and, as may be observed in the plate, the coques are formed of a much wider ribbon than the rosettes. This dress is worn over a satin petticoat, ornamented with a deep volant or flounce of blonde, headed with a puffing of ribbon the colour of the dress; each puff is separate, and not carried on from one to the other, (see plate). On the sleeves are deep and very full jockeis of blonde, and the dress is finished at the neck with a deep ruff à la Catherine de Medicis, which, as may be observed in the plate, diminishes gradually towards the front. The back hair is in two high coques or bows, encircled at the base with a rich bracelet, which also retains a long ostrich feather, (see plate); three light puffings of gauze finish this becoming and elegant head-dress. The front hair is very much parted on the forehead, the curls falling low at the sides. Gold necklace and earrings, white kid gloves, fan à la Valois, white satin shoes and silk stockings. The sitting figure gives the back of the same dress, the only difference being the ruff, which is replaced by a Mantille.

(No. 8.) TOILLETTE DE LONG CHAMPS. -Hat of poux de soie Glacé, the front très

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evasée, so much so, that it stands nearly perpendicular, the crown is plain, rather smaller at the top than those lately worn. A large bow of wide gauze ribbon is placed towards the right side of the crown, which retains a high bouquet exactly in front. A twisted ribbon, (see plate), goes round the crown, and finishes with a bow, consisting of two coques with two very long ends at the right side: over the bavolet or curtain at the back, is another bow with long ends. Redingotte of Gros de Naples, with corsage fitting tight to the bust. The sleeves are immensely full at top, tight from the elbow down, and finished at the wrist by a small turned up cuff. The redingotte is worn with a round pellerine to match, which, as well as the dress is trimmed with a thick ruche of Gros de Naples, cut at the edges, (see plate), down the centre of the skirt: between the two ruches is a broad ribbon, which seems to lace up the skirt in front, at each spot where a lace-hole might be supposed to come, the ribbon is retained in a small puff, (see plate). Falling collar of cambric, trimmed with narrow Valenciennes lace, brodequins to match the dress.

THE KING'S THEATRE.-The London "fashionable season" may be said to have commenced on the evening of the 1st ult., on which occasion, the doors of this splenI did theatre were thrown open wide" to the devotees of ton and of music. The house, much to our satisfaction, was very crowded; indeed the pit was filled to an overflow. Laporte on this, more than on any former season, deserves the greatest extent of encouragement from the lovers of opera and the Terpsichorean art; not merely because he has engaged a company which boasts of all the novelty and power the continent could afford, but, because, he has had an accumulation of difficulties to surmount, under which almost any other individual would have sunk. First, there were innumerable annoyances arising out of the heavy losses sustained last year; and the inability of the lessees to get in the subscriptions, not merely for that season, but for several of those which preceded it. Next, the indecision and tardiness of the assignees of Messrs. Chambers, in giving any satisfactory reply to Laporte's application for a reduction of the rent to 10,000l. per annum. Next, his having to overcome the offer made by De Begnis to give 11,000l., and to pay one-half down before the commencement of the season, with good security for the remainder; and, lastly, the dilemma, contrary to all former custom, with the director of the Italian

&c.

opera in Paris, mentioned in our last. Laporte would otherwise have opened with novelty in opera as well as in artistes. Ivanhoff, the Russian slave, and Madile. Ungher would have joined on the first night. Yet, after, in a great measure, surmounting these difficulties, it was still feared the lessee would not have been able to open the house, owing to the absence of a principal gem. Fortunately, however, with the assistance of his friend, Seguin, the right hand, as we have heard him designated, of the King's Theatre, Madame Feron and Signor Curioni, both of whom chanced to be in town, were persuaded to lend their aid; so that with Zuchelli and Giubilei, and Mrs. Anderson (late Miss Bartolozzi, and Vestris's sister) the dramatis person were duly marshalled; and, cordingly, on the evening of the 1st ult., as announced by us, the season for 1834 commenced with Rossini's beautiful opera of "La Gazza Ladra." The part of Ninetta was taken at only two days notice by Madame Feron. Several years have elapsed since she last appeared in London. During the interval she has figured in the musical circles on the continent, and experience has not been lost upon her. Curioni, after an absence of three years, appeared in his old character, that of Giannetto, the lover of Ninetta. He went through the part pleasingly. A little more fire would have well become soldier and

ac

lover. The character of Fernando, the persecuted father of Ninetta, was admirably supported by Zuchelli. His singing, throughout the whole of the ninth scene of the second act, where he hastens to the rescue of his daughter

-

Vengo a voi, col sangue mio "La mia figlia a liberar!"

is worthy of the highest commendation. It bore the powerful impress of deep feeling. Giubilei appeared, for the first time, as the Podesta, and satisfied the audience, that if opportunity be given to him, he will attain high vocal eminence. The tones of Porto rushed onward with the rude violence of a mountain torrent: but Giubilei's approach with a staid and sober gravity. He displays more dignity and less noise than Porto. We may say of his voice that it is"Deep, yet clear; without o'erflowing, full." Mrs. Anderson took the part of Pippo. The orchestra, which is extremely well appointed, was led in fine style by Dragonetti. The overture was excellently performed. We would wish to seize this opportunity of bearing our testimony to the wonderful improvement which is manifest in the execution of the choruses. M. Le Jeune, organist at the Catholic chapel, Moorfields, has, after an absence of two years from the establishment, returned to his old post of chorus master, which he ought never to have quitted. So great is the advance of his pupils, that no person can possibly hear their performance of one of the choruses, without being instantly struck at the change. But we have much progress to make to equal the Germans. The ballet of "La Sylphide,"* which followed the opera, again introduced Mademoiselle Taglioni to her friends and admirers. Her attractions are as great as ever. Her dancing is, indeed, the perfection of grace. All her motions are guided by ease, delicacy, and elegance. She had long ago fairly earned the title of "La Deesse de Danse," and her performance as the Sylph, on Saturday evening, proved that her claim to the appellation is as valid as ever. She was greatly applauded. Madame Duvernay was likewise deservedly commended. These performances were repeated several nights; but, on Tuesday, the 11th ult., the entertainments were signalised by two first appearances; the one, "absolute failure," the other was a "hit." The first debutante is a Madame Kynterland, a lady certainly possessing a person calculated to support the character of the Assyrian Queen, Semiramis, in Rosini's delightful opera of Se

miramide, her selection. Her voice is of an excessively feeble and thin timbre, extensive and facile in its upper range, but evincing a total absence of that body and weight so essential to the impersonation of the Queen of Babylon. We, at the same time, are willing to confess, that art and study have been exerted with no inconsiderable success. Many passages were admirably executed, but a want of power rendered them ineffective, except to those who chanced to be near the stage. The other lady is youthful, and carries a fine face. Madlle. Salvi, the Arsace, has a beautifully full and sonorous organ, a real contra alto, of a very sterling quality. Indeed, so good is it, that with the exception of Pisaronis and Marianis, we have heard nothing like it for many years. Her style of singing is chaste and correct, and her exertions were warmly appreciated by a well attended house. We wait, however, until this young lady shall have played several times, for a fair development of the extent of her capabilities. Zuchelli, as Assur, never acted nor sang better, nor with greater effect. His performance of this character is superior to that of any other artive, except the elder Galli. The ballet of "La Bayadere" followed, and the result of the rivalry between herself and Duvernay was, that Taglioni completely surpassed any of her previous efforts. The dancing of both these accomplished Terpsichorean devotees, was the most elegant and lady-like which, perhaps, ever graced the boards of any theatre. They were rapturously applauded. On the 20th, Mademoiselle Taglioni took what is called "a benefit;" and if all who attempted the same experiment met with a similar fate, this proceeding would better deserve the name than, in most instances, it does at present. Before the overture was played, there was not standing room in the pit, and long before the ballet commenced every box in the theatre was tenanted. A new ballet was to be produced on a grand scale, and the most accomplished danseuse ever seen upon a stage was expected to exhibit her delightful art for the last time but one previous to her return to Paris. The opera selected for Madame Caradori's re-appearance, was Rossini's opera buffa "Il Barbiere di Seviglia," in which she undertook the part of Rosina. Her reception was flattering in the extreme, una voce poco fa. In some of her variations we could not help noticing a similarity to those used by Sontag; but her voice is wanting in breadth of tone. Yet she is an excellent singer, always graceful, pleasing, and correct, and her acting is in general characteristic. Her faults are those of nature, not of art. Still she is far more capable, as a prima dʊn»a, than any person we have this season seen

at the King's Theatre exercising this vocation. Zuchelli made an admirable Figaro. Between the acts of the opera we were introduced to an old favourite, the "Minuet de la Cour et Gavotte de Vestris," but we had never before seen it in such an advantageous light. It was danced by Mesdemoiselles Taglioni and Duvernay, and they enriched it with so many graces that we scarcely recognised our old acquaintance. The new grand ballet Féerie, called "Sire Huon, ou le Cor Enchante," composed by M. Taglioni, is an entertainment which reflects great credit upon the establishment. The scenery, dresses, and decorations were of the most gorgeous description; the uances possessed many new features to recommend them to the attention of an audience; and the whole arrangement of the production is highly praiseworthy. The subject upon which it is founded is similar to that of " Oberon." Sir Huon (M. Coulon), having quarrelled with and mortally wounded a knight of high rank, is banished by his King from all association with his comrades, until by the performance of some dangerous exploits he can show himself worthy to be replaced in their society. Shortly after this banishment, in a dream, he beholds the lady of his love (Taglioni), is introduced to the world of fairies, and from them receives an enchanted horn, which if blown will render him assistance in the hour of danger. He passes through a variety of dangerous adventures, but he gets through his perils, and, with the assistance of the horn, is at last rewarded with the fair hand of his beautiful mistress. The pas de schawl, is certainly one of the most charming pieces of pantomimic action we ever saw exhibited. It was danced by Taglion and Duvernay. At first the shawl, assisted by the most expressive and graceful motions, was used in a variety of picturesque involutions, enveloping the head or limbs of the danseuses, then it became a veil, or a robe; and then assisted in producing pictures in a style of beauty new and delightful. After which followed a pas de deur, in which both dancers evidently attempted to exceed all their former exertions. If it were possible Taglioni excelled herself. There was all the loveliness and eloquence in her motions which we had previously seen and admired; but, added to them, we beheld a grace which gave a freshness to their features we had never before observed.

Du

vernay scarcely could have appeared to more advantage. Everything she attempted was executed in a spirit of perfect good taste, and she is the second most accomplished dancer we have beheld. The music was composed by Signor Costa. It is pleasing and well suited to the purpose

for which it was written. After the ballet a loud call was made for Taglioni, and when she came on the stage with her father the applause became general and enthusiastic.

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DRURY LANE.-At this house the past month has witnessed no novelty. The "Minister and the Mercer," and the Wedding Gown," have been played to good" houses. An Easter piece, according to the old English custom, is to be produced, and rumour says much for its splendour.

COVENT GARDEN.-The opera of "Gustavus," and the "Revolt of the Harem," have nightly filled this theatre. A new opera, founded on Herold's “Le pre aux Clercs," is in a forward state of preparation.

ADELPHI.-We have to notice another successful trifle, in one act, called "Truth, or a Glass too Much;" and on Saturday night, the 22d ult., the season closed: on which occasion Mrs. Yates gave her farewell.

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THE EASTER PIECES. Preparations for Easter are very actively carried on at each of the Winter Theatres. Much reliance, we are told, is placed upon "Sardanapalus." It is a fine dramatic poem: it has been composed with the strictest observance of the unities, but as the place of action does not change from beginning to end, it will not afford the means of displaying a variety of scenery. Sardanapalus" will be by Macready, " Salemenes" by Cooper, the "Ionian Myrrha" by Miss E. Tree, Zarima the Queen," by Mrs. Sloman, and " Arbaces," most probably, by Mr. G. Bennett. Lord Byron wrote the part of "Salemenes as prominent and popular as that of the hero. Jerrold, as well as Poole, according to report, have each two new pieces accepted.

Macready has been playing his popular characters in Dublin, to admiring crowds. On Monday fortnight he appeared as "Macbeth," and on Tuesday, the last night but one of his performance there, he repeated "Virginius." The Dublin papers all speak in terms of the most glowing praise of his performances.

SHERIDAN KNOWLES quits the Victoria Theatre at Easter, and will first proceed to Bath and Bristol; thence to Cork and other places in Ireland, to fulfil engagements entered into some time ago. We have no doubt that the play of "The Beggar of Bethnal Green," will prove equally as attractive in the provinces, as it has been in the metropolis. Full audiences have every night been drawn to the Victoria.

Miss Wells, who met with such great success at the Haymarket, some few seasons since, and Miss Watson, are receiving instructions in singing from the first masters in Paris, under the immediate superintendence of Paganini, who, it seems, is determined to make the vocal equally attractive with the instrumental portions of his con

certs.

Theatricals have recently worn a very cheerful appearance at Boulogne, where an English company of amateurs has been performing with great success, for the benefit of the poor French and poor English, so as to afford very welcome relief to the necessitous.

OCCURRENCE AT THE CARNIVAL AT FORLI-A Company of players were representing a farce in which a Frenchman was introduced, who, as is usual in such representations, appeared in the dress of an officer; upon his entry upon the stage, the uniform or the actor met with very general applause, which was, however, almost instantly hushed. No notice was taken on that evening of what had occurred; but on the following morning the actor who had been the object of the popular welcome was sent to prison by the Bishop of Forli for three months, while the rest of the company received a sentence or rather mandate of perpetual banishment from the Papal territory.

THEATRICAL PATRONAGE.-The Canterbury people do not seem remarkably distinguished for their love of the drama. A Kent paper states that the celebrated Miss Phillips, of Drury-lane Theatre, acted one of her principal characters, within the last fortnight, when all the money taken at the doors was one shilling!

PRODUCTION OF 66 THE SCHOOL FOR SCANDAL.' -We have it, says the Morning Chronicle, on the authority of Mr. Peake (the late Treasurer of Drury-lane), that the receipt for the "School for Scandal," on its first representation in Garrick's Theatre, was 225/.; and it must be recollected that King, John Palmer, Gentleman Smith, Dodd, Baddeley, Aickin, Miss Farren, Miss Pope, &c. &c. &c., acted in that play, and received as high salaries as those paid to performers in the present day. This was upwards of half a century since. Certainly the rents are higher now, and larger sums

are expended on scenery and decorations (although at about the period we had the eminent names of Rooker and De Loutherbourg as theatrical artists). We predict, that all interested in the New Theatre, in the New Street, will have ample reason to congratulate themselves.

Peake is preparing a play for the new English Opera, to which Alexander Lee writes the music.

The satisfaction of poor Sinclair and his lady, consequent on his success in America, will be mournfully alloyed by the sad intelligence of the death of their only son, a remarkably fine little fellow, and in many respects singularly precocious.

Braham has been singing at Bristol, Exeter, &c., with the greatest possible suc cess. He has been ably supported by Miss Atkinson, in various operas, particularly in "Artaxerxes."

Miss Stephens has withdrawn herself from the Ancient Concerts, to the great regret of all lovers of singing that appeals to the heart while it charms the ear. had belonged to that establishment for many years.

She

Little Buckstone is going to bring out an edition of Adelphi dramas, which is to include those he himself has already written, and also those which he may hereafter produce.

- In 1645,

THE OPERA IN FRANCE. Some attempts were made to establish an Opera in Paris, but it was only in 1671, that a theatre was opened for the representation of lyric dramas. The opening of this theatre took place, by virtue of letters patent granted by Louis XIV. dated June 28th, 1669. In order to give encouragement to the performance of operas, Louis stated in these letters, that "gentlemen, young ladies, and other persons might sing in musical pieces, without at all prejudicing their titles of nobility, or derogating from their privileges."

MELODISTS' CLUB.-On Thursday the 13th ult., this social club had its second dinner this season, which was attended by a host of vocalists and amateurs, who sang a variety of songs, duets, and glees, with great éclat. Mr. Sedlatzek performed a fantasia on the flute, composed for the occasion; he was extremely well accompanied on the pianoforte by the Masters Littolf. A young man of the name of Richmond was introduced, who exhibited very extraordinary powers; he warbled an air, in imitation of a musical snuff-box, and hummed a bass at the same time. There was no kind of deception used, for he addressed the company just before he commenced his very wonderful performance. It was announced that the prize goblets will be presented to the successful candidates at the next meeting of the club, on which