4 selves; and, whether we regard the conception of the part or the execution, she evinced that sense of propriety and that skill which, we believe, would not be surpassed by any actress at present on the stage. There was also much originalitý in the mode of expressing the strong passion by which her bosom was agitated in the striking incidents of the play, especially in the wild gaze, the convulsive shudder, and the piercing scream, at the recognition of the features of her husband. The rejection of the love of lord Hastings was also acted with a high and lofty bear ing, that merited the burst of applause it elicited. Her attitudes, and the whole style of her performance, when a houseless wanderer, and an outcast at the door of Alicia, presented the house with a touch of her quality,' which called forth such enthusiastic applause from the audiences of the continent. Her death-scene was also admirably acted." This lady was more successful in Juliet than in Jane Shore. There was not, in her personation of the fair scion of the Capulet family, the youthful freshness of Miss Philips, or the full ripeness of Miss O'Neil; but there was a more serious and fervent affection than we observed in either. Some of her conceptions were at once new and just as her delight on hearing from the friar the perilous scheme for her deliverance by the draught, which is usually heard with a shudder; her tearful sorrow in parting from Romeo; and the whole soliloquy before drinking the potion, which was finest of all, but too various to be described; and, indeed, she gave an air of novelty to the whole part of which we did not deem it capable. Her performance had faults, no doubtit was sometimes too lachrymose, and sometimes verged on extravagance; the text was not always correctly recited and there were vestiges of feeble declamation, though never long continued without a relief of passion; yet, on the whole, it is long since Juliet has been so felt and so expressed. For her own benefit this lady selected the part of Belvidera. Having studied the character with great attention, she performed it with taste and discrimination, There were particular portions of it which, for pathos, energy, and feeling, may be placed among the finest specimens of the histrionic art. This description is applicable to the scene with Jaffier, concluding with the well-known sentence, "Remem ber twelve !" The tone in which these words were uttered, produced a powerful effect on the audience. Her interview with her father, also, in which she soli cited' forgiveness for herself, and urged him to employ his influence to obtain the pardon of the conspirators, was exceed ingly effective. The persuasive eloquence of her tones, when she supplicated a re vival of his affection, and reminded him of her resemblance to her deceased mother, formed an irresistible appeal to the heart. In her delivery of the soliloquy, imme diately following her final separation from her husband, and in the representation of phrensy, she was equally successful. The masque of Comus was lately re vived at this house, principally for the purpose of bringing forward that very promising child, Miss Coveney, in the part of Euphrosyne. A minor theatre, (if, indeed, the Surrey establishment be now so considered) is generally a bad school, and performers from a house of that description often have much to unlearn when they advance in their profession. It is one recommendation of Miss Coveney, that, if she has yet a good deal to acquire before she can become a finished singer or actress, she has little or nothing to unlearn. She played with great spirit, and sang with considerable skill in a voice of no ordinary compass, delicacy; and sweetness. She was warmly ap plauded and encored in the song, "Bid me discourse," which she introduced. Miss Hughes was the lady, and sang much better than she acted. Mr. Charles Kem→ ble gave to the character of Comus its due dignity and effect. ASTLEY'S AMPHITHEATRE. This house continues to attract the pub lic. Success has attended a melodramatic spectacle, called the Storming of Seringapatam, in which our battles with Tippoo Saib are fought over again with real horses, and with a degree of valor never surpassed even in the most chivalrous age of melodrame. The last scene is the attack of the sultan's capital, in which there is as much gunpowder exhausted as can be inflicted without the danger of suffocating the spectators. But the great attraction at the theatre is the equestrian part of the performance. Astley's is the only place in which a horse's talents have a fair field for exertion. There a horse of merit is sure to meet with encouragement, and to be engaged on as liberal terms as any quadruped can reasonably expect. The little horse Butterfly distinguishes himself by springing through three hoops and over three horses at one jump. Mr. Ducrow, that prince of horsemen, is as great as ever. The only posture in which he seems uneasy is the ordinary seat of equestrians. In every other position he is as much at home as if he had been born in it. ENGLISH OPERA-HOUSE. M. Perlet lately performed some characters with less than his usual skill; but, on the representation of Moliere's comedy of L'Avare, he acted Harpagon with an ability which left nothing to be desired. The celebrated scene in which the old miser gives vent to his despair on the discovery that he had been robbed of his treasure, was given with a vehemence and truth which were highly amusing, and excited great laughter among the audience. Nor was the anxiety with which Harpagon endeavours to impress on the mind of his cook the precept, that il faut manager pour vivre, et non pas vivre pour manger manifested with less comic earnestness. As the whole importance of the piece fell, on Perlet's performance, it is unnecessary to enter into particulars respecting the other personations, which upon the whole were indifferent. Two new vaudevilles, Caleb, and La Princesse de Tarrare, have lately appeared. The former is profess edly founded on some of the incidents which occur in the Bride of Lammermuir, but the leading features are so distorted as to be scarcely recognisable. The origin of the other may be traced to the Contes de la Mere L'Oie. In both these pieces, Perlet's comic powers are pleasantly displayed. i Fashions. DESCRIPTION OF THE ENGRAVINGS. EVENING DRESS. THIS is a dress of ethereal-blue crape over white satin, richly embroidered with floize-silk of darker blue than the crape; the pattern represents lilies with the heads dependent. The body is in the Anglo-Greek style, with short sleeves, finished round the arms with a narrow ruffle-frill of white blond; a double falling tucker of which material, somewhat broader, surrounds the bust, with a coral brooch in the centre, set in gold à l'antique. The hair is arranged in curls on each side of the face, and in light bows on the summit of the head, crowned by a double garden-poppy, full-blown, with a smaller one, half opening. The bust with this dress is rather too much exposed, but it is according to the present mode for evening attire. The drapery scarf of pink Chinese crape, however, which is disposed carelessly over the dress in our engraving, is often made partially to shield this display by being thrown over the shoulders. The ear-pendants are of gold and brilliants, as is the necklace. N.B.-Near the figure is a cap à la fiancée, of blond, trimmed with gauze ribands of steam-yellow, and slightly ornamented with the blue flower, "Forget me not." SUMMER RECESS DRESS. A GOWN of spring-green gros de Naples, with a broad hem, is headed by a ruche of the same material as the dress. The body is made quite plain, with the contours marked out by ornaments formed of narrow ruches. The sleeves are long and moderately wide. A pelerine of fine India muslin is added, trimmed round with a double frill of fine broad lace, and surmounted at the throat by a ruff of the same. The bonnet is of steam-yellow gros de Naples, finished at the edge by a falling ornament of broad white blond, and trimmed with striped gauze riband. A small bouquet is also placed in front of the bonnet. N.B.-Appended is a hat of light blue, or lavender gros de Naples, trimmed with ribands and strings of the same color; the bows on the crown are intermingled with a few puffs of straw-colored riband, a rosette of which is placed under the brim. FRENCH DRESS FOR MORNING VISITS. THIS Costume consists of a dress of fawn-colored muslin, embroidered over a broad hem with white floize silk in branches of delicate foliage. The body is en gerbe; the long sleeves are confined at the wrists by broad gold bracelets, fastened by an AquaMarina. A canezou of embroidered tulle is surmounted by a quadruple ruff of narrow lace, fastened in front by a fawn-colored bow of riband. The hat is of etherial-blue gros de Naples, with ribands of the same hue: it is trimmed about the crown with white blond, en jabots, and branches of green fern. MONTHLY CALENDAR OF FASHION. THE purveyors of elegant attire, the tasteful decorators of the persons of the British fair, are diligently employed in providing for the change of season.The present walking costume unites elegance with simplicity. When an early walk is taken, if a lady wears a high dress of poplin or gros de Naples, with a muslin canezou, she generally has an apron, without trimming, of the same color and material as the dress. Sometimes, instead of the canezou a colored silk pelerine is worn, trimmed round with blond or lace. Pelisses for the carriage are of pink gros de Naples, or some other lively color: those for walking are of darker hue. Some of the new ones are made open in front, and discover a handsome muslin petticoat, richly embroidered. Leghorn and Dunstable bonnets are now very general: they are usually lined with colored satin; the latter are tied down close under the chin; the former are trimmed with bows or puffs of riband, and several are seen with flowers and green foliage. Some transparent bonnets of white crape have been seen in carriages; these were ornamented round the crown with a wreath of flowers, with a bouquet in front; and they form a very elegant bonnet for a fashionable drive, or for a morning visit. Dresses of steam-colored gros de Naples are much admired, as are also those of emerald-green, on which is figured a satin leaf of the same color. Dresses of clear white muslin are worn by young persons at dinner-parties and at eveningassemblies. They are sometimes worked in rows of very splendid embroidery between two rows of lace. The sleeves of all dresses are very wide, and we are of opinion that no reform on this head will take place during the summer, as they are evidently cooler than a long sleeve sitting close to the arm. Elegant canezou spencers and pelerines of tulle, are worn with dresses of colored gros de Naples. Beautiful articles for summer dresses are now brought forward, consisting of Cachemire gauze, Chinese crape, and white crape, painted in patterns of various hues; and these materials are also seen in shawls, and scarfs, adorned at the ends with light but rich broad silk fringe. The petticoats are very short. Dresses of printed muslin are worn in deshabille and in home costume; the patterns are large, and in various striking colors, either on a white or light-colored ground. Evening-dresses for young ladies are often of colored crape, with a very broad hem, headed by a full ruche. As those gowns which are made low discover too much of the back and shoulders, we admire the delicacy of some ladies, who, while they comply with the reigning mode, yet conceal this nudity by an elegant pelerine of blond, which, at the same time, gives a very graceful finishing to their parure. The hair is now seldom ornamented; when it is, the curls and bows take a different direction, according to the flowers, ribands, or jewels, to be introduced between. When wreaths adorn the hair, it is then much elevated on the summit, full on the temples, and the wreath must not be placed too near the curls which border on the face, but rather backward and somewhat obliquely. The gallery part of the comb is very high, and, when the hair is adorned with bows of riband, they are generally large. The last dress-hat we saw at the Operahouse was white, with one very long pink feather. The tails of the bird-ofParadise, and feathers of the Tropic bird, are also favorite ornaments on hats. Blond caps, still in the style of those à la fiancée, are ornamented with small flowers; they are placed very backward, and the hair next to the face is arranged in full clusters of curls. A large fullblown rose is much admired on the hair; this is placed on the left side of the summit: but it is now, as is usual during the summer months, reckoned most elegant to have the hair well arranged, without any ornament what ever. The favorite colors for pelisses and dresses are palm-leaf-green, straw-color, pink, lilac, slate, fawn-color, and Egypt ian-sand; for hats, bonnets, and berets, celestial-blue, pink, steam-yellow, emerald-green, and corn-flower-blue. MODES PARISIENNES. SCARFS of black lace have appeared at Tivoli, and in several of the public promenades. At the Bois de Boulogne, the ladies now affect a deshabille; they wear loose white muslin pelisses of a wrapping kind, which look like peignoirs: they are confined round the waist by a thick cordon of white cotton. Some ladies have these pelisses made of rosecolored muslin. The sleeves are very wide. Birds of Paradise are often seen in the public walks as ornaments on white chip hats, on an evening, and spotted and chequered hats of fancy straw, are quite the rage; these are always lined with colored sarcenet. Riband, with straw interwoven in stripes, is generally used in trimmings with large flowers; but on crape hats the flowers are very small, and are disposed in aigrettes. Poppies form a favorite ornament on almost every kind of hat. Gueldre-roses and gilliflow ers are the most admired on Leghorn hats. The fancy-straw bonnets are tied very close over the cheeks, and the two extremities almost meet under the chin. A Leghorn hat, trimmed with a plumage formed of the tips of white ostrich feathers, has been very much admired; it had also bows of striped riband, of which a bandeau was placed across the hair, under the brim. White chip hats are sometimes ornamented with green and cherry-colored ribands, with a long branch of purple fox-gloves, bent in an arch. The strings of hats are often trimmed at the edges with narrow blond. A white chip hat has appeared, with two tails of the bird-of-Paradise, placed at the summit. A rosette of saffron-colored riband fastened these feathers in front, another rosette was placed at the base of the crown behind, and a third, much larger, was on the left side, almost at the edge. White organdy and white muslin dresses are very prevalent, as are also printed muslins in patterns of very large branches. Colored crape dresses have the corsages generally finished in drapery. Above the broad hem of the skirt are two or three ruches, of the same material as the dress; these are edged with a narrow blond, which has a very pretty effect. Fringe is much used in trimming, either at the borders of dresses, the corsages or the sleeves. Cuffs laid in small plaits, and terminated by a narrow double ruffle finish the sleeves; the ruffles are generally of lace, and, when the cuff is not plaited, it is richly embroidered. When the stripes of a printed muslin or chintz dress are broad, and of striking colors, those ladies, who are rather fantastical in their dress, have them made with the stripes across the skirt. A new way of trimming the tucker part of a gown is, with tulle and blond in the form of the points belonging to a small fichn: one point is in front of the corsage, and one falls over each side of the sleeves: these points are trimmed with narrow blond and have a beautiful effect. Most of the Parisian ladies wear their hair arranged in the English style; many young females, however, are still partial to the Chinese head-dress. Berets of white blond are ornamented with jasmine or white-thorn, in flower. Some of the head-dresses in hair are very much elevated; and plaits are wound round, at the summit of the head, en corbeille : thence issue corkscrew ringlets, which fall as low as the right ear. The Italian beret-toque of rose-colored crape, gaufrée, is universally admired; it is crowned with a profusion of feathers of the same color. A flaming piony, placed at the back of the head, is a favorite ornament on some coiffures consisting of the hair full-dressed. On dress hats which are often of white chip, are placed two birdsof-Paradise, or a quantity of long white feathers, fastened by a large bow. Births, Marriages, and Deaths. BIRTHS. SONS to lady Georgiana Agar Ellis and the lady of Sir Charles Henry Coote; also to the wives of the rev. J. C. Abdy, Mr. C. Eicke, Dr. C. J. Fox, Dr. Byron, Mr. Joseph Hume, M. P., Mr. John Bishop of Ascot, Mr. Valentine Morris of Battersea, Mr. G. Hanson, Mr. H. Bingley of the Mint, Mr. Digby Neave, Mr. Isaac Cooper of Finchley, Mr. E. Cayley of Stamford, Mr. C. Ormerod, and Mr. H. Dumas. Daughters to the countess MountCharles and lady Mary Stephenson, and to the wives of the rev. F. Dale, the rev. James Cooper of Aston Sandford, Mr. James O'Hara, M. P., lieutenantcolonel Lindsay, captain John Angelo, captain Fuller, Dr. H. Davies, Mr. T. Powell of Stoke-Newington, Mr. H. B. Henrich, Mr. Luke Hansard, Mr. Archbold the barrister, and captain Rich of the navy. MARRIAGES. Sir J. M. Tylden, to the daughter of the rev. Dr. Walsh. The rev. W. Brownlow, to the granddaughter of the late Sir Robert Chambers. Mr. Gabh, of Abergavenny, to the daughter of the late Sir Christopher Willoughby. Mr. Keeley, the comedian, to Miss Goward, the singer. Mr. D. W. Bernard, of Lambeth, to Miss Anne Greensill.. Mr. W. Henderson, of Nottinghamplace, to Mrs. Vandergucht. Dr. R. Bree, to the widow of major Malkin. The rev. Edward Cardwell, to Miss Cecilia Feilden. Mr. James Hunter Hulme, to Miss Harriet Green of Highbury. Mr. Matthew Knapp, to Miss Anna Burnaby. Mr. Thomas Lee, of Bucklesbury, to Miss Catharine Hope of Camberwell. Mr. H. Goechin, of Stoke-Newington, to Miss Henrietta Ohmann. Mr. F. A. Wadman, to Miss Parsons of West-square. Mr. C. Devon, of Gray's-Inn, to Miss Mary Gosnell. Mr. C. Fergusson, advocate, to Miss Helen Boyle, daughter of the lord justiceclerk. DEATHS. The queen of Spain. The dowager countess of Arran. The lady of Sir J. P. Orde. The relict of captain W. White of the navy. Lord Thurlow, in his 48th year. Sir Humphry Davy, the philosopher, in his 51st year. Sir Thomas Durant. The rev. Dr. Richardson, of Dunmow. The rev. G. F. Tavel, brother-in-law to the duke of Grafton. At Barnwell, the rev. Dr. Roberts. At Hull, Mr. Samuel King, at the age of 82 years. In his 83d year, Mr. E. Law, brother to the bishop of Bath and Wells. Mr. John Browne, of Peter's college,. Cambridge. At the age of 25 years, the second son of the earl of Rosslyn. Major Grant, of a Highland regiment. Mr. Bartholomew Long, of Ipswich. Mr. Nathaniel Clubbe, of Framlingham At Norwich, Mr. C. N. Bolingbroke. Mr. Joseph Brackenbury, of Spilsby. By a suicidal act, Mr. Henry Scott, of Smithfield. The widow of Mr. T. Buck, of Newington-Butts. At Old-Windsor, Mrs. Carbonel. At Bath, the relict of major Barnes. Lady Georgiana Charlotte Onslow. At Beckenham, Mrs. Cator. The widow of Sir F. Holbourne. Wrecked in a coasting vessel, Mrs. Smith of Alnwick. Mrs. Bulkeley, of Baron-Hill, Anglesy. |