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FIGURE 1. Dress toilette for Promenade.-Robe of damask The collar is made of two rows of lace, laid one upon broche, light green upon a more deep green. Corsage the other. No cravate. Sleeves open behind as far as the open in front, high behind, with revers, showing very elbow, the sides of the openings being connected by four pretty high guimpe, composed of eight or nine little volante narrow black bands. Between each of these bands a of white lace, slightly gathered; waist long.

narrow volant of white lace, and finally, from the bottom Sleeves demi-large, a little short, open on the inside, ex. of the sleeve spring two wider volants of the same. hibiting white under-sleeves, which come out in puffs, with Coiffure, a small cap of white tulle, upon which are tight wristbands, and two volants of lace upon the hand. stitched some very narrow red velvets, following the

Jupe with flat, broad plaits upon the hips. On each winding of the tulle. On each side depend two small side, the jupe is opened to two-thirds of its height, and strips, also trimmed with narrow velvets. Each velvet the stuff folded back upon itself, forming two revers laid supports a very narrow volant of lace. very flat upon the jupe. These two openings are filled Bonnet blue, the front trimmed with four rows of lace, below with green damask like that of the robe.

separated by very small feathers placed in rings. A simiThe revers of the corsage and those of the jupe are lar trimming ornaments the edge, and a bunch of knotted edged throughout with fringe of green silk of two shades, feathers is placed at the side. arranged thus : first, a head of narrow galoon, second, a FIGURE 3. Walking Costume. The dress is of cinnamonknit mesh, and, finally, the fringe of two shades.

coloured satinette; the corsage fits tight to the form and The openings of the sleeves are crossed with a galloon close round the neck. Like most of corsages for out-ofwith fringe, and those of the jupe are also crossed with door dresses, it is made very high. The sleeves are tight five rows of the fringe.

and slit behind to the elbow, where a button and two Capote of pink satin in round folds. There are three tassels are affixed. Full undersleeves of white muslin crossings of gauze riband with rounded scallops. These finished at the wrist with lace ruffles. Up the front of crossings have a fold in the middle, and are gathered; two the jupe are five ornaments of passamenterie placed upon surround the face, the other crosses the crown en bias. folds of satinette fixed upon a foundation of stiff muslin.

FIGURE 2.-Home Dress.—This exceedingly pretty dress The size of these ornaments is graduated to correspond is made of satin, a la reine. The corsage is high, and with the width of the folds, which become narrower from fitted tight to the form; the waist long, and without belt. the feet toward the waist. A similar but smaller trim

The redingote is buttoned in front from top to bottom, ming ornaments the front of the corsage. Around the with seven buttons on the corsage, and eleven on the skirt. These buttons are of jet, cut in facets, and surrounded by small black balls, and furnished each with three little tassels. They are set on between two flat revers of stamped velvet, stitched in relief upon the redingote. The corsage is furnished with similar trimming. These velvets are broad above and below, and decrease to points at the waist.

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throat is a small collar of worked muslin. Bonnet of cerulean-blue velvet trimmed with bows of the same.

FIGURE 4. Morning Visiting Costume. Robe of sea-green satin broché. Corsage high and tight, like those of figures 2 and 3. Sleeves funnel-shaped. The trimming is of fringe of a unique pattern, which has been very much admired. It is nearly a quarter of a yard wide, one half of its width being network surrounded by passementerie or gimp. On each side of the skirt are three rows of this fringe, and one row passes on each side of the corsage, falling deeply over the shoulders and narrowing to a point at the waist; the ends of the sleeves are finished by a row of the same fringe. White undersleeves bouillonnées, confined at the wrist by a worked band. Collar of worked muslin. Bonnet of white corded silk, trimmed with white riband, and on one side with a small plume of white marabouts.

FIGURE 5. Dress of ruby-coloured damask. Skirt trimmed in front with three rows of satin puffing, a shade lighter than the damask; buttons and tassels separate the puffings; the side rows widen apron-fashion. Trimming of the corsage like that of the jupe, but smaller. The tight sleeves are similarly trimmed ; lace cuffs at the hand.

FIGURE 6. Blue cashmere robe; skirt trimmed to the knees with bias festonnés, falling one over the other; paletot of drab cloth, trimmed all round with six rows of galons, a shade darker. Long sleeves trimmed to match, as is the collar also. Black velvet bonnet, covered with a rich fall of black lace.

FIGURE 7. Toilette de ville. Robe of iron-gray satin. Ruby-coloured velvet manteau, trimmed with wide fringe; revers and collar trimmed with galons. Bonnet of green velvet lined with pale pink satin, and trimmed at the sides with bouquets of velvet.

FIGURE 8. Little Girl's Dress. Blue silk frock, trimmed with narrow black velvets upon the jupe. Casawec of ruby velvet, fitting close on the shoulders, open at the sides and edged with fur. Sleeves long, rather loose, and

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Fig. 7.

Fig. 9. LITTLE BOY'S DR&S 8.



trimined also with far. White felt bonnet with a long faute, with plaits, and trimmed upon the hand. Small feather.

paletot of dark velvet, buttoned strait. Sleeves short and FURE 9. Dress for a Little Boy. Loose blouse of plaid wide. Little coloured gaiters. cachmire, buttoned in front. Sleeves reaching to the elbow. an demi-large. Long batiste sleeves, trimmed with a frilling of embroidered muslin.

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FIGURE 10. Walking Dress. Redingote of moire, pink green. Corsage fitting close, but open before. Sleeves short. demi-iarge at the top, wide at the ends. The seam from the shoulder is en liais upon the side to the bend of the arm, and from thience forms three dents. This seam is marked by an edging which holds a ruche of black lace de laine which follows its contour.

The front of the skirt is buttoned its whole length, and trimmed on each side with from fifteen to seventeen narrow rows of lace de laine, gathered, and to prevent the forma:ion of a heavy and ungraceful thickness at the waist, these laces are placed en liais, in such a manner as to form a trimming, slight at the waist and well widened at the base. The buttons of the robe are of green stone surrounded by little white stones. There are two near the neck and two at the belt. The collar and the undersleevin ara of gathered rows of white lace placed one upon the other

J'IGURE 11. Dress for a Young Lady of Fourteen. White got honnet lined with pink. and trimmed with a strip of shite plume frisee; bavolet white; brides pink. The face Side open and not raised. Hair in bandeaux Paletot An i robe of dark blue poplin, the former lined with pink.

FIGURE 12. Collar of white percale, ornamented with a wide embroidery. Pants the same. Sleeves a little bouf.

FIG. 12.



But it is the literary character of Sartain, after all, on

which it has aimed chiefly to depend, and for which it is WAEx Sartain's Magazine was commenced, it was with chiefly indebted for its unprecedented success.

With this the determination to do, rather than to promise; not to view it has sedulously excluded from its pages the whole give one splendid specimen Number by way of attracting brood of half-fledged witlings with fancy names--the subscribers, and then fall back into carelessness and Lilies and the Lizzies—the sighing swains and rhyming neglect, but to maintain fully throughout the year the milk-maids of literature, who are ready to contribute any high character with which we set out. That we have amount of matter, prose or verse, for "a copy of the acted up to the spirit of this determination, has been Magazine," or for the mere pleasure of seeing their universally conceded. We can say what no other Maga- effusions in print. Instead of this miserable trash, of zine can-and we say it without the fear of contradiction which the public have given unequivocal symptoms of --that our January Number for 1849, so far from being the disgust, we have aimed to secure, as regular contributors best, was the poorest Number published by us during the to our Magazine, authors of world-wide reputationyear. It was indeed a splendid Number, and was com- writers of the very highest genius and celebrity on both mended in the highest terms publicly and privately all

sides of the Atlantic. To secure this class of writers over the country. But it was eclipsed by the February, required indeed an expenditure of money for authorship as that was by the March; in fact every succeeding month such as has never before been attempted by Magazine has been admitted to be an improvemont upon its prede- publishers in this country. Believing however in the cessors.

existence of a reuling public-men and women who The Magazine for the present month may safely chal- desire a Magazine to read, not a picture-book to look atlenge comparison, either with its predecessors, or its com

we determined to make the attempt to produce a periodical petitors. In amount of matter, in the quantity and style

suited to this supposed want, and we have not seen reason of its embellishments, and more than all, in the character to regret the determination. Any one who will look at of its literary contents, it is entirely unrivalled.

our list of contributors will see that it contains nearly In the first place, though not in the habit of boasting of every distinguished name among the active collaborators the number of pages in our Magazine, believing that

in the field of American periodical literature. Not a few readers care more for the quality than the quantity of

also of the most brilliant writers of Great Britain, who what they buy, we may yet call attention to the fact that have heretofore contributed to the first class of periodiwe give the present month a larger number of pages than cals in that country, have been induced to transfer their was ever before given by any American three-dollar

contributions from those Magazines, and now write ex. Magazine. We have never promised to give more than 64 clusively for ours. Articles appearing in Sartain are not pages. We have here given 104 pages. This, according to

of an ephemeral character, but such as are destined to the standard of one of our contemporaries, is “a Double

take their place in the permanent literature of the country Number, and eight pages over."

—such as instruct as well as amuse the reader, and profit In regard to embellishments, the Magazine has a

while they please. guarantee of success—which the public has not been slow to recognise-in the distinguished artist who has given it its name, and who, in company with others, has embarked

POE'S LAST POEM. his fame as well as his fortune in the enterprise. What beautiful Gift book or Annual is not indebted for its

In the December number of our Magazine we announced choicest embellishments to the burin of Mr. Sartain?

that we had another poem of Mr. Poe's in hand, which we High, however, as was his reputation in the beginning of

would publish in January. We supposed it to be his last, 1849, it is still higher in 1850. Important improvements

as we received it from him a short time before his decease. in the art of Mezzotinting have been introduced by him in

The sheet containing our announcement was scarcely dry the course of the last year, as will be obvious to any one

from the press, before we saw the poem, which we had bought who will look over the series of engravings by him

and paid for, going the rounds of the newspaper press, published during that period. Lining and Stippling are

into which it had found its way through some agency now so blended with the Mozzotinting process, as to

that will perhaps be hereafter explained. It appeared produce in the hands of a man of genius a picture, which

first, we believe, in the New York Tribune. If we are not for richness of effect, is unequalled by one produced in

misinformod, two other Magazines are in the same predi. any other way. Examples of this may be seen in

cament as ourselves. As the poem is one highly charac“The Brothers," published in December, and in “The Rival

teristic of the gifted and lamented author, and more par. Songsters,” now given. But, besides the services of ticularly, as our copy of it differs in several places from Mr. Sartain, whose most splendid efforts are contributed

that which has been already published, we have concluded of course to his own Magazine, we have constantly aimed

to give it as already announced. to secure the very best productions of other artists without reference to expense. The “Conversion of St. Paul" by Serz, the splendid Illuminated Title-page and the brilliant

ANNABEL LEE. Coloured Flower by Ackerman, the Winter Scene printed

A BALLAD. in tints by Devereux, the spirited and graceful Illustrations of Shakespeare, Spenser, and Milton by Gihon, all

BY EDGAR A. POE. bear witness to this fact. We give no less than nine of there large full-paged embellishments in this single IT was many and many a year ago, Number. Besides this, we give throughout the book an In a kingdom by the sea, almost uninterrupted succession of small gems of art- That a maiden there lived whom you may know not "wooden blocks," such as appear in some other Maga- By the name of Annabel Lee; zines—but wood Engravings, of which an artist need not And this maiden she lived with no other thought be ashamed.

Than to love and be loved by me.

She was a child and I was a child,

In this kingdom by the sea;
But we loved with a love that was more than love-

I and my Annabel Lee-
With a love that the winged seraphs of heaven

Coveted her and me.


And this was the reason that, long ago,

In this kingdom by the sea,
A wind blew out of a cloud, chilling

My beautiful Annabel Lee;
So that her highborn kinsman came

And bore her away from me,
To shut her up in a sepulchre,

In this kingdom by the sea.

The angels, not half so happy in heaven,
Went envying her and me-

Yes, that was the reason (as all men know,
In this kingdom by the sea)

CHROMO-LITHOGRAPHY.–We give this month two fine That the wind came out of the cloud by night,

specimens of this beautiful art, from the establishment of Chilling and killing my Annabel Lee.

Mr. Ackerman in New York, and they do credit to his

skill. The flower and title-page are each produced by But our love it was stronger by far than the love seven or eight successive impressions, one for each tint Of those who were older than we

required, and of course involving the necessity for 29 Of many far wiser than we

many separate drawings on stone of the various parts, And neither the angels in heaven above,

since but one tint can be printed at a time. In such subNor the demons down under the sea,

jects as will admit of the use of this method instead of Can ever dissever my soul from the soul

colouring by hand, the advantages are numerous and of the beautiful Annabel Lee.

obvious, especially in the case of very large editions being

wanted. The result is similar, though the process is For the moon never beams without bringing me dreams totally unlike that by which the print in colours (“ The of the beautiful Annabel Lee;

Serenade") given in our number for August last, was And the stars never rise but I feel the bright eyes produced. That print Mr. Devereux claims as the first of the beautiful Annabel Lee;

successful attempt in this country to obtain a finished And so all the night-tide, I lie down by the side effect in colour by means of successive printings from a Of my darling, my darling, my life, and my bride, series of engraved blocks; but in Europe this art (although In her sepulchre there by the sea

rude enough until within the last ten years) is ancient. In her tomb by the sounding sea.

In tracing back its history, it is thought we succeeded in showing that it was either older than the art of book

printing itself, or that there is an error in attributing that THE DEATHBED OF WESLEY. invention to Guttenberg, in 1436; the process and imple

ments in both are precisely the same. Chromo-LithograWe have seen a proof of the large plate of “ The Death phy, however, or printing in colours from drawings on bed of Wesley,now publishing by Messrs. Gladding and stone, is of comparatively recent discovery, and at the Higgins, and without having seen the original painting present time is in much more extensive use; which of the by Claxton, which is in England, have no doubt that it two methods will hereafter obtain the preference, either does full justice to that artist's picture. The plate is on account of economy or beauty, is uncertain. It will called a mezzotinto, but it is not purely in that style, depend much on the skill and knowledge of the operator; being wrought nearly all over with stipple and other on his degree of acquaintance with those laws which govern work, which is a great improvement on the old-fashioned the harmonic relations of one colour to another and as method of unmixed mezzotinto. The whole is executed modified by either light or shadow; just as the sounds in in the most careful manner, and is at the same time nature arranged in accordance with similar laws produce brilliant and spirited. The composition is admirable; the what we call music. One is harmony addressed to the mind groups, consisting of about twenty figures, are arranged through the organ of sight, in tones of colours placed in exmost skilfully, both as to picturesque effect in themselves, tension ; the other, harmony addressing the mind through and so as best to conduce to a rich contrast of light and the sense of hearing, in tones of sounds placed in succession. shade. What adds greatly to the interest of the picture, Both are or ought to be the medium of sentiment and feelis the fact that eighteen of the figures are actual portraits ing, colour bearing about the same relation to pictorial of relatives and distinguished friends of John Wesley. composition, as music does to poetry. This fine print is valuable, not merely for the interest that That the science of colour is a profound and difficult must attach to it on account of the subject matter, but study is rendered sufficiently evident from the fact that also for its merit as a work of art. It is engraved by Mr. so few really great colourists (comparatively) have ap. John Sartain.

peared amongst eminent artists, from Titian and Paul

Veronese down to the present time; and these appear to ENGRAVING OF MRS. POLK.

have succeeded rather from an intuitive feeling of the

true and beautiful, than from known and fixed laws. Our February Number will contain a splendid engra- When a knowledge of the philosophy of colour is as geneving of the distinguished and truly Christian woman who rally diffused as that of its twin sister music, and its lately graced the Presidential Mansion, at Washington. principles of harmony applied to a judicious selection and This engraving will be executed by Mr. Sartain in his combination in articles of dress, it will become a curious finest style, and will be accompanied by a biographical and interesting guide in the study of character; for this notice, by a lady of Washington well acquainted with the is one of the endless variety of ways in which the inward subject.

tone and habit of mind give involuntary utterance of Portraits of eminent women, accompanied with well- itself to the intelligent and thoughtful observer. How written impartial biographical sketches, will form one of little do some ladies appear to comprehend the help or the features of Sartain for 1850.

injury that a ribbon or flower may prove to the complexion,

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