signs of a dark colour, on a fawn coloured ground; corsage draped; sleeves long; the hair tucked up with a tortoise-shell comb; a nœud of black gauze, and black satin shoes.

CAPS.

The most handsome at present are of tulle, with a row of deep blond, a few dwarf flowers, reversed on one side, and four rouleaux of white satin to hold up the blond. For mourning they are of black blond; the flowers also black; to which are added blond brides, and a nœud, forming two large coques, edged with narrow white tulle, and

placed under the blond: this naud for widows caps only.

At several fashionable millinery establishments, we have seen caps, with one side elevated, and the other considerably depressed; a palm, composed of pinked ribbons, ornaments the inside and the exterior. Garlands (of pinked very short dented ribbons) are placed on blond caps.

An extremely elegant dress cap composed of pink velvet and blond lace: the velvet forms two large wings (rounded,) and the blond, which edges them, is slightly gathered; the crown sufficiently open, to admit the hair and high-backed comb through it.

At the opera and evening parties, gold and

silver gauze turbans are much worn; almost all turbans have a gold bandeau.

BERETS are generally of a dark ground, with coloured designs or gold.

MANTILLAS, for ball dresses, instead of being fixed to the edge of the body, as usual, is sometimes adapted to the collar-forming shawl in front.

HATS.

A sky blue velvet hat, has been seen, the crown of which was formed by six angles, narrower at bottom than at the top.

Morning hats of rose-coloured plush, white glazed; the crown round like a jockey cap. On the right a bouquet of pinked ribbons, and to the left, near the shape, a large bow.

A crimson velvet hat, with wide brims, ornamented with two white feathers.

Crape hats, contracted shapes, with two feathers drooping over the shape.

A singular hat has lately been made; the crown is ribbed, fitting quite close to the head; the shape is also ribbed, like Chinese hats, which they imitate.

A very pretty half dress hat of white moire, with white gauze nœuds; a jardinière in two bouquets; a nœud of pinked ribbon under the brim over the forehead. These nœuds now are seldom worn on the sides; the ends are dentedno bows in the middle. Some hats, have under the brim, a black blond, in thick gathers, projecting about two inches all round the shape.

Coloured satin and moire hats are lined with the same materials.

But few alterations have taken place as yet in the shapes. Less velvets. Watered ribbons, fringed. Blond trimmings. The shape leaving the face uncovered. A curtain of blonde.

DESCRIPTION OF THE PLATES.

PLATE THE NINTH.

FIGURE THE FIRST-WITH BACK VIEW.

EVENING DRESS.-A light blue silk muslim dress; flat corsage, with plaits terminating en pointe. Short beret sleeves, with small nœuds.

Skirt short embroidered round the hem. Headdress-the hair drawn up smooth from the forehead, forming a large coque on the right, and two smaller ones on the left, surmounted by a close plait, which twines round the base of the whole; four feathers tastefully displayed environs the coiffure, while a fifth, descending on the left shoulder, and relieved with a single flower, a narcissus, presents a most pleasing and becoming head-dress.

FIGURE THE SECOND.

BALL DRESS.-A white crape dress; corsage crossed. The skirt short; a gauze ribbon above the knee, with transverse ribbons from the hem, with nœuds and bouquets. Sleeves short, with manchettes of blond. Head-dress à la chinoise, with side curls.

FIGURE THE THIRD-WITH BACK VIEW. MORNING WALKING DRESS.-Light green satin dress; high corsage en pointe, edged with

blond, forming mantilla over the shoulders. The skirt short, with velvet appliqués and deep hem figuring rédingotte. Blond cap, with brides, trimmed with gauze ribbon, dented coques, and ornamented with flowers: the crown like that of a hat.

FIRST BERET-WITH BACK VIEW.

A rose-coloured beret, ornamented with white plumes; the right brim elevated and much wider than the other: the crown low and round like a jockey cap, over which extend five bands fixed to the right brim, gradually decreasing as they unite in one point on the left, where they terminate with a noud.

FIRST CAP-WITH BACK VIEW.

A blond lace cap, studded, in front with rosebuds, richly trimmed with blond-lace and a fichu

en marmotte.

COIFFURE-WITH BACK VIEW.

Coiffure, composed of two elevated cockles, placed rather obliquely on the left, an open plait winding round the root of the coques, but leaving a space in order not to press them; they are divided at equal distances in order to leave room for the introduction of a bow of ribbons between each. This coiffure is easily executed, neat in its appearance and graceful in its proportions.

PLATE THE TENTH.

FIGURE THE FIRST-WITH BACK VIEW.

MORNING WALKING DRESS.-A printed merino dress; corsage draped; deep cut round the shoulders and crossed. Gigot sleeves. Skirt short. Crape hat open; shape ornamented with white feathers, tipped with red; a rich cockade naud under the brim; the ends pointed.

FIGURE THE SECOND.

CARRIAGE DRESS. A garnet coloured gros de Naples dress; plain corsage à schall plush lapels; gigot sleeves. Skirt short. Beret à la Stuart, ornamented with feathers; gold ornaments on the forehead; side curls full.

FIGURE THE THIRD-WITH BACK VIEW. DINNER DRESS.-A light amber gros d'orient; corsage plain. Beret sleeves, with mancherons, deeply dented and edged with narrow lace; a bouquet on the left side. Skirt short. Head-dress

three smooth coques, a garland of flowers, and a bouquet; a gold chain and jewel on the forehead; side curls in clusters.

FIRST CAP-WITH BACK VIEW.

A plain tulle cap, trimmed with two nœuds in the shape of a fan, and ornamented with corn

ears.

SECOND CAP-WITH BACK VIEW.

An embroidered tulle cap edged with lace, and trimmed with gauze ribbon nœuds.

COIFFURE-WITH BACK VIEW.

The hair separated en bandeau, in front; a smooth full coque over the left side curl, and close plaited twines round the base of the two upper coques, which are supported by a highbacked tortoise-shell comb. The effect of this neat head-dress is in better taste, and much more becoming, than many more elaborate and complicated coiffures.

PLATE THE ELEVENTH.

FIGURE THE FIRST-WITH BACK VIEW.

EVENING FULL DRESS.-A deep blue satin tunic, corsage draped in front, and en cur in the back; a gold broach, clasps the draped folds together. Sleeves short, with long pointed dents, a

nœud of white satin ribbons on the shoulders. Under dress of gauze, trimmed with silver gauze rouleaux and nœuds; the ends dented. Emerald and ruby necklace, with light filigree drops between each link. Coiffure composed of two elevated coques, placed rather obliquely on the left, an open plait winding round the base of the coques, but leaving an open space to avoid pressing them; they are divided at equal distances in order to leave sufficient room for the introduction of the stem of the feathers, or a nœud of ribbons; a gold chain is tastefully entwined with the hair, a jewelled ornament corresponding with the neck-chain is on the forehead, and has three gold filigree drops; the side curls are in full ringlets. This coiffure is easily executed, though so elegant in its appearance, and graceful in its proportions.

FIGURE THE SECOND.

Opera Dress. A rose coloured satin dress, corsage deep cut round the shoulders. Short

FIGURE THE THIRD.

OPERA DRESs.-Silk muslin dress, silver embroidered; corsage trimmed with lace, ceinture of satin ribbon tied behind. Skirt short. Gold neck-chain; the links small.

FIGURE THE FOURTH-WITH BACK VIEW.

EVENING DRESS.-A pale green embroidered silk muslin dress, corsage à schall, crossed in front, and plain behind. Short wide beret sleeves; a double row of deep lace, forming mantilla, the bust edged with narrow lace. The skirt short, embroidered round the hem and in front, and a black chain border. Head-dress, two close plaits en coques, with dwarf flowers tastefully arranged, full side curls, and gold ornament on the forehead.

FIRST HAT---WITH BACK VIEW.

A black satin hat; shape open; crown low; ornamented with nœuds of black and yellow gauze ribbons; the inside lined with yellow glazed plush.

SECOND HAT-WITH BACK VIEW.

A light green gros de Naples hat; the shape open; two ornaments of the same materials on the left-side edged with black lace, a noeud en coquille and brides.

COIFFURE-WITH BACK VIEW.

This head-dress, is composed of three smooth open coques, supported by a gold arrow, and ornamented with paradise birds and pearls; the hair separated in front; full side curls.

PLATE THE TWELFTH.

FIGURE THE FIRST.

FANCY BALL COSTUME.-Crape dress, embroidered with floss silk and silver. Corsage flat; the points on the shoulders edged with small piping. The slip of satin, edged with piping. The mantilla similarly edged. Satin ribbon head-dress. Watered gauze veil. Berlin

FIGURE THE SECOND.

A FANCY BALL DRESS, composed of a green velvet camisole, setting close to the shape, and closed in the front. Short flat sleeves, with blond trimmings. A double pointed jockey, edged with a twisted ribbon; blond collerette, falling in thick gathers over the back. The skirt of white lace, over a satin slip; a double rouleau, knee deep, from the left round the skirt; the two ends joining en cœur, and closed with a rich lace nœud on the opposite side. From the rouleau reaching to them, a fall of deep lace, in rich thick folds. White satin beret, connected with a net of twisted ribbon. If requisite, the end of the net can be fixed on the side of the camisole. This costume would look equally well, if made of crape, with satin lining.

FIGURE THE THIRD.

FANCY COSTUME.-High corsage of purple gros de Naples, closed in front, striped muslin sleeves and skirt, wide trowsers, closed at the knee. Green velvet cap, with black velvet naud, and feathers in front.

FIRST HALF FIGURE.

DINNER DRESS.-A rose-coloured satin dress, ornamented with blond appliqués. Long sleeves of blond, sitting close from the wrist to the elbow; full wide from thence to the shoulder; deep dented epaulettes, edged with lace.

SECOND HALF FIGURE.

WALKING, OR CARRIAGE DRESS.-A greencoloured redingotte, of gros de Naples, cross draped à schall pelerine, with two plaits, and edged with silk fringe; embroidered chemisette. Sleeves wide, from the shoulder to the elbow, and close at the wrist, with four bands. Blue satin hat; shape open; crown high, ornamented with two feathers; lace veil.

FIRST HAT-WITH BACK VIEW.

A light pink coloured satin hat, ornamented

K

with blond, gauze ribbon nauds, brides, and fancy flowers.

SECOND HAT---WITH BACK VIEW.

A pale blue-coloured dress hat, small and open, tastefully ornamented with a nœud of ribbons, and blue shaded feathers.

COIFFURE-WITH BACK VIEW.

This head-dress is composed of three principal coques on the summit of the head; the middle one slightly raised above the other two. Two smaller coques reversed, much lower than those above mentioned. The side-curls are far apart, and frizzed.

The Courts of Lobe.

(RESUMED FROM PAGE EIGHT.)

"Un fanatisme aimable a leur ame enivrée Disoit: la femme est Dieu, puisque elle est adorée."

RULES OF LOVE.

1. The only legitimate excuse for dispensing with Jove, is the thraldom of hymen.

2. He cannot love who knows not how to dissemble. 3. True love cannot exist for more than one object. 4. Love must either increase or diminish.

5. The favour which a lover snatches from his mistress against her consent, must be productive of distaste

6. No one really loves till at the age of discretion. 7. When a warm and mutual attachment is entertained, the survivor to be prescribed a widowage of two years.

8. No one should be deprived of the object of his 'affections, without a very sufficient cause.

9. He alone who feels the want of it, can truly love. 10. Love banishes avarice.

11.-A fair one should never love him, with whom she would blush to be united.

12. The true lover only desires the good wishes of her he loves.

13-Love once divulged, seldom lasts long.

14. An easy conquest soon renders love contemptible, 'tis only when attended by difficulties love becomes dear. 15. A true lover can never without emotion behold the object of his affections.

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16. Mutual palpitations agitate the hearts of lovers on a sudden recognition.

17.-If a new attachment is formed, the former must undoubtedly give way.

18. Integrity alone, is worthy of love.

19. When once there is a diminution of love, it languishes and very rarely recovers its former strength. 20.-A lover is always fearful of offending.

21. A tender jealous solicitude, only serves to augment the passion of love.

22. When suspicion once gains ascendency, the hearts of lovers become tormented by jealousy and discord.

23.-When love torments and agitates the mind, sleep becomes a stranger and sustenance is neglected. 24-Thoughts of the object of his affection, will involuntarily intrude in every action of a lover. 25. The true lover delights in that alone which he thinks will please his mistress.

26.-Love can refuse love nothing.

27.-Love can only be satisfied by the consolations of love.

28. A slight mistrust often engenders fatal suspicions. 29.-A sensualist ought never to love.

30. Whoever truly loves, has continually before his eyes the image of the beloved object.

The History of the Dead.

THESE are the generations of the dead,

A long, dark, drear, and melancholy race, Who with past times and ages long have fled, Nor left on earth one solitary trace!

Hark! thro' the peopled realms a voice proclaims,
And to the living shall the sound be heard :-
Behold, he comes! in pestilence, in flames,
In war, in ruin, and in deeds abhorr'd.

He comes the world is quiv'ring at his name, He comes with millions prostrate at his feet, All yield to him: the mighty sons of Fame, With unknown myriads, in his presence meet.

Lo! where the pomp of man is rushing by,
Fleet as the winds that rock the billowy surge,
This is the History of the Dead, that fly
Where Death's imperious mandates onward urge,

Talk not of pomp, ye heritors of earth,

Ye gaudy mimics, fluttering for a day, To swell his grandeur ages had their birth, And unborn millions shall attest his sway.

Where are the mighty warriors of yore,
Where the bright spirits that have struck the lyre?
Where the adventurous legions, that once bore
The Roman eagle, with a conq'ror's fire?

Where are the myriads that have seen the sun,
Since first Death came, with all his train of woe?
Since Desolation's work was first begun,
And mad Ambition roll'd in blood below?

All now lie mingled with their native dust,

Of strength and beauty here no wrecks remain; Thou, too, if deemed unfaithful to thy trust, Shalt dwell for aye in bitter, nameless pain.

Cupid and Psyche.

A CERTAIN king had three daughters, of whom the youngest and most lovely was named Psyche. Her charms, indeed, were so wonderful, that her father's subjects began to adore her, and pay to her the homage which should have been reserved for Venus. The exasperated goddess commands her son to avenge her on this rival, by inspiring her with a passion for some unworthy object; but while employed in this design, Cupid himself becomes enamoured of the princess. Meanwhile, in obedience to the response of an oracle, Psyche is exposed on a barren rock, where she is destined to become the prey of a monster. From this hapless situation she is borne by a commissioned zephyr, who wafts her to a green and delightful valley. Here she enjoys a refreshing sleep; and on awakening, perceives a grove, in the centre of which was a fountain, and near the fountain, a splendid palace. The roof of this structure was supported by golden pillars, the walls were covered with silver, and every species of animal was represented in exquisite statuary at the portal. Psyche enters this edifice, where a splendid feast is prepared; she hears a voice inviting her to partake of the repast, but no one appears. After this sumptuous banquet is removed, she listens to a delightful concert, which proceeds from unseen musicians. In this enchanting residence she is espoused and visited every night by Cupid. Her husband, who was ever invisible, forbids her to attempt to see him, adding that her happiness depended on her obedience to the prohibition. In these circumstances, Cupid, at her earnest solicitation, reluctantly agrees to bring her sisters to the palace. These relatives being envious of the happiness of their younger sister, try to persuade her that her husband is a serpent, who would ultimately devour her. Psyche, though by this time she should have been sufficiently qualified to judge how far this suspicion was well founded, resolves to satisfy herself of the truth, by ocular demonstration. Bearing a lamp in one hand, and a dagger in the other, to destroy him, should he prove a monster, she approaches the couch of her husband while he is asleep. In the agitation produced by the view of his angelic form, she allows a drop of scalding oil to fall on his shoulder. The ir

ritated god flies from her presence, and leaves her a prey to remorse and despair. The enchanted garden and the gorgeous palace vanish along with him. Psyche finds herself alone and solitary on the banks of a river. Under the protection of Pan she wanders through the country, and successively arrives at the kingdom of her sisters, by each of whom she is repulsed. The victim equally of the rage of Venus and of her son, she roams through all the regions of the earth in search of the celestial lover whose favour she had forfeited. She is also subjected to various trials by Venus, one of which is to bring water from a founlength, takes pity on her misfortunes, endows her tain guarded by ever-watchful dragons. Jupiter, at with immortality, and confirms her union with her forgiving husband. On this occasion the houris empurple the sky with roses; the graces shed aromatic odours through the celestial halls; Apollo accompanies the lyre with his voice; the god of Arcadia touches his sylvan reeds; and the muses join in the chorus.

The Lover's Leap.

About ten miles to the south of Dublin, and just on the borders of the County of Wicklow, is situated a very beautiful and romantic glen, called the Dargle,' the joint property of Lord Monk, and the Hon. James Grattan, son of the late celebrated orator. To this chosen spot many a gay and happy party repair from the noise and bustle of the City, to enjoy its delightful scenery, a cold dinner in "Grattan's cottage," and a dance at evening on the grass.

A rock, which is called the Lover's Leap, ' " rises to a considerable height above the glen. The circumstance which gave it that name, is detailed in the following little poem, which is supposed to be recited near the spot.

-BEHOLD yon beetling rock, whose brow Hangs pending o'er the glen below;

A tale, not easily forgot,

Is told of that same fearful spot;
And thus it runs.-One summer's day,
A bridal party blithe and gay,
Came hither to enjoy the scene,
And dance at evening on the green.
Maria was the gentle bride,

Her husband's joy, and parent's pride.
That morning sun arose, to shed
Its lustr'e on her happy head,
But ere its parting beams glanc'd down,
On valley green, and mountain brown,
A mourning bride she was!

They laugh'd and revel'd, till the sun In heav'n his mid-day course begun, When, to avoid the scorching heat, In groups they sought some cool retreat.