exhibition are, the summer palace of the Turkish emperor; the city of Cairo: the great temple of Edfou, in Egypt; interior of St. Gudule, at Brussels; distant view of Cherbourg, taken from the Roule Hill; Cape St. Vincent; Mount St. Gothard, with the falls of the Reus in motion; village of Roboise, on the banks of the Seine, with snow and fog; city of Paris, taken from the Pont Neuf; Breghentz; and the last eruption of Mount Vesuvius. The temple is a magnificent picture covered with statues and hieroglyphics; and Mount St. Gothard, with its active falls of water, and the vapor arising from them, is as complete an illusion in that respect as any thing of the kind we ever saw. To judge from the numbers which appear eager to catch a glimpse of it, it is the favorite of the gallery; and it may well be so; for, independently of the illusion, it is a scene of the most romantic and powerful character. The view of the interior of the cathedral shows (the remarkable pulpit_executed by Henry Verbruggen for the Jesuits of Louvain, and presented to this church by Maria Theresa. It is elaborately carved with the expulsion of Adam and Eve, and the pursuit of death. What will our readers say of the attributes given to the first pair, when they see Adam with the ostrich and the eagle, and Eve with the peacock, parrot, and monkey! The village of Roboise is another striking picture. The snow upon the ground and on every object (except within the shed to the right, where is an admirable contrast in a workman's fire), and the rising, extending, and dispersing of the fog, interest for a considerable time. The reflection produced by the fire-light on the snow materially tends to increase the power of the scene. The City of Paris is a fine picturesque view of the course of the Seine, with its many bridges, and the numerous splendid edifices on its banks and in its vicinage. Brama. THE KING'S THEATRE. THE most crowded house, near the elose of the season, was that which rewarded the merit of Signor Donzelli. Cimarosa's celebrated opera, Il Matrimonio Segreto, was then re-produced, with the best talent of the house, and was received with the highest applause. Mademoiselle Sontag appeared as Carolina, her sister as Lisetta, and Madame Malibran as Fidalma. Donzelli personated the principal charater, Paolino; Zuchelli was Geronimo, and Galli the Count It would be difficult to select any of these performers for particular praise: all exerted themselves to merit applause. Sontag's trio with Lisetta and Fidalma, in the second scene, Lei faccio un inchino, was executed in a manner that excited the highest admiration, and was unanimously encored. Several of the scenes exhibited the comic powers of the performers to great advantage, and produced repeated bursts of mirth. The auditors were so delighted with the whole performance, that, on the fall of the curtain, there was an universal call for the re-appearance of the performers: it is scarcely necessary to say that the call was promptly obeyed, and the applause was enthusiastically renewed. ENGLISH OPERA-HOUSE. THIS house has resumed its attractions, and is generally well filled. At the reopening, Madame Cellini made her first appearance on the stage, in the character of Despina in Tit for Tat. This lady is a pleasing vocalist; her voice is clear, moderately powerful, and seems to be capable of considerable variety; and her acting also deserves commendation. Her conception of her character was good; but she has not yet acquired that confidence in her powers which can alone produce the ease of carriage and of action so indispensable in a performer. exhibited, however, no small degree of vivacity; in the course of the piece, she assumed the disguises of a dealer in medicine and in law, and supported their characters with spirit. In person she is rather beneath the middle size; she has a tolerable figure, and a face not only pretty, but very expressive, a quality of much higher importance to an actress than mere beauty. Miss Betts and Miss Cawse, on the same evening, effectively supported the characters of Fiordiligi and Dorabella. She story is of the following tenor.-The sovereign of an Italian state is kept in subjection by nobles, who suffer him to retain the throne, and to exercise a nominal authority, while, in reality, they wield all the power of the government. The Count of Viterbo, who is firmly attached to him, retires from court in disgust, and carries on a correspondence with some friends, in which he freely censures the conduct of the party in power. His courier Pietro betrays him, and the count is, in consequence, denounced. Escape from his enemies seems almost impossible, when Roberto, the captain of a band of robbers, appears on the scene, and declares to Laura, the count's daughter, that he will effect her father's deliverance, provided that she will promise to become his bride. Roberto had, some years before, when residing in the count's castle, aspired to the affections of Laura; his presumption was rewarded by instant expulsion from the service of the count; but his passion remained as violent as ever. He now describes all the misery which he had undergone since, driven to despair, he had become a leader of banditti. He impresses on the mind of Laura the certainty of her father's arrest unless assisted by him, and he finally induces her to give the required pledge, in order to save the life of her parent. By means of a secret passage, he conducts the count to the cavern in which the banditti conceal themselves; and the troops, headed by Fernando, immediately after enter the castle in search of their victim. Here Fernando recognises in Laura a young lady whose life he had preserved some years before at Palermo, and whom, though he then became passionately enamoured of her, he had never since seen. He now avows his passion for her; but her solemn vow to become the robber's bride presents a strong obstacle to his hope. Roberto discovers that Laura's aversion to him arises from a preconceived love for the young soldier, and he orders his band to capture Fernando, which they readily accomplish. He is dragged to the cavern; but Roberto, moved by the tears of Laura, instead of wreaking vengeance on his rival, after a struggle between fury and affection, joins their hands. Fernando's troops, having tracked the robbers to their hiding-place, now appear, and capture the band as well as the count. All give themselves up for lost, when Carlo, the friend of Fernando, arrives with the grateful tidings that the faction has been overturned, that the prince is free, and that, as his first act of justice, he has sent a pardon to the count, and commuted the punishment of the banditti from death to banishment. Fernando and Laura are now made happy The music of the opera is of a very lofty character. We fear that it is too scientific to please the million, to whom a simple melody imparts more gratification than the most highly-wrought and elaborate composition. The opera is rich in concerted pieces, though the melodies are exceedingly few. Mr. H. Philips, as the count, had to execute a great deal of very difficult music, to which he did perfect justice. We have not often heard a more delightful treat than we received from the style in which he executed his last air, "My daughteryes, my daughter!" A glee sung by the banditti, was encored; it is a bold and animated composition. The following are the words: THE HAY-MARKET THEATRE. THE re-opening of this house was attended with two novelties. One was a ballet called the Female Sentinel, which did not greatly please the spectators; the other was a lively one-act comedy, styled Lodgings for Single Gentlemen. The interest of this piece consists in the equivoques which arise when the lodgings of the single gentleman, Captain Postlethwaite, become the rendezvous of the ladies whom he and his friend have chosen for their wives. Mrs. Greville, a young widow, has promised her hand to the captain, on condition that be should renounce play and duelling, and remain in his apartments quietly for a fortnight. He has performed the promise he had made for the greater part of the time, when the brother of Mrs. Greville, his most particular friend, Colonel Stanmore, comes to seek his assistance, having married the daughter of a high-spirited violent old gentleman, Mr. Hector Capsicum. The necessity of concealing the visit of the latter lady from the knowlege of the former throws the captain into considerable embarrassment, from which the ingenious contrivances of his servant Trusty hardly protect him, while the prying disposition of the landlady, Mrs. Prattle, adds to his perplexity. The arrival of Mr. Capsicum completes the imbroglio. He learns that a lady has been seen in the single gentleman's lodgings-concludes that it can only be his daughter, and on this assumption directs a challenge to the captain, which ought in justice to be delivered to the colonel. They are both obliged to go out to meet this gentleman, and leave Mrs. Stanmore in the lodgings. Mrs. Greville arrives; the absence of the captain excites her suspicions; the unsuccessful excuses of Trusty increase them; and the discovery of Mrs. Stanmore in an adjoining apartment confirms them. Mrs. Prattle's intrusion adds to the confusion; but, on the return of the gentlemen from the rencontre (which terminates harmlessly), a short explanation suffices to set all matters to rights. There is nothing in the piece to criticise; it is light and lively; the dialogue is smart, but not very polished; and the whole merit lies in the bustle which pervades it, and the spirit of the performers. An actress from Bath (Mrs. Ashton) made, on this evening, her first appearance in the metropolis, and performed the character of Mrs. Stanmore with some indication of talent; and Mr. Webster, as the servant, pleased the audience by his comic powers. Fashions. DESCRIPTION OF THE ENGRAVINGS. DINNER DRESS. As the grand dress dinner-parties are now about to terminate, we present to our subscribers the newest style of costume, appropriate to the more social dinners and friendly parties in the country. The dress is of a beautiful bright amber-colored Indian taffeta, with a very broad hem, headed by a satin riband of the same hue, on which are placed at equal distances, in detached quatrefoils, satin rosettes. The body is plain, and made exactly to mark out the shape, with a belt tied in a simple bow in front: pearl buttons, set in a row, ornament the corsage from the tucker part, before, to the sash. The sleeves are á la Mameluke, of white crêpe Aerophane, with a bow of amber-colored satin riband, on each shoulder. The head-dress is a turban cap, of white tulle and blond, ornamented with ribands of a bright rose-color. The earpendants, neck-chain and bracelets, are of wrought gold, the latter clasped with a large Ceylon ruby. BALL DRESS. This costume is a proof of what we have advanced concerning the present elegant simplicity of ball-dresses: it consists of fine plain tulle over white satin, with a broad hem, headed by a full puffing of white satin, above which is a rouleau surmounted by rosaces composed of blond. The body is á la Sevigné, with short sleeves, over which are loose ones of blond. The hair is arranged in full curls, and short at the ears; and the elevated bow on the summit is ornamented with a few small field-flowers, in which the "Forget-menot" is most conspicuous. The necklace is formed of one row of large pearls, and the ear-pendants are of pear-pearls. FASHIONABLE HAT AND TURBAN A hat of cerulean-blue gros de Naples, adorned with ribands of the same color, and bouquets of the damask rose and pale yellow garden poppy. An Oriental turban, with a green satin calotte. The eastern folds are formed of yellow and rose-colored crape, and one white feather droops over the left side. FRENCH PROMENADE DRESS. This is a dress of celestial-blue gros de Naples, with a broad hem, headed by a rouleau of dark-blue, beneath which are ornaments disposed en fers de cheval, consisting of the same material as the dress. The body is finished in the front and at the back with four fichu robings, edged with narrow blond. A fifth, much smaller than the others, turns over en lupelle. The sleeves are â l' imbecille, confined at the wrists by cuffs of embroidered muslin, trimmed with lace. Above the cuffs are long rounded leaves, embossed in rich white embroidery. A ruff of white blond surrounds the throat. The hat is of Leghorn, trimmed with white blond; a rosette of whiteriband, edged with blue, is placed beneath the brim, on the right side; and the crown is adorned with blue plumage. MONTHLY CALENDAR OF FASHION. NOTWITHSTANDING the great distance of the ancestral seats of many of the nobility and gentry from London, yet they, like the gay Parisians, seem almost to carry away the metropolis with them into the country. Every article of luxury is there displayed in profusion: pre-eminent vocal talent is employed, private theatricals are prepared at a vast expence, and the marchandes des Modes are in constant requisition, through orders incessantly despatched to them, for the elegant fancy costume, the rural habiliment, and every change that taste and invention can suggest for the toillette of a modern belle. From these sources, and also from the communications of some country correspondents, we are enabled to gratify our fair readers with the following parti culars. Shawls of Chinese crape, beautifully embroidered, are now in vogue, as are open-net black shawls of a new description; these have rich satin striped borders, and are finished round by a handsome fringe. Very large pelerines of muslin or net, either trimmed with lace or ornamented with embroidery of the most exquisite kind, are favorite acces sories to a high dress of gros de Naple or of colored muslin for the rural prome nade; they almost form a mantelet. We think they are most unbecoming, as they tend to destroy all the appearance of a good form, and give to the shoulders of a delicate female a frightful and unnatural breadth. For early airings in an open carriage, and for walks in the grounds belonging to a genteel mansion, Dunstable bonnets are in high favor; they are lined with summer colors, and a riband encircles the crown, crosses in front, and ties the bonnet down. Bonnets of gros de Naples, fashionably and tastefully ornamented, are seen at a later time of the day: they are of a new and charming shape, somewhat in the cottage style, but smarter, wider in front, and shorter at the ears. Coloured crape bonnets in the capote style, are reckoned very elegant for young people: one of blue, which we saw on the head of a young lady, who had a beautifully fair complexion, had a charming effect. Very young girls wear the large gleaner's hat, of straw or Leghorn. The children, however, are not only sadly disguised, but very much troubled by this strange head-covering, when the wind is brisk or high; and the little girls are more sheltered from the tanning quality of the sun by a neat cottage bonnet, which is tied snugly down, and gives them no embarrassment. All the silk and chip hats are tied down by a mentonniere of blond, and the strings float loose or in a loop; some ladies, for the promenade, cross them carelessly with a pin just over the bust. Though white dresses of muslin are still worn in the country, they rather decline than increase in favor. Colored muslin dresses, and some printed in the most beautiful patterns and charming hues, are much more in vogue. In silks, though gros de Naples will ever be in high estimation, Indian taffeta and sarcenet, as lighter wear for the summer, are now preferred; plaid sarcenets, in particular, are much admired. The broad hems still prevail in dresses, and are usually finished by a full ruche next to the knee. There are some dresses, however, which are finished at the skirt by a very broad hem, over which is a splendid painting of flowers, grouped in a wreath, or tied in detached bouquets; no other way of trimming such dresses would look so well. The morning dresses for the breakfast-table are chiefly white, either of cambric or jaconot muslin. The hair is arranged in a simply elegant manner: the curls and bows are light and transparent. Ladies at present seldom wear any ornament on their hair except a few flowers, which are only added at a ball or a dress-party. Caps for deshabille, are of fine lace or blond, with several puffs of colored satin riband about the crown and head-piece. The caps for half-dress are of the turban kind, rather too large, and the trimmings and ornaments too profuse; yet they are becoming to the matronly belle, and have a dignified appearance: flowers and puffs of very rich broad gauze riband embellish these head-dresses. The favorite colors for dresses are stone-color claret, iris-blue, bird-of-Paradise, pink, and spring-green; for turbans, hats and bonnets, etherial blue, hortensia, pink, and emerald-green. MODES PARISIENNES. THE pelisses now worn by the Parisian ladies, are trimmed with fringe, and their pelerine capes continue to be finished at the edges with the same kind of fringe as at that which decorates the skirt of the pelisse. The newest and prettiest pelisse which has lately appeared was of lilac poplin, ornamented with satin pattes laid on a bias fold down the front of the skirt. On each hip were three large flat plaits. As high as the knee were two rouleaur of satin, and two flounces of blond. The belt was of white silk, notched, and embroidered in lilac. Canezou spencers of clear muslin are much in favor for outdoor costume; they are made with stomachers and are fastened behind. Leghorn hats are lined with white, and exhibit white feathers; whenever a colored lining is worn with such hats, the feathers should be of the same hue; these are placed in stages, three in a row. Open straw bonnets are much worn in the morning. Several of these have flowers stamped on them, all of straw. Some straw bonnets have cauls of colored gros de Naples, adorned with stripes of plaited straw; they have no other trimming than a band of riband, which composes the strings. The hats fly very much off the face, and the crowns are round; some of the brims are formed entirely of blond, and the crown is of gauze riband. Three whalebones, placed horizontally, give consistence to the brim. White double garden-poppies are favorite ornaments on Leghorn hats, though some ladies prefer a long branch of honeysuckles. The gingham dresses and also those of white jaconot muslin, have a broad hem, headed by a ruche, as high as the knee; over the hem, on a muslin dress, is often seen a rich embroidery, in detached bouquets: sometimes these are only in front, and are three in number. Where a formal style of dress is required, the sleeves are short, and over these are worn long white transparent sleeves of tulle or crape. Bias folds set on rather full, are the fashionable trimmings on the borders of these dresses. The favorite colored ground for a printed muslin dress is yellow: at balls in the country these dresses are generally trimmed with two flounces, and over the upper one is a wreath of flowers printed. For evening summer-dresses, and for bals pares, nothing is reckoned more elegant than a white India muslin dress of the finest texture, beautifully embroidered in feather-stitch. Some dresses of muslin, printed en colonnes of foliage on a white ground, are trimmed with one flounce, fastened across the knees. |