former, of beautiful color and pattern, made for a young and slender person: the ground was of the lightest shade of pea-green, flowered; it was bordered by two flounces, edged by violet-colored passementerie or braiding, and the body, made partially high, was laced down the front. Merino dresses, of a very fine texture, are much worn: they are of rather dark and permanent colors, such

as

pomegranate-rind, slate-color, or myrtle-green, and are ornamented with black velvet; they are comfortable and useful dresses for the promenade or the open carriage. For the rural ball, colored crape and gauze over white satin, form the favorite dresses for young ladies. The dresses are chiefly made square across the bust, and are rather too much cut away from the shoulders. The sashes are tied before on the left side, and the ends do not depend lower than about three quarters of the skirt. Many of the

corsages are laced before in the Swiss style, with a stomacher in front.

Flowers, or strings of pearls, entwined amongst the hair, form the favorite ornaments on the heads of young persons at dress-parties: the flowers are either in half-wreaths, or detached, and never in profusion. Dress-hats are most worn by middle-aged ladies: they are generally of white crape, with plumage of a light tint. The caps are in blond, very ele gantly trimmed with puffs of painted gauze riband, strings of which float over the shoulders. Sometimes a beautiful flower made of small feathers, is placed on the hair under the cap, which is then worn very backward. Berets and toques yet prevail at dinner and evening parties.

The favorite hues for dresses, are pomegranate-rind, slate-color, Etruscanbrown, pink, and dove-color;-for hats, bonnets, and toques, pale-pink, celestialblue, canary-yellow, and cornflower-blue.

CLEAR muslin canezou spencers, with a colored petticoat of gros de Naples, form a prevailing costume at the public promenades. The sleeves are excessively wide, and come considerably below the hips; and many ladies have them laid in small plaits. Under each sleeve is a narrow bracelet with a clasp of gold: when a lady dines out, she pushes up the sleeve with it, to prevent it from coming in contact with the several dishes.

Open-straw bonnets are very general. Those of white or of blue gros de Naples are also much in favour; at the edge of the brim is a plait formed of straw. On some transparent bonnets of white crape are seen two bouquets composed of ears of corn and field-flowers; they are fast ened by a rosette, edged with straw.These bonnets have a broad fluted band round the crown. Long white feathers are often seen on Leghorn hats, which have also a broad band of black velvet, with a buckle of gold on the right side; under

Chintz dresses are often made with the corsage en gerbe, both at the back and front: clear muslin dresses, with broad stripes, have the stripes so disposed at the back as to form broken chevrons: a broad hem forms the border, which comes as high as the knee, over which is a double ruche. A lady was lately seen at a public concert in a white dress of organdy, with the corsage à l'Edith, and long, wide sleeves. At Tivoli painted taffetas and Indian chintzes are much worn, the ground pale blue, or very light green, figured over in a running pattern of

various colours. A dress of striped gros de Naples has been observed, which was bordered with so broad a bias, that the petticoat seemed divided in halves. The stripes were straight from the sash to the knee, the other part was in diagonal stripes, and next to the shoe was a bias with the stripes transverse. Colored crape-dresses were seen at the last ball at Ranelagh, and one young lady wore a dress of fine muslin bordered with narrow lace. A sylph-like girl, who waltzed admirably, exhibited a dress of yellow gros de Naples, made uncommonly short.

Full-blown Provence roses are favorite flowers on the hair at dress balls. The

long hair is plaited, and wound twice round the head; two bows of hair are placed on the summit, and often surmounted by pomegranate blossoms and poppies. Many ladies have their hair arranged à la Chinoise, without any ornament.

Dress-hats of white crape are bound at the edge with a rouleau of white satin; another rouleau is stretched out from the crown to the brim, the end of it being concealed by a bouquet of dandelion in blossom the strings are of white satin, are fringed at the ends, and suffered to float. A favorite ornament on a white chip hat is a large poppy of pale pink,

BIRTHS.

SONS to the countess of Guildford and lady Georgiana Stuart Wortley, and to the wives of Mr. secretary Peel, the hon. T. Knox, M.P., the hon. Mr. Moreton, the hon. E. G. Stanley, the hon. A. L. Melville, the rev. Frederic Spenser, the rev. C. Covey, Mr. G. C. Holroyd, Mr. T. F. Cobb of Margate, Mr. Page of Northaw, Mr. Alfred Chapman, Mr. T. Broadwood of Cadogan-place, Mr. P. Gowan of Dulwich, Mr. J. Key of Wormley, and Mr. Robert Canning of the county of Glocester.

Daughters to the countess of Surrey and lady Harriet Paget, also to lady Charlotte Lane Fox and lady Forbes, and to the wives of the rev. J. W. Worthington, the rev. W. Stamer, the rev. Joseph Simpson, major Ralph Sneyd, Mr. Oswald Smith, Mr. W. H. Hooper of Stamford-hill, Mr. W. Whitaker Maitland, Mr. C. Webb of Kennington common, and Mr. W. H. Elliot, F.L.S.

MARRIAGES.

The duke of Buccleuch, to the third daughter of the marquis of Bath.

Sir F. Mackenzie, to the daughter of Mr. J. S. Wright, of the county of Nottingham.

The eldest son of colonel French, of Galway, to Miss Josephine Mazzinghi, of Cadogan-place.

Mr. Joseph West, of Prancas, to Miss Charlotte Wroughton.

Mr. Theodore Broadhead, of Berkeleysquare, to the daughter of lord Francis Osborne.

Mr. W. C. Lambert, barrister, to the third daughter of colonel Norcot.

The rev. H. Sim, to Miss Harriet Dodd, of Matlock.

Dr. Hugh Ley, to Miss E. S. Kelly of Euston-square.

Mr. W. Gostling, of Highbury, to Miss Jane Wilkinson.

the late Mr. W. Hoare, of Fleet-street. Mr. J. Tonge, to the only daughter of

Major N. Spenser Webb, to the youngest daughter of the rev. Dr. Fly.

Mr. H. Leman, of Bristol, to the eldest daughter of Mr. T. Cadell.

Mr. L. Currie, junior, to the fourth daughter of lieutenant-general Hay.

to the youngest daughter of the late adMr. T. Oliver, of Devonshire-place,

miral Brown.

At Streatham, Mr. W. Slator, of Thorney.

Mr. John Parke, the musician. Mr. J. Boosey, bookseller. Mr. W. Harrison, bookseller. At Shrewsbury, Miss Judith Corbet. The widow of Sir George Beaumont. Mrs. Stephanoff, wife of the artist. At Tottenham, Mrs. Ansell. The widow of Mr. Henry Moore, M.P. Mary, relict of the hon. R. Penn. Mrs. Campbell, wife of the poet. In his 57th year, by inconsiderately cutting a corn, Sir Henry Chamberlain. At Hampton, Mr. John Clement Ruding.

Mr. G. Webb, of Wye in Kent. Drowned near Netley Fort, Mr. Missing and Mr. Baker, of Southampton. Near Fordingbridge, Mr. J. Íayter, at the age of 99 years.

At Framlingham, Dr. Goodwyn. At Windsor, Mr. John Elmslie. At Canterbury, Mr. George Wood, proprietor and editor of a popular newspaper.

At Eltham, at the age of 84 years, Mrs. Bowdler.

At Clapham, Mr. Desborough, a clerk of the Post-office.

At Woolwich, the wife of lieutenantcolonel Cox.

Mr. Robert Hunter, of Bristol. At Camden-town, Mrs. Hannah Scott. At Hampton-wick, Mrs. Eastwell. At Crouch-End, Mr. C. J. Maguay. At the age of only 24 years, Joseph Sewell, called the Lincolnshire giant. In Swaledale, Yorkshire, Mr. Kearton, in his 94th year.

Dr. Hamilton, professor of mathematics at Aberdeen.

By self-inflicted violence, Mr. John Dawson, of the county of Fermanagh.

Dr. O'Shaughnessy, styled bishop of Killaloe, by the catholics.

At Paris, in the hospital of St. Louis, lieutenant-colonel Monge.

In North-America, at a poor-house, George Sparrow, one of the "Cato-street conspirators.'

In Jamaica, Mr. Nicholas Doman, and Mr. R. L. Bowen.

In the island of St. Christopher, Mr. Edward James, barrister.

In the isle of St. Vincent, Mr. Daniel Macdowall, at the age of 81 years.

REMARKS ON THE BEAUTIES OF LITERARY COMPOSITION.

LITERATURE was at first intended for use rather than for ornament; but, when it began to be studiously cultivated, it became a matter of taste and the basis of elegance. Rules were framed for its establishment, and it was at length admired by many for itself, as much as for its professed object. Yet this mode of judging of it is improper; for sense must always be considered, by rational inquirers, as superior to sound, as the figure is more important than the dress in which it is enveloped. William of Wykeham said, "Manners make the man." He perhaps meant that the conduct of a man shows what he is; but his words do not obviously bear that meaning. He ought to have said, "Sense and good conduct make (or mark) the man. A man may have good manners without integrity, as a lady may be beautiful without virtue; but exterior manners and personal beauty are still of a subordinate character.

While we are pleased with taste and elegance, we deem good sense superior to both. When those qualities are combined with sense, they certainly render it more attractive; but, without it, they merely resemble a "tinkling cymbal." Applying this remark to composition, we may observe that there are beauties of expression where the sense is not very striking, and a profusion of verbiage where the reasoning is feeble and inconclusive; and weak minds, we may add, are influenced by those allurements,

VOL. X.

without profiting in an intellectual point of view. But it ought to be considered that sense is the summum bonum, the essential good, while beauty and ornament are adventitious and accessory.

Before we particularise graces and beauties, it may not be improper to take notice of the most important rules of composition. Rules were not intended to fetter, with arbitrary violence, the operations of genius, or prevent it from diffusing its brilliant lustre, but to repress its wild luxuriance, correct its incohe rence, and chastise its absurdities. It has been said that no great poet was ever formed by rules; yet it may be alleged, on the other hand, that some attention to rules would not impair the genuine beauties of the most talented bard. Pope says, that men of genius may "rise to faults true critics dare not mend;" but this, we maintain, is rather sinking than rising. Faults may be pardoned or excused; but they ought not to be extolled or applauded.

The first rule of composition is so obvious, that it is unnecessary to dwell upon it; and some readers may think that the mere mention of it is an affront to their understandings. It is this:you ought to be well acquainted with the subject on which you intend to write. It may be asked, "Who would enter upon the discussion of a subject of which he knows little or nothing?" We answer that this is the practice of many, more particularly of our journalists, who are the leading and most influential instructors of the present age. Without

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