The mavis flees frae Mary's bower, The snaw fa's white on Mary's bower, The tempests loudly rave The flowers that bloom'd round Mary's bower, We must take one more and with that heartily recommend the volume: O, Jenny, let the strife be ower. O, Jenny, let this strife be ower, The sweetest lass by hill or plain; Ye say ye hae nae heart to gie, Ye say ye hae nae love to spare; I'll woo ye wi' a lover's flame, I'll roose ye in a bardie's sang; I winna mind your words ava, Frae your sweet mouth although they come; The tongue's aye ready saying-Na, Though a' the time the heart be dumb! But I will mark your redd'ning cheek, An' I will watch your glancin' e'e; For love's true language these aye speak- 4. These works convey highly useful instruction in an inviting form; and while they are written within the compass of the youthful mind, they are nevertheless free from the slightest approach to frivolity. They comprise "The works of the Creation," by Peter Smith; "English Grammar," and "Latin Grammar," by George Milligan,"Geography," by Hugh Murray, F. R. S. E., &c.; "French Grammar," by James Longmore; "English Composition," by Robert Connell ; "Christian Instruction," by the Rev. Robert Morehead, D. D., &c.; "History of Scotland," by W. Morrison; "Zoology," by William Rhind; "Drawing and Perspective," &c.: and the neatness and cheapness of so useful a work are strong recommendations. 5.-These Tales of the Stanley Family are adapted, and well adapted, for the higher classes of youth. Religion and morality are taught in narratives which come home to the understanding, and impress upon the mind better than all the preaching in the world the necessity of avoiding vice. We are, therefore, not inclined to criticise it severely. FINE ARTS. 1.-L'Ombre de Napoléon, Visitant son Tombeau. Drawn on stone. By Miss Kearsley. Ackermann. 2.-Gold Enamel Coronation Playing Cards. By appointment of his Majesty. Reynolds and Sons. 3.-The Embellishments of the Winter Wreath. 4.-Embellishments of the Landscape Annual. 5.—Embellishments of the Bouquet._Robinson. 6.-The Watering Places of Great Britain. Hinton. 1.—This ingenious lithographic print has the appearance of a spirited little landscape, and the tomb of the fallen emperor is seen beneath the shade of overhanging willows: but on looking more minutely at the composition, there is the figure of Napoleon formed between the two trees, by the shape of the trunks. It is a curious, and if the subject were as great a favourite here as in France, would be a very profitable effort. 2.-These playing cards, of which there are four different patterns, are beauti fully decorated on the reverse with enamel gold. The idea is ingenious, and is very tastefully executed. The colours of the different patterns are azure-blue, crimson, pearl, and peagreen: they are each of them so elegant, that we should be really puzzled which to select. 3. These embellishments are superior to those of last vear. As, however, our next number will contain reviews of most, if not all, the Annuals, and of their plates, we shall abstain for the present from critically noticing any, and content ourselves with a general expression of approval, for there are among them some sweet engravings. 4. Of these splendid specimens of art it is difficult to say too much. The drawings by Harding have been beautifully transferred to steel; and the plates far excel those of former years. The spirit of rivalry engendered by competitors in the field has done much for the benefit of purchasers. 5.—These consist of seventeen beautiful line engravings, and a title-page. I the literary department equal the plates-and, as it professes to be a selection of the best papers that have appeared in the periodicals for the last few years, it ought to be the Bouquet will be one of the most popular of the tribe. It is of the 12. size and style, but promised at less. 6.-The fifth number of this pleasing work has appeared, and it will be enough to say that neither plates nor letter-press fall off in quality, but bear, with advan tage, comparison with those of the first number. MUSIC. 1.-Recollections of Paganini; a Fantasia. Cramer, Addison, and Beale. 2.-Reminiscences of Paganini; a Fantasia. Cramer, Addison, and Beale. Arranged by J. N. Hummel Arranged by J. B. Cramer. 3.-Introduction and new Variations on the Ploughboy. Composed by J.H. Hummel. Cramer, Addison, and Beale. 4.-The Enchanting Isaide, a dramatic Song, by H.J. Bradfield, Esq. The music by J. A. G. Busch. Boosey & Co. 5.-The Harmonicon, for September. Longman. 1. The imitation of flutes and horns, upon which the first portion of this piece is founded, must of necessity be a failure on the piano-forte; and, indeed, in any hands but Paganini's, on the violin also. But as the piece proceeds, the quartet of Paganini's in F 3-8 time is very effective. In this is also introduced the rondo, accompanied by the campanella; and the piece, as a whole, does great credit to Hummel. 2.-Mr. Cramer, whose name is almost a certain passport, has been very successful in producing a lively and effective piece, in which we recognise Paganini's favourite concerto in F., the campanella rondo, the Cardinal di Venise, the allegretto in A., played on the fourth string, &c. As a whole, it leaves us nothing to wish, and fully supports its title and the name of Cramer. 3.-There is shewn in these variations an evident intention to render them available by all performers; the air-perhaps one of the sweetest of Shiel's efforts-is a striking one, and has been the text for the variations of numerous composers. If we mistake not, Hummel himself composed a set, more elaborate than those before us, many years since. 4.-An excellent accompanied recitative introduces us to a sweet air in three flats, time. The favorable opinion we expressed of Mr. Busch in our last number, is strengthened by the song before us. Mr. Branfield's poetry is of a pleasing character, and the Enchanting Isaide will, we think, add to his reputation. 5.-An excellent number, abounding in good matter and good music; the latter comprising pieces from the compositions of Wustrow, Sphor, Hogarth, Donizetti, Carnaby, Dr. Cooke, Hickson, and Moscheles. English Fashions. GENERAL REMARKS. WE give exclusively English fashions, therefore we have not, like the most of our contemporaries, to lament a paucity of invention, which the French themselves, with all their vaunted ingenuity and taste, adinit to be almost unparalleled in the history of the toilet. We have succeeded in our endeavours to find English women who can invent, and English artists who can execute, the beautiful designs of our fashion-plates; nor are we reduced to the pitiful expedient of giving our descriptions in bad English and worse French. Our fashions speak for themselves; they appeal to the taste and judgment of our readers: and, if we might judge from the circulation of our work, we should say their language is understood by a large number of our educated countrywomen, who do not require to refresh their French by looking into the wretched miscellanies lately foisted upon the attention of the public. The fine weather of the last month would not allow any thing of an autumnal character to be worn. Light silks, chintzes, and coloured muslins have been, and continue to be, very great favourites for promenade and home morning dresses. They are charming, and we shall regret the approach of winter, when they must yield to something of a warmer texture. Crape, mousseline de soie, gold and silver gauze, nets, and fine Scotch muslin, are distinguished among the materials for evening cos tume. We have seen one very beautiful dress, composed of silver gauze tissue of the most costly fabric. It had a beautiful border of shaded violets and laburnums in their natural tints, over a deep flounce of silver gauze, tied up with cord and tassels of silver. The corsage was in the Swiss style, with lacings of violet and silver. The skirts of dresses, both for morning and evening costume, are worn much trimmed, when designs for trimmings can be procured; but as these cannot be obtained from France, they are mostly confined to the higher ranks of ladies. Sleeves of morning dresses and pelisses are still worn very large at the top, and quite as close to the arm as ever; and, when not carried to the extreme of fulness at the top, nothing is more elegant. The sleeves of evening dresses are short and full, and are invariably much trimmed, giving great width to the shoulders. The bodies are, in general, made tight to the shape; with, in some instances, a slight fulness at the bottom of the back, but the greater part are quite close. Bonnets, we are most glad to state, are decidedly becoming smaller, and with less trimming on than we have seen for some years past; another proof that our fair countrywomen are beginning to think for themselves. Hats for dinner and opera dresses are more simple in their forms, though more costly in their materials than they were last month; but we could wish that the feathers which ornament them were less redundant. Cornettes for morning wear are chiefly made of Buckinghamshire lace, which, by the way, is greatly in favour with the Parisian belles. Toques and bérets for evening headdresses are of the most simple, and, therefore, elegant forms, and sparkle with rich jewellery; most of them have their vivid colours softened by shading plumes of soft white feathers. Flowers are again in favour with the youthful part of the beau monde. Diamonds and other costly gems are the reigning favourites in jewels, and give an air of eastern splendour to our drawing-rooms and assemblies. When the coiffure is formed of the hair, the back hair is drawn to the top of the head, and generally arranged in three or more bows, or sometimes planted en corbeille; but the last-named mode is giving way. The front hair is mostly disposed in long curls on each temple. High-backed combs, flowers, and jewels à la Ferronière, are the favourite ornaments for this mode of head-dress. The colours most in fashion are the king's or naval blue, pink, vine-leaf green, white, and various tints of brown. PLATE 1, FIG. 1. A ball dress of white gaze d'Inde, splendidly painted in natural colours, worn over a slip of white, or very pale pink satin. The corsage is made in a novel and becoming style, and displays a fine figure to great advantage. The front is cut rather low, and is ornamented with an elegant stomacher and shoulderbands, painted to correspond with the bottom of the skirt. The stomacher is cut to let the bands pass through, near the top, from whence they are continued to the ceinture, where they meet under an embossed clasp of massive gold. The back is made to match the front. A short full sleeve, with very little in the way of trimming, finishes this chaste and beautiful body. The skirt has a light and simple garniture of bias cut pieces, placed en revers, and surmounted by a rich border composed of bouquets of Provence roses, with their buds and foliage. The hair is dressed high, and is arranged in three full bows on the summit of the head. The front hair is disposed in large boucles on the temples. A bandeau of large pearls is placed transversely on the forehead, and is passed over the back of the head, and crosses the insertion of a very high comb, the points of which are seen above the whole head-dress. Necklace, earrings, and bracelets of pearls and diamonds. Gloves and shoes of white satin. FIG. 2. Evening dress of crape, colour a light shade of azure blue, over satin of the same tint. The skirt is of a moderate length, and not too full. It has a deep flounce, composed of separate parts, cut in such a way as to form a succession of full points, which fall over each other at the bottom, while the top of each portion is reversed inwardly, giving a very pretty heading of broad tongue-shaped leaves. The body is made full across the bust, forming a drapery à la Sevigné, at the upper part; confined towards the waist by four indented bands, decreasing in size as they descend. A full bow of satin is placed in the centre at the top of the front. The sleeve is very full, and has a guirlande of vine-leaves, of satin, placed en feston, across the top. Bows of satin, like that in front, finish the shoulders and the centre of the back. Ceinture of satin. An elegant coiffure completes this dress. The front hair is parted across the forehead in the Madonna style, the ends of which fall in soft negligent ringlets at the back of the neck. The back hair is plaited en corbeille at the top, or rather inclined to one side of the head, the plait rising on one side, and falling gracefully on the other in a very novel manner. Small white Persian roses, a gold chain and jewels, à la Ferronière, and a richly inlaid comb of tortoise-shell and gold finishes this very tasteful coiffure.Neck-chain and cross of coloured gold; shoes of black satin. PLATE 2, FIG. 3. Carriage or promenade dress of the king's or naval blue, figured gros de Tours. The corsage is made uni, and cut square across the bust. A canezou of white net, with a double standing collar and deep epaulettes, trimmed with quills, is worn with this dress. The sleeve is very large at the top, and as far as the elbow, but the lower sleeve is quite close to the arm, and is covered with a reticulation of corded bands, in a new and striking style. The skirt is made very full, and with a deep hem, above which is a trimming of deeply vandyked leaves, folded, and disposed so that the narrow ends of the leaves rise in acute points from the lance-shaped straps which connect them with each other. Hat of paille de Toscane. The front is made very open, and has four bows of white gauze ribbon on the right side, close to the temple; three similar bows are set nearly at the outer edge on the left side, from which two bands extend to the back part of the brim. The crown is inclined forwards, and is surmounted by a rich plume of feathers, intermingled with bows of gauze ribbon. Mentonnières of British thread-lace. Gloves of lemon-coloured kid. Shoes of blue silk. FIG. 4. Ball dress. Dress of rich white satin. The body is plain, with a full ruche of blonde and roses, at the top. The blonde is disposed en eventail, and each fan partially displays a half-blown rose, the foliage of which is laid close to the body of the dress, pointing downward to the waist. The short sleeve has the fulness set in a plain band at the bot tom; the upper part has an ornament cut in the form of a heart, and turned over with the narrow part towards the elbow, the broad part forming a recess for a small bunch of roses. The skirt has a deep fall of blonde set on alternately, full and plain, and finished at the top with a double row of tulip-leaves, placed partly on the blonde, and partly on the skirt, in an unique style. A Circassian sash, of white and silver gauze ribbon, is tied in a bow on the left side, with long ends, deeply cut, reaching nearly to the bottom of the dress. A small bouquet of roses is tied up with the bow of the sash. The hair is arranged in two large coques at the top, between which is placed a demi-wreath of roses and silver foliage. The front hair is parted in the centre, and disposed in a full coque on each side of the forehead; in that on the right side is placed a rose. Earrings, Ferronière, and bracelets of pearls and pink topaz. Gloves of white kid. Shoes of white satin, with silver sandals. |