quises are also in great vogue-they are really worthy of their artistocratic name; they are composed of blonde lace lappets and flowers. Nothing can be more elegant than those of dentelle d'or they are placed very far back upon the head, and the lappets float low over the shoulders upon the robe. The most novel, and, I think, one of the most elegant coiffures of the season is one that, though not called Algerien, is very much in that style; the front is composed of velvet, with a foundation of net formed of steel beads, and ears of barley, in bugles of the colour of the velvet, the chefs entwined in the folds, and the fringe which decorates the scarf end, are also formed of steel beads and bugles. These coiffures have a most splendid effect by candle light. dominant-they are very long; sometimes there is only a single, and very thick one, descending from the bandeau à la Madoni; this style of coiffure is generally adorned with tufts of flowers; they are composed of three marguerites, roses, or camellias of different colours, or else a tuft of leaves very tastefully grouped. If the hair is disposed in a profusion of ringlets, or in bands, wreaths are generally employed: some are of ivy, others of heath blossoms, or of flowers in the colours of the lady-bird, which have something of the effect of coloured stones, from their extreme brilliancy. But among the great variety of wreaths that are fashionable, those most decidedly paramount are the guirlande des Almées, and the guirlande Marie Stuart. The first is a wreath of foliage, of a very light kind and of a golden hue, interspersed with a number of flowers of all colours; they are round, and scarcely larger than pearls; dew-drops sparkle here and there among them with all the brilliancy of diamonds. This wreath is as novel as it is beautiful. That à la Marie Stuart is so called from its form only, for it may be composed of flowers of any description; it descends in the middle of the forehead, rises a little on the temples, and turning round behind encircles the hind hair. There is no decided change in fashionable colours, but I observe that full shades of red increase in favour, and that yellow, particularly the rich shades of that colour, enjoy more than their usual vogue. ADRIENNE DE M——. PLATE THE FIRST. Although silks and satins are still adopted for ball robes, the majority are of crapes, tulles, gazes, aerophanes, lace, and in many instances lace scarfs, disposed in the form of a second skirt, on a pink or white satin dress, with the corsage and sleeves trimmed with lace, and the skirt bordered with a deep lace flounce. Pink and white are the favourite colours for crape and gauze robes, as well as silk and satin ones. The corsages are always deeply pointed, and some descend very low in the centre, forming almost a cœur, and displaying a lace or blonde lace chemisette. Triple skirts continue in vogue; | I have seen lately some of crape; a double tunic trimmed with two rows of fringed ribbon. A similar garniture decorates the under skirt; the very short sleeves, and also the berthe are decorated with a triple row. Although tulle is fashionable for all ladies who dance, it is par- DESCRIPTION OF THE PLATES. ticularly so for very young unmarried belles, whom custom compels-very contrary to their own inclinations-to a very simple style of dress. These robes are made with three skirts, each bordered with a very broad hem, which is their only garniture. The corsage low-but moderately so-is ornamented with a berthe to correspond. I should observe that these robes are always composed of plain tulle. À pretty style of robe for young married ladies is composed of white gaze lesse over white satin; the breadths are all loose from the waist, but partially closed by pink and white satin ribbons; it has the effect of a double lacing, each ribbon forming a knot at the bottom of the skirt. Flowers continue their vogue for trimming ball dresses; sometimes they are so disposed as to have the effect of two or three draperies upon a single skirt. They are also disposed in chains in the style that I recently described. In many instances where the corsage is trimmed with a lappel, the lappel is continued in the robing style on the front of the skirt, and is bordered with flowers; sometimes the heart of the flower is either a diamond or a coloured gem. I need not observe that this is rarely the case, since the fortune must be large indeed that can afford a garniture of such an expensive description. Although turbans, petits bords, &c., &c., are a good deal seen in ball dress, the majority of the coiffures are en cheveux; ringlets are pre MORNING VISITING DRESS. Lavender bloom moire robe, corsage en amazone; quite high at the back, but moderately open on the bosom, and faced with velvet lappels of a darker shade; the velvet is continued in the form of a broken cone down each side of the front of the skirt. Tight sleeve descending to the wrist in front of the arm, but deeply arched at the back, with a velvet cuff; the under-sleeve, composed of cambric, is very full, and terminated by a ruffle. Short close mancheron, partially cleft, and trimmed with velvet. Cambric chemisette, composed of full and plain bands, and frilled round the throat. Chapeau of pale straw-coloured velours épinglé, a long oval brim, the interior trimmed on each side with a full-blown rose and foliage; the exterior with a wreath of white tétes de plumes shaded with yellow. MORNING DRESS.-Blue striped Pekin robe, the corsage made quite high, close to the shape, and scalloped round the bottom; the front is closed by blue fancy silk buttons. Tight sleeve, descending nearly to the wrist, where it is terminated by the full bouillon of the muslin under-sleeve: a row of buttons ascends from the wrist to the elbow; close bias mancheron, trimmed with buttons. Double skirt, the upper one very short and full; the lower skirt is trimmed with a very deep flounce, reaching nearly as high | lozenges. Cleft mancheron, trimmed with velas the upper skirt. Drawn bonnet of pink satin, a close shape, trimmed with black lace, turned up round the brim, and a black lace drapery, and a knot of ribbon on the crown. HALF-LENGTH FIGURES. No. 3. EVENING DRESS.-Green satin robe, a low corsage, round at the top, deeply pointed at the bottom, and trimmed with a deep berthe of antique point lace. Short tight sleeve, terminated with lace. A single volant, laid on almost without fulness, ornaments the skirt. The hair is decorated with a lace lappet, disposed in the cap style, and tastefully intermingled with damask roses. No. 4. MORNING DRESS.-Black figured satin robe; the corsage is made quite up to the throat, tight to the shape, descending a little in the jacket style on the hips, and opening in a point on each side; it is trimmed down the centre with a broad velvet band, on which jet buttons are placed at regular distances; the velvet is continued down the front of the skirt. Tight sleeve, with a close mancheron, and deep open cuff, both trimmed with velvet. Pink velours épinglé chapeau, a round and moderately open shape; the interior trimmed near each temple with a damask rose, the exterior with a fancy feather. No. 5. EVENING DRESS.-Claret coloured velvet robe: the corsage, very low and round at top, is deeply pointed at bottom: the top is draped all round in folds, that are festooned in a novel manner on the shoulders, and bordered with lace. Short sleeves of moderate width, looped high over tight white satin ones by gold ornaments; the brooch corresponds. The hair is disposed in soft bands at the sides; the hind hair is partly disposed in soft full bows, raised above the summit of the head, and partly in a platted braid, in which a twisted rouleau of claret coloured velvet, the ends fringed with gold, is entwined. SECOND PLATE. CARRIAGE DRESS.-Dark blue satin robe, corsage en Amazone, and long tight sleeve: the skirt is trimmed with a succession of tucks, almost as high as the hips. Flame-coloured velvet chapeau; the exterior trimmed with rouleaux of satin to correspond, a black lace ruche, and a fancy feather. Ermine mantelet écharpe, lined with oiseau satin. Muff en suite. MORNING VISITING DRESS.-Green taffeta robe redingote; the corsage is quite high at the back, but open on the bosom, displaying a high cambric chemisette: a very deep revers descends on each side, in the form of a V, to the waist; it is trimmed with a row of velvet ribbon, and the centre of the corsage ornamented with velvet demi lozenges: the skirt is decorated en tablier with robings; they are bordered with velvet ribbon, and the space between filled with demi vet: the sleeve is sufficiently short to shew the under-sleeve of muslin, with a lace ruffle: velvet demi lozenges adorn the silk sleeve. Grey velvet chapeau; a round, open shape, trimmed with ribbon to correspond, and a bouquet of winter flowers. HALF-LENGTH FIGURES. No. 3. DINNER DRESS FOR A SOCIAL PARTY.-Lavender satin robe, a half high corsage, a little pointed at bottom, and trimmed with a lappel of two falls, forming a double V; each fall is bordered with point d'Angleterre. Tight sleeve, and mancheron, also tight, of two falls, each bordered with lace; the sleeve is sufficiently short to show a bouillone, and is slashed at the bottom, displaying the under sleeve. Bonnet Fontaine, composed of blonde lace disposed in the form of a cap front, and surmounted by a wreath formed of blue gauze ribbon; several ends of ribbon attached to the wreath float over the hind hair. No. 4. MORNING DRESS.-Blue cashmere robe; a high corsage of a perfectly novel form, for which we refer to our plate: demi-large sleeve, and cleft mancheron, trimmed with a double volant. Small round cap of Brussels net, bordered with Valenciennes lace, and very full trimmed with a lace rosette and shaded ribbon. No. 5. MORNING DRESS.-Tawny orange satin robe; Corsage à caraco, and long tight sleeve. Bonnet Fanchon; it is a cap front of point d'Alençon; a fichu of the same lace is placed on it, and falls loosely over the hind hair. Three bands of velvet ribbon, and a knot of a novel form, complete the garniture. Shaded silk mantelet écharpe, trimmed with point d'Alençon. |