called "The First Night," which is nightly received with roars of laughter. Mr. A. Wigan has no rival in his department; and Miss Saunders, so long the favourite of the Marylebone theatre, has quite enough talent and comic humour to make her equal to Mrs. Keeley. Miss Kate Howard is not only a very pretty, but a very natural little actress.

Crowded houses have certainly rewarded the spirited efforts of the lessee. We cannot sufficiently thank him for the magnificent way in which he has put one of Mozart's grandest operas on the stage. The orchestra and chorusses were also perfect, under the able direction of Mr. Loder. Mr. Maddox and he may certainly be proud of having laid the foundation of an English Opera-House.

66

SADLER'S WELLS.

A. C. B.

No small praise is due to Mr. Phelps, for the intellectual feast he has given the public in putting on the stage the neglected play of Antony and Cleopatra;" nor has he spared any expense in costume or scenery, to render one of Shakspere's most poetical conceptions a reality. From the first appearance of the dancing girls, which precedes the entrance of Cleopatra, up to the magnificent scene of her death, the audience expressed at intervals their feelings by the most enthusiastic applause. The character of Marc Antony was throughout ably conceived by Mr. Phelps; particularly where he believes in the feigned death of his mistress, and implores his attendant to rid him of a life too burdensome to bear. Mr. George Bennett gave much effect to Enobarbus, by no means an easy part to sustain. The character of Cleopatra so playful yet imperious, so reckless in her triumphs yet so sublime in her woes-makes it one of the most difficult of all Shaksperian creations to embody; but with the tact of true genius, Miss Glyn preserved all these conflicting points, and gave us an impersonation which can never be forgotten. We know not which most to praise, the regal scorn with which she defies her conqueror, or the expression of agony which her features assume at the bite of the asp, changing to joyous rapture in the belief that approaching death is uniting her for ever to her lover. All her classical attitudes are in harmony with the emotions of her soul. Nature has done much physically as well as mentally for this young lady, and we hail her triumphant success as an omen that she will become one of the first actresses of the age. We hear she is a pupil of Mr. Charles Kemble's. She is worthy of this great master. The house has been crowded to the ceiling every time "Antony and Cleopatra" has been performed.-A. C. B.

LYCEUM.

the production of a genuine farce, called, “A A great hit has been made at this theatre by Practical Man." It is from the pen of Mr. Bayle Bernard, to whom the public are indebted for so many amusing pieces. Mr. Charles Mathews personates the chief character, and keeps the house in a roar of laughter.

SURREY.

At this theatre there has been producedthough too late in the month for more than a brief notice from us-a most effective drama, entitled "Trevanion, or the False Position." It and Bayle Bernard, and realizes all that might is the joint production of Westland Marston be expected from the co-operation of a dramatic poet and a witty humourist.

ST. GEORGE'S HARMONIC SOCIETY. The first concert of the second season took

place on the evening of the 19th ultimo, and gave excellent promise of the success of this prosperous and now firmly established society. The concert was appropriately opened with a madrigal by Allmann, "Welcome! do we sing!" which, with several other madrigals and chorusses, was most excellently rendered. Popular ballads, duets, and glees, pleasingly varied the programme, which was selected with a nice The prindiscrimination and good taste. cipal vocalists were Misses Ellen and Eliza Lyon, Collins and Phillips, Messrs. Lovett and Frank Dudley, W. H. Seguin, Mattacks, and H. Buckland. Miss Mansel performed a fantasia on the pianoforte in brilliant style, and Mr. Ellis Roberts (harpist to H.R.H. the Prince of Wales) a solo on the harp exquisitely, introducing a favourite Welsh air. Mr. S. T. Lyon conducted. Messrs. J. C. Benthin and A. Jackson were efficient accompanyists.

MUSIC.

Ar

SOUVENIR DU BAL QUADRILLES. ranged by G. J. O. Allmann. (Lewis and Johnson).

A very pleasing set of quadrilles; the airs being selected from "Robert le Diable," "La Figlia del Reggimento," and "L'Elisir d'Amore."

OH! WILT THOU EVER THINK OF ME? Ballad, by G. J. O. Allmann. (Lewis and Johnson).

A pretty song, with some originality in the music; yet we cannot but regret that in choosing his words and title, Mr. Allman should add another to the namby-pamby productions, which a clever friend calls the "songs of the personal pronouns."

It has been remarked for some seasons past that every year our beau monde return to Paris later than the preceding one. So that if they do so much longer, the season will soon be the same in Paris as in London. This is not yet the case, but certainly Paris is still nearly deserted; that has not, however, prejudiced our winter fashions, for they are, I think, as forward as they usually are at this time of the year. Velvet, satin, and velours épinglé, are as yet the only materials employed for public promenade capotes and chapeaux. There is as yet little change in the forms; but my fair readers will see by our plates, that there is much novelty and taste displayed in the trimmings. The most elegant of the capotes are composed of pink velours épingle; they have, instead of runners, rouleaux of velours épinglé, closed by a black satin piping; a curled feather is placed on one side, and a black lace ruche edges the brim: tufts of pink ornament the interior, with brides of velours edged with black. Grey is a favourite colour both for chapeaux and capotes, particularly pearl grey. Several of the prettiest satin capotes are composed of it. Some have the interior trimmed with a ruche of plumes of the same colour; others are decorated with amaranth pensées, intermingled with blonde lace; the crown is encircled by one of the new wreaths of little tétes de plumes called couronne marquise. Some of the chapeaux for the promenade are of pearl grey velvet: the exterior is decorated with a rich pointe of black lace; the interior with a wreath of small flowers in black and cherrycoloured velvet. Others are composed of plain velvet, stamped; the stamping gives the appearance of two different shades to the velvet; an ostrich feather, sufficiently long to encircle the whole of the brim, is laid flat upon it; the feather is of two shades. These chapeaux are very novel, and much admired. So also are some satin chapeaux, quilted in quadrilles, each line of the quilting covered by a row of chenille to correspond; a row of small bouillons ornaments the edge of the brim, each traced by chenille. A willow plume, terminated by twisted ends of chenille, is placed on one side. Chenille seems likely to be very much employed, not only in the way I have just mentioned, but also for evening coiffures, and the trimmings of dresses.

The mixture of satin and velvet, or velours épinglé and velvet in chapeaux, will be very fashionable; so will be linings of a different colour and material, as velvet with satin, and velours épinglé. Some of the most elegant halfdress chapeaux are composed of green velours épinglé; they are formed of four full biais, divided by a narrow fringe of white feathers; the biais at the edge turns under the brim, and the edge seam is concealed under a fringe of plumes. A fancy marabout decorates one side. White velours épinglé is very much employed for

half-dress chapeaux. One of the most fashionable garnitures for them is a wreath of velvet fuschias of different colours, the sprigs descending on the brim; the interior is trimmed with flowers of the same kind, mingled with blonde lace. Another favourite style of decoration is that which I have given in No. 3 of our first plate.

I may cite among the most elegant of the half-dress chapeaux those of pink satin, the interior trimmed with an intermixture of small pink and white flowers, or else with pink tulle bouillonné; the exterior with pink and whiteshaded tétes de plumes, or gerbes of halfblown damask rose-buds and foliage. The second figure of our first plate presents a model of the first-mentioned of these chapeaux. The inside of the brim is from the open form of the chapeau, now so much seen, that it is necessarily very much trimmed, unless in those few instances where the hair is disposed in full ringlets; bouillonnés of tulle, intermingled with very small flowers, are much in favour; so are tufts and half-wreaths of flowers, intermingled with blonde lace; knots formed of very small blonde lace lappets, the ends passing a little below the brim, are pretty and becoming; the most novel style is, I think, masses of coques of ribbons, shaded in all the different shades of the colour of the chapeau. Cashmere shawls have lost nothing of the vogue they have enjoyed for so many years: they are very numerous in public promenade dress. Square ones are most extensively seen, those with orange and azure blue grounds are preferred; they are of a very large size, with beautiful patterns in palms and rosaces. Long shawls are most fashionable in half-dress; the grounds are lighter than usual, but they are so completely covered with embroidery in rich full colours, that the ground is very little seen.

Velvet, satin, cashmere, cloth, and some rich plain silks, are all in request for pardessus. I refer my fair readers to our plates for the newest models. I may cite also the Polish paletots, generally composed of velvet, and trimmed with sable fur; they display the figure very gracefully. There are also a good many velvet and satin paletots, embroidered in passementerie in such a manner as to hide the seams; the round is also embroidered, and the cuffs. Some demi-paletots have a small pelerine, with embroidered points, which joins the ceinture: it has a pretty and dressy effect. Satin pelisses of dark hues, and particularly of mahogany colour, are beginning to be a good deal seen; the corsages are made quite high and close, and the skirts a threequarter length. These are generally trimmed with an embroidery in chenille.

Passementerie, which it was supposed would be quite out of favour, will, I am inclined to

think, resume all its vogue; our plates present some new and very beautiful specimens of it in trimming of pardessus: it is employed also for robes. Furs will be very much employed for pardessus; and it is expected that chenille trimmings will be very fashionable, though that is not quite certain. Velvet, and particularly stamped velvet, is decidedly in vogue. Dentelle de laine has been introduced, but except for cloth pardessus I do not think it will be much employed.

Cashmere, poplin, satin, and cloth, are the materials for promenade robes. We still see a few taffeta ones, but they will certainly disappear by the beginning of November. The redingote form is most prevalent, and is likely I think to continue so during the winter, or at least for the early part of it, for as yet there is no diminution of the width of skirts, though there has been for some time a gradual decrease in their length; they are made a very proper walking length. A good many redingotes are made with corsages croisée; some button up to the top, but can be opened so as to form a revers; others open to the waist, but these last are in a minority. Cloth ones are generally made quite high, or else in the habit form, with small Îappels, and a basquine of the short jacket kind. Passementerie is a good deal employed for the garnitures of poplin and satin dresses; black lace is still more so; velvet is more adopted for cashmere and cloth; some of the former are trimmed with dentelle de laine.

Robes are as fashionable as redingotes in promenade dress, though the latter are more numerous. There is as yet nothing new in garnitures for promenade robes, with the exception of cloth ones; they are embroidered in silk au point de plume; it is lighter than soutache or passementerie. A paletot of the same material, and trimmed to correspond, is generally adopted with a robe of this kind. Pardessus of the same material are seldom seen, except with these robes.

The English must no longer reproach us with having no idea of comfort. We have got the word, though it must be owned we seldom spell it properly; but what is of more importance, we have got the thing, at least as far as dress is concerned, both in outdoor and indoor costume. Nothing can indeed be more comfortable, and at the same time lady-like, and even elegant, than our new robes de chambre. They are composed of cashmere, damask, and some fine woollen materials, in new and striking patterns. Several of those of cashmere are lined with satin, and trimmed with fur: to be perfectly elegant, it should be sable of the finest kind; but the inferior sort is, I need hardly say, much more employed. Others, composed of damask, a black ground with a large pattern in wood colour, are made open before; the satin lining descends en revers down the fronts, and is edged on each side by a band of broad fancy trimming. The sleeve, easy but not wide, is cut in a point on the inside, and outside at the bottom.

Muslin peignoirs are no longer seen; but

those of cashmere, and even of taffeta, are still adopted in morning dress. They are closed down the front by knots of ribbon. Demi-large sleeves, decorated with knots on the seam. Cambric or muslin under-sleeves, with lace ruffles.

Cazawecks will lose nothing of their vogue in home dress; they unite comfort and elegance too well to be laid aside during the winter. Some, intended for plain morning dress in cold weather, are composed of cloth, trimmed all round with a broad flat galon. They have the sleeves always very long, and pointed pelerines. Others, of plaided satin, are wadded and lined with slight silk; they are made like those I have just spoken of-quite high, and trimmed from top to bottom with fancy silk buttons. Some, adopted in home evening dress, are composed of pink taffeta; they are wadded and encircled by a tulle ruche of the same hue. A good many are of coloured velvet, made open, with demi-long sleeves of a very large size. These are intended only to be put on over an evening dress while a lady is waiting to go out.

No decided alteration has as yet taken place in the forms of robes; redingotes continue their vogue both in morning and half-dress. They are mostly made open in front for the first. Some are still of taffetas, but the most are cashmere or poplin. They are variously trimmed; some with ruches of ribbon to correspond; others with narrow velvet ribbon, disposed in zig-zag down the fronts, and on the pelerine and sleeves. There are also a good many decorated with an embroidery in passementerie. The under-dress is still composed of muslin or cambric; if the costume is intended to be dressy, it is trimmed with festooned flounces; and the cap generally adopted in morning home dress is rather profusely decorated with Valenciennes lace and ribbon.

The new materials for half-dress robes are damasks in new patterns; Pekins, brochés, satines, shaded and striped; rich shot and plain silks; satins and velvets are also fashionable; so is poplin.

Some of the most elegant of the half-dress redingotes are composed of satin; the corsage is quite high at the back, but descends in the V form open to the middle of the breast; it is laced from thence, as is also the skirt, down the centre; each side of the lacing, and the small revers which encircles the corsage, is trimmed with a wreath of stamped velvet leaves; the lacing, which is silk corresponding with the colour of the dress, is sufficiently open to display the front of a muslin robe, richly embroidered en tablier. The corsage and the sleeves of the muslin robe are also embroidered; the satin sleeves are of a halflength, and laced in such a manner as to display the muslin ones.

If plain materials are adopted for half-dress robes, the favourite colours are brown of different shades, particularly golden brown, iron grey, and persée. Pekin of the two last hues is also a good deal employed; and so are silks of a dead rich ground, striped with satin: some