FIGURE 4. Dress Toilette de Ville.-Bonnet of crape and blonde. This bonnet is exceedingly light; it is composed and arranged thus:-first, a rouleau of white taffetas, which makes and fashions the border of the face, and of the bavolet or cape; then, a volant of blonde edged with very transparent lace, gathered; then a little face of white crape, which follows the form of the face and bavolet, rising in relief from them; then, an interval of tulle de soie; and finally, a rouleau of taffetas and a round crown of crape. The small face of crape forms a little Marie-Stuart in front. Upon the sides of this face fall two very light branches, composed of foliage of green trefoil and spots of pink and of white lilacs.

High robe of white taffetas, chiné with waving sprigs of green foliage and pink flowers. The ground is filled with these flowers. Three-fourths of the jupe is covered with a broad and very full flounce, the lower edge of which is cut out in rounded scallops.

de laine, entirely new in shape and style, is worn, and so disposed as to appear to form a volant at the back. The whole toilette is one of the most attractive novelties of the season.

FIGURE 5. Morning Toilette.-Bonnet of white taffetas, with round crown, the stuff of which is at the base folded back upon itself, forming a sheaf of seven or eight plaits. The face and the bavolet are covered with narrow, gathered volants of white taffetas, each bordered with a narrow ornamental edging of straw. Upon each fold of the crown is also a narrow stripe of fancy straw. The brides or strings have an edging of similar straw. At the side is a large bouquet of blue-bottles, queen-margarets, oats, wheat, and grasses.

Redingote of corn-coloured foulard, open en cœur in front and crossing to the side for the whole length. Waist a little busked. Sleeves demi-long. All round the edge of the corsage and of that of the opening of the jupe and the lower end of the sleeves, are cut out festooned scales. In the middle of each scale, appears a little bouquet of red flowers embroidered in silk. The chemisette is composed of volants of embroidered muslin lying one over the other. Three such volants form the under

VISITING DRESS.

FIGURE 6. Visiting Dress.- Bonnet of rose-coloured crape, rather open in the upper part of the face, but well shutting in the cheeks and the chin. Crown round, and cape or bavolet rather large. This bonnet is trimmed below with a double scale of crape, so shaped and arranged as to have the appearance of a second face under the principal one, from which it is separated a little; it is also a little shorter. This scale is enclosed in a bouillonné of rose tulle, and the same rose tulle with peas trims the under part of the real face. At the sides of the face are puffs of white blonde, mixed, toward the chin, with peach blossoms. All the exterior of the bonnet is covered with a kind of network, composed of rosaces of blonde, sewed one to the other, at the angles of the design. This is a kind of gimp-lace without groundwork. On each side hangs a large marabout, in which are fastened some little rings of ostrich plume, mixing a dull white with the grayish tint of the marabout.

Chemisette of lace, closing at the back. The upper part is plain; the lower has four volants of lace. Collar turned down.

Robe of white taffetas chiné. Waist long. Corsage pointed, opening square in front, and trimmed with four rows of green riband in round bows, of which the upper row has many, the lower but one. The opening is edged with a ruche in points of the same riband. Sleeves extending half way from the elbow to the wrist, funnelshaped, with a short opening from the elbow down. The skirt has three flounces cut out at the bottom, à l'emportepièce.

This taffetas is prepared in its fabrication to form a jupe and sleeves spotted with small twining branches and flowers, pink, green, and brown, upon the white ground.

The volants on the contrary are prepared to exhibit, upon each, a rich garland of large flowers, chiefly roses, disposed in waves, and vanishing at the top into the white ground, while the ground of the volant below the garland is emerald green.

FIGURES 7, 8, 9, 10, and 11, on our plate of linens, represent new styles of caps and coiffure.

FIGURE 12. An elegant and tasteful robe de chambre.

These figures are in the large plate in the front part of the Magazine.

ART NOTICES.

THE PENNSYLVANIA ACADEMY OF FINE ARTS.-The annual exhibition of this institution has attracted, as usual, a large number of visiters. We are prevented, by want equally of time and space, from saying all that we have to say on this interesting subject. Reserving, therefore, for a future occasion a portion of our criticisms, and all general remarks, we shall use at present all the space allotted to us in commenting upon particular pictures.

After passing through the Rotunda, which serves as a kind of vestibule to the fine range of picture and statue galleries which open into it on the east, west, and north, the first picture that strikes one, on entering the southeast room, where the Catalogue numbers commence, is the large one by Winner, opposite the door of entrance,

No. 45. Peter Restoring the Lame Man at the Beautiful Gate of the Temple. This admirable picture is highly creditable to Philadelphia as the production of one of its native self-taught artists. The composition, drawing, and colouring are excellent, while the general management of the white drapery of the restored lame man is perfect, especially in tone. One could wish, however, that the transition were less sudden between the size of the principal figures in the foreground, and those beyond, and that the forms of the woman were less like those which characterize a child. But these are trifles compared with the general merit of the picture. The gate before which the incident occurs is here represented infinitely more beautiful and appropriate, than the corresponding feature in Raffaelle's celebrated cartoon of the same subject. Immediately to

the left of it hangs

No. 52. Lake George, from near Caldwell's, New York. Painted by Russell Smith. J. L. Claghorn, possessor. This is a capital specimen of the talents of the artist, and attracted marked attention, some months since, when hung, for a short time, in the Gallery of the Philadelphia Art-Union. It is painted in his usual broad, simple, unaffected style, and is intensely brilliant in colour, while perfectly harmonious in all its parts. The water of the lake might perhaps have been made more transparent, and of a truer tone of colour under such skyey influences. As a companion to it on the other side of Winner's large picture, is placed

No. 42. A Thunder Storm. Painted by James Hamilton. Henry Suydam, possessor. This may, perhaps, be regarded as one of the best pictures that Hamilton has yet produced, and with its mate, last described, among the

most brilliant and effective in the exhibition. The translucent waves appear to heave and roll with a natural and gliding motion, while the sky and vapoury clouds they so truthfully reflect are touched with a free and masterly pencil. The various craft of all descriptions sailing under the influence of a brisk breeze, give a lively and cheerful aspect to the scene, and the distant chalk cliffs of the coast hint intelligently at the locality. This and two other works in the adjoining room of this excellent marine painter, indicate a very decided progress in skill since the annual exhibition last past. Immediately beneath it hangs

No. 41. The Happy Moment. Painted by Carl Hübner. This beautiful picture belongs to the class designated genre, and the subject one that appears to be a favourite amongst artists, from the frequency of its repetition. An old lady has sunk into a doze in her chair, and her younger female companion, (her daughter we may suppose,) uses the opportunity to receive, with outstretched hand, a letter which her lover reaches to her through an open window. Her mature age and colossal proportions, coupled with the good-natured character of face possessed by the aged sleeper, would appear to render such anxious precaution unnecessary. It would also be reasonable to expect that in a daylight scene in a room, a window opening outwards would exhibit daylight and some of the outof-door world, instead of the dark recess, under the raised sash of which the lover projects his missive. These are trifles, perhaps, but noticeable in works belonging to a school which, its exclusive admirers insist, is never at fault in matters of accurate propriety or of drawing. It is not possible that in nature there could be such deep cavities in the folds of the apron and skirt of the younger female, as are here represented; for since it is her left foot that rests on the stool, and not the right, the continuation of the limb upward would fill out all those parts and prevent them. However, the whole is a beautiful and truthful imitation of external surfaces, and is painted with a boldness and freedom that renders the Waldmuller in the next room intolerable, if you pass directly from one picture to the other. What could be better than the old table with its open joints, cracks, clamps, and rusty wrought-iron hinges; the loaf of bread on it, or the various articles on the chair and sideboard. Such painting can only be done direct from the objects themselves. entire figure of the sleeping old lady is equally perfect. So too is the execution of the rough and broken plaster of the wall in the full light, though one can hardly reconcile such dilapidation with the rich carving of the chairs, as being in consistent keeping with each other. The substantial figure of the young woman would throw a shadow on the back of her chair, if the other shadows of the picture are right. The general effect of the picture is fine; it is the best by Hübner that has yet been sent to this country, and it will, no doubt, be one of the most popular in the collection. As a companion to it on the opposite side of the centre, and under Russell Smith's, is

The

No. 51. Marine View. Painted by F. A. Breuhans de Groots. This is a work of startling brilliancy. The sky and water are equally well executed, and the latter is of remarkable transparency. The emphatic point of effect is produced by the breaking of the foam just behind the dark prow of the vessel, which gains from it a firm and distinct relief, while the broad mass of dark behind it has its focus in the skilful placing, in its midst, of another vessel with a dark hull, and the vivid light on the sea-gull serves happily as a foil on the surrounding dark. The boat and