lage," by Jenkins, in which the soldier and his dog, the simple grave-stone and the rustic scene, tell their story with touching yet simple pathos. The eye heavy with anguish, and the hand raised by a gesture so natural, and yet so unhackneyed by painters, complete a picture that defies description. We prefer it even to a companion work, with numerous figures, from the same pencil," Le Récit d'une Grande Bataille," and both for grace and expression can only be rivals to each other.

No. 48. "George Fox, Founder of the Society of Friends," by E. H. Wehnert, is a fine ideal of earnest and sincere devotion.

No. 21. "The Arrival at a Dried-up Well in the Desert," by Henry Warren. One of this artist's painfully powerful productions. The despair in the human countenance, the gasping camel, and the glare of heat, which may be felt, make up a most real scene.

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No. 83. " Mavourneen, Mavourneen!" F. W. Topham. The interior of an Irish hut. crooning old woman, a beautiful young mother, and a sleeping infant. The last, especially, wondrously painted; one seems to see its breathing. This is a beautiful work, enough to immortalize any artist.

No. 100. "Wickliffe defying the Mendicant Friars." E. H. Wehnert. A large picture, replete with expression, and full of power; with details, highly finished, and yet subdued to the spectator by the force of the reigning sentiment. No. 113. "Two Days after the Wreck." Aaron Penley.

No. 117. "The Young Donkey's Friend." Louis Corbaux.

No. 161. "The Ducal Palace, Venice." Charles Vacher.

The promenade of Longchamps has this year been well attended, though by no means so brilliant as I have heard it was several years ago. A few new equipages, and a great many new dresses were exhibited, and several fair equestrians rendered themselves rather too conspicuous by the fanciful style of their costumes; but there were, comparatively speaking, very few open carriages, and little of that gaiety and animation for which we were in old times so distinguished. Formerly we were accused of being too volatile; certainly that is not the case at present; but in truth I don't think we are much improved by the change.

"But the fashions!" you cry. Pardon this little digression; I am coming to them-slowly, I grant you, but surely. You will see by the models I have sent you, and the intelligence I am about to give, that the summer fashions have at length appeared in all their eclát. And first for materials.

The new silks are extremely beautiful, both in patterns and colours. It was expected that silks of one colour only would displace the shot

No. 302. "Richard the Second's Appeal to the Mob after the Death of Wat Tyler. Weighall. An admirably designed work, with all its crowded figures well arranged. figure of the boy king is peculiarly happy.

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No. 303. "For sale." Edward H. Corbould. worth more, in our opinion, than this artist's A little gem, very appropriately marked "sold;" more ambitious work-No. 132. "Christ

Raising from Death the Daughter of Jairus,"in which the outlines are unquestionably hard. The attitude of the restored to life, half risen from the bed, is more striking than pleasing; but it is a difficult subject to treat, often as it has been chosen.

No. 150. "Loch Lomond and Ben Vorlich." One of the great beauties of Highland scenery is the variety of tints displayed-the heathery hills, the changing sky, and the blue waters. But everything here appears of one purple tinge; this is a pity, and mars a beautiful scene.

But we have done. If possible, we shall refer to this Exhibition again, although we trust, during the ensuing month, our metropolitan readers will pay a visit to it themselves.

FOR MAY.

ones that have been so long in vogue, but that will not be the case; the latter will be very fashionable, though not exclusively so. Patterns à colinnes have regained their supremacy, and I am glad of it, for they are more advantageous to the shape, and drape much better than the cross stripes, which will now be quite laid aside. Shot silks, of light hues, are principally intended for half-dress; those of quiet colours may also be adopted in it, because they may be rendered dressy by the trimming; but they will be more seen in plain walking-dress. The pekin chiné, shaded in feutre and blue, is an example of this, made in a robe without trimming, or one of a very quiet kind; it is a plain walking dress; but two deep flounces transform it at once into an elegant robe demi toilette. Taffetas chaînette, bleu, Napoleon, and white; and the baguette ombrée violet, white, and black, are_principally intended for redingotes à revers. I may cite also, both for négligé and half-dress, the new foulards, particularly the foulards écossais, in large and small squares and various colours. The foulard royé, and the foulard mignonette;

the first is striped; the latter in very small squares, of all colours, is principally intended for robes for very young people. The taffetas glacés will be fashionable, both in demi toilette and evening dress; the most elegant robes for the latter are the poult de soie grec, a white ground with a pattern in arabesques; the poult de soie filets chiné, and some robes pyramidales: the name dates from last year, but the patterns are quite new. The most remarkable of these is the robe brandebourgs, a blue ground broché in white patterns, imitating passementerie; another in grey and cherry colour is called chainette, | because the light pattern that covers it seems an embroidery in chainette. I may cite also the taffetas velonté, and those à volants-rubans. The Pompadour d'été, in the Louis XV. style, has a white ground strewed with rosebuds, and trimmed with two deep flounces, each bordered with a wreath of flowers en serpente. There are several other patterns of these silks, but the ground is always white; the soie dentelle is a revived fashion, but one that I do not think very likely to be successful. These silks are both of dark and light hues, and offer a very good imitation of black lace thrown over the former, or white over the latter. There are some half transparent materials, particularly barege, destined for half-dress; and others for négligé.

The materials for chapeaux and capotes are those that I announced last month; they are all nearly equal in vogue, except silk, which, though fashionable, is not so extensively seen. The forms of chapeaux and capotes are now decidedly settled for the summer; you will see by the models I send you, that they are generally becoming, and of very moderate size. The Leczinski is the favourite for crape and rice straw; indeed many chapeaux of other materials are also made in that shape. The close form, which is still that of the Clarisse Harlowe, with a slight modification, is also employed for crape, but more particularly for silk; paille de fantasie 18 made both in close and open shapes. A favourite style of trimming for paille de riz is a full plume, half white and half jaune turc, with rubans turc; the interior of the brim is trimmed with tulle bouillonne, rubans Pompadour; they are of a new and very rich kind, are also fashionable with feathers, both for rice and fancy straw. The new feathers are, as you will see by your models, remarkably beautiful this season. Several capotes are composed of taffeta trimmed with roses panachées, wreaths of different kinds, or knots of ribbon : lace is frequently mingled in these trimmings: the royal Mechlin lace is much employed in these garnitures. It is singular that we should have set the fashion, to the English who are here, of wearing this beautiful lace; but the very high patronage under which it was first introduced, for the lady-I must not mention her name, but she is of very high rank-had seen it on Queen Victoria at the drawing-room, and in consequence appeared in it soon afterwards here: it is disposed both on silk and crape chapeaux in

various ways; one of the prettiest is the model I have sent you for your first plate; in other instances the lace is disposed partly on the crown and partly on the brim; the division is concealed by a wreath of flowers: wreaths of red and white hyacinths are much in favour for this style of garniture. Another mode of employing the royal Mechlin lace, is disposing it round the bottom of the crown in large hollow plaits; they are called gueules de loup, in each of which is placed a small rose; sometimes they are all of one hue, as red or yellow, but more often each rose is of a different colour. I may cite among the new chapeaux that are expected to be fashionable, but whose vogue is not absolutely determined, those composed of application of velvet upon crape, and the capotes of passementerie à bouillons. There are also some capotes the vogue of which I could almost venture to answer for, they are so er ceedingly pretty and light, being composed of transparent ribbons: this tasteful novelty really merits its name of capote neige.

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The pardessus d'été are this year very nume rous, and offer a good deal of variety in their forms. The manteau d'été is intended for a morning or evening drive, and generally made in green taffetas glacé; it reaches to the knee, and has two collars and a lappel that descends to the bottom; the second collar is so disposed as to conceal the armhole. The Charlotte is a mantelet of small size; the ends cross in front; the trimming is a narrow volant of the same material with a heading. The Medicis of blue taffetas glacé is of a larger size, and trimmed round with narrow volants surmounted by velvet ribbon. The garniture of the Antoinette is a single flounce, very deep and very ample; fronts are decorated with revers, scalloped and edged with passementerie. The Richelieu, which takes its name from the celebrated Cardinal's fondness for lace, is composed of violet silk shot with black; broad black lace is laid flat upon the ends, turning round to edge the very deep volant that trims the pelerine part. These are for promenade or public promenade dress. For visits and soirées we have the Marie Louise of pink or azure blue silk, ornamented with brandebourgs, and encircled with deep flounces edged with effilé. The Louis XV. rose ture is very full trimmed with ribbons of the same colour, of a pattern in white guipure, a novel and very fashionable style of ribbon. The quiet elegance of the duchesse offers a striking con trast to this showy mantelet; it is composed of grey lilac poult de soie, the pelerine part rounded and moderately deep, with long and rather nar row scarf ends; it is trimmed with several volants of narrow lace; they are placed one above another, and not very full; ornaments of passementerie decorate the shoulders.

Very little attention has taken place, or will take place in the forms of robes for the public promenade or demi toilette; the corsages for both continue, generally speaking, to be made high at the back; a good many open upon the bosom, and I think, before the end of May, the