simple; it is in every point an admirable Turkish material, which would certainly not be disdained by the Sultana most used to magnificence. That which will be considered as a great advantage of the satins du Levant, is the richness of its plaits, as well supported, but far lighter than those of velvet.

Some very handsome silk-muslins are printed in colonades, or a sprinkling of flowers on a white or coloured ground. Another description is a sprinkling of white liserons, traced in black on an emerald ground.

DESCRIPTION OF THE PLATES.

PLATE THIRTY-THREE. - FIGURE 1. - WALKING DRESS. A pou de soie dress, close fitting corsage; long sleeves; skirt plain, gathered round the waist, and forming rich deep plaits; a black lace pelerine widening over the shoulders. The hair in front separated, and forming full side curls, turned up behind, and elevated in one smooth and two plaited coques.

FIGURE II.-EVENING DRESS.-A figured muslin dress, flat corsage, deep cut round the shoulders, edged round the bust with narrow lace; short sleeves; a black lace scarf. Coiffure, the hair separated in front à la Clotilde, turned up smooth, behind and a chou on the summit of the head.

FIGURE III.-WALKING DRESS.-An organdi dress, half high mounting corsage edged with a deep lace figuring pelerine; long sleeves ornamented with ribbon noeuds; the skirt full wide, gathered all round the waist and forming deep folds; a figured ribbon ceinture tied in front. A white Leghorn hat, small open shape, low flat crown, ornamented with an esprit.

FIRST HAT. A silk hat, half closed shape, pointed crown, ornamented with a paradise-bird displayed on one side; a curtain behind.

SECOND HAT.A rice-straw hat, small open shape, the crown low and pointed, trimmed with a ribbon pointe, and ornamented with three feathers.

FIRST CAPOTE.An embroidered muslin capote, half closed shape edged with narrow dents, round helmet shaped crown, surmounted by a ribbon chou, and ornamented with a bouquet of roses.

SECOND CAPOTE.-A plain silk capote, closed shape, pointed crown, trimmed with large coques of the same materials as the hat; a curtain behind.

CENTRE CAPOTE & BACK VIEW.-An organdi capote, small shape, pointed crown, trimmed with gauze ribbon.

PLATE THIRTY-FOUR.-FIGUREI.-WALKING DRESS. —A silk muslin redingote, high mounting corsage open in front and edged with ribbon dents: an embroidered cambric chemisette with a double ruche round the throat; a lace mantilla trimmed with ribbon dents similar to those of the dress; the skirt also edged with dents. A rice-straw hat, open shape, pointed crown, ornamented with heron feathers.

FIGURE II.-PROMENADE DRESs.-A figured muslin dress, high mounting, close fitting corsage, edged in front and round the neck with narrow lace, closed by a jewelled broach; the sleeves wide and long, oruamented over the shoulder with a deep blond in light gathers, forming pelerine. An embroidered muslin hat, edged with a ruche, ornamented with a branch of roses with buds.

FIGURE III.—WALKING DRESS.-A silk redingote, with black lace mantilla, plain ground, bordered with detached bouquets, and edged with a double row of richly embroidered black blond. A crape hat, ornamented with a bouquet and a half veil.

HAT & BACK VIEW. -A silk hat, small round shape, flat crown, trimmed with a ribbon point, ornamented with an esprit and dwarf flowers.

CAP & BACK VIEW.-A tulle cap, trimmed with ribbon coques and a bar edged with narrow dented lace across the forehead.

COIFFURE & BACK VIEW.-The hair turned up smooth behind and elevated in three smooth coques, separated en bandeau in front, and the ends of the tresses concealed under the coques.

PLATE THIRTY-FIVE-FIGURE I.-MORNING DRESS. A printed muslin dress, half high mounting corsage in longitudinal plaits, edged round the bust with scolloped muslin. The hair turned up smooth behind and elevated in elongated coques and ornamented with a flower; full side curls.

FIGURE II-WALKING DRESS.-A jaconot dress, the corsage square cut over the shoulders, and embroidered round the bust with a narrow border, a double pelerine forming a rounded point in front, and widening over the shoulders, edged all round with narrow scolloped muslin embroidery; embroidered muslin sleeves long and wide, closed at the wrist by a narrow band. A rice-straw hat, open shape, trimmed with ribons and ornamented with sol flowers; a ribbon egret over the forehead; the ties ornamented with a ruche.

FIGURE III.---WALKING DRESS.---A muslin redingote, flat corsage with double pelerine and falling collar edged with narrow embroidery; the skirt open in front and bordered with large dents, the points turned inwards, edged on each side and round the hem with a narrow embroidery corresponding with that of the pelerine; a black lace cravat fastened by a gold mounted cameo brooch. An embroidered muslin hat small contracted shape, round flat crown, trimmed with noeuds of cut ribbon ends and ornamented with a branch of dwarf flowers and a half veil.

FIRST HAT & BACK VIEW.---A rice straw hat, open shape, pointed crown, trimmed with ribbon coques, ornamented with a bouquet of roses.

SECOND HAT.---A silk hat, half-closed shape, trimmed with a large noeud displayed on one side, and a bouquet on the other.

THIRD HAT. A crape hat, copote shape, edged with a ruche, high pointed crown surmounted by a chou, ornamented by a rose and buds.

COIFFURE & BACK VIEW.-The hair separated in front and turned up à la Clotilde, a low smooth coque on the summit of the head, ornamented with two white feathers.

PLATE THIRTY-SIX.-FIGURE 1.-WALKING DRESS. -An embroidered muslin dress, high mounting, close fitting corsage with blond pelerine and falling collar; long sleeves: a figured taffeta ribbon ceinture, to which is fastened a reticule à la chatelaine of embroidered muslin, lined with rose-coloured silk. A rice-straw hat lined with rose-coloured silk, the shape open, square cut under the ears, the crown high, pointed, and circled with taffeta ribbons disposed at equal distances, ornamented with flowers; a taffeta curtain behind.

FIGURE II.-WALKING DRESS.-A silk dress, flat corsage; long sleeves; a canezou of Brussels applications, with falling collar, the point in front ornamented with six ribbon nœuds. An open shaped hat, ornamented with an ostrich feather.

FIGURE III.-EVENING DRESS. A gros de Naples redingote with pelerine and nœuds covered with black lace. A rice-straw toque, the shape turned up in front and indented over the ear, ornamented with two feathers. FIRST CAP & BACK VIEW.-An embroidered tulle cap, tastefully trimmed with ribbon egrets and nœuds of cut ribbon ends.

FIRST HAT & BACK VIEW.-A black tulle hat lined with black silk, half closed shape edged with a black tulle ruche, the crown pointed, trimmed with ribbon coques, ornamented with a large rose.

SECOND CAP & BACK VIEW.-An embroidered muslin cap a la Marie Stuart, the trimming in front formed by three rows of round plaits forming a point over the forehead and arched on each side, ornamented with a palm of cut ribbon ends and nœuds.

SECOND HAT & BACK VIEW.-A rice-straw hat, small open shape, inclined crown circled with a ribbon, and ornamented with a bouquet of dwarf flowers.

THIRD CAP & BACK VIEW.---A tulle cap forming a point in front, covered with silk, trimmed with gauze ribbon nœuds and egrets.

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 Cour· rier des Dames"--" La Mode"--" Journal des Dames” &c. &c.

MODES.-MANTELETS.-Les mantelets en dentelle noire deviennent si nombreux, que les fabricans de blonde ont cessé enfin de déplorer la résurrection de cette mode, et emploient maintenant tous leurs métiers à reproduire les mailles et les dessins des plus antiques dentelles qui aient orné les blanches épaules de nos aïeules aux jours de leur coquetterie. Nous voyons aujourd'hui de ces mantelets dans toutes les formes, mais la plus généralement adoptée forme pélerine ronde derrière, et a de longs bouts comme une écharpe sur le devant. On en fait à fonds unis, entourés de bouquets détachés, et garnis au bord d'une dentelle que l'on agrandit beaucoup sur les épaules au moyen d'un tulle cousu à la tête de la dentelle, et caché par la seconde garniture qui tombe dessus; cette deuxième rangée ne se prolonge pas plus loin que les épaules. Autour du cou une dentelle rabattue, audessous de laquelle est passé un ruban noué par-devant, ou bien une ruche, ou un collet carré. On voit toujours beaucoup de mantelets dont la ruche se prolonge jusqu'au bas des deux bouts du devant.

- Des mantelets en taffetas de couleur, garnis de dentelle noire, ont été aussi confectionnés dans des magasins qui se distinguent par le goût et la multiplicité de leurs articles.

COSTUMES.-C'est en vain que nous nous efforçons de trouver une coupe nouvelle dans les robes qui sortent des premiers ateliers.

ENSEMBLE DE TOILETTES.-Dans les petites réunions

qui se donnent encore, soit pour une fête de famille, une lecture nouvelle, un contrat à signer, etc., les jeunes femmes portent beaucoup de robes blanches en mousseline ou organdi, à manches courtes, avec mitaines, et écharpe de dentelle noire. Une robe d'organdi blanc, peut avoir le corsage décollété garni d'une haute dentelle noire qui se releve en draperie et s'attache au milieu de la poitrine par une riche épingle.

- Une jeune personne portait, à l'une de ces soirées, une robe en mousseline de soie jaune-soufre; le corsage décolleté et le bas des manches courtes étaient garnis d'une ruche de tulle de soie noire; la ceinture en gaze soufre, lisérée en noir, et nouée sur le côté; des mitaines noires; dans les cheveux, un bouquet de pois de senteur.

-Une très-jolie femme avait une robe en pou de soie vert pâle, brodé d'un semé de petites fleurs blanches. Une double mantille en point d'Angleterre, et de longues manches en point d'Angleterre arrêtées sur toute la hauteur de la manche par des nœuds de ruban de gaze verté.

LINGERIE.-On fait beaucoup de petits bonnets de mousseline ou de tulle, dont la garniture du devant se dispose à la Marie Stuart. Cette garniture se compose de deux ou trois rangs de tulle ou dentelle formant ruche, descendant en pointe arrondie sur le milieu du front, et s'évasant en cercle de chaque côté; l'intérieur de ces cercles, ou papillons, est rempli par des nœuds, ou des touffes de cheveux; au lieu de nœuds, ce sont quelquefois des bouts de ruban découpés et placés en palmettes. Un ornement en ruban, dans la même disposition, est placé au milieu du bonnet, au-dessus des garnitures; c'est de là que partent les rubans qui servent de brides.

-On voit chez les lingères des capotes en organdi, sans être doublées, et soutenues seulement par des coulisses dans lesquelles passent des baleines ou de fines pailles; le nœud et les brides sont également en organdi. Ces capotes sont fraîches et légères. On en fait d'autres en percale blanche glacée, qui ont un poli très-brillant, et sont convenables aux négligés de campagne.

Nous avons vu aussi des petits bonnets en blonde noire, doublés en gaze rose; le devant garni d'une ruche de blonde placée très en arrière, et sous cette ruche des coques où des rubans roses découpés formant une guirlande sur le front.

CHAPEAUX.-La forme des chapeaux varie peu. sont toujours placés très en arrière. La calotte étroite, mais moins pointue qu'au commencement de l'été. La passe des capotes est courte et assez serrée contre les joues; celles des chapeaux plus évasées. L'intérieur offrant peu d'ornemens. La mode des petits bonnets ruchés en dedans des chapeaux, dispense des autres

accessoires.

Nos premières maisons de couturières remettent cet été les manches larges du bas, à haut poignet. Sans doute cette mode est ramenée par la saison des robes de mousseline blanche, auxquelles elle convient si bien. La mousseline, étoffe de peu d'importance, a besoin d'être employée en grande quantité et formant beaucoup de plis autour du corps et des bras. Une jupe de mousseline unie ne peut pas avoir moins de trois aunes de tour.

Sur les chapeaux de paille d'Italie, on porte beau coup de rubans de taffetas chiné, lilas et blanc, lilas et vert, rose et blanc, ou chiné de plusieurs couleurs, et semé de fleurs informes.

MISCELLANEA.

A Splendid Coffin.-The coffin which received the corpse of the late king of Madagascar, Rodam, was a large and massive one of silver. It was about eight feet long, three feet and a half deep, and the same in width; it was formed of silver plates, strongly rivetted together with nails of the same metal, all made of Spanish dollars; twelve thousand dollars were employed in its construction. Immense quantities of treasures of various kinds were placed in or about the coffin, belonging to his late Majesty, consisting chiefly of such things as during his life he most prized. Ten thousand dollars were placed in the silver coffin for him to lie upon; and in the inside, but chiefly outside the coffin, were placed or cast all his rich cloathing, especially military; there were eight suits of very costly British uniforms, hats and feathers, golden helmet, gorget, epan. lets, sashes, gold spurs, very valuable sword daggers, spears, (two of gold,) beautiful pistols, muskets, fowling-pieces, watches, rings, brooches, and trinkets. His whole and fine sideboard of silver plate, and large and solid gold cup, with many others presented to him by the King of England; large quantities of costly silks, satins, fine cloths, and very valuable Lambas of Madagascar, &c. The Missionaries stated the expense of the funeral could not have been less than sixty thousand pounds sterling.

Milton. There is a tradition mentioned by all his biographers, that while Milton was a student at Cambridge, an Italian lady of rank, who was travelling in England, found him sleeping one day under the shade of a tree, and, struck with his beauty, wrote with her pencil on a slip of paper the pretty madrigal of Guarini, which Menage translated for Madame de Sevigne, "Occhi, stelle mortali," and, leaving it in his hand, pursued her journey. This fair unknown is said to have been the cause of Milton's travels into Italy; but the story rests on no authority, and it is clear that the "foreign fair" to whom the sonnets are addressed was neither imagin ary nor unknown. During his stay at Rome he was received with particular distinction by the Cardinal Barberini, the nephew of the reigning Pope, and at his palace had frequent opportunities of hearing Leonora Baroni, the finest singer in Italy. She was the daughter of Adriana of Mantua, surnamed, for her beauty, La Bella Adriana, and the best singer and player on the lute of her time. Leonora inherited her mother's extraordinary talent for music, and conquered all hearts by the inexpressible charm of her voice and style. She was also a poetess, frequently composing the words of her own songs. Though not a regular beauty she had brilliant eyes and a captivating countenance and manner.

Royal Equipage of Otaheite.-The sovereign and his consort always appeared in public on men's shoulders, and travelled in this manner wherever they journeyed by land. They were seated on the neck or shoulders of their bearers, who were generally stout athletic men. The persons of the men, in consequence of their office, were regarded as sacred. The individuals thus elevated appeared to sit with ease and security, holding slightly by the head, while their feet hung down on their breast, and were clasped in the arms of the bearer. When they travelled, they proceeded at a tolerably rapid pace, frequently six miles within the hour. A number of attendants ran by the side of the bearers, or followed in their train; and when the men who carried the royal personages grew weary, they were relieved by others. The king and queen were always accompanied by several pairs of sacred men, or bearers, and the transit from the shoulders of one to those of another, at the termination of an ordinary stage, was accompanied with much greater dispatch than the horses of a mail-coach are changed, or an equestrian could alight and

remount.

Roman Beggars.-Here the beggar enjoys extraordinary privileges; and, however ragged and disgusting in appearance, he can enter with impunity the most brilliant Cafes when crowded with well-dressed people, walk round the circle, and address his petition to each individual. A negative is usually expressed by the phrase, "Non c'e niente!" (I have nothing for you.) Should the beggar persevere, he is never harshly dismissed, but is given to understand by the words "Iddio vi provedera!" (God will provide for you!) that he has nothing to expect. Some beggars are extended on the ground, exhausted, and apparently in the very "article of death," and yet still soliciting relief from the passengers. Others merely extend their palms, and withdraw them in silence when repulsed with a "Non c'e niente!" Most of the

Roman beggars exhibit mutilated limbs, and not a few of them were deliberately injured in infancy by their parents: for the purpose of making them objects of charity, thus preserving them alike from the risk of want and the dreadful miseries of labour. The Romans dread the fatigue of labour more than contempt, disease, or even death itself. The in. come of these beggars bears a relative proportion to their outward infirmities. One of the most distinguished is a welldressed, corpulent, and jovial looking man, without legs, who crawls daily about the Corso, and by merely holding out his hat, obtains a donation from almost every passenger. This mendicant is so well provided for by the want of his legs, that many hundreds of the fraternity regard with envy a mutilation so obvious and so productive. Conscious of his advantages, he says it is better to be envied than pitied, looks the picture of contentment and good cheer, and discusses politics, wind and weather, with the residents on the Corso. who regard him as a sort of neighbour. Another thriving beggar is a dwarf named Bajocco, who daily posts himself before the Grecian Coffeehouse in the Strada Condotti. Nature has been but a step-mother to this poor fellow, and yet his manifold infirmities and deformities have proved a most productive capital to him through life. In stature a dwarf, and with hands and feet strangely deformed, he appears rather a moving mass of flesh than a human being. He has nevertheles reached the advanced age of eighty years, aud calls himself the poor antique Bajocco, an epithet which falls strangely upon ears to which the usual associations of the word antique is familiar. There is also in Rome a class of privileged beggars, who rattle large copper boxes, and collect alms for the souls of the poor in purgatory, on the ammount of which they receive a per centage from the monks who employ them. For this service, such beggars are selected as are most disfigured by disease or mutilation, or such as, from their cadaverous appearance, look like ambassadors from purgatory, sent back to earth to plead the cause of their fellow sufferers. These ghastly objects entreat your compassion for "le povere anime benedette del purgatorio," and in tones which become more hollow and sepulchral as the day advances, until in the evening they are hoarse and exhausted with unceasing repetition.

Turkish Dandies.-Among the officers there were a few really elegant young fellows who wore their uniform of good materia's, and set off with superior embroidery, and a diamond crescent on the breast, in a smart and dashing manner, that would not misbecome a juvenile of our own gallant lancers. But for the stupid scull-cap, and the open unbut toned throat, there was nothing to distinguish them from the Europeon officers, Some of them, in imitation of their neat instructor, (Calosso, an Italian), positively got Christian shirts made, and wore them with low collars, tied round with a black ribbon. This great improvement to their appearance made the Turks stare, and wonder what in the Prophet's name they should come to next. The lancers, however, could not meddle with the skull-caps, which was a pity. The men were but too generally dirty and slovenly, like the infantry: their blue cloth dress seemed nearly always to require beating and brushing; nor were their lances, their sabres, (straight like ours, and made in France,) their bits, bridles, stirrups, &c. kept in better order. But even among them there were some military dandies who prided themselves in their equipments, and gloried in the "ringing of a knightly spur." I was one morning in a shop at Galata, kept by a little fellow, half English, and half Italian, where British hardware goods are retailed. Three young lancers came in to buy some spurs. Stampa, who had sold a vast number he had received from England, and had hardly any left, handed them a few pairs of modest calibre. "These will never do, my friend," said they; "they are too short, and," ringing the solid rowel; "do not make half enough of noise." Indeed it seemed one of the chief pleasures of these boys to strut about in boots, and listen to the music of their heels. Another morning, when walking near the barracks, accompanied by my phlegmatic Chaldean, two laughing frolicsome lads of officers invited me to sit down and smoke a pipe. One of them was a marvellous genius, for he spoke a few words of French. I remember that the very first subject they entered upon was boots and spurs, and that the linguist, putting on (a most singular rarity in Turkey) a well blackened boot, and varnished military spur, asked my opinion as to their being corect or otherwise. I assured him they were "quite the thing"-thoroughly Frank. On which he smilingly rose, said "Bien!-n'est pas bien!" made his rowel ring, and looked at his spur with all the complacence of a Charles Goldfinch.