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lons garnissant la moitié de l'avant-bras; cette mode, / avons remarquè de très-jolis méridos imprimés à petits déjà usée précédemment, est disgracieuse et lourde, dessins.

Rien n'est plus élégant pour les façons de robe de de. ? De charmantes écharpes habillées sont en satin souple, mi.toilette en riche étoffe, qu'un corsage plat montant, à fond de pois et bordure de fleurs ; elles sont en entier ayant le dos plat sur les épaules, et légèrement froncé couleur sur couleur, ou à dessins de couleur sur fond dans le bas. Avec cela on peut mettre un pierrot de noir. talle et blonde, fermé par une broche ; ou, si la toilette Nous avons vu de grands châles en pluche d'une ori. est destinée à être portée dehors, on peut tourner autour ginalité de fort bon goût, le fond est un plain de palmes du cou une écharpe de tulle qui retombe.

ou de bouquets, entouré d'une large guirlande. Ces Le crêpe et le tulle seront les étoffes privilégiées châles ont aussi le grand mérite de ne pas ressembler à pour robes de bal, avec des fleurs de couleur. Le. ce qui se fait aujourd'hui et remplacent parfaitement les noir, que l'on croyait devoir conserver une grande vo mantelets rejetés. gue, est déjà bien délaissé. Le noir restera comme de

D'autres plus ordinaires, sont en flanelle anglaise mi-toilette, en satin brodé, en blonde à dessous de cou

gris de fer, unie sans dessins, les devants sont doublés leur ; mais probablement fort peu en robes de bal, com

intérieurement de gros de Naples cerise, le tour est me on l'avait pensé.

bordé d'un passepoil cerise. Les robes de velours montantes sont parfaitement

On met sous les chapeaux peu habillés des brides de comme il faut, en velours noir, bleu de la reine, sca

blonde dont le haut se termine près des papillottes, par hieuse, ou vert émeraude. Quelquefois on les porte avec

un næud en ruban de couleur différente á celle du chaun mantelet de satin plain, de la même couleur que le

peau. Sous un chapeau bleu de la reine, des neuds rovelours.

ses ou cerises sont fort bien; avec du vert des nouds Une grande élégance est de garnir, pour une demi

bleus, presque toujours les næuds sont en satin. toilette, les sabots et le corsage d'une robe de velours

On revient aussi pour les tours de tête aux petites fa. avec du point.

veurs de satin faisant anneaux, dans lesquels se trouve Les bonnets du matin sont à basses garnitures, mais

enfermé chaque rang de tulle; en outre, les tulles de on peut étendre ces garnitures sur les côtés, de maniére

très-petits noeuds de satin en rosettes. Des plumes pa. à garnir les tempes plus que sur le front. Les rubans

nachées d'une manière légère sont teintes d'une seule que l'on place à ces bonnets sont en taffetas ou en satiu;

couleur; quelques brins de la nuance que l'on veut join. la garniture est en tulle de soie uni, ou en dentelle ; les

dre à la nuance principale sont noués de distance en discoques doivent être extrêmement courtes et plates.

tance, de façon à ne pas couvrir complêtement la plume Un joli petit chapeau de soirée que nous avons remar

de dessous. qué, était en velours bleu ciel, à forme ronde, relevée en

Les robes de bal qui se sont déjà faites dans nos pre. auréole, la calotte froncée, arrondie ; sur la forme un oi.

miers ateliers ont généralement des fleurs dans la jupe; seau de paradis et un neud de satin bleu.

celles, par exemple, que les princesses portaient à l'un Un autre plus simple, en velours marron, avait une

des bals du mois dernier, étaient en crêpe blanc, avec seule plume courbée en arrière, moitié verte et moitié

des guirlandes de petites fleurs formant zigzag, et pla. marron. Un ruban de satin marron tournait autour et

cées en biais; Chaque angle marqué par une fleur plus formait un naud au pied de la plume.

forte. Les femmes ont poussé jusqu'à la recherche la fantai

On met aussi une ligne droite placée en biais, ou plu. sie des pantoufles; rien n'est plus élégant que ce petit

sieurs bouquets diminuant de grosseur vers le haut et koulier négligé, en marroquin, tailladé de manière à

détachés les uns des autres. laisser apercevoir la doublure de soie, et brodé en soie

Au spectacle on voit beaucoup de chapeaux en satin au crochet à dessins qui couvrent le pied. Les petites

rose, ornés d'une seule plume rose, peu longue, mais dents qni, de rigueur, bordent le devant sont garnies

très-fournie, et se recourbant presque sur la passe. Des d'une petite faveur plissée ; l'intérieur est ouaté et dou

chapeaux en satin blanc broché, doublés en satin rose, blé en taffetas. Ces pantoufles se font de toutes cou

et ornés de deux plumes blanches s'inclinant de côté, leurs, gros bleu, bordées et doublées en soie verte ou ce

appartiennent aussi aux toilettes distinguées. rise, hanneton etvert, cerise ou bleu, etc. Ces nuances

Les demi-voiles de blonde ne sont plus incompatibles sont toutes de fantaisie et peuvent être aussi bizarres

avec les plumes, dès que les plumes toutefois sont en que le goût qui les déterminent.

couleur et de la même nuance que le chapeau. Cet arLes douillettes ne se portent plus dans l'appartement.

rangement donne souvent un cachet de négligé que ne Cette mode était si disgracieuse qu'elle ne pouvait être

peut avoir un chapeau à plumes qui ne serait pas modifié de longue durée. Les douillettes maintenant sont lais

par un demi-voile. Ceux en point d'Angleterre sur une sées aux personnes malades, ou conservées comme dou

capote de satin rose sont de très-bon goût. ble chaussure avec de petits souliers de bal, ou au spec.

On voit beaucoup de capotes qui ont des formes rontacle, les douillettes garantissent du froid, et sont là en

des et plissées. A celles là on ne peut admettre de plucore fort bien portées.

mes, un bouquet de fleurs ou un noud sont leurs seuls Pour demi-toilette simple, pour sortir en voiture par

ornemens. un tems froid, on portera des demi-bottes en velours,

On remarque beaucoup de petits bonnets de blonde garnies de fourrures.

ayant, au lieu de fleurs, des têtes de marabouts roses ou Comme chaussure solide, on dispose des brodequins

blancs. Cet ornement est léger et très-gracieux. de peau de manière à ce que la guêtre est montée dans une espèce de soulier; la peau noire n'est pas taillée en deux parties ; elle emboîte le pied entièrement.

Pour robes de courses ou des peignoirs du matin, nous

MISCELLANEA.

Difficulty of Providing for Chil tren of a certain Class, in English Society. If a man of the middle class be troubled to provide for his sons, how to provide for his danghters is a more perplexing question. The first-no, the second point; is to get them married; the first point is to prevent them from niarrying into a lower, which commonly means a poorer rank than that in which they were born. The first point is gene. rally effected during childhood; when every day, and almost every hour of the day, something happens to impress them with a fear of such degradation as attaches to imprudent marriages.-The second parpose being subject to the first, becomes extremely difficult. We suppose the girl to have no fortune except beauty, tenderness, modesty, and good sense. Who will take her as a wife, that she will take as a husband ? She may by chance, or rather her mother may, by dint of great toil and management, catch one of the wealthy class; but this would be an exception to the general rule. The general rule with the daughters of men of small income, wbether fixed or not, is a choice between celibacy and marriage with one of the uneasy class. Now a great proportion of young men in the upeasy and middle class diead marriage, unless there be fortune in the case, as the surest means of increasing their embarrassment. This is one of the most important features in the social state of England. Amongst the middle class, amongst all classes except the highest and the lowest, moral restraint" is a confirmed habit. Hence immorality without a parallel in any other country! This is the cause of that exilberant prostitution which shocks an American. Another effect of moral restraint amongst the middle class is, that a large proportion of the females in it are doomed to celibacy. One may well say doomed. Custom forbids them to practice that sort of “ moral restraint" to which their brothers resort withont disgrace; and custom is stronger than walls and bars. In this case, it has more power than the strictest disipline of a convent. In England, a certain state of political economy, pride or prudence, and custom, occasion more unnatural suffering ihan all the religious superstitions of Italy and Spain. The proportion of English women who pive in celibacy, is far greater than that of Spanish or Italian women who languish in convents; and the English women suffer more than the others, because, living in the world, they are more in the way of temptation, more cruelly tantalized by their intercourse with happy wives and mothers. There is not in the world a more deplorable sight, than a fine brood of English girls tarning old maids one after the other; first reaching the bloom of beauty, full of health, spirits, and tenderness; next, striving auxionisly, aided by their mother, to become honoured an bappy wives; then treating, growing thin, pale, listless, aud cross; at last if they do uot go mad or die of consumption, seeking consolation in the belief of an approaching millenium, or in the single pursuit of that happicess in another world which this world has denied to them. The picture may dis. please, even because it is correct. ---This, Americans, you whose domestic manners an English woman holds up to the ridicule of her countrywomen- this is a faithful sketch from domestic lite amongst the middle class. England f America.

The Quta Snake - Before we quitted Chunar our dandies who had kindled a fire on the bank of the river, were dres. sing their rice and curry, when a small snake approaching the place where they were seated, one of them rose anii dispatch: ed it with a piece of bamboo. It was about twenty-five in ches long, entirely white, except the top of the head, which was a deep shining black. This particular species is called by the natives the outa snake. It is very rare, and of peculiar habits. These creasures always go in pairs, and it is remarka. ble that if one is killed either by man or beast the survivor will follow, until it is either destroved or obtains its revenge by biting the anthor of its bereavement. It has been known under such circumstances to keep the pursuit with the most pa. tient perseverance for upwards of three hundred miles. The lit tle creature whose mate was killed by one of onr boatmen, was seen, after we had puslied from the shore, gliding along the bank of the stream in a direct line with our boat, and when we reached Cawnpoor there we found it ready to deal its ven. geance upou the wanton destroyer of its conjugal felicity. It was despatclied beiore it conld put its evil intention into execution.

Oriental Annual.

The Theatres of I'aly.--The far-fameil San Carlo is the grand opera, and is the most splendid honse in Europe, it is much larger than the King's Theatre in the Haymarket, and the decorations are of a most superb and even gorgeous character. There are six tiers of lotty boxes, the pannels in front are of richly carved gilt wood, and the prosceniuw is adoined with four magnificent columns of the Corinthian order. The King's box is exactly in the centre of the house, very richly ornamented with crimsoli-velvet hangings. The interior is of plate glass, and three handsome chandeliers depend from thi ceiling. But it is only used on state occasions, three private boxes thrown inte one, being appropriated to the members of the royal family. San Carlo, like most of the theatres in Italy, is insufficiently lighted : but, on certain occasions, there is a grande illuminazione, when it presents an appearance of the most dazzling splendogr. On each side of every box is a branch containing tive wax torches, the light from which shiping on the profuse gilding, with which every part of the house is adorned, renders its brilliancy on first entering too glaring for the eye to support; these super. puinerary lights amount in pumber to 750, exclusive of the chandelier in the centre, and the customary illumination of the theatre * .

An Italian audiance is naturally far superior in its musical taste lo an English one, and listens to an opera with much greater attention. The fashionables do not (as is frequently the case in our own conntry) delight more in the sounds of their own voices than than in those of the performers. The foolish custom of applauding an actor before he has opened his mouth does not prevail in an Italian theatre, nor are the airs in an opera interrupted by a senseless clapping of a set of would-be-musical enthusiasts, wlio by an Occasional exclamation of “bravo," would insiuuate their appreciation of that which they do not understand. In the theatres of Italy is always observed the mutest attention, wbich it were sacrilege to interrupt, but the applause at the termination of anything occasioning more than ordinary satis. faction, is often protracted to a somewhat preposterous exterit. I remember witnessing at San Carlo the first per. formance of a new opera by Pacini, fonded on Walter Scott's tale of the “ Betrothed." The enthusiasm it gave rise to was, in the estimation of one who considered the comparative in. significance of the occasion, irresistibly ludicrons. The prin. cipal performers were called for after every scene in which they appeared, and the presence of the composer was insisted on at the termination of each of the three acts. I remember likewise, at Verona, when Pasta was starring it, the audience not only called for her after every scene, waving their hand. kerchiefs, and threatening to do eonsiderable damage to the theatre, but actually staying in the honse half an hour afier the curtain had dropped for the evening, vociferating for Pasta, who, to gratify itiem, again came forward almost un. dressed, and, after this condescension on the syren's part, they remained still unwilling to disperse, till in ormed by the manager that the object of their idolatry had retined to her home. Fondo is the other royal theatre at Naples. It is neither a very large nor handsome building, but it has generally the same company, and is under the same managem Carlo. So great is the admiration of music auiong the Neapoliraus, that nearly all their places of public amusement are devoted solely to its cultivation, and there is but one theatre set apart for the drama. Forentini is the name of the bouse thus appropriated. Its' size is abont the saine as that of Fondo, and it is generally occupied by a company possessed of at least, respectable talent. The tragic acting of the Italians differs from that of the French and English in about au eqaal degree. It is without the drawling affectation of the former and is upmarked by many of those touches of genius, wbich, though often at variance with the strict rules of mere correct delivery, constitute the chief graces of the art in our Owo country. The manner of their tragedians approaches nearer to that of Young than that of any other actor, thougb more rarely even than that gentleman, do they condescend to qnit the cold propriety of declamation for the irregular brilliancy of genius. They attempt to express different pas. sions only by different tones. They do not consider how a sentiment would be felt, but how it ought to be spoken, and endeavour to find in art a substitute for nature. Their comic acting assimilates very nearly to the English. It is without the naireté of the French, nor does their humour so much de. pend on grotesque contortions of the person.

Cobbett's Literary Magazine,

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