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Grisy: the likeness is good, but the picture is cold. "Silvio Pellico, visited in his prison by the jailer's daughter:" this is a picture full of life and truth, none can behold it without a feeling of commiseration for the man who suffered so much. It is by Madame Brune." Anna Boleyn on her arrival at the Tower of London," by Cibot, is another of those scenes upon which one can scarcely look with a tearless eye. "The Prisoner of Chillon," by E. Delacroix ; a fine production. "Rebecca at the fountain, giving a drink to Abraham's servant," by Horace Vernet, is decidedly one of the very best pictures at the Salon; the expression of the countenance is admirable. "The assassination of the Duke de Guise at the castle of Blois," is by P. Delaroche: a picture of small dimensions, but of considerable merit; still something greater might have been expected from the painter of "Jane Grey." "Jeanne d'Arc, arriving at the place of execution at Rouen," by H. Scheffer; this is a most splendid production: the countenance of the ill-fated Maid of Orleans is beyond description. The artist has admirably sustained his reputation as a great painter. There are many other pictures of more or less merit. Several good landscapes, scenes in Switzerland, views at Rome, Venice, Naples, &c. &c. are numerous. There are several flower-pieces of great merit. The portraits are numerous, several full-length portraits in oils are of considerable merit; the miniatures are beautiful. There are several portraits in pencil by Hyppolite Masson: these are really inimitable, perfect germs. M. Masson is unquestionably the first artist in France in his style; his likenesses are perfect, and the finish of his pictures beyond praise.

Donzinetti has brought out a new opera, Marino Faliero, with the greatest success. It could scarcely be otherwise, when we find the names of La Blache, Tamburini, Rubini, Ivanhoff, and Mademoiselle Grisy. There is no overture; a few bars of a vigorous movement precede the rising of the curtain; a recitative follows, and is succeeded by a fine chorus, "Zara Andace:" we then have a beautiful air by Tamburini; and in the next scene a cavatina by Rubini, into which he throws a pathos and a feeling only known to himself. There is a fine duet between him and Grisi, and another by La Blache and Tamburini; there is a quartette and a sestuor; and in the second act a barcarole, commenced by a chorus and finished by Ivanhoff as a gondolier: in short, every note of the opera is admirable-many of the airs and duos were encored. Grisi is seen to the utmost perfection in the third act: a duet between her and La Blache, "Giusto Dio," was rapturously encored. The adieu of Israel (Tamburini) to his children on his way to the scaffold was adinirable. The sound of the drum announcing that the fatal

moment is arrived is heard, the Duchess shrieks and falls senseless on the stage, and the curtain descends. The scenery and costumes were better than what we usually see on the Italian stage.

PARISIAN COSTUME.

Maintenant chère amie que te dirai je des modes? Presque rien à la vérité, for until Longchamps we shall have nothing new: et cependant il faut se faire belle! You know we have a court mourning for the Emperor of Austria, we therefore wear black velvet and black satin principally in grande toilette. To relieve the heaviness of the black dresses, we generally have them made half à l'antique, that is, with a breadth of white satin put in in front, which gives the dress the appearance of being open in front; the white satin may be plain, figured, broché, and even broché in gold: which has a very beautiful effect. The corsages of these dresses are à la Serigné; the sleeves short and full, so as to display the arm to advantage: it is a pity to hide a beautiful arm with a sleeve à double sabot, reaching below the elbow, at least so say our belles; therefore these sleeves, so much worn the two last winters, are scarcely ever adopted now. For dancing, the dresses are generally made round, the skirts extremely full and long, and many of the corsages plain and fitting tight to the bust. The mourning adopted by some of our ele gantes is so slight, especially amongst the dancers, that it merely consists of black ceinture and nœuds de page: mantille, mittens, &c. with a white, blue, or even pink dress. The ceintures of broché satin ribbon are worn to tie in front, with long ends, the ends fringed. Coloured crape and gauze dresses are ornamented with flowers: some of the skirts are looped up at one side, some at both, with a bouquet and bows of satin ribbon; others have three ribbons reaching in a slanting direction from the waist to about the knee, where they are finished with bouquets. Many have a guir lande going all round the bottom of the dress; and some have, instead of flowers, the tips of marabout feathers, which look light and pretty. Coiffures en cheveux are not very general, except for demoiselles. Married ladies all adopt turbans, Spanish hats, berrets, toques, and dress caps; indeed, I never recollect turbans so much in vogue as just now: they are made of all kinds of materials, and are of every possible form. They are ornamented with birds of Paradise, feathers, or jewels. The Spanish hats, turned up in front and ornamented with a handsome plume of feathers, are perhaps more becoming to some persons: they are made of velvet.

IN WALKING, or Carriage COSTUME,

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Robe de Chambre en Meusseline de laine des Min Gagelin, Kue Richelieu, 93.

Published Dobbs and Page uz Fetter lane Lond

loaks are still universally worn, as the weather, though dry, continues very cold. The cloaks are worn over redingottes of satin, gros de Naples, or poux de soie; some are lined and wadded. They are frequently edged all round with a double or single liseré (piping) of satin of a different colour; as brown, dark blue, lavender, &c., with blue or cherry-colour liseré, violet with green, or green with violet, &c. &c., and some are tied down the front with bows of ribbon of the same colour. Plain black satin redingottes, and black, purple, green, or grenat velvet dresses, are also extremely fashionable in walking or carriage costume.

No alteration has taken place in the hats since my last, nor will there for a few weeks; the fronts are long at the sides, and sit close to the face. They are trimmed with rich satin broché ribbons, the bows full and without ends, and put in at the side; feathers are de grand mode, but as I have already said, ma belle, we must wait for Longchamps for nouveautés.

I mentioned to you in my last that we have our regular jours de reception when we receive our friends en grand costume de nation, but I believe I omitted giving you a description of our toilettes on the other mornings when we receive en petit comité; enfin, when we are only "at home" to a favoured few-to our intimates. The dress consists of a robe de chambre of flannel, so excessively fine in its texture that it might almost be taken for Cachemere: they sell this flannel here at an amazing high price, as English. Je t-en prie ma bonne, to send me over some immediately, car je meurs d'envie to have one. The robe de chambre is wadded and lined with silk or satin, cherry colour, pink, blue, lilac, or apple green, and has a small rouleau of the same all round. Some are made quite high, and have a pelerine to match; others, far more coquette and distingué, have à revers, or large collar like a cape at back, and turning over in front in the style of the gentlemen's shawl waistcoats. The guimpe, or pretty collerette worn underneath, is displayed by this means; the collerette is fastened down the front with gold studs. The sleeves are full all the way down. The robe de chambre is fastened round the waist with a silk cordelière, the colour of the lining. Many of them have a Grecian border done entirely round the dress in passementerie, small silk braid; and this is an improvement. Slippers embroidered on black silk canvas, which is more becoming to the foot than any other, and a little simple cap of tulle blonde, or tulle Grecque, completes this charming attire For morning, the hair must be en bandeaux lisses, or in one thick ringlet falling at each side of the face.

TEA PARTIES (des Thés) are becoming very fashionable at Paris. I was at a very elegant Thé last week. The entire set out VOL. VI.-No. 4.

of the tea-table was en vermeille: this is the newest style, though far less agreeable, selon moi, than china. We were in number about twenty ladies, not quite so many gentlemen. The dresses were of mousseline de laine, satin d'Alger, foulard, &c.; the sleeves long, and nearly all the dresses made high (for it is vulgar to go in a low dress and short sleeves to a The): those that had corsages decolletés were very elegant, embroidered pelerines, guimpes, or canezous. The toilette of our hostess was at once simple and elegant; a dress of foulard satin, the colour of unbleached cambric (called cindre), with a delicate running pattern all over of the little blue flower called "forget-me not;" a fichu à la Paysanne, a kind of pelerine, with such a collar as that of the flannel robe de chambre just described, trimmed all round with Mechlin lace; embroidered ruffles trimmed with narrow Mechlin; a little simple cap of point d'Angleterre, worn very far back on the head, the border slightly turned up, and leaves of blue gauze ribbon placed above and beneath, and a bow of the same placed high up at the front of the cap; an apron of blue gros de Naples, embroidered in white silk; short black silk mittens, tied at the wrist with blue ribbon.

COLOURS. The prevailing colours for hats are pink, emerald and apple greens, blue, paille, and grenat. For dresses-cendre, cedar, lavender, grenat, greens, and chocolate.

Maintenant chère amie, I think I have tried your patience sufficiently, so shall conclude ma bavardage. Mon Mari, et mes enfans se portent à merveille. M. de F. is à l'ordinaire de mauvais humeur lorsque je m'amuse trop, mais cela va sans dire.

Adieu chère et belle, et bonne Clorindeje t-embrasse bien tendrement, aime toujours ton amie. L. de F.

DESCRIPTION OF THE PLATES.

(No. 7) TOILETTE D'INTERIEUR.-Robe de chambre of mousseline de laine; the corsage and skirt made all in one. The collar or pelerine is à revers, rounded at back and pointed on the shoulders, where it is ornamented with small tassels: this revers folds back as far as the waist in front (see plate). The sleeves are immensely full all the way down: the dress is fastened round the waist by a ceinture of itself, from which depends two long ends, finished by tassels. A small liseré or piping of blue satin goes entirely round the dress. The robe de chambre is wadded and lined. Cap of Grecian net, with a plain round caul and double border of the same, standing up from the face (see plate): the cap is ornamented with small blue wild flowers, and bows of satin ribbon of the same colour. The hair is in plain bands. On the neck is a guimpe of fine cambric (see plate), with 2 I

a single frill at top, of the same, festonné at the edge, and which, as well as the entire front of the guimpe, is smail plaited; it is drawn in at the neck with a small cord and tassels. Cotton stockings, à jours and wadded silk shoes.

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CHILD'S DRESS.-Frock and trousers of white muslin, the latter embroidered. The corsage à l'Enfant, the sleeves short and full. Ceinture and nœuds de page of pink satin ribbon black silk mittens, trimmed at the tops with a ruche or quilling of tulle. The hair is divided in a point (see plate): the front hair, which is curled, falls as low as the neck; and the back hair is brought in two braids to the temples, where it is fastened up with bows of pink ribbon, to match those on the dress. Kid shoes, and gaiters of drap de soie couleur Hanneton.

(No. 8.) TOILETTE DE SOIREE.-Black velvet dress, the corsage à la Sevigné, ornamented down the front with bows of ribbon placed at distances. Short full sleeves,

with double sabots of white satin. The front breadth of the dress being of white satin broché in gold, give it the appearance of an open robe (see plate). On the shoulders are the nœuds de page, of black satin ribbon broché in gold; the ends are long and fringed; a white blonde goes all round the bosom of the dress. Chapeau Castillan of black velvet, with a broad leaf turned up in front, and ornamented with a bird of Paradise dyed black. The hair is in curls, very much frizzed, and a braid of the back hair is brought across the brow (see plate). Echarpe caprice of very wide white satin ribbon, broché à la Jardinière, in a rich pattern of flowers: the ends of the ribbon are fringed, and it is trimmed at each side with a narrow white blonde. Black silk gloves à jours, finished at the tops with a quilling of tulle. Black satin shoes, white silk stockings, necklace or cameos. The dress of the sitting figure, which is of pink satin, is precisely of the same make.

Miscellany.

LADIES' NEGRO EDUCATION SOCIETY.This is an article which may he said to be long to literature and art, and which yet belongs to neither; for here we have a pleasing effort of instruction by means of applicable short moral tales, in immense printing types on large sheets, and six lithographs in colours, to flatter the labours of they who are addressed. The fact is, that now, when negro slavery is abolished, ladies have undertaken, in their own simple yet most influential, manner, to aid their lords in bringing the emancipated labourers, during their articleship (we hate the word apprentice when applied to adults, having no art to learn), into the order of a community. Mr. Suter, printer to the Infant School Society, has professionally well aided the ladies' exertions; and altogether, we have nothing left to wish on them-unless we may venture to hope that, so soon as the present object shall be effected, they will aid us in the same way at home. The principle, the plan, is excellent, and would be most useful throughout the British empire.

CHARACTER OF A PRINCE, SINCE KING, BY LOUIS XVIII.-" He has contrived to know a little of every thing, and fancies himself a man of universal knowledge. He has a cook, and I am sure that he shows him how to make an omelette; he teaches his gardener how to use his spade; and I am convinced that he has often written rentreceipts with his own hands. If he were to become a king, he would deem it better to have clerks or secretaries in place of ministers; and I am certain that he employs Fontaine for his architect, only that he may be able to say, I don't do every thing my

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self.' At bottom, however, he believes that he knows more of architecture than Fontaine; and he is certainly better acquainted with the price of lime and mortar than his master-mason." Be it remembered, we say, that Madame de Genlis thought him ail this and much more while a child; and useful did he find her education in adversity.

M. DUPUYTREN'S LEGACY.-Out of the seven millions (of francs) which M. Dupuytren confided to M. Jas. Rothschild, and for which be is accountable to the Countess of Beaumont, the daughter of the celebrated surgeon, the executor has disposed of-first, 200,000f. for the creation of a professorship of pathological anatomy. This new foundation is, it appears, to be in the gift of the minister, and not open to competition, according to the formal will of the testator; and, secondly, M. Dupuytren bequeaths 300,000f. for the foundation of a house of refuge for ever for twelve superannuated or poor medical men, the victims of public ingratitude, or the vicissitudes of government. With respect to the important places which the death of M. Dupuytren leaves vacant, that of the Hotel Dieu will be filled, it is said, by M. Roux, who will require a successor at the Hospital of Le Charité. At the Institute, M. Breschet appears to be likely to succeed, although MM. Lisfranc and Richeraud have declared themselves competitors. As the chair which M. Dupuytren filled at the Faculté de Médecine was that of clinical surgery, it forms only one in conjunction with that of the Hotel Dieu.Gazette de Santé.

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