MORNING WALKING DRESS. Redingote of Taffetas d'Italie. A myrtlegreen check on a white ground; pelerine of the same: green ceinture with long ends tied in front. Capote of poult de soie on rather a light shade of lilac. Short veil of Tulle illusions. Parasol of écrue color (drab). Pocket handkerchief with a lilac border, à vignettes. Black shoes and gaiters.

Another. Redingote of lilac moire; the corsage tight and à revers, a row of buttons en passementerie, is placed down the opening in front. Capote of straw, lined and niched with apple-green crape. Shining leather shoes; black Gros de Naples gaiters.

Another. Redingote of orange taffetas shot with white; the skirt open in front to shew a light lilac silk neck-kerchief. Corsage à pointe Sleeves à la vieille femme, camail of white lace lined with lilac, sarcenet hat of Paille de riz, ornamented with three differer sorts of tulips. Black shoes, lilac silk gaiters.

EVENING DRESS.

Dress of pink Gros de Naples shot with white; a deep flounce put on nearly plain of old point lace, caught up at the left side by a little wreath of roses en couronne. Scarf of point lace. Coiffure à la Sévigné: a bunch of pink acacia mixed with the curls of the hair. Pocket handkerchief richly worked and trimmed with lace. Fan and bouquet.

Another.-Dress of white tarlatane, with pink spots all over; three wide tucks in the skirt with a narrow lace sewed to the edge of each; corsage à pointe, short sleeves with three bias folds. Pink ceinture with long ends. A triple fall of lace goes round the corsage at top.

Another.-Dress of pale blue poult de soie with two flounces of old lace of a moderate depth, and put on almost without fullness. The corsage à pointe; sleeves short and tight, trimmed with two falls of lace. Berthe composed of two falls of lace fastened by a blue bow in the centre. Hair in smooth bandeaux, and a wreath of blue convolvuluses

See this portrait No. 87 of our Series of Ancient Portraits.

entwined in the back hair. Fan, bouquet, and handkerchief trimmed with lace.

Pocket handkerchiefs. One word on these, indispensable luxuries before I finish. They are worn of many different sorts, but I had better explain a few of them.

We have them festonnés, with a rivière (open stitch), and a wreath embroidered all round. These are what we call modestly elegant, and are worn without lace at the edge. Then come those with three, four, and five rows of Valenciennes entredeux let in to them, and finished by a narrow lace of the same description sewed on plain all round.

Some are composed of a series of broad hems joined together by an open stitch. Others with a deep rivière all round, on which are bunches of flowers embroidered at distances. These require a broad lace at the edge. For morning they are generally à vignettes, that is, colored borders stamped on the cambric ground, and the initials worked in cotton of the same color as the border.

Colors. For dresses several shades of lilac, écrue, and blue, shot with various colors are the most prevalent.

For Hats, primrose, apricot, apple-green, and white. And now ma belle if you do not make the most of your materials, and look as jolie as when we last met, à qui sera la faute? Certainly it will not be that of your affectionate,

E. de F.

DESCRIPTION OF

THE PARIS PLATES OF FASHIONS IN THE PRESENT NUMBER. PLATE 1.-Dress of barège of a light shade of green; the skirt long and full, so as to set in ample folds round the figure. The corsage is tight to the bust, and demi-montant (half high), the sleeves short and tight to the arm. A ceinture of green ribbon, with moderately long ends, finishes the body at the waist. A pelerine in black lace of the cardinal form is worn with this dress, it conceals the sleeves and waist, but only meets at the neck where it is finished by a rosette

bow of pink ribbon (see plate). The cap, which is composed of point lace, is worn far back on the head, and is trimmed with pink ribbon put on in a zigzag across the headpiece, and terminating at one side by a rosette bow, and on the other by three coques. Black lace mittens and a claretcolored parasol complete this dress, which is particularly adapted for a home dinner

costume.

DINNER DRESS.

FIGURE 2.-This dress is composed of a Pékin rayé, of a sort of poussière color, striped with black. The corsage is tight, and the point, which is of a moderate length, is rounded in front. The sleeves are very short and tight to the arm, two bias folds of the same material as the dress ornament them. The skirt is long and very ample, a liseré (piping) of black silk goes round the bottom of it. Berthe of black lace which comes down en cœur in front, where it is attached by a rosette of blue ribbon. Cap of point lace, coming very low at the ears (see plate), and trimmed with blue ribbon. Black lace mittens, bouquet, and embroidered pocket handkerchief.

PLATE 2.-Dress of lilac barège; the skirt unusually long, and almost forming a train at the back. Corsage à coulisses, made square at the top of the bust, and a piece

put in to form the shoulder, (see plate) Short sleeves of barège made with fullness to match the body, and a long sleeve of white organdi, pretty full and confined with a band at the wrist complete this dress. A narrow lace goes round the corsage at top and finishes the short sleeve: A ruffle of the same falls over the hand. A bow of lilac ribbon with two long ends, is placed in the centre of the waist in front. Capote of primrosecolored crape, trimmed with green ribbon, a ruche of narrow ribbon, the color of the capotte, finishes the outer edge. Black silk gloves en filet.

FIGURE 2.-Redingote of pékin-striped blue and a light shade of brown: the corsage tight and nearly reaching to the throat. Tight sleeves finished at top by a pointed epaulette, which is trimmed with two bias folds of the same material as the dress. The chemisette of lace comes up all round the top of the dress, and ruffles of the same fall over the hand (see plate). Hat of apricot color, poult de soie, with a ruche of the same color ribbon inside and outside the edge. The trimming consists of a row of bows en échelle, and finished by two ends on the left side. A Voilette of Tulle illusion falls negligently over the crown of the bonnet. Yellow kid gloves. Parasol of Donairière pattern: botteries to match the dress.

MONOMANIA. Amongst the many extraordinary instances of self- delusion or insanity, the following may be reckoned not the least painfully interesting. The story was divulged to the public during a trial on the 6th of June at the assizes for the Department of the Rhone upon the trial of the wite of a workman for attempting to murder him by cutting his throat with a razor. It was evident that she was well affectioned towards her family; and as might be expected she "could not account for the momentary impulse". It was, however, singular that she herself was indignant that any attempt should be made to establish her insanity. The jury acquitted her, but the president ordered her to be placed in a lunatic asylum: THE REMARKABLE HISTORY OF A PROTEGEE OF MADAME ADELAIDE's mentioned in the above. The sister of the king of the French, in 1836, took under her protection a young lady of family, placed her at a boarding school, and

received her frequently on holy days at her own apartments in the palace. Suddenly the protégée announced to the schoolmistress and her intimate friends that she was about to be married, under the auspices of her patroness, to a young Lieutenant-Colonel, to whom she had been introduced by her Royal Highness, and in evidence of the truth of her assertions produced letters on the subject with the seal of the Princess, and in a handwriting which all acquainted with that of Madame Adelaide believed to be hers. Subsequent letters were also displayed, in which her Royal Highness was made to state, first, that the intended husband was detained away by his regimental duties; then, that he was dangerously ill, and ultimately, that he was dead and buried. The young lady, upon this, gave herself up to such violent grief that fears were entertained for her own life. The only consolation she would listen to was a permission to put herself into the mourning of a widow,

and to weep over the tomb of her lost lover. The under-governess accompanied her to the cemetery of Père la Chaise, and, at the gate, desired to have pointed out the place of interment of Lieutenant-Colonel Count M., who had died a week before at the age of 25. The concièrge searched the register, and then assured the inquirers that it did not contain the entry of any such burial, which consequently must, he said, have taken place elsewhere. This answer increased the despair of the young lady, who prevailed upon her attendant to go with her to the other cemeteries of Paris, at each of which they met with the like disappointment. It was night before they returned home, and the grief-stricken pupil retired to rest in deeper despair than ever. The governess, the next day, felt it to be her duty to go to Madame Adelaide, and relate all these mournful circumstances, taking with her the letters announcing the events which had so entirely destroyed the peace of her pupil. The astonishment of the Princess on hearing the extraordinary narrative, and at seeing letters, apparently in her own handwriting but which she had never written, and recognizing impressions from a seal which did really belong to her, could not be described. No such person as Lieutenant-Colonel Count M. was known to her Royal Highness, consequently she never could have contemplated any such alliances for her pupil, nor have announced to her his illness and death. In fact, the young lady had been induced by a morbid imagination to invent the whole tale, to purloin one of her patroness's seals, imitate her handwriting, compose the fictitious letters, and, by bribing an old servant, induce her to put them in the post. Her mind, however, was affected with the same grief from her own deliberate invention as if all the circumstances had really existed.

THE LATE BARONESS DE FEUCHERES.

The French tribunals furnish us with many an interesting memoir. M. Philippe Dupin, counsel for the heirs and next of kin of the late Baroness, commenced his pleading with a short sketch of the life of the late Baroness, her humble birth, high elevation in society, at a subsequent period, and the painful circumstances which attended her latter years, in her separation, about twelve years before her death, from her husband-a separation pronounced by the justice of man. After

this long lapse of time, upon her death, the Baron de Feuchères came from retirement to repudiate those whom he had accepted and treated as his affianced relations. following is the summary of the family history of the deceased Baroness.

The

In the Isle of Wight lived Richard Daw, or Dawes, a seafaring man, and Jane, his wife, who were married in 1775, as by certificate produced, and who, between that year and 1795, had ten children, all of whom

had their baptisms entered in the register of the parish of St. Helens, except James Dawes, the eldest, and Sophy Dawes. This, however, arose from the extreme negligence with which the registers of the parish were kept during that period, as certified by the affidavits of Mr. Young, the perpetual Curate, of the clerk of the parish, and Mr. Binstead, notary, resident there. Of these ten children, the only survivors to an age of maturity were James Dawes, Mrs. Clark, Madame Thanaron, and Sophy, who afterwards became Baroness de Feuchères. Several of the children were taken into the charge of the Guardians of the Poor, and among them was Sophy, who entered the poor-house on the 12th June, 1797, when six years old, her father engaging to pay 2s. a week towards her maintenance. On the register of the establishment there still exists the entry of her name, with those of her father and mother. On the 10th of October, 1805, Sophy Dawes was apprenticed by the overseers or guardians to a farmer named Camp, at Clift, in the Isle of Wight. In the register of this occurrence the names of Richard Dawes and Jane his wife appear again as her father and mother. This fact is also attested by affidavits, and other attestations from six justices of the peace in the island, and by the rector of the parish of Carisbrook. In 1809, when Sophy Dawes was about nineteen years of age, and up to which time her education had been necessarily confined, her family continuing to be in poor circumstances, her mother went to London, and obtained an appointment as matron to a Lying-in Hospital. Sophy was called to join her, and remained with her till 1811, when she was placed in the school of Miss Triggs, at Chelsea. In 1815, the great change in her fortune took place, and she came to Paris, taking up her residence in the Palais Bourbon. Here M. Dupin detailed the circumstances of the marriage with the Baron de Feuchères to the same effect as the statement of M. Chaix d'Estange at a former hearing, mention of which is subsequently made, adding, that on her arrival in London she alighted at the house of her sister, Mrs. Clark. To prove the filial affection and duty of the Baroness towards her mother, the learned counsel reminded the Court of the fact of her having followed Mrs. Dawes to London when her fortunes were but very humble, and added the fact that the Baroness, when her own station in society had become so much raised, brought her aged parent to Paris, and paid her every care and attention. In further illustration of this admirable conduct, M. Dupin read numerous extracts from letters written by the Baroness to the Prince de Condé and her husband, in which she mentions her mother in terms of the deepest interest. At a later period, Mrs. Dawes, the mother, expressed a desire to enter a nunnery, and the Baroness, in