But I know, I know of a brighter eye, Than the rich pomegranate's hue! II. Her locks are the purple clouds of morn, When their folds, like banners, float; And her soft celestial voice is born, As it were, of the bulbul's note! Her sleep is the calm of a breathing roseThe rest of a lonely dove, When the leaves are lulled in the light that flows From the mellow skies above! III. We sat by the fount at even' close, The star was softly bright And a whispered dream from the wave's repose, Sweet, sweet, said I, is that fountain's dream, IV. Wild is the bound of the antelope, When his far home dawns on the plunging skiff, Shall the joy of my spirit be When the day that hath made thee mine has set, C. D. M. CHRISTENING OF THE PRINCE OF WALES. On Tuesday last the important event-the christening of a Prince of Wales-which had so long been looked forward to with anxiety and with joyous anticipation by all classes of her Majesty's subjects, was solemnized at, and we may say, has consecrated the Royal residence of Windsor. The eagerness which was manifested to witness the ceremonial was commensurate with the importance of the occasion which inspired it. Amongst the earliest arrivals were the Duke and Duchess of Sutherland, the Marquis and Marchioness of Lansdowne, the Lord Chancellor, the Duke of Buccleugh, Baron Van de Weyer, the Duke of Buckingham, Lord de Lisle, the Earl of Ripon, Lord Wharncliffe, Sir Willoughby Gordon, Lord Granville Somerset, Sir Robert Peel, Lord Stanley, the Chancellor of the Exchequer, Sir James Graham, Sir Henry Hardinge, Earl Jermyn (Vice Chamberlain to her Majesty), Earl Howe, and Mr. Pemberton (Attorney-General for the Duchy of Cornwall.) Amongst the incidents of the day we may mention that upon Sir Edward Knatchbull being driven in his carriage to the gate, leading to the quadrangle, the porters stationed there not being acquainted with Sir Edward's personal appearance, requested to see his ticket of admission, whereupon the Right Hon. Baronet stated he had neglected to bring it with him, but mentioned his name, and also that he was a Cabinet Minister. The Castle functionary, however, was inexorable to Sir Edward's claims, and in all probability that Right Hon. Baronet would have been compelled to retire until he could procure a ticket, had not Mr. Trant, the late Member for Dover, came up at the time, and, recognising Sir Edward, with some difficulty, prevailed on the gate-keeper to let him pass on to the Castle. About eleven o'clock the Royal Regiment of Horse Guards Blue marched up Castle-Hill and proceeded through the grand entrance to the "quadrangle," where they took up their station as a guard of honour. The regiment was accompanied by its splendid band, which performed several airs during the formation of the procession. The coup d'ail which here presented itself was extremely brilliant and interesting; the royal carriages were all assembled the coachmen, footmen, and grooms appearing in new state liveries. The first battalion of guards shortly afterwards entered by the same route, and took up their station on either side of the line from the quadrangle, through the Norman gateway, to the wardrobe tower. The remainder of the line was flanked by the 72nd Highlanders, under the command of Colonel Arbuthnot. The band of the regiment took up a position immediately opposite the entrance to the chapel, and on the arrival of her Majesty, Prince Albert, and the various other members of the Royal Family, struck up the national anthem, the men at the same time presenting arms. When the Royal carriages began to move from the the Quadrangle, a Royal salute was fired from the batteries, and the band struck up the National Anthem, and the troops on duty presented arms. The Duchess of Kent, on being recognised by the crowd, was loudly and vehemently cheered. His Majesty the King of Prussia wore the national uniform of the First Corps de Garde, with the chain and insignia of the Black Eagle of Prussia set in brilliants of the first water, and which is only worn by his Majesty on extraordinary occasions. He was in the third state carriage, which was preceded and followed by the Royal footmen. The Infant Prince, a fine healthy-looking babe, was carried in the arms of the nurse, Mrs. Brough, who held him up in the carriage so that he might be seen by the public. The moment he was seen by the crowd there was a loud and general cheer, which was kept up along the entire line of the procession. The Queen and Prince Albert followed. Her Majesty and her Illustrious Consort experienced a loyal and enthusiastic greeting, which they acknowledged by repeatedly bowing to the crowd. The procession then passed into St. Georg's Chapel. This ancient and sacred edifice, which is so celebrated for its architectural beauty, was, after all, the great point of attraction ; and how could it be otherwise, seeing that not only was the most interesting portion of the solemn ceremony which was about to be performed to take place within its walls, but that those very walls were sanctified by their association with the pious purposes of some of the best of England's Kings? Shortly after eleven o'clock a brilliant sunshine burst forth and illumined the whole of the interior of the chapel. The gleam was hailed as a most auspicious omen, and it was not forgotten that on the occasion of the christening of the Princess Royal the morning had been overcast like the present, until just upon the commencement of that ceremony the sun burst forth, as now, and cheered with its rays the company then assembled. The musical department was under the able direction of Dr. Elvey, who presided at the organ, and about eleven o'clock the organ played a short voluntary, for the purpose of giving the key to the instrumental performers. At half-past eleven o'clock Lord Lyndhurst entered the Chapel, attired in his state robes, and took the seat appropriated for the Lord High Chancellor of England, on the south side of the chapel. The Knights of the Garter, in their splendid robes, shortly afterwards entered the chapel, and took their seats in their respective stalls. Amongst the first who arrived we noticed the Duke of Wellington, the Marquis of Lansdowne, the Duke of Buccleuch, the Duke of Rutland, the Duke of Richmond, the Duke of Newcastle, the Marquis of Anglesea, the Duke of Sutherland, and several other Knights of this Most Noble and Illustrious Order. The number of ladies in the Choir was eight. Amongst them we noticed the Duchess of Northumberland, the Duchess of Sutherland, who was conducted to her seat by the Duke of Rutland, and the Marchioness of Lansdowne, who entered the Choir with the Noble Marquis. Sir Robert Peel, Lord Stanley, the Duke of Buckingham, the Earl of Ripon, Lord Viscount Fitzgerald, Sir James Graham, Lord Wharnchliffe, Sir Edward Knatchbull, Sir Henry Hardinge, the Chancellor of the Exchequer, the Earl of Aberdeen, and the Earl of Haddington, entered the chapel shortly before twelve o'clock. The Cabinet Ministers were all attired in the Windsor Court uniform. The Earl of Cardigan, Lieutenant-Colonel of the 11th (Prince Albert's) Regiment of Hussars, and a number of military officers, were also present in full costume. Sir Robert Peel sat in the Marquis of Westminster's stall, being that on the north side nearest to the altar, and almost immediately behind the chairs appropriated for the Queen and Prince Albert. The Premier held a short conversation with Sir Augustus Clifford prior to her Majesty's arrival. The Duke of Buckingham sat next Lord Lyndhurst, and was engaged in close conversation with the Chancellor for a considerable period. Lord Cardigan occupied a stall at the lower end of the choir. Several of the foreign ministers were present in the different stalls, but they were not generally recognised. After most of the company had assembled, the splendid table was removed, and a purple velvet stool, edged with gold, was introduced in its room, on which was placed the superb gold font, which, from its beautiful appearance, attracted general admiration. A Gentleman at Arms then brought in a frosted glass jug, containing water procured from the river Jordan, which he poured into the font. Other gentlemen of the corps at the same time placed elegantly bound prayer-books in the chairs appropriated to the royal and illustrious attendants at the ceremony. At half-past twelve o'clock martial music without announced that her Majesty and her Royal visitors had left the Castle for the Chapel. Very shortly after the Archbishop of Canterbury entered the chapel by the north door, followed by the Archbishop of York, the Bishop of London, the Bishop of Norwich (Clerk of the Closet), the Bishop of Winchester (attired in the robe of Prelate of the Order of the Garter), and the Bishop of Oxford in the robe of Chancellor of the same Order. The Lord Primate took his place immediately at the back of the font, the Archbishop of York and the Bishop of Norwich standing at his right; the Bishop of London on his left. The other Prelates and Ecclesiastics, not being about to take part in the ceremony took their stations within the altar rails. After the Right Rev. Prelates had taken their appointed places, there was a pause of considerable duration, which was broken by martial music announcing the Queen's arrival at the chapel entrance. At precisely twenty minutes to one the King of Prussia entered the chapel by the south door, and took his seat in a chair on the same side of the altar. The Duchess of Kent, the Duchess of Cambridge, the Princess Augusta of Cambridge, entered by the same side, and occupied chairs near to his Majesty. The members of his Majesty's suite stood behind him. Immediately after the Royal procession entered the choir of the chapel by the north door in the following order :The Senior Gentleman Usher Quarterly Waiter, Gentleman Usher to the Sword of State. Groom in Waiting on H. R. H. Prince Albert. Sergeant-at-Arms. The Lord Steward. Lord in Waiting on H. R. H. Prince Albert. Serjeant-at-Arms. vet. Gentleman Usher of the Black Rod. Garter King of Arms. H. R. H. The Duke of Wellington. Master of the Horse. The Queen and H. R. H. Prince Albert. Groom in Waiting on the Queen. Sergeant-at-Arms. The Lord Chamberlain. Lord in Waiting on the Queen. Serjeant-at-Arms. Mistress of the Robes. Lady of the Bedchamber. Two Maids of Honour. Bedchamber Woman. The Queen and Prince Albert, the Duke of Sussex, and Prince George of Cambridge, took their places on the haut pas north of the altar. The Queen was attired in the robe of the Sovereign of the Garter, over a dress of the richest crimson velHer Majesty wore the Collar of the Order over her shoulder, and its star on her left breast. On her head was the splendid diamond tiara, and her Majesty also wore a necklace and ear-rings of the same precious gem. Her hair was plainly dressed in loops falling over the cheeks, and drawn up behind the ears. On entering, the Queen looked rather nervous, but her Majesty speedily resumed her wonted dignity. Prince Albert was attired in the robe of a Knight of the Garter, and the Duke of Sussex, also in the robe of a Knight of the Garter, was stationed next to his Royal Highness. The Duke of Wellington stood behind the Queen's chair, the Lord Chamberlain and Lord Steward at her right hand. At the commencement of the ceremony the Royal party formed a semicircle on the haut pas, the Archbishop of Canterbury standing in the middle, and the rest being disposed as follows:The Archbishop of York. The Bishop of Norwich. Prince George of Cambridge. Prince Ferdinand of Saxe Coburg. The Duke of Sussex The Bishop of London. The Duchess of Cam- The Duchess of Kent. The KING of PRUSSIA. On the Queen's entering the choir, the grand march from Judas Maccabeus was performed on the organ by Dr. Elvey. Before its completion, however, the Royal party had taken their seats, and a signal was given to discontinue the performance. It was understood that her Majesty had expressed a wish that the ceremony should not be protracted by instrumental performances, and that it was in compliance with the Queen's express desire, and that alone, that any abbreviation took place in the musical arrangements previously decided on. The organ having ceased, the Archbishop of Canterbury commenced the reading of the baptismal service. His Grace read the beautiful Liturgy of the Church in a clear and impressive tone of voice, calculated to awaken the liveliest sense of the solemnity of the occasion. Nothing particular occurred in the perusal of the service until the Archbishop came to the questions propounded to the godfathers and godmothers of children brought to be baptised. His Grace then turning to the sponsors, most impressively demanded of them as follows: "Dost thou, in the name of this child, renounce the Devil and all his works, the vain pomp and glory of the world, with all covetous desires of the same, and the carnal desires of the same, so that thou wilt not follow, nor be led by them?" To this the King of Prussia replied for the sponsors generally, in conformity with the words of the Liturgy, "I renounce them all." His Majesty delivered this sentence and the other responses in the service quickly, but distinctly and emphatically. Archbishop. "Dost thou believe in God the Father Almighty, Maker of heaven and earth, and in Jesus Christ, his only begotton Son ?" His Majesty and the other Royal Sponsors answered in an audible voice, "All this I steadfastly believe." The Archbishop having arrived at that part of the sevice in which he is to take the child into his arms, her Grace the Duchess of Buccleuch received the infant Prince from the nurse, who stood close to the Queen and Prince Albert, and delivered his Royal Highness to the Archbishop. His Grace held the royal child in his arms with the greatest care, surrendering the Prayer-book to the Bishop of London, who held it for him during this part of the solemnity. His Grace then turned to the King of Prussia and the other sponsors, and said, "Name this child." His Majesty replied in a clear voice, "We name him Albert Edward." The Archbishop then performed the holy rite of sprinkling and signing the mark of the cross upon the child's forehead, saying, "Albert Edward I baptize thee, in the name of the Father, and of the Son, and of the Holy Ghost." The organ gave forth, and the congregation joined in a solemn "Amen." The Prince lifted his little hands on being sprinkled and crossed. The Archbishop then delivered up the Prince to the Mistress of the Robes, who carried his Royal Highness to his nurse, Prince Albert was observed to watch most attentively his Royal Highness's progress from the font to his nurse's arms. The Queen also cast glances of motherly pride and delight at her youthful heir. The Archbishop then offered up the thanksgiving for the admission of the child as a member of Christ's Church, and then, all kneeling, the holy prayer given to Christians by the Saviour was most impressively delivered. At this moment the scene was solemn and magnificent in the extreme, and would afford a worthy subject for the pencil of the artist. At the conclusion of the service the Prince was carried from the choir to the Chapter-room, and the organ pealed forth the magnificent" Hallelujah Chorus" of Handel. Prince Albert was observed to beat time during its performance, and the Queen cast repeated glances at the organ gallery, which without any great stretch of imagination might be construed to be expressive of her Majesty's satisfaction and approbation. Her Majesty also once or twice during the ceremony addressed herself to Prince Albert and the Lord Chamberlain. The chorus having been brought to a conclusion, the Queen curtseyed most gracefully, first to the King of Prussia and the sponsors, then to the Archbishop and the ecclesiastics, and then with a kindly smile, to her uncle, the Duke of Sussex, who stood near her. Then, taking Prince Albert's arm, her Majesty left the choir in the same form as she entered it. The Queen having retired, the King of Prussia bowed to the ladies of the Court, and then to the ecclesiastics. His Majesty then offered his arm to the Duchess of Kent, and left the choir by the south door, followed by the Duke of Cambridge and the rest of the Royal party. The Archbishops and other Prelates next passed out of the chapel, leaving it by the south door. The company assembled in the body of the choir were then permitted to pass to the altar table, to inspect the plate, the font, &c. Great anxiety was shewn to dip a handkerchief or glove into the water of the font, with a view to treasure up such articles as reminiscences of this auspicious occasion. Indeed, such was the anxiety to approach to the font and altar, that it was some time ere the chapel could be finally cleared. Among the occurrences of the day most particularly observed was, the devotion evinced by the King of Prussia. His Majesty's conduct throughout the service was indeed a pattern for princes and for subjects. The chapel was well ventilated, a pleasant warmth being maintained without the interruption of any currents of air. The King of Prussia was dressed in a scarlet military uniform, with blue facings and silver epaulettes. His Majesty wore the Collar of the Order of the Black Eagle. The royal procession having departed from the Chapel, returned in nearly the same order in which it entered it, coming out through Cardinal Wolsey's Chapel, and passing through the Norman Gateway to the Quadrangle, and thence to the Castle. The good humoured expression of the countenances of the majority of the distinguished personages as they left the Chapel, particularly of the fair portion of them, seemed to indicate that they had been much pleased with the proceedings. On the return of her Majesty and Prince Albert, the King of Prussia, the Royal Family, and the distinguished guests to the Castle, a Chapter of the most Noble Order of the Garter was held in the Throne Room. Nearly all the visitors assembled in the Waterloo Gallery. The Knights were robed by Mr. Hunter in the Guard Chamber, in their splendid mantles and collars, and the officers in their respective mantles, chains, and badges, Her Majesty being seated on a chair of state, and the Knights and officers having been introduced, and taken their places, the Sovereign's pleasure, that a lineal descendant of his Majesty King George the Third, should be elected into the Order, in pursuance of a statute to that effect, was notified by the Bishop of Oxford. The election was then proceeded with, and his Majesty Frederick William the Fourth King of Prussia, was declared elected a Knight of the most Noble Order of the Garter. His Majesty was received by the Queen and the Knights Companions standing, and was placed in a Chair of State exactly similar to that of her Majesty, on the right of the Sovereign. The Garter was then buckled on the King's left arm, and her Majesty, assisted by Prince Albert and the Duke of Sussex, afterwards passed the Ribbon and George over his left shoulder. Her Majesty gave the accolade to the King of Prussia, who received the congratulations of the Knights Companions present. A State Banquet was given in the evening in St. George's Hall, which presented a truly Royal appearance. About two months ago, Mr. Scoles of Argyll-place, forwarded to Buckingham Palace a bottle, containing water from the River Jordan, to be used in the baptismal ceremony of the Prince of Wales. The water was taken from the river by Mr. Scoles in the year 1825, while pursuing his professional studies in the East, and when sent to the Palace was clear and sweet, although so many years have elapsed since it was sealed up. Mr. Scoles had the honour to receive the following letter from the Hon. C. A. Murray, Master of her Majesty's Household: Buckingham Palace, Dec. 1, 1841. "Sir-I have the honour to inform you that I have this morning delivered into the hands of Prince Albert the parcel which you transmitted to the Lord Steward, containing water from the River Jordan; and I am commanded to communicate to you the gratification with which it is received by her Majesty and his Royal Highness, who will order it to be reserved for the baptismal ceremony of the infant Prince.-I have the honour to be, Sir, your obedient servant CHARLES A. MURRAY. WED ME NOT. As my soul's health, I love thee; I love aught else above thee, Oh! love me as sincerely, Be weal and woe forgot! If thou love wealth more dearly, Wed me not! If, while the summer smileth Upon the sun-loved spot, Thine echo smile beguileth, Wed me not! If poverty's foul weather Could make thee curse the lot That brought us two togetherWed me not! But if the shade and sun, love, Be each alike to thee, So but our doom be one, love, Wed with me! LONDON AND PARISIAN FASHIONS. DRESSES.-Some very elegant court dresses are especially worthy of description; a few are selected of the most striking. An emerald green velvet dress had a pointed corsage, which was draped; in the centre a bouquet of roses was attached by a diamond nœud, terminating in long diamond tassels resembling acorns, and falling low; the sleeves short and close-fitting, terminating in two bouillons of velvet; the skirt was open on two sides, exhibiting beneath a white satin slip; the sides were united by ugrafes of roses, gradually diminishing towards the ceinture. This beautiful toilette was completed by a coronet of diamonds resembling foliage, and continued on one side by a sprig of roses falling on the neck. A white moire dress, demi-montant was open in front, interlaced in the reselle style, with a berthe of about a finger in width and square; the sleeves small with blond sabot; the skirt was double, each fringed with gold and silk alternately mingled; the outer one besides caught upon two sides by a cordeliere of golden lace attached to the ceinture. The coiffure was composed of a resille of silk and gold intermingled; the acorns which terminated the cords on each side, were joined above the ears and fell on the neck. A lace dress in the renaissance style was made to fit pretty closely in the upper part, which was elaborately embroidered, and the peak much elongated; it was elevated on each side by a white satin ribbon, terminating simply in a nœud. The coiffure that was worn with this dress was remarkably elegant, being composed of purple velvet traversing a resille of gold; and in lieu of torsades, a light bouilloning passed round, and terminated on one side in two points of velvet, at the end of which was an acorn. MATERIALS AND COLORS.-Furs, velvets, cachmeres are the order of the season. Ermine may be seen adorning every costume belonging to the fashionable circles; at the concerts and theatres, in the ample or tasteful little pelerine, as well for trimming as lining; in the carriage or the saloon, abroad or at home, round the dress of cachmere, thrown over the batisto peignoir, till the toilette hour arrives, or surrounding the satin redingotes in which visits are received. The same may be said of velvet, which enters into the composition of almost every article belonging to the toilette, whether belonging to the dress, the sleeves, the scarf, the shawl, the cloak, or the coiffure. The novelties are all of a most splendid description; those denominated la Renaissance and Pompadour are among the most worthy of note, in the fabric of velvet. Satin shines resplendently in the beautiful introduction called á la Montespan, containing bouquets of roses worked on coloured silk, or on an azure or sky-blue ground. Another pattern is in gold and silver on a white ground. CAPS, BONNETS, &c.-Among the very graceful and varied styles and fancies with which the heads of our belles are adorned, it would be no easy matter to particularize one, that may be said very decidedly to prevail. For the carriage or the promenade, any difference is less manifest in the cut or material, than in chain or disposition of the embellishments. In dress hats, and head dresses for the ball room, saloon, &c., the petit-bords, barbes and scarfs, are in high request, and some descriptions of turban are in no less vogue. The Greek tocques and toquets are much admired, those in dark coloured velvet embroidered in pearls and gold, or in gold lace, or lama are some of them, both classical and superb. Double jupons form a most important and particularly fashionable portion of the toilette, even the most substantial and costliest materials are made double. A very elegant dress of this description was composed of white satin jupon, over which another in rose coloured satin, and shorter, was arranged; it was open on two sides, forming revers lined with white satin. The two parts were united by a rosecoloured ribbon, forming an interlacing, and terminating at bottom by nœuds. Some most splendid dresses of this style, with short sleeves à revers blancs, corsages peaked, and coiffures of roses and diamonds intermixed, graced the elite of our dames de cour on the recent auspicious occasion. Another example is afforded of this style in an orange-coloured satin jupon over another of blue. They were united by orangecoloured ribbons, forming an interlacing, in the style of the ribbons, crossed over the stomacher in those ancient costumes from which sources modern invention has drawn so extensively. A lilac-colored moiré jupon also looked extremely well, seen through the openings of another jupon of amber, which is united by lacets of silver and lilac. DESCRIPTION OF THE PLATES. PLATE 1. FIGURE 1.-Evening dress.-Satin dress. Made to lie accurately to the shape, the body is made long waisted and slightly peaked. The sleeves are long and close fitting; down the front both of the corsage and the skirt are ornaments made of the same material as the dress, with a piped heading and tassels at the extremities as well as at the centre. The upper part of the arm is similarly decorated. The cap of lace has a bouquet of flowers. The corsage FIGURE 2.-Evening dress.-Pompadour dress. long and en pointe, edged with a lace frilling and a satin piped heading; an ornament of this kind is carried round the sleeve in a spiral manner, commencing at the shoulder and extending rather below the elbow. Two wide flounces decorate the lower part of the skirt. The satin Mantelet has a capuchon en coulisses, with silk cordeliére. The hair is ornamented with bouquets. FIGURE 3.-Ball Dress.-Organdi dress. The corsage which is made low, heightened by the addition of a draping, each fold of which has a piping, the centre of which has a bouquet ornament; sleeves short, and open on one side; the skirt has embellishments of a similar style and character, in three rows, with bouquets at each extremity, so arranged as to produce the effect of a robe. The Hair has similar decorations. The first half-figure exhibits a velvet redingote elegantly embroidered. Tight sleeves. Blond cap with ribbon coques. The second half-figure represents an Evening dress of satin, corsage peaked, short tight sleeves, with lace fall. Velvet Hat and feather. The Bonnets are all in velvet Some ornaments of the same material are introduced with great taste, also marabout feathers. The Cap and little barbe both ornamented with ribbons and flowers, are adorned in a very becoming manner. PLATE 2. FIGURE 1.-Evening dress.-Tulle dress. The upper part, which has a pointed corsage, is embellished with a lace fall, which extends from the top border of the corsage, in two rows to the ceinture, there joining in one, and terminating in a rather broad and rounded point; the skirt has a wide flower in elegantly worked lace. The Cap in Valenciennes, with long embroidered barbes. FIGURE 2.-Ball dress.—Satin spencer, colored jupon of the same, plain. The spencer is made with studied plainness, peaked and short sleeved; passementerie is added to ornament the upper part as well as in a double row to the sleeves. tends also down the front as well as round the skirt. The hair has a garland of roses. It ex FIGURE 3.-Evening dress.-Chiné dress. Pointed corsage, with volan of the same; a revers in the old style of embroidery descends the skirt, which is similarly embellished round the lower part of the skirt. A lace net extends round the hair. FIGURE 4.-Evening dress.-Poult de soie dress. The upper part of the corsage having two rows of lace; The front of the corsage embellishd with ribbon nœuds extending in a line down the centre, gradually decreasing in size to the ceinture. The sleeves quite short with rose round the border. A velvet dress hat is embellished with feathers. The first half-figure of satin has no distinguishing peculiarity. The second half-figure has a blond fall, short sleeve, with bouffan and sabot, the front of the corsage à jour. Drawn bonnet with ribbon nœuds. The Caps in tulle and muslin, having ribbon ornaments almost exclusively. PLATE 3. FIGURE 1.-Evening dress.-Moiré dress. Made low on the neck, and draped to a considerable depth, the lower part of the corsage terminating in a peak; the sleeves are made short, and ornamented with pearls; the centre of the draping, as well as the lower part of corsage, has a similar ornament, in loops and tassels; the skirt has the tablier form of ornament, figured by a series of double rows of similar decorations, with fall loops and tassels. The Coiffure is embellished in a corresponding manner. FIGURE 2.-Evening dress.-Poult de Soie dress.-The corsage is cut very low, with wide drapings extending a considerable distance in depth; the front ornamented in a straight line downwards, with a row of rosettes; the short sleeve, close, is edged by the same; the skirt is very full, and ornamented with several rows of rosettes, extending higher in front than throughout the other extent. The Head-dress is composed of a turban, the foundation of which is a gold-lace resille, it is decorated with feathers. FIGURE 3-Evening dress.-Satin dress. The corsage cut low, and en pointe; sleeves short and composed of lace sabots ornamented with a rosette; lace falls are disposed so as to extend round the upper part, thence down the middle of the corsage, with rosettes at short intervals. An elegant blond ornament extends from the ceinture in two separate rows in the front, turning up near the extremity, and likewise ornamented with rosettes. The hair is gracefully embellished with a rosette ornament at the back, and ribbons as well as a drooping feather. The first half-figure is in satin with full sleeves and a black lace berthé. The second half-figure has the corsage embellished in a peculiar style with projecting ornaments; with connecting bands and crevé in the intervals. The bonnets offer a variation of shape somewhat more striking than some of the recent illustrations. Feathers are seen in no less abundance, ribbons, and laces. PLATE 4 FIGURE 1.- Promenade dress. Mousseline de laine dress. The corsage cut rather high, except in the upper part of the bust, where it is cut in a slope, the border is composed of a double ruche, terminated by a tassel. A cordon with double tassels at regular intervals is placed as an ornament down the front. The skirt is disposed in ample folds. The sleeves are somewhat full, but graduate to the wrist, lessening downwards. The bonnet of the same materials is ornamented with feathers. FIGURE 2.-Fancy costume. Transylvanian costume. The tunic and hat of velvet, the former faced with satin, ornamented with ribbon nœuds. The upper part FIGURE 3. Evening dress. Satin dress. of the corsage is laid in large drapes, with rosettes down the centre and at the termination of the sleeve, which is extremely short and close to the arm. Rosettes are disposed on the front of the skirt in a manner resembling the tablier shape. coiffure as well as the arms is decorated with roses. The The first half figure is in satin with lace bertbé, close waisted, and sleeves to the elbow with sabots. The second half figure is in the same material, with a double berthé. Short sleeves, with bouffant ornaments terminating them. Muslin capotes, drawn and satin bonnet trimmed with lace, ribbons, and flowers. Caps in the same and also in tulle, with blond and ribbon ornaments. |