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yet to be preferred before pelisses in outdoor costume: they are of light colours, and very often striped, with a tint two or three shades darker. At the commencement of May the weather was uncertain, and Cachemire shawls were, as is usual at this season, much worn. In carriages, however, when the temperature was mild, these envelopes were thrown aside, and discovered the high dress very elegantly made, with a collar en paladin, over which depended another collar of the Maltese kind, of fine lace; and one of the new elegant cravat-scarfs encircled the throat. These appendages to out-door covering are extremely beautiful; they are of a rich, but very soft silk, and are striped, crosswise, in the most lively and charming colours. A high dress of coloured poplin, with one of these cravatscarfs tied round the throat, forms a very favourite attire for the promenade. Pelerines the same as the dress are very general. It is, however, expected that pelisses will soon take place of these dresses. We find it difficult yet to reconcile ourselves entirely to the shape, or the extended magnitude of the bonnets: they are, nevertheless, trimmed with much taste, and, to some faces, which it may be difficult to disguise, they may, perhaps, be pronounced becoming. We have just inspected one which was made for a lady of fashion, a tolerably pretty woman; but the bonnet certainly looked better at the Magasin de Modes, than on her head : it was of a beautiful ethereal blue gros de Naples, and was very tastefully trimmed with blue and steam-yellow ribbons: two strings confined it slightly under the chin, one blue, the other yellow. An Esterhazy coloured bonnet, lined and trimmed with pink, of the same shape as the above, is also very fashionable; and the two bonnets were made by a milliner very famous for her taste and invention, and the high patronage she enjoys, at the court end of the town. The Leghorn and straw bonnets are yet but tardy in their appearance, and it is thought that silk bonnets will be much more prevalent this summer than any other kind. There is novelty, however, in the shape of the present Leghorn bonnets, which are simply trimmed

with ribbons of lively colours, richly striped, and beautifully variegated.

| The most prevailing dresses for demiparure are of plain silks, when in gros de Naples, and striped sarcenets: these stripes are often of satin, particularly when the material is of a dark colour. The plain silks are very much admired when of a corn-flower blue, or of feuillemorte; and are trimmed at the border with broad bias folds, vandyked at the upper part, and edged with silk passementerie. The striped sarcenets being lighter, and sitting more close round the form, have a fuller sort of trimming, such as flounces cut in bias, edged with narrow rouleaua of satin, and headed by one very full rouleau of the same material; the corsage and back finished by fichu robings. We saw a very beautiful dress at the Opera, of black crêpe-Aérophane, richly adorned with bugles in foliage; a row of which went down each side of the robe in front, and the border was superbly finished in the same sort of work, but more than double the breadth of those ornaments which were down the sides. The body was a la Vierge, and the dress was worn over a white satin slip. We do not believe the lady who wore this splendid dress was in mourning, as, among the very fine pearls which adorned her hair, were mingled a few rose-buds, and the gallery of the comb that fastened up her tresses, was of beau|tifully wrought gold. A favourite dress for evening parties is of white tulle over white satin, with the border trimmed with a double row of deep Vandykes, in | satin. Dresses, trimmed in a similar manner, of these materials, are much in request for the ball-room. At a dinner party we saw a young lady in a dress of ethereal blue gauze, with a broad triple stripe of satin of the same colour: the body was a la Vierge, and ornamented round the tucker part, with Vandykes of blue satin, which ornaments headed the upper flounce of two, that surrounded the border of the skirt. The sleeves were short, and moderately full. Dresses of striped barege, and beautifully figured chintzes, ornamented with coloured ribbons, or passementerie, are much worn in morning dress, or in retired home cos

tume; and, with young persons, white muslin dresses are in high favour for family dinner parties, and social friendly meetings. These muslin dresses are very beautifully embroidered on the flounces, bodies, and sleeves; and fichu bracers and sashes are added, of broad coloured satin ribbon. Turbans are very much worm at evening parties. We do not greatly approve the party-coloured rage so predominant, at present, in the ladies' head-dresses; but we could not refrain from admiring one we saw completed for a lady of distinction, and of acknowledged taste in dress. It was of Macassa brown, and amber satin ; the shape was beautifully becoming, and over the turban was tastefully scattered half open damask roses. Caps, entirely of blond, of the most expensive and rare description, are in high favour for receiving dinner parties at home. The flowers, which ornament these head-dresses, are of the most beautiful kind; and nothing can be imagined more exquisite than the manner in which they are grouped together; for they are, at once, richly clustered, and yet devoid of every thing the least heavy in their appearance. A profusion of them adorns the head-piece and crown of the cap, which is in the cornette style, and fastens under the chin with a ribbon, the prevailing colour in the flowers, by a bow on the left side. Other caps for home dress are not quite so tasteful: they are of tulle and blond ; and every colour that the sun ever shone upon is mingled together in ornaments of narrow rouleaua of satin, bows of ribbon, tulips, and every other gaudy flower. These accessories, lastmentioned, it is true, are but thinly scattered, and the cap, when well put on, looks better than might be imagined. Bows of ribbon, and puffs of gauze ribbon, intermingled with blond, are much worn at those little parties whence ceremony is in a great degree banished. The hair is very charmingly arranged for the dress party, and moderate in its elevation ; the curls of a more becoming size next the face, and the hair in front arranged a la Fantasia, much fuller on one side than the other. The Apollo knot, formed of three or four puffs of hair, which, though seen in front, recline more, as they should do, towards the back of

the head, than those three-wired puffs, which were ridiculously perched on the summit, in front, two or three months ago. There are ladies, however, who yet retain this absurd fashion, and, we are sorry to say, they are not regarded as being any wise singular or outré in their coiffeure. A very few single flowers, detached from each other, sometimes are seen decorating the ringlets of very young ladies: they are of the spring kind, and the lover may be pleased to see that heart's-ease is not forgotten. Married ladies, who are accustomed, when full dressed, to wear their hair without turbans or dress hats, ornament their heads much with diamonds or pearls; feathers are worm, but we do not find them in very general request ; in the dress hats, and berets, for evening parties, they are chiefly conspicuous.

The favourite colours are amber, pink, Macassa brown, corn-flower, and ethereal-blue, steam-yellow, violet, and Esterhazy.


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The salon of painting, in drawing together a crowd of fashionables of both sexes, may now be deemed a proper criterion for the style of demi-parure ; and the preparations making for two or three distinguished marriages, among my own acquaintance, will enable me to give you a very correct detail of all that is elegant and modish in “our good city of Paris.”

The high dresses now worn for the promenade, have generally the addition of a Cachemire sautoir tied round the throat; when the weather is cold, this is always of a bright red, and is judiciously crossed over the chest; preventing those colds, which, when caught at the commencement of spring, are too often known to be fatal. Many ladies have appeared in very elegant pelisses of beautiful spring colours: they are of gros de Naples, and are ornamented with colours strikingly different from those of the pelisse; the collar stands up, and two narrow pele

rine capes fall over the shoulders. Déshabille pelisses, for the morning walk, have very wide sleeves; and the pelerine capes are cleft on each shoulder, so that they may not conceal or repress the immense fullness of the sleeves at the top. The most fashionable riding habits are of Navarin-smoke colour. The corsage turns back with broad lapels, and discovers a shirt, laid in small plaits, and fastened by buttons of gold enamel; the collar is brought so high that it lies on each cheek; the cravat is of black silk. Pantaloons of dimity, and half-boots of Turkish satin. The brims of the new Leghorn hats are so large, that a merveilleuse is obliged to put it on one side before she can enter her carriage. These hats are generally ornamented with one long green feather of the weeping willow kind, or three ostrich feathers, grouped together in the form of a fleur-de-lis. Some hats of white chip have a broad band placed round the top of the crown, the ends of which join together at the base of the crown, behind: there they are fastened by a bow of painted ribbon. A wreath of white thorn, not full blown, completes the trimming. In the morning it is customary to wear figured sarcenet bonnets, in large chequers of canary-yellow, on a white ground; a broad white blond, forming a demi-veil, is placed at the edge of the brim. Notwithstanding the above intelligence, it must be confessed that the fashions for the summer hats and bonnets remain yet undecided: the bonnets are, at present of a fancy kind, yet they are as graceful as they are elegant. I have particularly admired one of this sort made for one of my young friends, just become a bride, to pay her first morning visits in ; it is a white bonnet, ornamented with gauze ribbons, richly spotted with white satin. I saw a very pretty young married lady at the Théâtre Italien, in a dress of white gauze, trimmed with two festooned flounces of rose-coloured silk. The corsage was in Greek drapery, and all the plaits on the shoulders were gathered up, and clasped by a pearl brooch, an ornament that also upheld the little draperies which formed the short sleeves. The waist was encircled by a friar's belt of

rose-colour, wound three times round the figure, and tied on one side. At select evening parties, dresses of white flockgauze are much worn: they are figured in broad flock stripes on a clear ground; a very broad hem, or a bias fold, constitutes the chief trimming on these gowns. When pelerine collars are worn with dresses, the upper part is trimmed with embroidered tulle, and a very broad hem. At concerts, and at the theatres, the most elegantly dressed females are generally habited in gowns of coloured poplin: some of them are figured, in stripes. The corsages of these dresses are hollowed out in front and at the back, forming a V. By means of these incisions, the fine narrow lace tucker of the chemise is discovered. The skirt of the dress is trimmed with two bias folds; that at the part next the shoe, is set on in the manner of a flounce. The sleeves are white. The favourite materials for dresses, and which appear en foule at the salon, are poplins, trimmed with very deep flounces, dresses of gros de Naples, embroidered in various shades, Cachemires and chintzes. White dresses of gros de Naples frequently have painted on them flowers and figures in the Persian style. Turbans of gaze-lisse, half white, half rose-colour, tied under the chin on one side, by a white ribbon, terminated by pearl tassels, constitute an elegant headdress for concerts, or the Théâtre Italien. The dress hats are often of coloured crape, of light and lively tints, and on these are placed about a dozen white feathers. The blossom of the flax, or hemp, a very small blue flower, is to be found at every artificial florist's, of all the colours in the rainbow. These blossoms are favourite ornaments when the hair is well arranged, to be mingled among the curls and bows. They are also placed on small blond caps and dress hats. Among our favourite colours, a new green has made its appearance, called peau de serpent: it is very much like Nile water-green. The other colours most in request, are pink, Swedish blue, yellow, Navarin-smoke, and chestnut brown. The most fashionable neck-chains are formed of separate lozenge-diamonds, of beautiful enamel, linked together by delicate gold chain-work, or beads of gold.

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We are not without the hope that the spirit of poesy is about to revive in our land. The appearance of one epic poem, in twelve Books—Eccelino da Romano, by Lord Dillon, whom we have this month the honour of introducing amongst our Contemporary Poets and Writers of Fiction—and of the first six Books of another, The Fall of Nineveh, by Edwin Atherstone, reserved for notice in our next— within a few days of each other—are incidents of no mean importance in the literary world. Of more than usual interest, too, several minor publications in poetry have recently fallen in our way. The first of these that we shall specifically mention is “The Man of Ton, a Satire :” understood to be, though not so avowed to be, from the pen of Sir John Paul. This is light and easy, elegant and graceful, rather flowing than nervous in its diction. The poem consists of sixteen very short cantos:–Eton—Cambridge— Country House, and Visit to London— Preparation—The Betting Book—The Opera Dancer—Epsom—Settling Day— Melton Mowbray—After the Hunt—Almack's—Flirtation—Intense Flirtation— Duns and Post-Obits—The Elopement— and The Catastrophe. These cantos, as it may be inferred, embrace the life and also the death of a Man of Tom. As we doubt not that every reader of LA BELLE Assembler, will peruse Sir John Paul's poem, we shall not pause to sketch its fable, though, for the advantage of those who may not yet have seen it, we shall venture upon one or two extracts; the first, beautifully and accurately descriptive of the scenery around Lake Thun, in Switzerland:—

'Tis sweet to glide upon lake Thun, and leave
The world behind, upon a summer's eve 1
Solemn and green, unfathomably deep,
The glassy waters kiss the pine-clad steep.
The gath'ring goats about the chalet throng,
Lured by the call—obedient to the song.
No. 42.-Wol. VII.

Rude is the bark, and slender is her side :
But safe in innocence the shepherds glide.
'Tis sweet to skim along the silver shore,
And list the chant that marks the dashing car–
To pass the crag—and watch the glitt'ring spire,
The chalet's window, blazing as on fire:
Brighter than fire, the sun's reflected ray,
With fading glories of departing day;
With vermeil tints, the snows on Jung-frau
To purple now—to orange then decline:
Prismatic gilding paints the magic scene,
Above, all light—below, funereal green.
Now on the sight more rugged beautics break,
And deeper gloom contracts the narrow'd lake.
The shepherd pilot shouts—and echo fills -
With answ'ring peals the everlasting hills:
The flat boat grates upon the pebbly beach,
And safe the straggling huts our wand'rers reach.
'Twas there Selina led her lover—there,
Midst harmless rustics, paused the guilty pair ;
A little onward, through the leafy green,
A peaceful hamlet peeps, call'd Unterseen :
And there, close shelter'd by a chesnut wood,
All tenantless and wild, a dwelling stood—
The white rose here, and there the clust'ring
And flowering clematis, and jessamine,
Around a low veranda seem'd to creep, -
And welcome silence in the realms of sleep.

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of Sir Aldobrand. The catastrophe is at
once novel and deeply affecting :-
Short space sufficed to speed him from the spot,
Love lent him wings to bear him to his cot;
And his gay heart beat lively in his breast—
Selina's pardon sealed—and both are blessed 1
How like a deer he topped the wall of stone,
That fenced the little garden, now his own
Like one that's saved from shipwreck, once on
Reflects on perils he has passed, no more ;
But turns to thoughts of happiness—to roam
No more, but fix his ev'ry thought on home.

Before the door he paused, but all was still,

And through the grove he heard the babbling rill ;

So still, he heard the ticking of the clock,
And plash of waters dripping from the rock.
“Selina still may sleep,” and on he creeps,
He gently lifts the latch—“Indeed she sleeps.
How beautiful she looks ""—her silver skin
Shewed every circlet of the blood within.
Loose and disturbed her unbound hair appears,
And on her cheek the trace of recent tears.

Soft o'er her form the lingering zephyr plays; “Sleep on, sweet love!”—he sat him down to

gaze Upon her closed lids, whose light divine, Shall bless him when she wakes, and brighter shine. He moved not once, lest, startled, she should hear That he and happiness were both so near ; And now more near her cheek he drew, to sip— Heaven's choicest boon—the honey on her lip; But still he tasted not her balmy breath— A rival had been there—that rival—Death !

He starts convulsive from her cold embrace, And his eye glares upon her ashy face. “Awake, Selina 1–wake, my love my life *Tis Percy calls upon his love—his wife And now his cries, his wailings, rend the air, And his soul speaks the language of despair. A moment hopes he-willing to deceive His sickening soul—still struggles to believe She sleeps.-Oh! no, no, no l—she is not dead; “Comes death to deck her on her bridal bed 2 Hear me, Selinal hear !—I have no wife— No love—nofriend—no hope—why have I life?” The conflict's o'er, his veins to bursting swell, And on the dead a lifeless load he fell. Now thronging to his aid the rustics fly; The gentle priest and skilful leech apply Their tend’rest care, and long entranced he lay, Till first a groan, and then a tear found way. And when at length they raised him from that


The light of reason had for ever fled.

A moment now he smiles—a moment weeps,
And now—“Be still,” he says, “be still, she
sleeps 1"
And then he list’ning stands, and seems to wait
With patient hope the signal of his fate.

But never comes a change, for his the doom Of dark oblivion's everlasting gloom. Alike to him the beams of orient day, Or when at eve its glories fade away. The summer's heat he feels not, nor the cold, And in unconscious misery grows old; Fix’d is the sum, the measure of the woe, That suff'ring nature ere can undergo— When horror deepens, and the shuddering soul Would snatch the poignard, drain the poisoned bowl, Indulgent heaven—for pains we must endure, Fruits of our follies, wounds beyond a cure, In mercy draws the darkest veil between Our sense of feeling and the cureless scene Ears hear no plaints, and eyes with tears grow blind, And madness casts his pall upon the mind

The best subject, treated in the best manner, presents itself in an exquisite volume, entitled Records of Woman, and other Poems, by Felicia Hemans.” Of these gems, the greater part have, we believe, already appeared in one of the leading periodicals of the day; therefore, without venturing upon extract, we shall content ourselves with announcing the appearance of the work, and recommending it warmly to public favour.

“Ada, and other Poems, by Mary Anne Browne, author of Mont Blanc, &c.," from their gracefulness of versification, purity of sentiment, and beauty of imagery, in addition to the youth and truly seminine modesty of their author, claim our favourable notice. Ada, the principal poem of the volume, is a romantic tale of much interest, in two cantos. We should speak more correctly, perhaps, were we to term it a sketch, the characters being indistinct and shadowy, and, to use the words of the author, in the dedication to her father—it is deficient in “the colouring

An abler hand might o'er it fling.”

* For general critiques on, and extracts from, the former works of Mrs. Hemans—a bright and a shining light in the paths of modern English literature—Wide Contemporary Poets and Writers of Fiction, in LA BELLE Assexible E, vol. iii, page 287, and vol. iv. page 5.

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