FROM OUR FRENCH CORRESPONDENT. BOULEVARD DES ITALIENS, 26th March, 1859. CHERE AMIE,-With regard to silk or velvet dresses, the description would be endless, for these dresses are so much ornamented by guimps, noeuds, and various trimmings in velvet or lace; sometimes even a taffetas chiné, or taffetas of plain colour, has had all these at the same time. A dress of taffetas mauve glacé was made with white satin on the front of the skirt, the two edges were in deep Vandykes, trimmed with Alençon lace, and to confine the points a new guimp of point d'Espagne is put on in shell pattern trimmed with black lace; the centre of each is mauve velvet; low body, with berthe of white and black lace. A dress of pink moire antique was with two skirts, trimmed with wide pink velvet; on the upper skirt a large noeud of velvet, having aiguillettes of silver at the ends, the low body trimmed with lace and aiguillettes of silver falling on the lace; the sleeves similarly ornamented. Satins of light colours are much worn for ball and evening dresses; even for dancing dresses satin is admissible, as well as moire and taffatas; but for young ladies tulle and gauze continue to be preferred.

There is more variety in carriage dresses than in those of grande toilette, which continue to be made much in the same style, with four double skirts, the upper one being raised by nœuds of ribbon or bouquets of flowers. A robe of tulle, with four skirts, is very pretty without bouquets or any ornament. The Empress wore a dress lately of tulle, having four double skirts, the upper one attached by a very large noeud of cerese velvet and black taffetas; these noeuds were not of ribbon, but were cut out of the material. Thin materials are always used for ball dresses. Young ladies wear tarlatane for soirées dansantes, but tulle for grand balls. Salmon colour is a favourite tint just now, either in crape or satin. A dress of this colour in satin was made with three skirts, trimmed with very deep lace laid flat on each skirt, a bouillonné of satin above; low body, with berthe of satin, covered by another berthe of lace, each trimmed with a plissé of satin. For dresses in very full dress, pink taffetas, cannéles glacé, or quite plain, have flounces alternately of taffetas and tulle, trimmed with very full ruches.

Some of the Parisian dress-makers trim their ball dresses with gold, silver, or chenille guimps; and the materials of the season are splendid brocarts in large medallions, with ground of satin or moire taffetas, cannelés, plain or gros grains. These are preferred for carriage wear, with a deep border of velvet of the same colour, the taffetas with stripe or chinés, droguets of black, green, or marron ground, with small sprigs of flowers, pink, white, or gold colour. Satin is fashionable for evening dresses, and of dark colour for the morning; but it is not generally used for bonnets or cloaks.

Head dresses are much ornamented with gold, sometimes plaits of gold mat, with tassels, or white beads mixed with velvet, falling as noeuds of beads on the throat. The bandelette of coral is very fashionable placed as the ancient bandeaux, and twisting round the plait of hair.

Many of the new taffetas are with pink, blue, or lilac flowers on a white ground, or of lilac or grey grounds, with flowers of green, or the same colour in a different tint. These dresses are with double skirts, or a single one ornamented by large noeuds or lace for the evening. Taffetas chiné and striped are very fashionable this season, and are particularly adapted for young ladies; the skirt may be plain, the body high, round at the waist, or with very small Medicis basque, which is merely a revers at the waist. Very young persons do not wear flounces, except on thin materials, as tarlatans and bareges.

A very convenient style of dress is inade now, allowing of its being used either as high or low body; with the latter a round pelerine is worn, made exactly as a high body, trimmed with fringe of chenille, or any other guimp, or plissé à la Vieille, or with large flat buttons; it fastens on underneath, and may be taken off without difficulty. In this style was a dress of black taffetas, the low body being of violet velvet, and upper part or pelerine of black taffetas, as the dress, which

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They should be large and flat bone buttons; those which fasten the violet band of velvet up the centre of the skirt should be larger still, and placed on each side the band, which is half a yard wide.

A pretty manner of ornamenting silk dresses is now very fashionable on a dress of black taffetas with double skirt-they wear the body half of plaid velvet and half of black taffetas; large buttons of plaid velvet are placed from top to bottom of the dress; the body may also be entirely of black taffetas, with little basque Medicis; these basques are lined with plaid taffetas, of which a narrow border only is seen, the sleeves with large black revers edged to match buttons on the body, and skirt very large and fiat of plaid taffetas. Many taffetas dresses are with flounces extending very high; others in alternate widths of velvet and silk. Hitherto the fashionable colours have been black, violet, deep blue, noisette grey, and every possible shade in green, except very pale ones. In evening dresses the colours are pearl gray, lilac, mauve, rose de chine, currant, and green céladon, and the skirts double and with train; the under one has train of satin, the upper short-one of velvet, and mostly both of the same colour.

We are little by little arriving at the sleeve tight to the elbow; it is now as frequently seen as the large open one; but a prettier style is with the double join open at the bottom and buttoning inside.

The porte jupe Watteau is always used simple, and entirely concealed by the folds of the dress, or forming an ornament; they are made in various styles, but that preferred is composed of a very thin support, varied in many ways; they answer equally well for plain as for flounced dresses; they are made of guimp, velvet, jet beads, ribbon matching the shades of the dress, or even of flowers for full dress.

Very elegant dress bonnets are made of tulle bouillonné, with feathers placed in a new manner: white crape, with ornaments of velvet; white feather, and Bengal rose inside. A bonnet of green, all of crape, had a China rose inside and brides of crape. One of jonquil was covered by a resille of feathers, the ends of which fell on the front and bavolet; this bonnet was very elegant. A bonnet of citron crape was trimmed with satin of the same colour, and feathers at the side mixed with satin. Some white crape bonnets have a black lace falling on the crown, a ruche of white taffetas pinked edging the front and bavolet. Many of the cap fronts are without blond; tulle illusion is in ruche quite plain-a flower, a noud, an aigrette on one row; but the ornament on the forehead is become common. Very pretty capotes are preparing jor the first days of Spring--one of green taffetas, with white lilac inside, a large bow forming chou of Terry velvet placed on one side; the same style may be adopted in reversing the materials, the bonnet of Terry velvet, the chou of taffetas; two colours may be used, but it is observed that except in crape bonnets that the bonnets preparing for Spring are of one colour.

For walking or carriage wear, casaques always continue fashionable, as well as the mantelets of velvet trimmed with lace or guimp. Some casaques are ornamented with torsade perlé, and a deep fringe of chenille forming pelerine.

Mantelets of tulle illusion are very much in fashion to wear in full dress on entering a room. They are made with ruches of tulle illusion, or of taffetas, and are worn on dresses of light colours with high bodies; they often replace the more expensive ones of white lace.

DESCRIPTION OF THE ENGRAVINGS.

PLATE I.-Promenade Dress.-Robe of taffetas, with double skirt, ornamented by plissées of ribbon à la Vieille; the body is high with pelerine edged by a plissé, as are also the bell sleeves. Straw bonnet edged with velvet, a bouquet of flowers placed very low at the sides.

Carriage Dress.-Robe of taffetas chiné, with double skirt; the upper one ornamented at the sides by bands of velvet en échelle, edged by lace and confined by buttons; plain high body similarly ornamented. Bonnet of violet taffetas and black lace, with feathers. Mantelet of velvet, with two rows of rich black lace, headed by embroidery in soutache.

Young Lady's Dress.-Skirt of mauve taffetas, covered by flounces, each having a ribbon laid on. Casaque of white muslin, with frill

with lace; sleeves of two bouillons, with frill and pelerine on the body, with ribbon. Bonnets of fancy straw, trimmed with black lace and pink ribbon; puffings of pink ribbon across the forehead.

PLATE II.-Carriage Dress.-Robe of popeline, with double skirt; the upper one having five rows of velvet; high body, with small basque, trimmed with velvet, and sleeves open to the elbow. Bonnet of white crape and lace nœud and cordon of velvet in the cap.

Public Promenade Dress.-Robe of glacé silk, with double skirt, each being edged by a plain ribbon; the upper one is open at the sides, uniting by noeuds of ribbon the high body with pelerine and open sleeves edged as the skirt. Bonnet of groseille taffetas, with fauchon covered by black lace.

Child's Dress.-Frock of popeline; the skirt is covered with flounces, edged by bands of velvet; low body, with basque and pelerine crossing in front. Chemisette and collar of insertions and muslin. Leghorn hat, with white ribbon and bunch of daisies.

PLATE III.-Evening Dress.-Robe of gaze Chambery, with double skirt, each being ornamented by a wide plissé, and the upper skirt raised by a porte-jupe Casaque of spotted tulle, trimmed with lace. Coiffure of lace and flowers.

Dinner Dress.-Robe of mauve satin, with double skirt, ornamented with black lace; the body is high and closes with buttons, and forms very small basque at the waist, which is trimmed with black lace headed by a velvet; black lace forms berthe on the body, and also ornaments the open bell sleeve; lappets of white lace and lilac ribbon ornament the hair.

Ball Dress.-Robe of pink tulle, with three skirts; the two underones of double tulle; the second having bunches of flowers placed at intervals; the upper one is looped up by satin ribbon from the waist, terminating with bows and ends; pointed body, with full drapery and nœuds.

PLATE IV.-Evening Dress.-Robe of white satin, ornamented by chenille fringe; the body pointed front and back, with berthe, edged by two rows of fringe; cordon of flowers ornaments the hair.

THE CRYSTAL PALACE.

THE ornamental teaches us the useful-and when the two are combined in our individualities, our moral education has commenced. The Crystal Palace, with its marvellous contents, will show us how this combination exists in endless variety; and while convincing us that beauty is no idle ornament, it will teach us that its influences are never lost. No influence is lost. If it be evil, it leaves its stain; if it be good, it still smoulders there, and is liable at each instant to burst into a flame. Each day, therefore, some beautiful creation should be impressed on the mind. To correct the heart, it should be considered a duty to remove all humiliating influences from the pathway of our lives and this we know can partially be accomplished by holding converse with the ennobling forms of art. In the language of Goethe, we have an imagination before which, inasmuch as it should not seize upon the first conceptions that present themselves, we must place the fittest and most beautiful images, and thereby accustom the mind to recognize the beautiful everywhere. What the great German meant was, that our feelings, affections, and passions should all be advantageously developed and purified; not one or more of them elevated above the rest. This education, if we be allowed the phrase, it is the mission of the Crystal Palace to dispense. Take the sculpture alone, we say, take the sculpture alone. Here are casts of nearly every remarkable work in the world; all the great schools of art, and all the great masters are greatly and worthily represented. The display in Hyde Park appealed principally through the sight to our appreciation of the results of human industry; that of Sydenham are impressed with a more intellectual character. Industry shows what she can accomplish; but the triumphs of art in all ages, as the exponents of civilization, are liberally and well represented. The intimate relation subsisting between the ornamental and the useful is exemplified on a scale of unparalleled magnificence. At every step we may take in this wonderful structure, and in every corner of it, we shall be able to perceive evidences of the might and majesty of man in some of his noblest aspects. We shall find his invention and adaptability to surrounding circumstances interpreted by a multitude of illustrations of his past and present condition. His progress up to the present degree of perfection is as plainly recorded as if a history of it had flowed from a pen inspired to undertake the task. Every phase in his past condition is exhibited in truthful characters. We shall see him advancing from the rudest to the highest condition, and in every stage borrowing largely from the principle that the beautiful is only beautiful when associated with the useful. We shall behold the gleams of beauty which flashed across the mind of the savage, as he roved amid the grand architecture of endless natural forms, become living rays in the soul of the more civilized man; and find, as he seized upon and

Carriage Dress.-Robe of violet satin, with double skirt; the lower one has a broad band of velvet round the body, headed by lace; the upper skirt has velvet pines also edged with lace; the body is high, closing with buttons; the sleeves open with velvet laid on all round, and full jockey. Richly embroidered shawl. Capote of fancy straw and Terry velvet, of which the full crown is made.

Carriage Dress.- Robe of moire antique, with full plain skirt and high body. Mantelet of black taffetas, having plain top fitting to the shoulders, from which is a deep full frill, ornamented by ruches. Bonnet of crape, with feathers.

PLATE V.-Promenade bonnet of white chip, trimmed with blue quilted satin and white lace.

Evening cap of white blond, trimmed with green ribbon and narrow black velvet.

Bonnet of pink silk and straw. Trimmings of black blond and white flowers.

Morning cap, of white muslin and lilac coloured ribbon.

Habit shirt; cambric, with an embroidered collar and bow of broad red satin ribbon.

Breakfast cap of net, trimmed with lace and orange coloured flowers and ribbon.

Sleeve of white sprigged muslin, made in two large puffs. Sleeve of book muslin, with a deep cuff turned back, and trimmed with dark blue ribbon and white lace.

Cap of white tulle and pink ribbon and velvet trimmings. Bonnet of pale grey straw, trimmed with plum coloured satin and feathers and black lace.

Evening cap of white and black blond, trimmed with azure ribbon and white camelias.

DESCRIPTION OF MODEL.

The Model given this month is of a little boy's jacket, to be made in cloth or velvet, and with guimp or trimming laid flat on the edge; it fastens by a single button at the top.

directed them to his purposes, that their light had not fallen upon him in vain. Everywhere we shall see his footsteps strewed with evidences of his adaptive capability. Not having been born with tools to build with, or an instinctive sense of the particular kind of habitation suited to him-such as nature has conferred on the beaver, the swallow, or the bee-we shall find him acquiring knowledge from his accumulated perceptions of his wants, and seizing upon those forms in nature which at once afforded him an adequate conception of the useful and the beautiful. The first habitations of the kings of Greece and Britian were hollow trees and the thick foliage of the forest. The idea thus given was enlarged into the tent made of skins of animals and branches; then into the thatched wooden hut, which, in the architecture of the Greeks and Romans, we behold metamorphorsed into stately edifices of marble, yet preserving the original form as far as practicable.

Of nature itself, as robed in the field, the garden; and forest, we are also presented with an adequate conception. The wonders of the vegetable kingdom are adequately represented both in the Palace and the garden. And if we turn to the other departments, we shall discover the same abundance and excellence of illustration. The Natural History collection will help to form more accurate perceptions of animal life than can be gathered from the prepared specimens in the British Museum.

Thus embellished, and in themselves wonderful, from the scale upon which they have been designed and executed, the Crystal Palace and Park form a perfect cosmos-a brilliant illustration of all that is noble and elevating in the world-a school to which the humblest and greatest may alike profitably resort for instruction and delight.

VICISSITUDES OF THE SEASON.-The characteristic fickleness of our climate has never been more forcibly and severely illustrated than by the recent sudden changes, in which wind, frost, and rain, alternated with an unprecedented rapidity. That we are not, however, without ample defence against these inclemencies is fully demonstrated by the inconceivable varieties of costume and appliances, "waterproof," "wind-proof," and "cold-proof," that are daily pressed on our notice; but, while every other part of the human frame is thus rendered impervious to weather, the face must still remain exposed; and the peculiar delicacy of the female complexion undoubtedly undergoes great, though gradual change from the action of excess, either of heat or cold, upon its surface: in this instance, RowLAND'S KALYDOR affords the so-much-desired and valuable protection; maintaining, unimpaired, that peculiar brilliancy of tint admired beyond all other possessions; and, as a preservative, is equally efficacious, whether against the injurious degree of heat felt in crowded assemblies, or exposure to harsh winds and the low temperature of the present

season.