ribbon iced, these cockades placed close to one another, form a kind of garland figuring roses without leaves, is placed on the forehead and supports a trimming of British point lace.

MATERIALS AND COLOURS.-The black grounds predominate in almost every tissue: cashmere, chaly, and woollen muslin are printed in that colour. A light material, well adapted for morning dresses, is a jaconet of this description, a black ground with a sprinkling of rose branches with their leafs and blossoms. These flowers are varied; forming colonade, bouquets, intermixed, &c.; the pretty effect of the rose and green colours on a black ground, makes this material one of the most piquante fantasias of the season.

Foulards enjoy too great a degree of favour to be slightly passed over. The taste and variety of the designs, the vividness of the colours all contribute to make this material particularly adapted for morning dresses of every description. Those with black, brown, and dark green grounds flowered in various colours, or For in colonades, are employed for walking dresses. wrappers, foulards with small designs composed of two colours only are employed.

gros

Painted de Naples are still fashionable, but seen only amongst the most elegant.

White is much employed for morning negliges.
The grey shades are numerous and quite fashionable.

DESCRIPTION OF THE PLATES.

PLATE TWENTY-FIVE.-FIGURE I.-WALKING DRESS -A silk-muslin dress, draped corsage; black blond pelerine, the points descending in front of the skirt; short sleeves closed on the arm by a wristband, and forming bouffan, a tulle chemisette, closed by a ribbon nœud. A crape hat, small open shape, ornamented with a bouquet of feathers arching over the shape.

FIGURE II. MORNING AT HOME DRESS.-A jaconot dress, close fitting corsage cut in dents all round the bust; embroidered pelerine widening over the shoulders and cut in deep dents, and embroidered, the points crossed over the ceinture; the sleeves short and forming double bouffans. Black silk net mittens. An embroidered chemisette, half-highmounting, edged round the neck with narrow lace. Coiffure, the hair turned ap behind and elevated on the summit of the head en chou, separated over the forehead, and descending in long ringlets behind the ears.

FIGURE III. WALKING DRESS.-A silk redingote, high mounting corsage, open in front, long wide sleeves, close fitting from below the elbow; the skirt open in front, and ornamented on each side and round the pelerine with fancy dents. The ornament in front figuring under dress is composed of an entre-deux and gathered up in small irregular plaits from the throat to the extremity of the skirt. A rice-straw hat, half

open shape, high pointed crown, ornamented with bouquet of flowers.

a

CAPOTE & BACK VIEW.-A muslin capote, open shape, pointed crown, trimmed with nœuds of cut ribbon ends, and ornamented with oak foliage.

FIRST HAT & BACK VIEW.-A rice-straw hat, small open shape, round pointed crown surmounted by a large nœud, and ornamented with two branches of lilac.

SECOND HAT & BACK VIEW.-A crape hat, round open shape, a silk crown figuring a shell, trimmed with ribbon bows, and ornamented by a small bouquet.

THIRD HAT & BACK VIEW.-A silk hat, half open shape, high pointed crown, ornamented with a large noud that covers the top of the crown, and a moss rose with foliage and buds.

CAP & BACK VIEW.-A muslin cap, with a single row of trimming in front, the crown high, and forming spirale on the top, tastefully ornamented with ribbon coques and bell-flowers.

PLATE TWENTY-SIX.-FIGURE 1.-WALKING DRESS. -A gros de Naples redingote, high mounting flat corsage with pointed pelerine and square falling collar; the skirt trimmed in front from the ceinture to the extremity of the hem; the sleeves wide at the shoulders, close fitting from the elbow. A muslin hat, the shape square cut under the ears, ornamented with two branches of fancy flowers.

FIGURE II.--OPERA DRESS.---An organdi dress, the corsage close fitting and deep cut round the shoulders, trimmed round the bust with a ruche. A black lace mantelet figuring short redingote, open in front and reaching a little above the knee; the sleeves of the usual cut and dimensions; the skirt plain. The turban of black lace ornamented with an esprit and a jewelled band round the forehead.

FIGURE III.---WALKING DRESS.--A muslin dress, coral root designs in colonades, high mounting corsage edged round the throat with narrow scolloped lace; the wide part of the sleeve divided by a band, giving the lower louffan the appearance of a sabot. A gauze scarf with fringed ends. A rice-straw hat trimmed with gauze ribbons, and ornamented with snow-drops.

FIRST HAT & BACK VIEW.---A silk hat, bibi shape, doom shaped crown, trimmed with nœuds of cut ribbon ends and ornamented with a branch of roses.

SECOND HAT & BACK VIEW ---A rice-straw hat, silk crown, inclined, tastefully trimmed with gauze ribbon nœuds and ornamented with a bouquet of feathers.

THIRD HAT & BACK VIEW.---An embroidered muslin hat, open shape, low, flat crown, inclined, trimmed with ribbon coques and ornamented with branches of dwarf flowers.

FOURTH HAT & BACK VIEW.--Muslin capote embroidered in colonades, the shape closed on the cheeks, the crown high and inclined behind, surmounted with an embroidered muslin nœud the ends of which form brides, ornamented with a rose and foliage.

COIFFURE & BACK VIEW.---The hair turned up smooth and elevated in pointed coques on the summit of the head, the side tresses close plaited and turned up a la Clotilde, a string of pearls across the forehead.

PLATE TWENTY SEVEN. FIGURE I.--WALKING DRESS.---An embroidered muslin dress, cross draped corsage; edged with a narrow dented lace; a pelerine widening over the shoulders, and also edged with

narrow dents, the points crossed under the ceinture; the skirt embroidered in colonades; a tulle chemisette with a ruche round the neck, closed by a gauze ribbon noeud with long ends. A rice-straw hat, open shape, low flat crown, ornamented with a bouquet of roses; a curtain behind.

FIGURE II-EVENING DRESS.---A muslin redingote, close fitting corsage, the pelerine forming coeur in front, edged round with narrow lace, the skirt bordered on each side with a row of open worked embroidery, and a similar band supporting the gathers in the middle; the sleeves long, and ornamented on the seam with a puckered band corresponding with those on the skirt and corsage. Coiffure à la Clotilde, ornamented with a feather.

dress,

FIGURE III.---EVENING DRESS.A silk draped corsage, edged round the bust with scolloped blond; short sleeves forming double bouffans; the skirt ornamented round the hem with a deep black blond. Coiffure, the hair separated in front and forming full side curls, adorned with a black blond ornament, the ends of which figure brides.

FIRST HAT & BACK VIEW.--A rice-straw hat, round open shape, low pointed crown, ornamented with a bird and feather.

SECOND HAT & BACK VIEW.---A drawn muslin hat, close shape, high pointed crown surmounted by a noeud; a curtain behind; ribbon ties.

CAPOTE & BACK VIEW.---A ribbon Capote, tastefully trimmed with a ribbon chou and nœuds, ribbon ties.

FIRST CAP & BACK VIEW.---A plain muslin cap, a double row of trimmings in front, trimmed with cut ribbon ends.

CENTRE CAP & BACK VIEW.---A black blond cap, the trimming in front figuring aureole, the crown crossed with ribbon bars, ornamented with a rose and rose-bud; the brides also of black blond.

PLATE TWENTY-EIGHT. FIGURE I.-A chintz gros de Naples dress, half high mounting corsage with square cut pelerine forming point in front and edged all round with a ruche; the skirt full wide, forming thick and deep gathers; an embroidered chemisette edged round the throat with a flat laid lace; the sleeves long, wide from the shoulder to the arm, and close fitting from thence to the wrist, ornamented with nœuds of the same material as the dress. A cut Leghorn hat, open shape, high square crown, ornamented with a feather. The hair separated over the forehead en bandeau.

FIGURE II.-EVENING DRESS.-A silk dress, pointed corsage draped across the breast, the plaits supported by a band; the sleeves short and forming bouffans ornamented with pattes, under which is passed a gauze scarf figuring crevés over the shoulders; the skirt plain, A silk hat, open shape, low flat crown trimmed with a gauze ribbon nœud edged with lace, the ends forming brides, and ornamented with two ostrich feathers.

FIGURE III.-WALKING DRESS.--A muslin redingote lined with gros de Naples, close fitting corsage, round pelerine edged with lace; the sleeves ornamented from the elbow to the wrist; an embroidered muslin chemisette. A rice straw hat, ornamented with roses and dandelion.

FIRST HAT & BACK VIEW.-A rice straw hat, close shape, gros de Naples crown, ornamented with ribbon coques and pinks.

SECOND HAT & BACK VIEW.-A crape hat, small

open shape, square crown, inlined behind, trimmed with green ribbon and ornamented with an esprit.

CAP & BACK VIEW.-A muslin cap, close fitting to the head, edged round the face with a double ruche of tulle and trimmed with ribbon egrets, and nœuds of cut ribbon ends.

MODES DE PARIS ET DE LONDRES. PUISEES AUX SOURCES LES PLUS AUTHENTIQUES, COMPRENANT UN CHOIX D'EXTRAITS DES JOURNAUX DONT LES TITRES SUIVENT:

"Le Follet Courrier des Salons"-----"Le Pettit Courrier des Dames"--" La Mode"---" Journal des Dames" &c. &c.

MODES.-Voici la saison des robes blanches, et cette année surtout elles paraissent en grande faveur. Les peignoirs de jaconas et de batiste sont réservés aux toilettes négligées du matin, mais ces négligés sont d'une extrême élégance; la batiste particulièrement, avec une broderie delicate et riche, autour d'un ourlet, haut seulement de trois doigts; une Valencienne au bord est tout-à-fait recherchée; quelquefois cette batiste peut être doublée d'un marceline de couleur, ou d'un léger gros de Naples, et presque toujours le jupon de dessous est une robe de batiste brodée comme le peignoir. On met avec, des doubles pélerines dont l'une se termine en pointe devant et derrière, l'autre reste ouverte; ou toutes deux rondes, étagées.

Les mousselines très-claires, rayées de lignes mates et à côtes fines très-espacées, sont aussi très-bien pour robes et pour redingotes. Ces étoffes de fantaisie, sont principalement choisies pour toilettes de fantaisie, et la mousseline et l'organdi uni pour toilettes habillées.

Les mousselines à raies sont charmantes avec des pélerines-mantelets,-la pélerine tombant extrémement bas et garnie tout autour d'un haut volant festonné, attachée devant par des nœuds pareils ou des nœuds de ruban.

Une trés-jolie façon pour de la mousseline claire, est une redingote ouverte dont les devans sont bordés d'une rangée de crevés en mousselines; entre chaque se trouve un nœud de gaze citron; les crevés posés de biais; ainsi que les nœuds; la passe de dessous garnie de même; a la couture de la manche se retrouve cinq crevés diminuant graduellement depuis le haut jusqu'au bas; egalement des nœuds dans chaque intervalle.

Ces manches peuvent se faire à une robe ordinaire ; puis, on place des nœuds sur le devant de la pélerine depuis le cou jusqu'à la ceinture, et à la pointe est un nœud à pans.

On fait aussi des doubles bouffans, séparés par un nœud de taffetas glacé.-Les mêmes rubans sont jolis pour attacher les pélerines et les mantelets, et sont plus distingués que les rubans de gaze.

La mode des capotes à coulisses s'est étendue cette année aux gros de Naples uni; mais elles doivent être très-simples, aussi simples que celles d'enfant elles doivent être ou très petites, relevées; ou grandes, avancees, garnies, d'une ruche.

Les châles de foulard grenadine, soie forte en tissu clair, sont parfaitement portés, à fond noir ou foncé, fleurs vives a ramages, une frange de soie tout autour. On fait des écharpes en gaze du Japon; étoffe croisée en soie brillante, également à fond noir préférablement à tout autre.

Les ombrelles les plus élégantes, cet été, sont en pou de soie œil de corbeau, solitaire très-clair, écru, ou vert anglais. Nerdier, rue Richelieu, les monte à manches de laurier de Chine ou de peau de serpens imitant l'epine. Les petits accidens de bois qui se trouvent dans le haut des manches, se retrouvent également à la partie du bas; une petite plaque et des yeux d'or uni sont mieux que For travaillé; une petite ganse de soie brune est nouée retombant en longs bouts terminés par de petits glands de bois; l'anneau et les bouts des baleines sont en bois poli.

NEGLIGES.--Le blanc distingue les plus jolis négligés. On emploie toujours pour peignors beaucoup d'étoffes en mousseline anglaise, à raies ou à carreaux blanc sur blanc; une raie mate auprès d'une raie claire; des carreaux clairs encadrés dans des lignes mates. pélerines sont indispensables avec ces redingotes, qui doivent toujours être garnies d'une petite valencienne qui badine autour des pélerines et des devans de la robe.

Les

Les peignoirs ou redingotes en jaconas ou en mouseline doivent être entièrement bordés d'un ourlet à jour, qui, au bas du jupon, comme sur les deux côtés du devant, ne doit plus avoir que la hauteur d'une main. Au-dessus de l'ourlet serpente une petite broderie au plumetis: soit un petit dessin, une feuille de myrte, une chaîne de muguet ou de boutons de roses. Ces peignoirs forment de très-grands plis autour de la taille ; ils sont assez profonds et rapprochés pour donner beaucoup de bouffans à la jupe, qui, du reste, peut avoir, jusqu'à trois aunes et demie de largeur. Les manches se font toujours dans la même coupe, seulement on les fait beaucoup moins étroites du bas lorsque la robe est très-négligée; au bas du poignet est une petite manchette plissée, ou une valencienne cousue à plat.

Des redingotes en mousseline fond blanc à petits dessins de couleur, se garnissent tout autour d'une valencienne.

LINGERIE.---Les manteaux de nuit sont presque entièrement supplantés par les chemises de nuit, qui ont beaucoup de recherche dans leurs coupes comme dans leurs garnitures. On les fait à-peu-près comme des chemises d'homme, montantes, ouvertes sur le devant de la poitrine, et ornées d'un petit jabot en batiste plissée. Les épaulettes sont formées par une pièce, comme aux peignoirs; un grand collet carré et rabattu, garni d'un plissé, descend jusqu'aux épaules, tandis que trois petites garnitures semblables forment ruche autour du cou. Les manches sont assez larges et montées sur un petit poignet entouré d'une manchette. D'autres, plus élégants, ont le devant de la poitrine détaché et froncé au bas de la taille, sur un poignet; depuis le collet jusquá ce poignet, toute la partie qui couvre la poitrine est formée par des entre deux brodés, séparés par un doigt de la batiste de la chemise, plissée à petits plits. Il se trouve ainsi de chaque côté trois ou quatre lignes d'entre-deux. Au lieu d'un jabot de batiste, on fronce une valencienne qui se retrouve autour du collet et au bas des poignets, qui doivent être brodés. Beaucoup de femmes portent au matin ces jolies chemises qui tiennent lieu de jupons et de chemisettes en-dessous de leurs peignoirs.

MISCELLANEA.

Isis. Alluding to the antique mode of symbolising the mysterious nature which is at the heart of all things, and con nects all things into one whole, Professor Kant remarks," that perhaps in all human composition there is no passage of greater sublimity, nor among sublime thought any which has been mote sublimely expressed, than that which occurs in the inscription upon the Temple of Isis (the Great Mother-Nature): I am whatsoever is-whatsoever shall be: and the veil which is over my countenance, no mortal hand hath ever raised."

Prussian Burial Places.-The cemeteries in this part of Germany are kept with great neatness. Every grave is in general a flower-bed. I walked out one morning to the great cemetery of Berlin, to see the tomb of Klaproth, which is merely a cross, and announces nothing but his name and age. Close by, an elderly-looking woman, in decent mourning, was watering the flowers with which she had planted the grave of an only daughter-(as the sexton afterwards told me)-who had been interred the preceding week. The grave formed nearly a square of about five feet. It was divided into little beds, all dressed and kept with the utmost care, and adorned with the simplest flowers. Evergreens, intermingled with daisies, were ranged round the borders; little clumps of violets and forget-me-not were scattered in the interior; and in the centre a solitary lily hung down its languishing blossom. The broken-hearted mother had just watered it, and tied it to a small stick, to secure it against the wind: at her side lay the weeds which she had rooted out. She went round the whole spot again and again, anxiously pulling up every blade of grass-then gazed for a few seconds on the grave-put the weeds into her apron-took up her little watering pot-walked towards the gate-returned again, to see that her lily was secure and, at last, as the suppressed tear began to start, hurried out of the church-yard.

If a man cannot attain the length of his wishes, he may have his remedy by cutting them shorter.

Italian Women.-Italy and England are undoubtedly pos sessed of a greater share of female beauty than any other country in Europe. But the English and Italian beauties, although both interesting, are very different from one another. The former are unrivalled for the delicacy and bloom of their complexions, the smoothness and mild expression of their features, their modest carriage, and the cleanliness of their persons and dress; these are qualities which strike every foreigner at his landing. On my first arrival in England, I was asked by a friend how I liked the English women; to which I replied that I thought them all handsome. This is the first impression they produce. There is an air of calmness and pensiveness about them, which surprises and interests particularly a native of the south. They seem to look, if 1 may apply to them the fine lines of one of their living poets-> With eyes so pure, that from the ray Dark vice would turn abash'd away;

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Yet fill'd with all youth's sweet desires,
Mingling the meek and vestal fires
Of other world's, with all the bliss
The fond weak tenderness of this.

The Italian beauties are of a different kind. Their features are more regular, more animated; their complexions bear the marks of a warmer sun, and their eyes seem to participate of its fires; their carriage is graceful and noble; they have generally good figures; they are not indeed angelic forms, but they are earthly Venuses. It has been supposed by some, that the habitual view of those models of ideal beauty, the Greek statues, with which Italy abounds, may be an indirect cause, conducing to the general beauty of the sex; be that as it may, I think the fine features and beautiful forms of the Italian fair have a great influence upon the minds of young artists, and this is perhaps one of the principal reasons why Italy has so long excelled in figure painters. A handsome female countenance, animated by the expression of the soul, is among the finest works of nature; the sight of it elevates the mind, and kindles the sparks of genius. Raphael took the models of his charming Madonnas from nature. Titian, Guido, Caracci, and others, derived their ideas of female beauty from the exquisite countenances so frequent in their native country.

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