the written language, I perceived that the pronunciation of a foreign language offers greater difficulties than I had thought of before; I found that it is most difficult to interpret the duration of sound, and even to imitate it, except when offered to the ear in the extreme; that French people, for instance, are a long time before they can appreciate or measure with the ear, the physical difference between heat and hit; between these and this; and greens and grins; that a Frenchman would as readily say; I don't like your grins, madame, as I don't like your greens, meaning the latter; and that English persons would feel it difficult to distinguish with the ear between J'ai vu ccs chevaux, and J'ai vu sept chevauxLa grace est sans affectation, and La grasse est pleine d'affectation; -Pas encore pour vous, and Passe encore pour vous —and a thousand cases of the kind."

Similar instances are thus adduced, and an ingenious explanation given of the astonishing facility with which. the ear catches the slightest shade of sound. After an examination of "natural facts," Mr. Marcel then observes:

"I made exercises, not of syllables, not of words, but of phrases, which, though detached from one another, still retain some family connection, as expressing common-places of conversation, to which sort of language I entirely directed my attention. The learning of these phrases cannot rest upon material want, bot we must contrive to create a moral one; that is, interest: and the only way to create iuterest, is to convince the learners, at the first lesson, that they can learn, notwithstanding the great and numerous difficulties before mentioned; that they are learning in the most natural way possible; and that no effort of imagination, intelligence, or even memory is required from them; but merely, as nature indicates, attention, constancy, and perseverance. They must not be deceived by being told, that a language can be acquired in a limited number of lessons; but they must be encouraged to make the second step, by being really taught some French at the first.

"If the learners had not previously studied French, through the medium of books, the false representative of pronunciation, the results must be, and generally are, after six months, with gine persons out of ten, the faculty of interpreting the language of sounds, a good pronunciation, an abundance of phraseology, though not at commaad; understanding most of French books, newspapers, and easy comédies bourgeoises; except, however, expressions of localities, and characteristic of national habits, manners, and turn of minds; they will be able to write pretty well in French; but they must not expect to be, even after one year, what is called a perfect French scholar (I speak here of the generality of learners, uot of those, who with a great desire of learning, have nothing else to do).”

We conclude our quotations by the following, in which we discern a sentiment actuated by none but an enlarged and liberal mind.

"I hope to be able to prove, in the following numbers, that the step which I have taken, is the only rational introduction to the science of grammar; and that I considered that a method, to become a national one, must be calculated for the masses, and not for adults oply, or for such as know the grammar of their own language; and that I have had in view, the grand question of teaching living languages, that is; of making the learners better acquainted with their own native tongue, of developing their reasoning powers by accustoming them to observe, to compare facts, classify them, and form judgments of their own, or, "in a word, to make grammarians of thein."

It remains to be seen from the results of his practice, and from his forthcoming work, (for the above professes only to be an introductory one) whether his theory is to be considered in the light of a merely bold innovation, or as one based upon sound principles.

"The Teeth in relation to Beauty, Voice, and Health," by John Nicholles, Surgeon Dentist.— Hamilton and Co.

We received this work too late in the month for a detailednotice, but from the judgement we are enabled to form, after a hasty perusal, must pronounce it to be dictated by great experience, and sound practical knowledge. It is writen-particularly the first three divisions, relative to the effect which the teeth exert

on the Personal Appearance, the Voice, and the Health, in a popular and original style, and mostly free from technicalities. We strongly recommend it to the attention of our female readers, as it is more particularly addressed to the ladies; mothers should consider it encumbent on them to peruse it.

The following extract will be found to contain much valuable information.

"TOOTH-POWDERS.-BRUSHES.-CLEANING THE TEETH. -So exemplary are the habits of our fair country women as to cleanliness that it would be superfluous for me to enforce the necessity of observing it in regard to the teeth. Some errors, however, may be pointed out, and some instructions given, which, though extremely simple in themselves, may yet be followed with advantage.

There is an absurd notion very prevalent that tooth-powders are of no use, and that the teeth require only to be washed with lotions composed of tincture of myrrh, or of spirits of wine, saturated with camphor; some even go so far as to deny the necessity of the tooth brush and deem it sufficient to every purpose of cleanliness if the mouth be rinsed out with cold water. To the admirers of such absurdities, all arguments being perfectly unavailing, 1 think I cannot do better than recommend the wonderful old recipe of rub bing the teeth with a sage leaf, which perhaps they may believe, as many simple folks before them have believed, will preserve those organs uninjured to the last.

All lotions are perfectly useless, as far as the gums are concerned, and for this simple reason,-it is impossible to preserve and pickle living matter. When lotions act upon the other portions of the body, it is upon the principle of evaporation, which principle cannot be brought to bear upon the parts in question. If the object of lotions be to stimulate, they are equally ineffective, friction, with an elastic brush, being the only way, by which a beneficial stimulus can be applied. It is not many years since that, in de fiance of those obvious elements of pathology a very fashionable dentist, in the plenitude of his ignorance, actually proposed to tan the gums! to tan living matter!-By way of explaining and justifying this admirable system to his dupes, it was his custom to compare the human gums to dogskin, and that there might be no mistake in the matter, he printed and published his opinions. Need I add that this charlatan amassed a fortune?

Upon the teeth themselves lotions can have no effect except as chemical agents, and as such they must act perniciously. The use even of diluted tincture of myrrh, pleasant as this gum undoubtedly is from its peculiar fragrance, and though it is incapable of any chemical agency, is yet attended with considerable mischief. This tincture is a solution of the myrrh in spirits of wine, a teaspoonful of which, being poured into a tumbler of water, renders the latter turbid, forming a fluid of a milky appearance; the change takes place in consequence of the decomposition of the spirituous solution, by which means the fine particles of the gum float in the water, and in rinsing the mouth they become deposited on the teeth. I have seen a whole set of teeth so incrusted with myrrh, from its long continued use, as to defy all attempts to remove it until re-dissolved by the application of aclohol. It must be evident that a nucleus thus formed must tend materially to the accumulation of the unsightly and offensive substance called tartar, and that it is utterly impossible to have clean and healthy teeth by the use of such a lotion.

Tooth-powder is absolutely necessary to the perfect condition of the mouth, but, to be of any service, it must be used the first thing in the morning. The concretion, which is deposited in the night upon the teeth, and which is the residuum of the evaporated saliva, hardens in the course a few hours, and is irremovable by any dentifrice that would not at the same time destroy the teeth themselves.

All acid preparations, such as cream of tartar, and all powders which consist of hard angular particles, and therefore act by trituration, should be avoided. On this last account charcoal is particularly objectionable, in addition to which it lodges in the space formed by a fold of the gum and the neck of the tooth, where it presents a livid circle, destructive of that roseate hue, which is so characteristic of health and beauty.

Teeth are not to be cleaned either by chemical agency, or, as people imagine by the process of mechanical abrasion; any attempt to act upon them in either way would be equally injurious. The rationale of the use of any dentrifice is, that it forms a paste with the deposition from the saliva already mentioned, and, thus combined, the whole is easily expelled by rinsing the mouth out carefully with water. Simple, however, as this operation is, I seldom see it perfectly performed even by the most fastidious; generally speaking, the water is thrown into the mouth, and as quickly ejected, without being of the slightest use, whereas the cheeks, lips, and tongue, should all be put in motion, so as to mix this newly formed paste with the fluid, and propel the latter into every interstice for that purpose. The brush should then be washed, and again applied to the teeth to free them from whatever may remain

of the powder, and the mouth a second time well rinsed. It will be adviseable also to clean the tongue with a scraper, more par. ticularly when the papillæ are rough, and the stomach happens to be out of order. In all cases I would recommend the use of tepid water in preference to cold, as being more in consonance with our general feelings."

"The Comic Offering for 1834."

We are lovers of fun and merriment, and heartily do we greet the laughing harbinger of bleak, but social winter; its quips and cranks, and odd conceits are the welcomer when nature wears a dreary aspect, and we are thrown upon our own resources to diffuse life and conviviality into the domestic circle.

The pieces from the pen of the editress please us much, she evinces a genuine zest for the humorous; several of the contributions also deserve much praise; among which, we may mention those of Miss Isabel Hill; the writer of " Timothy Blushmore;" the author of "Absurdities;"" Omega," &c. We have now to take Miss Sheridan to task, for allowing to creep into her otherwise amusing annual, some absolutely pointless articles; this we would fain attribute to the importunity of some goodnatured friend. The wood cut illustrations are generally well conceived, but the execution of them must be improved if Miss S. wishes to continue in our good graces.

As our readers are particularly fond of " something new," we extract the following for their amusement.

2

3

4

5

6

7

8.

9

all

SOMETHING NEW.

BY C. B. AND LOUISA. H. SHERIDAN.

[The rhymes of the following little whim, are gradually increased, by an additional one, in every couplet; so that in the last two lines, every word has its rhyme in the corresponding line.]

'Tis nothing new to write a line for Rhyme,

And make the next one answer with a Chime:

Less oft is Done in verse than now I Do,

In lines twice One to manage rhymings Two:

SLess often Still you've Met what now you'll See,

A scribbler's skill thus Get in rhymings Three :

S But I still Trust to manage More, I Vow,

And Try to Thrust in rhymings Four! and Now

SFor Five! in What odd Deed a Bard, (if He
But Strive) may Not succeed, tho' Hard it Be?

To Press them Yet more Near my Mind I Fix,
No Less I'll Get in Clear you'll Find than Six!
Dost Thou of Seven think Mean? if So 1 Here
Must Vow by Heaven! to Spleen I Owe Thy Fear!
Still I My Due must Claim, (For This Sly Smile)
Will you Try Too the Sam:.-Nor Miss My Style?
See Eight Clear Done By Me: How Fill We Nine?
The Plate's Near Won I See,-Now Still Be Mine:
To Chime The Ten Feet Thro': You See I Chuse
True Rhyme :-Be Then Meet Due To Thee My
Muse!

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. Black tulle is much employed for evening dresses, they are with a sprinkling of bouquets, or in colonades, embroidered in coloured silks. It is worn over black satin under dresses. We have seen a very pretty one done in large bouquets of roses. The bouquets are larger towards the hem of the skirt; on short sleeves, a large bouquet only, which covered them. The corsage was draped; the ceinture of figured black satin.

Satin, or pou de soie redingotes, have the front of the skirt ornamented with a rather complicated work, composed of the liserés, the inverted dents, and similar ornaments of the sort. Pelerines forming a point in front and behind, and fastened under the ceinture, are adapted to these dresses, a double point falls over the shoulder. The plaits of the skirt are made in double crevés to give the folds fullness and amplitude.

Silk dresses embroidered in silk of the same colour, are too high in price and good taste, not to remain in high favour this winter.

Several pointed corsages are thus disposed; the plaits are gathered up on the shoulder and extend to the ceinture, and spreading out in the shape of an open fan, they are separated by a narrow band.

The ceintures of evening dresses with straight cor sages without points, are formed by a cordelière twice turned round the waist and loosely fastened in front. Mantillas of gros de Naples are still worn. CLOAKS.---Notwithstanding the mild weather, it is surprising to see the number of cloaks already in use, as also to notice the beauty of the materials employed in their composition.

Many are in figured designs on new tissues, either. of the same colour as the ground, or in bright and contrasting shades in the Turkish fashion.

Several new shapes in imitation of the winter costumes of the inhabitants of the North has caused an entire revolution in this part of ladies' attire.

The Yermeloff, forming both pelisse and vitchoura, is a most elegant cloak.

The Boyard is drawn tighter round the waist, and trimmed with furs. Our plates will successively indicate these two models when produced by the inventor. Embroidered black net is much employed for evening dresses. They are sprinkled with bouquets or in colonades embroidered in coloured silks. They are worn over black satin dresses. We have seen a very handsome one with a sprinkling of bouquets of large roses perfectly shaded, the bouquets enlarging towards the lower part of the hem; the short sleeves were covered by a large bouquet; the body was draped, the waistband of black satin figured rose and green. A garland of roses was intended to ornament the head-dress of this handsome toilet.

Satin redingotes have the front part of the skirt ornamented with a rather complicated kind of tress work formed by narrow piping forming inverted dents with the points turned back, and other ornaments of the same description. Pelerines forming points in front and on

the back, and fastened under the waist-band; also a double point falling over the shoulders.

The plaits of skirts are made in double crevés, so as to be ample and reach to to the extremity of the hem, for a skirt should in no part be tight or sit close.

Black net scarfs are still very fashionable for evening or theatre dresses. Black net embroidered in gold and green, or red and gold gothic designs, is very elegant.

:

Some dress-makers have ventured pointed corsages thus disposed the plaits are gathered up on the shoulders and spreading out in a fan-like shape on the chest, separated by a narrow band.

In one of our large establishments where we are often favored with a view of the novelties, we have seen dresses with large pelerines which might be called mantillas; they are very long behind, with small lappels, and trimmed all round with lace or black blond. They are composed of plain velvet of the same colour as the dress.

Some dress makers have tried them in terry velvets. This fashion is very rich and very elegant.

A new kind of reticule called châtelaines, which we mention here on account of its forming part of the dress, is becoming quite fashionable. It is suspended to the waist-band by means of an elegant hook either of gold, enamel, jet, or steel; this hook is made fast to the waistband, and is suspended by two chains which sustain the reticule at each corner; it is fastened by a spring lock. Many are closed by a small silk cord terminated by two tassels, which hangs on each side; a larger cord suspends it by means of a hook on the waistband. They are made in different manners, of black satin embroidered in coloured silks, of velvet, trimmed with lace, of black blond lined with rosecoloured silk. We have seen one of green velvet, bordered by a gold embroidered wreath, in the middle a rich escutcheon in the middle of which was embroidered the cypher of the person for whom it was intended; at each corner, two handsome gold tassels; the lock, corners, and hook were of burnished gold relieved with enamel. These châtelaines are just large enough to contain a cambric handkerchief, a purse, and a few visiting cards.

ENSEMBLE DE TOILETTE.-A ball dress composed of white saccarilla muslin, speckled with gold dots and narrow stripes; the corsage in crossed draperies, without points, and terminated by a treble gold tress, forming cordeliere; the head dress a turban of the same material as the dress, encircled with a torsade of lamée; a large gold mounted cameo over the forehead; necklace and ear-rings similar.

HATS.Many evening hats are composed of satin covered with white blond-tulle, and ornamented with a flower or a white feather pinked same colour as the the satin. Some hats are covered with black net instead of white.

The shapes of some black satin hats, are lined with green, blue or lilac. The ribbons are half black, and half of the same colour as the material that lines the shape; some ribbons are in very small stripes, or in small quadrilles, black over green, rose, yellow or lilac; others are extremely wide and figured with damasked garlands.

For neglige hats, figured satins; satin-tulle imitating doble-lace; the most novel are white and orange

or black and orange, and for young ladies, blue and orange.

The shapes are half large, the trimming plain.
For evening hats, terry velvets with satin sripes.
For demi toilets, figured terry velvets.

Open shapes are worn with theatre dresses.

A pretty ornament for crape hats lined with satin, is a bouquet of three roses of different colours; other bouquets are formed by a rose and pinks speckled with various colours.

Some rose-coloured satin hats are lined with black velvet, the shape ribbed or rather arched in the centre by a black velvet band; the bow which ornaments the sides as also the cross ribbon which forms the ties, are of black velvet.

A handsome satin hat, was lined with brown velvet, ornamented with a brown branch of hyacinths, one half brown, the other of a yellow maïs-colour.

A sulphur-coloured silk hat, lined rose-coloured silk, iced, and ornamented with two feathers, one sulphurcoloured, and the other pale yellow, formed a most delicate and elegant head-dress.

A figured green satin hat, ornamented with green feathers tipped with white, and lined with satin.

CAPOTES.---Will still be the only head-dresses worn by ladies of the the fashionable world with neglige and walking dresses.

The colours generally adopted are apple-green, emerald-green, and lilac; the ties ties are usually trimmed with blond and a blond ornament inside the shape. Blue or rose-coloured capotes trimmed with ribbons of the same colour, are often bordered with a narrow black piping.

A charming little cap, was composed of black net, covered with embroidery in floss silk of a light green; it was lined with green gauze; on the edge a ruche of tulle cut in thin and very pointed dents, which formed a very light trimming supported by a half wreath of green ribbons cut in leaves Other pieces of ribbon ends cut in the same manner, formed a double egret, placed on one side over the trimming. This egret, being separated in the middle by a ribbon bow, one half turned up on the head, inclined a little towards the forehead; the other descended towards the ear.

CAPS.---Although black caps have already become very common in the second rate magazine of modes, they are still likely to remain in favor this winter.

We have seen several black blond caps, also some of black tulle, lined with coloured gauze and ornamented with zephyr-roses.

Since the invasion of the sombre, it is diversified by all sorts of embroideries and ornaments. Small dots, green, rose, blue, lilac, &c., gives the black net an animated aspect; besides which, a garland of dwarf roses of various shades, and assorted with the embroidery is placed on the centre over the forehead, and forms a demi-couronne on the back of the head; there is much gracefulness, and not a little coquettishness in these small head-dresses. Sometimes in lieu of the garland of roses, a plait of green or blue ribbons with stripes or checkers. This plait crowns the fore head and supports the trimming.

COIFFURES.--According to appearances, the art of the coiffure, forming so important a branch of female fashions, will be put to a severe trial this winter; never have our elegantes been more wavering and undecided,

nor have exacted from the tortured artist so much variety in the disposal of the hair. The antique coiffures modified with taste, and made to harmonize with the toilets of the present times, which, by the bye bear great affinity to those of Louis the Fourteenth's time, will most probably have the sway.

The Greek coiffures are abandoned by the hairdressers, and but very few are now seen among the beau monde, and are only becoming with neglige morning dresses; many head-dresses are ornamented with natural flowers, formed in large bouquets called à la jardinière. The flowers which keep best during an evening are the rose laurel, dahlias of all colours, everlasting daisies and heath-blossoms. The hair turned up en casque and with smooth tresses are as much worn as ever, they are entwined so as to produce the desired effect for both low or elevated coiffures, and are easily

varied.

The smooth bandeaux are only worn now by very young ladies.

MATERIALS & COLOURS.-The following are the principal and most novel materials brought out for the forthcoming season.

Gros de Laine damasquiné, is a strong, but brilliant and soft material,

Batiste de Lyon, a tissue composed of goat's hair and silk, intended for walking dresses.

Satin Luxor and Alexandrin, is composed of silk and soft foreign wools, soft to the touch, though strong, and as brilliant as satin.

Foulards with covered grounds, for dresses, the designs entirely different from those hitherto brought out on black grounds; also the white Foulards, manufactured with Chinese silk, this last reminds one of the materials employed in the XV. century.

Segovia Woollen Muslins, with new dark-coloured designs; the arrangement and display of colours is most beautiful.

Painted Satins, figured in large designs, on white and shaded grounds; the designs are bold and graceful. Satin Vessuve, an article, the beauty of which, approaches more than any other to perfection.

Woollen and Satin gauze, designated also Gaze Ulémas, a charming material for dinner and evening dresses.

For ball dresses, for young ladies, some very pretty transparent materials have been manufactured, some are half clear, others quite thick, and are called gaze dentelle, gaze de Pomme, gaze sevillanne.

Satin-dentelle, is a supremely elegant material, imitating the Bruxelles point applied over plain satin. This article is one of the most marking of the season; its designs are various, some in wreaths, some in bouquets, others running designs.

Figured Satins, of various colours, in light and dark shades, by a new mode of manufacturing, produce a most splendid effect, and have the appearance of the richest embroidery. Several of these tissues are really of surprising richness and beauty. The most noted, are the satins Maintenon, Dubarry, and the Damas.

India Velvet, for morning dresses, are, if we may venture the expression, old novelties, that will remain in full favor the whole of the ensuing season, as also the plain satins. Their light shades for dresses with a mantel-pelerine of the same material, trimmed with black lace, form very elegant demi-toilets.

Hayti blue has re-appeared this autumn, this colour

already is so well known, and so much admired by the fashionable world, and so regretted when obliged to discard it in consequence of its having become common, is now revived, beautiful once more and new again, and employed under the most novel shapes and richest materials. According to appearances, black will be much employed this winter, as well for dresses as for head-dresses and jewellery.

A kind of dark orange colour is the newest colour produced this autumn; it is very becoming to the face, and is employed for hats, cap trimmings, scarfs or cravats.

The multitude of names each year employed to designate the new designs or colours of materials, sometimes produce very graceful denominations, which certainly surpass in point of taste, those adapted to the old fashions of the last century.

In general, it is the sudden starting into notoriety of some personage, of a phenomenon, of a literary novelty, a new and favourite piece, or the like, that in France inspires the names of a new material or a new shape. Strangers should not therefore expect to receive any thing very extraordinary when they send their orders according to the names at present used. Thus for instance, a lady may wear a ball-dress of gaze fleurs des Anges, without the fear of appearing too aeriel, or a Satin Luxor, without appearing an antiquity.

DESCRIPTION OF THE PLATES.

PLATE FORTY-ONE.---FIGURE I.--EVENING DRESS.--A richly embroidered blond dress, pointed corsage, deep cut on the shoulders and forming a pointe on the chest, as well as at the ceinture, the bust edged with scolloped lace; a satin stomacher in small longitudinal plaits supported by transversal bands, and bordered with narrow lace; the sleeves short and richly embroidered and ornamented with small ribbon nœuds. Coiffure, the hair separated over the forehead, the ends disposed on each side of the face in full side curls, turned up behind and elevated in smooth coques, ornamented with three white feathers tastefully displayed.

FIGURE II.--BRIDAL DRESS.---A moire dress, closefitting deep cut corsage, bordered round the bust with a narrow embroidery; the sleves long, wide at the shoulders, the bouffans formed by ribbon nouds, the ends long and floating on the sleeve, close fitting from above the elbow to the wrist, and terminated by a cuff formed by long pointed dents, the points reaching high up the arm; the skirt edged round the hem with scolloped lace, and caught up in festoons by gold ornaments surmounted by bouquets composed of three feather tips. Coiffure, the hair elevated in smooth coques on the summit of the head, and ornamented with two branches of orange blossoms and a large veil, the lappets reaching low down the skirt of the dress.

FIGURE III.BALL DRESS.---An embroidered tulle dress, corsage en point with a satin drapery à la maintenon, caught up in the middle by a nœud, and edged with scolloped lace; the sleeves short, and terminated by a blond sabot, ornamented with satin bands edged with blond, and figuring a noeud d'épaule; the skirt, from below the knee, is cut in long undulating dents, Under dress of white satin. Coiffure, the hair over

the forehead separated in smooth bandeaux, turned up behind, and elevated in a large smooth coqué, adorned with a branch of flowers, and ornamented with white feathers.

FIRST CAP & BACK VIEW.---A turban-shape plain muslin cap, ornamented with a chou of cut ribbon ends. SECOND CAP & BACK VIEW.--A dress cap of embroidered tulle, the trimming disposed en aureole, ornamented with feather tips and a branch of dwarf flowers.

HAT & BACK VIEW.--A satin hat, round open shape, flat inclined crown ornamented with a bouquet of feathers; the brides trimmed.

PLATE FORTY-TWO.---FIGURE I.---CARRIAGE DRESS. ---A moire redingote, the corsage close fitting with pointed pelerine, cut in square dents over the shoulders, bordered all round with embroidered laurel leaves, and edged with black lace; the sleeves wide from the shoulder to the elbow, and close fitting from thence to the wrist; the skirt closed in front by plain nœuds, and bordered on each side from the ceinture to the extremity of the hem, with a rich embroidery of fancy designs. A satin hat, half open shape, edged with a tulle ruche, the crown round, trimmed with a fichu of the same material as the hat, edged with a narrow ruche, and ornamented with two white feathers.

FIGURE II.---EVENING DRESS.---A satin cloak with velvet pelerine and falling collar; wide sleeves à la Chinoise, terminated with a rich embroidery, the arm holes similarly embroidered; the hem ornamented with a rich embroidery, corresponding with that of the sleeves. A velvet hat, round shape, descending low down on the cheeks, the crown inclined behind, and ornamented with an ostrich feather.

FIGURE III-WALKING DRESS, A chaly dress, printed in small designs, pointed corsage, edged round the bust with a scolloped upright lace, the sleeves long, wide at the shoulders, the plaits maintained by a silk cord terminated by two tassels; the ceinture formed by a silk cordellière with tassels tied in front, the ends descending over the skirt. A satin hat, the brim in front slightly turned up, the crown pointed and partly enveloped by a silk ornament figuring a fichu, in front a bouquet of feathers, the ties composed of plain gauze edged with a narrow blond. The hair separated in front, the ends disposed in full side curls.

FIRST HAT & BACK VIEW.---A silk hat, open shape, helmet shaped crown, trimmed with a blond forming aureole, and ornamented with a bouquet.

SECOND HAT.---A straw hat, straight cottage shape, with round crown, the shape and crown on the same line; trimmed with a plain ribbon.

THIRD HAT.---A ribbon hat, open shape, high round crown, trimmed with ribbon coques, the ends forming brides.

COIFFURE & BACK VIEW.--The hair separated over the forehead, the ends ́turned up behind the ears, and smooth behind, and elevated in smooth coques on the summit of the head, ornamented with a couronne of roses.

PLATE FORTY-THREE.---FIGURE I.---WALKING DRESS. ---A printed cashmere cloak, with large square cape reaching below the ceinture, above this is a smaller one, the edge of which is cut in small arches; a square falling collar. A silk hat, round open shape, round crown, trimmed with a bouquet of fancy flowers.

FIGURE II.-EVENING DRESS.--A cashmere cloak with pelerine cape, the points extending to the hem, and closed in front by jewelled ornaments, and edged all round with black blond; a falling velvet collar, the corners rounded, the short points in front closed similar to those of the cape. Under dress of figured chaly. A velvet dress hat, ornamented with two white feathers. FIGURE III.THEATRE DRESS.---A satin cloak with large cape and turn-down collar, edged all round with silk lace, and bordered with a similar cord, forming a zig-zag design. A velvet toque ornamented with an esprit.

FIRST CAP & BACK VIEW..An embroidered tulle cap, trimmed with ribbon coques.

FIRST HAT & BACK VIEW.---A satin hat, the shape rather large and covering the ears, the crown round, and ornamented with a point of tulle edged with blond and a bouquet of delicate flowers.

CENTRE HAT.A velvet hat, small shape, flat crown, ornamented with an ostrich feather.

SECOND CAP & BACK VIEW.---A black tulle cap, or namented with several rows of dented black blond in thick gathers, trimmed with nœuds of cut ribbon ends, and an egret displayed in front, also of cut ribbon ends.

PLATE FORTY-FOUR.---FIGURE I-TREATRE DRESS. ---A Pompadour-satin cloak with double cape, the curves of each cape cut in arches, each point terminates by a silk tassel; a fur collar; the sleeves long and wide with an opening for the arm in that part of the sleeve under the cape. A crape hat, half closed shape, round crown, ornamented with ostrich feathers. FIGURE II.---WALKING DRESs.---A figured silk dress, high mounting corsage with pelerine, the points passing over the ceinture and extending low down the front of the skirt, and edged with black blond, and closed with nœuds; the sleeves wide and long from the shoulder to the wrist. A satin hat, trimmed with ribbon nœuds and a black blond veil.

FIGURE III.---EVENING DRESS.--A figured satin dress, half-high mounting corsage with pointed pelerine, cut in dents over the shoulders and terminated with blond; the sleeves long; the skirt full wide, and ornamented round the hem with a serpentine embroidery. A toque of crape, ornamented with two white feathers; full side curls.

HAT & BACK VIEW.---A satin hat, open shape, flat inclined crown, trimmed with large ribbon coques, and ornamented with a bouquet of everlasting daisies.

CAP & BACK VIEW.---A tulle morning cap, the crown close fitting to the head, a double row of upright trimming in front forming aureole, ornamented with ribbon. rouleaux and two plain nœuds in front to support the trimming.

CENTRE HAT.---A satin hat, small open shape, flat crown, tastefully trimmed with nœuds of cut ribbon ends; the ties trimmed with a ruche.