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FASHIONS.

FIGURE 1. Dress toilette for Promenade.-Robe of damask broche, light green upon a more deep green. Corsage open in front, high behind, with revers, showing very pretty high guimpe, composed of eight or nine little volants of white lace, slightly gathered; waist long.

Sleeves demi-large, a little short, open on the inside, exhibiting white under-sleeves, which come out in puffs, with tight wristbands, and two volants of lace upon the hand.

Jupe with flat, broad plaits upon the hips. On each side, the jupe is opened to two-thirds of its height, and the stuff folded back upon itself, forming two revers laid very flat upon the jupe. These two openings are filled below with green damask like that of the robe.

The revers of the corsage and those of the jupe are edged throughout with fringe of green silk of two shades, arranged thus: first, a head of narrow galoon, second, a knit mesh, and, finally, the fringe of two shades.

The openings of the sleeves are crossed with a galloon with fringe, and those of the jupe are also crossed with five rows of the fringe.

Capote of pink satin in round folds. There are three crossings of gauze riband with rounded scallops. These crossings have a fold in the middle, and are gathered; two surround the face, the other crosses the crown en bias.

FIGURE 2.-Home Dress.-This exceedingly pretty dress is made of satin, a la reine. The corsage is high, and fitted tight to the form; the waist long, and without belt. The redingote is buttoned in front from top to bottom, 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.

The collar is made of two rows of lace, laid one upon the other. No cravate. Sleeves open behind as far as the elbow, the sides of the openings being connected by four narrow black bands. Between each of these bands a narrow volant of white lace, and finally, from the bottom of the sleeve spring two wider volants of the same.

Coiffure, a small cap of white tulle, upon which are stitched some very narrow red velvets, following the winding of the tulle. On each side depend two small strips, also trimmed with narrow velvets. Each velvet supports a very narrow volant of lace.

Bonnet blue, the front trimmed with four rows of lace, separated by very small feathers placed in rings. A similar trimming ornaments the edge, and a bunch of knotted feathers is placed at the side.

FIGURE 3. Walking Costume. The dress is of cinnamoncoloured satinette; the corsage fits tight to the form and close round the neck. Like most of corsages for out-ofdoor dresses, it is made very high. The sleeves are tight and slit behind to the elbow, where a button and two tassels are affixed. Full undersleeves of white muslin finished at the wrist with lace ruffles. Up the front of the jupe are five ornaments of passamenterie placed upon folds of satinette fixed upon a foundation of stiff muslin. The size of these ornaments is graduated to correspond with the width of the folds, which become narrower from the feet toward the waist. A similar but smaller trimming ornaments the front of the corsage. Around the

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FIG. 6.

WALKING DRESS.

WALKING DRESS.

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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.

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Skirt

FIGURE 5. Dress of ruby-coloured damask. 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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Fia. 7.

FIG. 9.

TOILETTE DE VILLE.

LITTLE BOY'S DRESS.

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faute, with plaits, and trimmed upon the hand. Small
paletot of dark velvet, buttoned strait. Sleeves short and
wide. Little coloured gaiters.

trimmed also with far.
feather.
FURE 9. Dress for a Little Boy. Loose blouse of plaid
Sleeves reaching to the
cachmere, buttoned in front.
elbow. and 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-large at the top, wide at the ends. The seam
from the shoulder is en biais upon the side to the bend of
the arm, and from thence 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
formation of a heavy and ungraceful thickness at the
waist, these laces are placed en biais, 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
There are two near
surrounded by little white stones.
the neck and two at the belt. The collar and the under-
sleeves are of gathered rows of white lace placed one upon
the other.

FIGURE 11. Dress for a Young Lady of Fourteen. White
folt bonnet lined with pink. and trimmed with a strip of
white plume frisee; bavolet white; brides pink. The face
wide open and not raised. Hair in bandeaux. Paletot
and robe of dark blue poplin. the former lined with pink.
FIGURE 12. Collar of white percale, ornamented with a
Sleeves a little bouf-
wide embroidery. Pants the same.

FIG. 12.

LITTLE CHILD'S DRESS.

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EDITORIAL.

OUR JANUARY NUMBER.

WHEN Sartain's Magazine was commenced, it was with the determination to do, rather than to promise; not to give one splendid specimen Number by way of attracting subscribers, and then fall back into carelessness and neglect, but to maintain fully throughout the year the high character with which we set out.

That we have

acted up to the spirit of this determination, has been universally conceded. We can say what no other Magazine can-and we say it without the fear of contradiction -that our January Number for 1849, so far from being the best, was the poorest Number published by us during the year. It was indeed a splendid Number, and was commended in the highest terms publicly and privately all over the country. But it was eclipsed by the February, as that was by the March; in fact every succeeding month has been admitted to be an improvement upon its prede

cessors.

The Magazine for the present month may safely challenge comparison, either with its predecessors, or its com petitors. In amount of matter, in the quantity and style of its embellishments, and more than all, in the character of its literary contents, it is entirely unrivalled.

In the first place, though not in the habit of boasting of the number of pages in our Magazine, believing that readers care more for the quality than the quantity of what they buy, we may yet call attention to the fact that we give the present month a larger number of pages than was ever before given by any American three-dollar Magazine. We have never promised to give more than 64 pages. We have here given 104 pages. This, according to the standard of one of our contemporaries, is "a Double Number, and eight pages over."

In regard to embellishments, the Magazine has a 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 his fame as well as his fortune in the enterprise. What beautiful Gift book or Annual is not indebted for its choicest embellishments to the burin of Mr. Sartain? High, however, as was his reputation in the beginning of 1849, it is still higher in 1850. Important improvements in the art of Mezzotinting have been introduced by him in the course of the last year, as will be obvious to any one who will look over the series of engravings by him published during that period. Lining and Stippling are now so blended with the Mezzotinting process, as to produce in the hands of a man of genius a picture, which for richness of effect, is unequalled by one produced in any other way. Examples of this may be seen in "The Brothers," published in December, and in "The Rival Songsters," now given. But, besides the services of Mr. Sartain, whose most splendid efforts are contributed of course to his own Magazine, we have constantly aimed 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 Coloured Flower by Ackerman, the Winter Scene printed in tints by Devereux, the spirited and graceful Illustrations of Shakespeare, Spenser, and Milton by Gihon, all bear witness to this fact. We give no less than nine of these large full-paged embellishments in this single Number. Besides this, we give throughout the book an almost uninterrupted succession of small gems of artnot "wooden blocks," such as appear in some other Magazines-but wood Engravings, of which an artist need not

be ashamed.

But it is the literary character of Sartain, after all, on chiefly indebted for its unprecedented success. which it has aimed chiefly to depend, and for which it is With this view it has sedulously excluded from its pages the whole brood of half-fledged witlings with fancy names-the Lilies and the Lizzies-the sighing swains and rhyming milk-maids of literature, who are ready to contribute any amount of matter, prose or verse, for "a copy of the Magazine," or for the mere pleasure of seeing their effusions in print. Instead of this miserable trash, of disgust, we have aimed to secure, as regular contributors which the public have given unequivocal symptoms of to our Magazine, authors of world-wide reputationwriters of the very highest genius and celebrity on both sides of the Atlantic. To secure this class of writers required indeed an expenditure of money for authorship such as has never before been attempted by Magazine publishers in this country. Believing however in the existence of a reading public-men and women who desire a Magazine to read, not a picture-book to look atwe determined to make the attempt to produce a periodical suited to this supposed want, and we have not seen reason to regret the determination. Any one who will look at our list of contributors will see that it contains nearly every distinguished name among the active collaborators in the field of American periodical literature. Not a few also of the most brilliant writers of Great Britain, who have heretofore contributed to the first class of periodicals in that country, have been induced to transfer their contributions from those Magazines, and now write exclusively for ours. Articles appearing in Sartain are not of an ephemeral character, but such as are destined to take their place in the permanent literature of the country -such as instruct as well as amuse the reader, and profit while they please.

POE'S LAST POEM.

In the December number of our Magazine we announced that we had another poem of Mr. Poe's in hand, which we would publish in January. We supposed it to be his last, as we received it from him a short time before his decease. The sheet containing our announcement was scarcely dry from the press, before we saw the poem, which we had bought and paid for, going the rounds of the newspaper press, into which it had found its way through some agency that will perhaps be hereafter explained. It appeared first, we believe, in the New York Tribune. If we are not misinformed, two other Magazines are in the same predicament as ourselves. As the poem is one highly characticularly, as our copy of it differs in several places from teristic of the gifted and lamented author, and more parthat which has been already published, we have concluded to give it as already announced.

ANNABEL LEE.

A BALLAD.

BY EDGAR A. POE.

It was many and many a year ago,
In a kingdom by the sea,

That a maiden there lived whom you may know
By the name of Annabel Lee;

And this maiden she lived with no other thought Than to love and be loved by me.

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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)

That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.

But our love it was stronger by far than the love
Of those who were older than we-
Of many far wiser than we-

And neither the angels in heaven above,
Nor the demons down under the sea,

Can ever dissever my soul from the soul
Of the beautiful Annabel Lee.

ART NOTICES.

CHROMO-LITHOGRAPHY.-We give this month two fine specimens of this beautiful art, from the establishment of Mr. Ackerman in New York, and they do credit to his skill. The flower and title-page are each produced by seven or eight successive impressions, one for each tint required, and of course involving the necessity for as many separate drawings on stone of the various parts, since but one tint can be printed at a time. In such subjects as will admit of the use of this method instead of colouring by hand, the advantages are numerous and 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;

And the stars never rise but I feel the bright eyes
Of the beautiful Annabel Lee;
And so all the night-tide, I lie down by the side
Of my darling, my darling, my life, and my bride,
In her sepulchre there by the sea-

In her tomb by the sounding sea.

THE DEATHBED OF WESLEY.

Serenade") given in our number for August last, was produced. That print Mr. Devereux claims as the first successful attempt in this country to obtain a finished effect in colour by means of successive printings from a series of engraved blocks; but in Europe this art (although rude enough until within the last ten years) is ancient.

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 invention to Guttenberg, in 1436; the process and implements in both are precisely the same. Chromo-Lithogra

stone, is of comparatively recent discovery, and at the present time is in much more extensive use; which of the two methods will hereafter obtain the preference, either on account of economy or beauty, is uncertain. It will depend much on the skill and knowledge of the operator; on his degree of acquaintance with those laws which govern the harmonic relations of one colour to another and as modified by either light or shadow; just as the sounds in nature arranged in accordance with similar laws produce what we call music. One is harmony addressed to the mind through the organ of sight, in tones of colours placed in extension; the other, harmony addressing the mind through the sense of hearing, in tones of sounds placed in succession. Both are or ought to be the medium of sentiment and feeling, colour bearing about the same relation to pictorial composition, as music does to poetry.

We 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 Higgins, and without having seen the original painting by Claxton, which is in England, have no doubt that it does full justice to that artist's picture. The plate is called a mezzotinto, but it is not purely in that style, being wrought nearly all over with stipple and other work, which is a great improvement on the old-fashioned method of unmixed mezzotinto. The whole is executed in the most careful manner, and is at the same time brilliant and spirited, The composition is admirable; the groups, consisting of about twenty figures, are arranged most skilfully, both as to picturesque effect in themselves, and so as best to conduce to a rich contrast of light and shade. What adds greatly to the interest of the picture, is the fact that eighteen of the figures are actual portraits of relatives and distinguished friends of John Wesley. This fine print is valuable, not merely for the interest that must attach to it on account of the subject-matter, but also for its merit as a work of art. It is engraved by Mr. John Sartain.

ENGRAVING OF MRS. POLK.

Our February Number will contain a splendid engraving of the distinguished and truly Christian woman who lately graced the Presidential Mansion, at Washington. This engraving will be executed by Mr. Sartain in his finest style, and will be accompanied by a biographical notice, by a lady of Washington well acquainted with the subject.

Portraits of eminent women, accompanied with wellwritten impartial biographical sketches, will form one of the features of Sartain for 1850.

That the science of colour is a profound and difficult study is rendered sufficiently evident from the fact that so few really great colourists (comparatively) have appeared amongst eminent artists, from Titian and Paul Veronese down to the present time; and these appear to have succeeded rather from an intuitive feeling of the true and beautiful, than from known and fixed laws. When a knowledge of the philosophy of colour is as generally diffused as that of its twin sister music, and its principles of harmony applied to a judicious selection and combination in articles of dress, it will become a curious and interesting guide in the study of character; for this is one of the endless variety of ways in which the inward tone and habit of mind give involuntary utterance of itself to the intelligent and thoughtful observer. How little do some ladies appear to comprehend the help or injury that a ribbon or flower may prove to the complexion,

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