enthusiastic approbation. There has been nothing like this since the days of Orpheus."

During the revolution the stage was somewhat neglected, and we have an amusing account of the manner in which Monsieur Fleury and Madame Raucourt attempted to solicit the patronage of the Directory. Madame, it appears, was a believer in modern magic, and first chose to consult a fortune-teller on her future destiny. They cross the Pont Neuf, and arrive at the Parisian dispenser of good or evil tidings.

"The coach-door was opened, we alighted, and I offered my arm to my fair companion. The boy walked before us gravely and silently. We passed more than twenty carriages, all drawn up in a line. At length we reached the Rue d'Anjou, formerly the Rue Dauphine, and we stopped at the door of a house, which might have been called an hotel, had not Republican equality banished titles even from houses. We passed through a court-yard, and having ascended a flight of steps, entered the house. In the court-yard and in the entrance hall I saw assembled numbers of elegantly dressed ladies and gentlemen, all looking very serious and very anxious, and apparently feeling the same impatience that I did to discover some mystery which could not be very easily guessed at. Still preceded by the boy, who ushered us through the assembled throng, Raucourt and I entered an apartment on the ground. floor, in which a respectably-dressed man was waiting. The lady presented her two tickets, and the man showed us into an inner room, closing the door after us. Our pretty little page instantly disappeared behind some old tapestry with which the walls of the chamber were hung. This apartment was darkened by thick window curtains, nearly covering the whole

.

of the windows. Skeletons of birds and skins of ser-
pents were lying here and there in different parts of
the room.
On a side table, I observed a human
skull, crowned with a garland of coquelicots, such as
might have been worn by a fashionable belle; and
casting my eyes in another direction, I beheld a long
look of hair fastened to the wall by the blade of a
poignard. Such were the adornments of this mys-
terious chamber. After allowing me to gaze around in
utter amazement for some moments, Raucourt solved
the mystery by acquainting me that I was in the re-
sidence of Martin, the famous fortune-teller, and
that she bad come to consult the Oracle of Fate.
Never did nature endow a man with per-
sonal advantages so well suited to his calling, as those
possessed by Martin, the fortune-teller. He was a
hideous little dwarf, closely resembling Le Sage's
description of Asmodeus. His legs were so exceed-
ingly short, that when he walked, or rather rolled,
into the room, he appeared to me to have no legs at
all. The wizard, as soon as be perceived us, made
a slight inclination of his head. He then seized a
pair of crutches, on which he adroitly fixed his arms;
bis little figure was thus for a few moments sus-
pended, and swang to and fro, his feet being several
inches from the ground. Then taking a powerful
leap, he seated himself on a stool which was placed
beside a table. In this position, standing. as we
did, at some distance from him, we could discern
little more than bis head. Directing his eyes to
wards us he smiled, and in a very pleasing one of
voice uttered a few words in a decided Italian ac-
cent.
A dialogue of some length ensued be-
tween Martin and Raucourt, in which the lady
digressed very widely from the professed object of
her visit. The fortune-teller then very politely re-
quested her to define with more precision the nature

Songs of the Sea, No. 3, “Oh sail with me:" words by the Rev. J. R. Wreford; music by Austin Phillips. Jeffreys and Nelson, Soho Square.

2. " Royal Scotch Quadrilles;" arranged by Musard. Ibid.

3. "Duchess de Nemour's Waltzes:" composed by A. Fléché. Ibid.

4. "The Ordinance Waltzes:" composed by T. S. Wallis. Published for the author, and sold at the Royal Polytechnic Institution.

No. 1. A very pleasing melody to pretty words. The lithographic plate which embellishes the title page is, however, worth both. It is quite

where has taken place the advent of two comedies,
a serious pantomime, and a farce; which last, how-
ever, proved a serious affair for its author, for it
met with that fate which must not be named
to ears polite. The first production was Mr.
Lemon's comedy of What will the World Say?
a no very remote specimen of the best school of
modern comedy, the true office of which is the
exhibition of manners.
Turradiddle, most ably performed by Farren, is
The character of Captain
richly painted. He is a "sponge," who makes
himself welcome, and not altogether disagreeable,

wherever he goes. Mr. Pye Hilary, played by | cert-whose music gives double zest to the dance, Charles Matthews, is also a lively bustling part, once more wields the bâton. A better band out of which much amusement was extracted both by actor and audience. Lord and Lady Norwold, who sacrifice everything to pride, and their son and Miss De Vere, who sacrifice everything to love, are also happily drawn. The chief aim of the play was to expose the dangers of vanity-a too great dread, in fact, of "What will the world say?" This purpose is, altogether, cleverly accomplished, but with too great labour for complete success. The subject, though handled well, was worked out with too much elaboration. This fault has, we perceive, been discovered by the management, who have re-produced it with curtailments; and as a "Comedy in three acts," in which form it has already been advertised. We predict for "What will the World Say," a brilliant and lasting success.

A dumb-show drama, under the title of Hans of Iceland, was the next novelty. It comprises some beautiful scenery, clever mechanism, pretty dancing, terrific combats, outrageous distress, wonderful escapes; love, despair, villany, constancy-all wound up by vice terribly punished, and virtue properly rewarded in the choicest pantomime. Miss Ballin as the heroine, Mr. Gilbert as the hero, the Ridgeways, and Mr. W. H. Payne, showed themselves graceful dancers, and vigorous ballet-of-action performers. Of the kind, the piece is very good, and affords an amusing relaxation after the more severely intellectual exhibitions of high comedy.

was never congregated under a better conductor since the days of Apollo, and they only want ap preciating audiences to make the English Opera House the scene of the highest order of amusement. Some of the captivating slow movements of Beethoven have been, during the last month, executed in the most brilliant and feeling manner. A successive series of such compositions will do more to raise the musical taste of the public than the most elaborate "festivals." We cannot say they are at present nearly so much applauded as the quadrilles and waltzes; but we have such faith in the true musical taste of the British public, that it only wants a constant acquaintance with the best masters to cause them much more enjoy. ment than the most taking and meretricious works that, for a time, seem to be the rage. Musard is proceeding cautiously: he only introduces one such masterpiece during the evening. Perhaps we shall have two soon; and do not despair of hearing them as much applauded as the soulless scores of the noisy school.

The unity, not only of time but of tone, the delicacy of the pianos, the truth and exactitude of all the effects evinced by this band, offer a treat which it would be a crime for any amateur to miss.

better we like it.

THE OLYMPIC.

This theatre, though a Wild speculation, has But the event of the month, was the appearance Mrs. Waylett, who is the star here, among her evidently, since the opening, been a profitable one. of a new play by Mr. Sheridan Knowles, under the promising, but bold title of Old Maids—a puzzling many dramatic excellences, has the crowning cognomen, as, for aught we could discover in the qualification of drawing full benches wherever säe plot, it had nothing whatever to do with it. The is engaged; in truth, she is a "real blessing" to comedy is, in truth, the least brilliant effusion of managers, A pretty little French piece, called Cousin Peter, serves to display her quiet, natur its deservedly popular author. In construction it is especially faulty; no glimmering of interest vein of humour in the chief character, to the œmost advantage. If one could conceive it posever breaking through the cloudy incidents that unconnectedly follow each other. Yet the dia-sible, her exquisite ballad-voice seems actually to logue here and there sparkles with some of those improve-perhaps the more we hear of it the master-touches that speak the heart they flow from-the pen that set them down. That first of all dramatic excellencies--passion-expressed in words which transfer it at once to the feelings of the auditor, peculiarly belongs to our best modern dramatist, Knowles. There is one speech-that of a lover-in the last scene, which is instinct with the purest and most fervent passion, and would redeem the play, had it even more faults than it has. But, as a whole, we regret to add, Maids" is otherwise so deficient in dramatic qualities, that it is not, we fear, long for the world theatrical.

"Old

Fame has been busy in assigning great musical and vocal talents to Miss Adelaide Kemble, who makes her debut in an English version of Norma, on the 1st of November. We will not fail to tell our readers whether these predictions will have been fulfilled by the time we next address them.

of Angels and Lucifers, has been very successful. A clever little farce, under the antithetical title

When

of his old parts with his usual success.
The Lessee has been rattling through some
will he let us see him in a new one? Though his
gay, bustling, broad humour is always welcome
under any form and pressure, yet variety is charm-
ing after all-one reservation, however, excepted—
we do not care how often we see him play Flam
the kind we can name.
mer in The Ladies' Club-the best performance of

QUEEN'S THEATRE.

This pretty little Theatre is doing very well, under the judicious management of Mr. J. C. entitled, Giselle; or, the Dancers of the Danube, James, the present lessee. The romantic drama, is beautifully got up; and the last scene, introducing real water, equal in effect to its larger rival at the Adelphi. A light vaudeville, or farce, Musard-unrivalled as a musician-the high generally follows this piece, and the amusements priest of Terpiscore-by whose genius every ball of the evening conclude with Claud du Vol, 2 adds to its own charms those of a pleasing con-highwayman drama after the taste of the present

ENGLISH OPERA HOUSE.

day. The company behind the curtain is one far above mediocrity, and that before it highly respectable. We wish Mr. James the success his efforts deserve.

FASHIONS FOR NOVEMBER.

TO THE EDITRESS OF LA BELLE ASSemblee.

Rue du Faubourg St. Honoré,
à Paris, Oct 24.

MY DEAR FRIEND,
Scarcely have the autumnal fashions set in, when
those of winter begin to make their appearance.
It is true they are not yet adopted, but as they
most probably will be before the end of Novem-
ber, I shall describe to you all that is most novel
in both, with the exception however of chapeaux
and capotes, which are already decided by those of
winter; for satin and velours epingle are the only
fashionable materials, and velvet even is beginning
to be worn. "But the forms?" your fair readers
will cry. In truth, Mesdames, I have done my ut-
most to give a just idea of them, by the elegant
models I have sent for the plates. There is cer-
tainly a very trifling alteration, but that is favour-
able: the brims are a little, though very little
larger, and the crowns are so made as to permit
the bringing both chapeaux and capoles farther on
the head. I may cite, among the most novel of
the latter, the capotes à coulisse, composed of a pe-
culiar kind of satin; they are drawn without the
support of whalebone, and this new mode renders
them very light. They are made both in full and
delicate colours, white and rose are predominant;
so also are violet, lavender, and a full shade of
blue. The trimming is usually of ribbon to cor-
respond, and velvet flowers disposed in a full bou-
quet on one side, and light sprigs in the interior
of the brim. Several capotes are also composed of
satin, and lined with velvet, or vice versa. These
always have the material laid on plain, and the
lining of a different hue, as rose-coloured velvet
for black satin, and flame-coloured for green.
They are also decorated with feathers shaded in
both hues. Some chapeaux that have just ap-
peared, and that will I think be very fashionable,
are composed of a fancy material called velours
jaspé; they are trimmed with shaded velvet foliage,
encircling either a full-blown rose, or a sprig of
very small flowers: the flowers are parted by a
ribbon, entwined in a very pretty manner with a
coquillage of blonde lace; the edge of the brim is
decorated with a double rouleau, also ornamented
with blonde. Black and white lace are both in
request, and will be decidedly so during the sea-
son for trimming chapeaux and capotés. It is dis-
posed, in some instances, in oreillettes, in the
same style as one of the models that I have sent
you; but falls, voilettes, and draperies, will also
be in vogue. Feathers will be very predominant,
particularly shaded and spotted ones. Velvet and
satin mantelets and scarfs, and Cashmere scarfs
and shawls, will be adopted till the weather is sut-
ficiently cold for mantles. Scarfs are generally of
a large size, lined and wadded: some of the most

elegant are of green velvet, similar to the one I have sent you; others are of satin, lined with satin of a different hue, and bordered with patterns in relief. Several satin mantelets are bordered with a broad band of satin, the same as the lining, but cut bias; it is turned over, and quilted in the same pattern as the lining. A good many Cashmere scarfs are beautifully embroidered round the border and at the ends; others have the ends only ornamented with broad horizontal stripes, in very vivid colours.

Many of the new mantles are composed of satin, either black, maroon, or deep blue; the bottom is trimmed with three velvet biais of the same colour. The hood, which falls in a style that perfectly rebiais; one only goes down each side of the front. sembles a pelerine, is trimmed also with three This style of mantle is lady-like, and not showy : those of the Spanish form are more distingué; they are always of black satin, lined either with the with two échelles, formed of full bands of black same or flame-colour; they are trimmed in front satin, and flat ones of velvet. This trimming is small at the top, but increases gradually in size as it approaches the bottom. A similar garniture the interior, and the pelerine is trimmed in the encircles the wide-hanging sleeves which open in same style; it forms a point in the centre, and one that the lining, which is from the make of the on each shoulder. I must not forget to observe mantle a good deal displayed, is always quilted in Black lace is also employed for trimming satin a pattern that might vie with embroidery in beauty. mantles of dark colours. I have seen some bordered with three biais of the material of the mantle, each surmounting a row of black lace.

The new materials for promenade robes are principally silks; those of the shaded kind are most in favour, except for promenade negligé, for dresses, made in the same style as the dark which plain silks of dark hues are preferred. High drab model I have sent you, are greatly in request in plain morning neglige.

Silks, satins, and cashmeres, are all adopted, both for evening and half-dress, besides plain and shot ones, both which are fashionable. I may cite for half-dress, the Allambra, the diamantine, and the reps Cobourg: the first is a rich, dead, neutral ground, thickly covered with Moorish patterns in various and striking colours; the diamantine is a very rich yellow silk, strewed with very small white spots, and offering no bad resemblance to a golden tissue spotted with silver; the reps Cobourg is a pretty figured silk of various colours, which has nothing remarkable about it but its name.

But in speaking of elegant toilettes, I had nearly forgotten comfortable morning ones, though they are also as elegant as they are comfortable: I mean our robes de chambre. They are now generally composed of cashmere, and faced with satin; in some instances, and this is the most novel style, the robe de chambre is bordered down the fronts by a satin rouleau, and fancy trimming ornaments are disposed en tablier on each side. A new cordeliere, something in the form of an elastic ribbon, has just been introduced for these dresses, and promises to supersede the others. While I am on the subject of fancy trimmings, I must not for

wherever he goes.
Charles Matthews, is also a lively bustling part,
out of which much amusement was extracted
both by actor and audience. Lord and Lady Nor-
wold, who sacrifice everything to pride, and their
son and Miss De Vere, who sacrifice everything
to love, are also happily drawn. The chief aim of
the play was to expose the dangers of vanity—a
too great dread, in fact, of "What will the world
say?" This purpose is, altogether, cleverly ac-
complished, but with too great labour for com-
plete success. The subject, though handled well,
was worked out with too much elaboration. This
fault has, we perceive, been discovered by the
management, who have re-produced it with cur-
tailments; and as a "Comedy in three acts," in
which form it has already been advertised. We
predict for "What will the World Say," a bril-
liant and lasting success.

Mr. Pye Hilary, played by | cert-whose music gives double zest to the dance,
-once more wields the bâton. A better band
was never congregated under a better conductor
since the days of Apollo, and they only want ap-
preciating audiences to make the English Opera
House the scene of the highest order of amuse-
ment. Some of the captivating slow movements
of Beethoven have been, during the last month,
executed in the most brilliant and feeling manner.
A successive series of such compositions will do
more to raise the musical taste of the public than
the most elaborate "festivals." We cannot say
they are at present nearly so much applauded as
the quadrilles and waltzes; but we have such
faith in the true musical taste of the British pub-
lic, that it only wants a constant acquaintance with
the best masters to cause them much more enjoy.
ment than the most taking and meretricious works
that, for a time, seem to be the rage. Musard
is proceeding cautiously: he only introduces one
such masterpiece during the evening. Perhaps
we shall have two soon; and do not despair of
hearing them as much applauded as the soulless
scores of the noisy school.

A dumb-show drama, under the title of Hans of Iceland, was the next novelty. It comprises some beautiful scenery, clever mechanism, pretty dancing, terrific combats, outrageous distress, wonderful escapes; love, despair, villany, constancy-all wound up by vice terribly punished, and virtue properly rewarded in the choicest pantomime. Miss Ballin as the heroine, Mr. Gilbert as the hero, the Ridgeways, and Mr. W. H. Payne, showed themselves graceful dancers, and vigorous ballet-of-action performers. Of the kind, the piece is very good, and affords an amusing relaxation after the more severely intellectual exhibitions of high comedy.

But the event of the month, was the appearance of a new play by Mr. Sheridan Knowles, under the promising, but bold title of Old Maids-a puzzling cognomen, as, for aught we could discover in the plot, it had nothing whatever to do with it. The comedy is, in truth, the least brilliant effusion of its deservedly popular author. In construction it is especially faulty; no glimmering of interest ever breaking through the cloudy incidents that unconnectedly follow each other. Yet the dialogue here and there sparkles with some of those master-touches that speak the heart they flow from-the pen that set them down. That first of all dramatic excellencies--passion-expressed in words which transfer it at once to the feelings of the auditor, peculiarly belongs to our best modern dramatist, Knowles. There is one speech-that of a lover--in the last scene, which is instinct with the purest and most fervent passion, and would redeem the play, had it even more faults than it has. But, as a whole, we regret to add, "Old Maids" is otherwise so deficient in dramatic qualities, that it is not, we fear, long for the world theatrical.

Fame has been busy in assigning great musical and vocal talents to Miss Adelaide Kemble, who

makes her debut in an English version of Norma, on the 1st of November. We will not fail to tell our readers whether these predictions will have been fulfilled by the time we next address them.

The unity, not only of time but of tone, the delicacy of the pianos, the truth and exactitude of all the effects evinced by this band, offer a treat which it would be a crime for any amateur to miss.

THE OLYMPIC.

This theatre, though a Wild speculation, has Mrs. Waylett, who is the star here, among her evidently, since the opening, been a profitable one. qualification of drawing full benches wherever she many dramatic excellences, has the crowning is engaged; in truth, she is a "real blessing" to managers, A pretty little French piece, called vein of humour in the chief character, to the utCousin Peter, serves to display her quiet, natural most advantage. If one could conceive it possible, her exquisite ballad-voice seems actually to improve-perhaps the more we hear of it the

better we like it.

of Angels and Lucifers, has been very successful. A clever little farce, under the antithetical title

When

of his old parts with his usual success.
The Lessee has been rattling through some
will be let us see him in a new one? Though his
gay, bustling, broad humour is always welcome
under any form and pressure, yet variety is charm-
ing after all-one reservation, however, excepted-
we do not care how often we see him play Flam-
the kind we can name.
mer in The Ladies' Club-the best performance of

QUEEN'S THEATRE.

under the judicious management of Mr. J. C. This pretty little Theatre is doing very well, James, the present lessee. The romantic drama, entitled, Giselle; or, the Dancers of the Danube, is beautifully got up; and the last scene, introducing real water, equal in effect to its larger rival at the Adelphi. A light vaudeville, or farce, Musard-unrivalled as a musician-the high generally follows this piece, and the amusements priest of Terpiscore-by whose genius every ball of the evening conclude with Claud du Val, a adds to its own charms those of a pleasing con-highwayman drama after the taste of the present

ENGLISH OPERA HOUSE.