similar rows ornament the front down the whole length; a chemisette reaches to the throat and is edged with very narrow lace. Hat, long oval shape; crown long and conically shaped, but not high, ornamented with roses.

FIRST CAPOTE. -Drawn capote of batiste, ornamented with a bouquet, in which blades of corn are conspicuous; a large nœud is tied at the side, the ends which are fringed hang down, one even with, and the other below, the sides of the capote, which take a large sweep round the face.

SECOND DRAWN CAPOTE.-The crown scarcely elevated, there being but a slight depression from it to the front; a double ruche circumvents a considerable portion of it, and ribbon bows ornament the top.

FIRST CAP.-Shaped strictly round the face, with regular folds, oruamented with nœuds.

SECOND CAP-Having a wide blond dented on each side, dissimilar in width and position, ornamented with roses on each side.

PLATE 3.

FIGURE 1.—BALL DRESS.-Close fitting, half-high mounting corsage en pointe, with lace edging, surmounted by a blond ornament puffed round and edged with lace, fixed in front by a brooch. A small nœud The hair with long ends is placed on the short sleeve. is simply ornamented with ribbon nœuds.

FIGURE 2.-MORNING DRESS.-Muslin peignoir having a double cape frilled all round in deep and close gathers, and down the whole length of the dress, at equal intervals are nœuds placed on the surface and not closing the dress; the sleeves are of an extreme width corresponding with the negligé style of the rest of this costume. Small cap with vandyked bordering, a nœud with narrow edging ornaments the front.

FIGURE 3.-WALKING DRESS.-Gros de Naples dress, corsage half-high mounting, a large pelerine covering the shoulders completely and descending to nearly the end of the skirt, the whole edged with deep black blond lace. Drawn hat with a half lace veil.

FIRST HAT.-A gros de Naples hat, open shape with bows placed inside, and marabouts ornamenting the crown. SECOND HAT.-Similar shape to the above ornamented with a willow feather.

PLATE IV.

FIGURE 1.-CARRIAGE DRESS,-White muslin redingote, made half high at the shoulders, and low cut on the bust, the corsage, one side of which overlaps the other, is edged with lace, and overlaid with four satin bands, as well as an undulating satin piping (platted) down the bust; a similar embellishment, with the exception of small oval additions being substituted for the above, extends down the front of the dress. On the sleeves, which are of a moderate width, are laid on at regular intervals, similar ornaments; a broad hem gives a finish to the bottom of the skirt. Small oval-shaped hat of poult de soie, ornamented with Michaelmas daisies.

FIGURE 2.-BALL DRESS.-Gros de Naples dress, close fitting corsage, deep cut at the shoulders, mantilla of richly embroidered lace, dented at the shoulders, sleeves with double bouffans and lace sabot, extending beyond the elbow: a satin nœud is fastened by a brooch to the top of the corsage, down the front of which is a line of small bows; two similar lines form a tablier in front of the dress, which is ornamented with five rows of lace same as the mantilla at the junction of each is fixed a small nœud; the skirt falls in deep folds, no ceinture, but a nœud is fixed at the back, another is at

tached to the top of the back part of the mantilla.

FIGURE 3.-MORNING RECEPTION DRESS.-Printed Jaconet dress, corsage half high mounting, fitting closely to the shape; lace edging round the breast, embroidered muslin double pelereine, the ends extending very little below the ceniture; foulard d' apron, with large patterns and double line of bordering, forming angles entirely round it. Hair dressed, ready for the promenade or carriage.

FIRST HAT & BACK VIEW.-Rice straw hat, ornamented with satin ribbon nœuds and a couple of marabout feathers, one curled very short, the other hanging a considerable distance over the crown.

SECOND HAT & BACK VIEW.-Rice straw hat, small oval shape, ornamented, with small sprigs of delicate flowers, and satin ribbons.

FIRST CAP & BACK VIEW.--A blond cap, full border elevated on the right, ornamented with roses.

SECOND CAP & BACK VIEW.-A tulle cap with scolloped border, ornamented with ribbons tied in three noeuds behind.

NOTICES.

Una Signora Inglese.-Drawn by Alais, Engraved by Ball.-Colnaghi & Co.

A characteristic portrait, the engraving of which is marked by some very delicate touches, and though the production of a young hand, is indicative of something very promising, when practice shall have given more firmness of handling.

GALLERY OF PRACTICAL SCIENCE.-There is not, perhaps, another exhibition in the metropolis, where so much genuine information, combined with amusement, may be obtained, as from a morning spent at the Gallery of Practical Science, Adelaide Street.

The ingenuity of the mechanic is here so strikingly displayed, as to rivet the attention of the most careless observer of the productions of his art.

The wonders of the microscope, the terrific power of the steam gun, and the graceful agility of the automaton rope dancer, (a most beautiful piece of mechanism), alone, would render this exhibition worthy of inspection; yet these form but a small part of the interesting objects to be found within its walls. A day may indeed be spent here, and yet leave sufficient to enjoy upon a second visit.

CARVED STATUES OF THE PROTESTANT REFORMERS. -These are masterly productions, and are worthy of attention; whether as historical records, or as admirable specimens of the art.

ST. JAMES'S GALLERY OF PAINTINGS.-As usual, a choice selection of the works of the first masters.

BURFORD'S PANORAMA OF THE CITY OF JERUSALEM.— Like the exhibition of Carved Statues, this has a double claim to our notice. Few, who have the leisure, will refrain from visiting this excellent delineation of the Holy City; more especially, as we have every reason to believe dependance may be placed upon its correctness.

SOCIETY OF BRITSH ARTISTS, SUFFOLK-STREET.— We cannot speak so well of this exhibition as last year: Martin, Haydon, Rippingille and others, have some good pictures; yet the apparently unlimited number some artists have the power of introducing, cannot, have otherwise, than an injurious effect upon the merits of the exhibition. How is it that some of the worst pictures are hung in the best situations?