Gold braid on velvet or cloth.
THEmaterial is merino, or very fine lady's cloth; the color a light shade of cinnamon brown. The basque, or skirt, at the waist is rather long, and the jacket is edged all round with a Greek border in soutache. It is made rather open in front, so as to show a waistcoat of plain blue cashmere fastened with gold buttons. The collar to be worn with this jacket is of cambric, and may be either worked or plain. The undersleeves, also of cambric, are full, and the fulness gathered at the wrists on bands of needlework. Necktie of black velvet. Our illustration shows only the jacket of this riding-dress; but we may mention that the skirt of the habit should be of the same material, and that the hat worn with it should be of gray felt, ornamented with a feather of the same color, and the crown encircled by a band of blue ribbon fastened in a rosette on one side.
The above figure is a handsome pattern for a couch. The castors are sunk in the legs.
The above figure is a handsome pattern for a couch. The castors are sunk in the legs.
The above figure is a handsome pattern for a couch. The castors are sunk in the legs.
WEput aside, for this month, a number of short articles, in order to give our readers the pleasure of an introduction to the celebrated singing-master, to whose instructions the Swedish Nightingale owes, in a great measure, the restoration of her wonderful voice, and her unequalled power in using it. Very important lessons are contained in this interesting sketch, translated from the German of Elise Polko.
Rue Chabannais, No.6.—In one of the most insignificant streets of splendid Paris, the narrow little Rue Chabannais, there stands a tall, dark-looking house known as No. 6. Ugly, rambling, old-fashioned buildings stand on each side, and have posted themselves opposite to it also, like old duennas mounting guard, squinting down incessantly with their dim eyes, their unwashed windows, upon the gray house with its broad doorway. The inhabitants of the little street, on the contrary, regard it with a certain pride mingled with a tender friendliness of feeling, and rejoice like children over each brilliant equipage that stays its rapid course before No. 6, as well as over every unpretending fiacre that there deposits its light burden.
At all hours of the day, graceful female figures glide over the threshold of the large dark house, and themodisteof the Rue Chabannais, who arranges her fluttering caps, ribbons, and veils so invitingly in the corner window, might make valuable studies for costume from the many and divers figures, great and small, who so heedlessly pass by her well-displayed treasures. One may see rich heavy silks, and simple black woollen robes, superb velvet mantillas and delicate light shawls, the careless and yet striking costume, the carefully-chosen and usually brilliant garb of slender German women, the elegant and coquettish French bonnet, and the great roof-like straw hat which shelters the fair brow of the English lady. One might be tempted to think some skilful gardener must have his abode here, and all the flowers were flocking to him for advice about their tender lives, from the glorious exotic of the greenhouse to the humblest field flower that needs only its drop of dew.
But men too, young and old, whose figures and faces remind us neither of flowers nor spring, enter mysterious No. 6 with rapid steps, and strangely do their countenances differ in expression as they come out again. Sometimes there is a bright smile and a beaming eye, but most of them have a deep and earnest look, and a brow furrowed with anxious thought—traces which vanish soon enough in the Place Louvois or the gay and brilliant Rue Richelieu.
"Perhaps a second Lenormand has fixed her residence in the large house, disclosing strange secrets to the curious, and uttering dark oracles!" Ah, no! such magicians are sought only under cover of twilight and the dark shadows of night—never in bright day.
Now, shall I solve the riddle of the gray house? Will you follow me up the broad stone stairway? Forward, then! Many a light foot has lingered anxiously on these steps, doubtful whether to go further; this iron railing has been touched by many a trembling hand, and these white walls have echoed many a sigh. At last we have mounted the third flight; let us take breath! Many a young heart has beat audibly before this closed door, believe me! for we are standing before the dwelling of
MANUELGARCIA,
the greatest singing-master of our time.
One of the most charming of fairies (and I tell you for your comfort there are still many of them who, to escape the roar and tumult of our mad world, hide themselves far down in the flower-cups), at my earnest request, has lent me her fragrant veil for an hour or two; we wrap it around us and are invisible, and now we can boldly enter the rooms of the artist. Passing through a small antechamber, we carefully open a folding door on the right, and enter a simple apartment, partially darkened, and tastefully and comfortably furnished. Two beautiful busts arrest our attention; one bears the inscription "Eugenie Garcia," the other the immortal name "Marie Malibran." Two familiar portraits adorn the walls: the pleasant kindly face of the Swedish Nightingale, and the earnest countenance of Pauline Viardot.
Silvery sounds, full and powerful, reach our ear from the adjoining room; they attract us irresistibly; we follow them, gently open a side door and find ourselves in the very sanctum of the master, in the atelier of the artist. The long folds of the red silk curtains are partially drawn, so that a rosy light falls upon every object; a fine piano stands in the middle of the room; arm-chairs by the fireplace; a luxurious divan on one side covered with scattered music; the elegant marble table loaded with books, portfolios, music-books, papers of all kinds; music-stands in every direction, on one of which, beside the singer, we see an open volume of exercises. "L'école de Garcia, l'art du chant." A breath of poetry seems to pervade the apartment. Garcia sits at the piano, his scholar stands at some distance before him.
The maestro is very tall, unusually slender, and of a truly feverish vivacity. His face is small and deadly pale; his dark, slightly curled hair falls over a high forehead. His eyes are dark, restless, flashing, and inspired. Now he listens with fixed attention to the full, swelling notes that flow from the lips of the songstress; the next he throws back his head impatiently; a word of warning or of blame is rapidly addressed to the pupil; sometimes a kindly smile, a slight sarcasm, a pleasant jest, all strangely intermingled with sudden starts, angry stamping of the feet, and stern frowns of displeasure. How rarely a word of praise! But one single warm word of commendation from such a master is a sunbeam that has power to penetrate and unfold every fast closed bud of zeal and earnest effort.
How cautiously Garcia handles the precious possession intrusted to his care, the human voice! How tenderly he protects it! how carefully he watches it! how anxiously he strives to preserve that pure, brilliant freshness of youth which is the greatest charm a voice can possess.
It is really impossible to lose this flower-like bloom under Garcia's guidance; whatever may be said or has already been said to the contrary, such a reproach can never come home to a master whose whole method is so entirely accordingto nature. And how strenuously does he insist upon resting pauses in his hours of instruction! Hear what he says to that listening pupil who looks up to him with such eager expectation:—
"Freshness and spontaneousness are the most precious qualities of the voice, but they are also the most fragile. The voice which loses them never regains them; its tone is gone, never to return."
"During the first days of practising, the pupils should not devote themselves to their exercises more than five minutes consecutively; but studies thus regulated may be resumed four or five times a day, provided they be separated by long intervals. Afterwards, the time devoted to practice, by increasing it five minutes at a time, may be extended to half an hour, a limit which should never be exceeded. At the end of five or six months, you may increase the number of half hours of exercise to four, but be careful in going beyond it, remembering always that these periods be separated by long rests."
The singer begins again. Her own figure stands before her in the large mirror that hangs behind the master's back; no movement of her face can escape her; every contraction of her eyebrows, every slight wrinkle in her forehead, every ungraceful movement of her mouth is truly reflected there. And no trick passes unreproved, for Garcia's piercing eye watches with fixed attention every feature of the singer. But he does not arrange and prescribe how the cheekbones are to move, or the lips to open; he does not confuse the ideas of his pupils by incomprehensible, wordy descriptions of the position of the mouth and the posture of the head; he simply repeats the teaching of the famous old Italian singing-masters, Tosi and Mancini: "Every singer should hold his mouth as he is in the habit of doing when he smiles naturally, that is, so that the upper teeth may be moderately and perpendicularly separated from the lower ones." Without directing the posture of the body like a drill-sergeant, Garcia says briefly, but decidedly: "Keep the body erect, tranquil, well-balanced on the two limbs, and at a distance from any other point of support." The arms must be held a little back, "so as not to interfere with the play of the chest." The lesson is finished. The maestro kindly dismisses his pupil, again repeats, with condensed brevity, the main point of to-day's instruction, appoints the task for home practice, and encourages the timid departing scholar with heart-cheering words of courage and hope.
But look! scarcely has the door closed when it is again opened. A pale young man, accompanied by some sober-looking, elderly gentlemen, bows in an awkward and yet assuming manner, and, with a smile of conscious self-satisfaction, presents different letters of recommendation, among which such names as Meyerbeer, Auber, Spontini, shine out. It is a singer from one of the provinces; enchanted with the praises of his table-companions, he is about to devote himself to the stage. His rich father and richer uncle have come with him to Paris; Cousin Meyerbeer sends him to Garcia, as he has already sent him from Pontius Auber to Pilate Spontini. With what indifference Garcia throws aside these great letters, but how carefully he begins to test the young man's abilities! The aspiring devotee to art has brought with him his favorite air, his show-piece; Verdi is his idol among composers! The recitation begins; Garcia accompanies him. The voice is weak and yet sharp, already half-cracked; the flow of it unnatural and cramped; the most terrible effort is apparent at every note; false respiration too, and indistinct pronunciation. The master grows more and more impatient; his feet begin to jerk as if seized with sudden cramps; he plays faster and faster; with feverish haste, his slender hands run over the keys, his face changing with every sound; his eyes flash more and more restlessly; his teeth are pressed against his lips; suddenly, he springs from his seat, with the half-smothered exclamation, "Assez, Monsieur, assez, je vous prie!" He sinks exhausted into a chair; an awful pause ensues. At last the master quietly and decidedly explains to the singer the grounds upon which he is obliged to refuse his request, in spite of all the recommendations of Meyerbeer and Spontini. His candor and calmness towards the offended amateur are worthy of admiration. He concludes by kindly advising the astonished aspirant, if he has not implicit faith in his words, to seek another teacher, and dismisses the deluded worshipper of Verdi with the most refined courtesy.
How frequently does he reject lady pupils who, with great assumption and half-ruined voices, come to him that his hand may scatter a few flowers over their remains! How impatient he is of all musical narrowness, want of talent, and laziness! His severity in such cases has given him a bad reputation, his violence has forced tears from many eyes; but his justice remains unimpeachable. He will not for a moment feign for a scholar an interest he does not feel, or that has been forfeited by any of the defects I have mentioned; he is unsparing in making them feel how little he cares for such pupils. Holding a book in one hand, with the other he carelessly strikes an accompaniment, and as he diligently reads on, only the monotonous "encore" at the end of a solfeggia proves that the ear of the master has been attending.
The more untrained and untutored the voice that is brought to him, the more thankfully he receives it. How joyfully does he then devote himself to his arduous task! how unwearied is his attention! how carefully and conscientiously does he watch over the treasure intrusted to him! On the other hand, he is most unwilling to under-take "repairs" and "final embellishments," which, artist-like, he confesses without disguise; and singers who, with this in view, seek the master's studio, will have but little satisfaction in his lessons. * * * * * *
But hush! hush! My gracious protectress gives me a gentle warning, and touches the magic veil we had wrapped about us. Let us obey her timely hint, nor provoke one kind spirit to anger! Farewell, good master Garcia! Heartily do we rejoice that we have listened to thee; believe me, we shall often wing our way back to thee without fairy help, even in the spirit, that we may look on thee with gratitude and admiration. And the golden and silvery sounds which thy magic power draws from young rosy lips will again flow forth and bear us on in their clear stream; the bright, pearly drops of brilliant roulades will refresh and quicken us into new life; and oh, joy! the poor troubled heart will hear no more the sharp, cutting, irreconcilable discords of the everyday world.
ANAMERICANARTISTEABROAD.—Miss Adelaide Phillips, of Boston, has lately made a very successfuldébûtat Brescia (Italy), in the character ofArsacein Rossini'sSemiramide. "The public were lavish of well-merited applause," says the Italian critic. Miss Phillips first sang, as a child, at the Boston Museum. She went, about two years since, to Italy, to complete her musical education. Biscaccianti sang for her benefit, and Jenny Lind, though she refused to sing for her, it is understood, gave her $1,000, and letters of recommendation to her old teacher, Garcia. Miss Phillips is the fifth American who has, within the last few years, succeeded on the Italian stage.
TRUEHAPPINESSINAPALACE.—Frederick William III., King of Prussia, married, in 1793, Louisa, daughter of theDuke of Mecklenburg-Strelitz. The union was one of elevated love and perfect confidence, the character of the wife presenting a combination of excellencies that dignify her sex and ennoble humanity. Among her graces, that of doing good to the poor was always in exercise. The king allowed her a certain sum for her charities, which she often exceeded, and when the treasurer informed the king of this, he had a way of gradually replenishing the drawer in her desk.
She would say, "What angel has filled that drawer for me again?" To which the king—that the angels were legion, although he knew onlyone; and then repeated the beautiful verse—
"He gives his favors to his favorites while sleeping."
This high and tender appreciation of the queen's graces and virtues appeared at all times. Himself grave, often morose, silent, and somewhat sarcastic, he knew well how to make use of and shelter himself behind the serene smiles and ever-genial, gracious demeanor of the queen, to whom he used to say, when assailed by the plaudits of their subjects: "Now, Louisa, you must salute them for me; you can do it better than I; but how you can hold out so long, I cannot think."
Much is said of her sly playfulness and ready repartee, one anecdote of which we cannot resist giving. The king, who was extremely careful and judicious in his expenditure, and whose maxim it was that the secret of dollars lies ingroschen—exactly similar to our saying about pennies and pounds—on entering the queen's apartments one morning, espied a pretty new headdress, of which he jestingly inquired the price.
The queen replied in the same tone: "It is not always right that men should know the price of women's dress; they don't understand it, and think everything too dear."
"Well, but do tell me the price for this cap, for I should like to know."
"Oh, certainly I will! I bought it a great bargain; I only gave four dollars for it."
"Only! an enormous price for such a thing. What a large sum of money!" and running on in the same vein, he saw from the window an old invalid veteran of the guard, whom he beckoned to come in, saying to him as he entered: "The lady who is sitting on that sofa has a great deal of money; now, what ought she pay for that little cap on the table? You must not be dazzled by the beautiful pink ribbons, but say what you think it is worth."
The old soldier shrugged his shoulders, and said, after a pause: "Why, I suppose it would cost somegroschen" (pence).
"There, now!" said the king; "do you hear that?Groschen, indeed! That thing cost four dollars. Now go and ask that pretty lady for four dollars. She can well afford to give you as much as she can afford to pay forthat."
The queen smilingly opened her purse, and presented the four dollars to the old man. "And now," continued the queen, archly imitating the king's tone, "you see that noble gentleman standing at the window; he has much more money than I have. All I have is from him, and he gives very freely. Now go and ask for double of what you have got from me: he can afford to give you eight dollars."
The king saw at once that he was caught in his own trap, and laughingly gave the old man the sum she had so charmingly forced from him.
Such domestic happiness is seldom found in a palace; when it is, we see how it adds to the glory of royalty. Every married pair are royal in their own home, and if every husband and wife would study to make each other happy, like Frederick and Louisa of Prussia, there would be no question about the "rights" of either. Both would find their best happiness in their respectiveduties.
A MISTAKE.—The following paragraph we are sorry to see ascribed to the lady editor of the "Book":—
"Mrs. Hale says there is more talent and general information displayed by the press of the United States, taken collectively, than can be found in Congress and all the Legislatures taken collectively."
Mrs. Hale never presumed thus to criticize or compare the merits of editors and statesmen. The opinion belongs to Mr. Godey—he can answer for himself.
TOCORRESPONDENTS.—The following articles are accepted: "Mrs. Clark's Experience as a Servant," "The Schottisch Partner," "Stanzas," "Autumn Dying," "The Thrice Wedded," "Memory's Retrospect," "The Mother's Lesson," "My blighted Rose-buds," "Come unto me," "To Miss Laura," "Lines," "Two Mothers," "I Pray for the Loved at Home," "The Smiling Boy," "A loving Heart," "Legend of Long Pond, or Lake of the Golden Cross," "Deacon Downright."
The following articles are declined: "Valuable Copyrights," "The Grave;" "The Sabbath of the Soul." (Poetical in idea, and evinces genius as well as taste; but unequal, and the closing lines poor. The writer may feel sure of success if energy does not fail.) "Turkish Battle Song," and the translation of the "Forty-seventh Ode of Anacreon," are both declined. Neither war nor wine is a fitting theme for our "Book," nor do we need poetry of any kind. "To Belle Irene." The following, the first and best stanza, is all we have room for. (There is power in the writer, and he does not lack imagination, but he dashes off his lines in such hot haste, that he often leaves metre and measure far behind. A little more care in the versification would be a great improvement.)
"I may not love thee, yet within my heart,When night and darkness set my spirit free,And I am musing from the world apart,Soft low requiems murmur words of thee;And upward gushing from joy's smouldered fire,Shadowlessly, in fresh and tameless glee,A wind-wail sweeps through Hope's halcyon lyre,Like zephyr's music o'er summer's golden sea."
"I may not love thee, yet within my heart,When night and darkness set my spirit free,And I am musing from the world apart,Soft low requiems murmur words of thee;And upward gushing from joy's smouldered fire,Shadowlessly, in fresh and tameless glee,A wind-wail sweeps through Hope's halcyon lyre,Like zephyr's music o'er summer's golden sea."
"I may not love thee, yet within my heart,When night and darkness set my spirit free,And I am musing from the world apart,Soft low requiems murmur words of thee;And upward gushing from joy's smouldered fire,Shadowlessly, in fresh and tameless glee,A wind-wail sweeps through Hope's halcyon lyre,Like zephyr's music o'er summer's golden sea."
"I may not love thee, yet within my heart,
When night and darkness set my spirit free,
And I am musing from the world apart,
Soft low requiems murmur words of thee;
And upward gushing from joy's smouldered fire,
Shadowlessly, in fresh and tameless glee,
A wind-wail sweeps through Hope's halcyon lyre,
Like zephyr's music o'er summer's golden sea."
"Lines about Tecumseh," "To Mary," "I Would;" "Tears." We give below an extract, the poem being too extended for its one idea; the writer is capable of better things:—
"Tears my bleeding heart hath known,Tears of sorrow sadly shed,Tears I've mingled with thine own,Tears while weeping for the dead.Tears so brightly let them flowTears from eyes too freely given,Tears that none but angels know,Tears from kind hearts wildly riven."
"Tears my bleeding heart hath known,Tears of sorrow sadly shed,Tears I've mingled with thine own,Tears while weeping for the dead.Tears so brightly let them flowTears from eyes too freely given,Tears that none but angels know,Tears from kind hearts wildly riven."
"Tears my bleeding heart hath known,Tears of sorrow sadly shed,Tears I've mingled with thine own,Tears while weeping for the dead.Tears so brightly let them flowTears from eyes too freely given,Tears that none but angels know,Tears from kind hearts wildly riven."
"Tears my bleeding heart hath known,
Tears of sorrow sadly shed,
Tears I've mingled with thine own,
Tears while weeping for the dead.
Tears so brightly let them flow
Tears from eyes too freely given,
Tears that none but angels know,
Tears from kind hearts wildly riven."
"Mrs. Penelope Pennington's Disappointments." (The article is well written, the subject commonplace.)"A Leaf from the Life of an Old Maid" was declined; theacceptancenoted in September was by mistake; the "Book" is sent, nevertheless, as the author will undoubtedly succeed, and we can wait. Many articles on hand are not yet examined.
BOOKSBYMAIL.—Now that the postage on printed matter is so low, we offer our services to procure for our subscribers or others any of the books that we notice. Information touching books will be cheerfully given by inclosing a stamp to pay return postage.
From LIPPINCOTT, GRAMBO, & CO. (successors to Grigg & Elliot), No. 14 North Fourth Street, Philadelphia:—
A NEW AND COMPLETE GAZETTEER OF THE UNITED STATES. Giving a full and comprehensive review of the present condition, industry, and resources of the American confederacy; embracing, also, important topographical, statistical, and historical information, from recent and original sources; together with the results of the census of 1850, and population and statistics in many cases to 1853. By Thomas Baldwin and J. Thomas, M. D. The enterprising publishers of this valuable and important work may very justly feel gratified in being able to present it to the public, and with equal truth do they claim it to be the most elaborate, comprehensive, and perfect "Gazetteer" of the United States that has ever issued from the press. Instead of 800 pages, to which the work was originally restricted, it has swelled to 1,400 pages, embracing at least 10,000 names of places not to be found in any other "Gazetteer," together with the appropriate statistics and information. Neither the hope of profit, nor the pressure of competition has induced the publishers to present their work before it was complete, or before all the ample materials furnished by the census of 1850, and other statistics and important facts in the hands of editors, were "fully digested and arranged." The expense incurred in the production of this unequalled "Gazetteer," in which, besides the editors and their assistants, several thousand correspondents in all parts of the United States were engaged, has consequently been very great, amounting, as we learn, to more than $30,000.
But, if the publishers have reason to feel gratified in the result of their labors, we think the American public should be congratulated in having within command and ready for use a volume which presents so faithfully the present condition of the country, in all the ramifications of population, trade, commerce, wealth, etc., and which foreshadows the future as unerringly as it records the history of the past. The great public, therefore, always alive to its own interests, will lose no time in discovering the propriety, as well as the justice of rewarding the spirited publishers of the "New and Complete Gazetteer," by purchasing the volumes as fast as they can be got ready. And this, we think, will be the result as soon as its merits are generally known. As a book of reference, it will be indispensable to editors, authors, merchants, and men of enterprise in all the departments of business. In families, it will also be found to furnish the readiest means in impressing the young inquirers with an amount of history in relation to the extent, climate, soil, productions, and general statistics of their country, which they might search in vain for in the various histories prepared for their exclusive benefit.
From A. HART(late Carey & Hart), corner of Fourth and Chestnut Streets, Philadelphia:—
HEROIC WOMEN OF THE WEST:containing Thrilling Examples of Courage, Fortitude, Devotedness, and Self-Sacrifice, among the Pioneer Mothers of the Western Country. By John Frost. LL.D., author of "Pictorial History of the World," "History of the United States," etc. etc. This is a handsome and interesting volume, in which are graphically narrated the heroic deeds of forty of the pioneer women of the West. It has many beautiful illustrations.
From TICKNOR, REED, & FIELDS, Boston, through C. G. Henderson, Philadelphia:—
HAPS AND MISHAPS OF A TOUR IN EUROPE. By Grace Greenwood. This is a very clever and readable book, its style fluent, flashy, and flowery. Every sentence is highly wrought and carefully polished, and every sentiment, good, bad, and indifferent, is expressed in the highest pitch the English language will bear; and, when it would bear no more, the climax has sometimes been given in words borrowed from softer, sweeter, or stronger and more thrilling vocabularies than our coarse mongrel Saxon. We know Grace Greenwood to be a graceful and polished writer; but in this volume she has evidently labored too ardently to dignify and garnish poetically common incidents and common sayings, which would have appeared to much better advantage in commonplace prose. But all this, we presume, proceeds from her determination to let her feelings have their full sweep; and thus, as they have directed her, and as she has been differently impressed by similar sights and images, we find her at one time subdued and almost in tears before a painting of the Madonna, and at another hurling impassioned imprecations upon the heads of those who foster a worse than pagan superstition. We do not wonder, therefore, after reading her book, that, near the close of her tour, the over-excited author felt an inexpressible longing for rest "in acomfortablehome among her dear English friends."
From R. T. YOUNG, New York, through J. L. GIHON, Philadelphia:—
HISTORY OF NEW AMSTERDAM;or, New York as it was in the Days of the Dutch Governors. Together with Papers on Events connected with the American Revolution, and on Philadelphia in the Times of William Penn.By Professor A. Davis, Corresponding Member of the N. Y. Hist. Society, Hon. Member of the N. Y. S. of Letters, and formerly Chaplain to the New York Senate. Six fine illustrations. The younger classes of historical readers will find this a very attractive and very instructive volume.
From TICKNOR, REED, & FIELDS, Boston, through W. P. HAZARD, Philadelphia:—
AUTOBIOGRAPHY OF AN ACTRESS;or, Eight Years on the Stage. By Anna Cora Mowatt. These simple and unaffected memoirs will greatly interest the many warm and ardent friends of the authoress. They will, at the same time, endear her to a numerous class of readers who have hitherto had no opportunities to form just judgments of her character, her talents, and her noble struggles through a professional life, such as is generally supposed to be more dangerous to those who enter upon it than almost any other they could make choice of. We see, however, in this instance, as in many that have passed before, that where the virtues of the heart and the energies of the mind are combined in motive and effort, the profession itself is elevated, and the professor triumphs.
From PHILLIPS, SAMPSON, & CO., Boston, through R. H. SEE&Co., Philadelphia:—
OUTLINES OF THE GEOLOGY OF THE GLOBE, AND OF THE UNITED STATES IN PARTICULAR:with two Geological Maps, and Sketches of Characteristic American Fossils. By Edward Hitchcock, D.D., LL.D.: President of Amherst College, and Professor of Natural Theology and Geology. This work has been prepared as a sequel to "Elementary Geology," published by the author in 1847.It forms a most valuable addition to the original work, as will be seen by a single glance at the maps.
From M. W. DODD, opposite the City Hall, New York, through C. G. HENDERSON, Philadelphia:—
THE LECTURES COMPLETE OF FATHER GAVAZZI,as Delivered in New York. Reported by an eminent Stenographer, and revised and corrected by Gavazzi himself. Including translations of his Italian addresses with which the greater part of the lectures were prefaced. To which are prefixed, under his authority and revision, the life of Gavazzi, continued to the time of his visit to America. By G. B. Nicolini, his friend and fellow-exile, author of the "History of the late Roman Republic." The fulness of the title, and the great celebrity acquired by the author in the delivery of his lectures, release us from any obligation we might otherwise be under of explaining the controversial character of this work.
ORIENTAL AND SACRED SCENES,from Notes of Travel in Greece, Turkey, and Palestine. By Fisher Howe. This is a very beautiful volume, with maps and colored illustrations. The incidents narrated, the descriptions of the cities and monuments visited, and the just and appropriate reflections of the author, are calculated not only to gratify the curiosity, but to leave deep and salutary impressions upon the mind of the reader. The Christian public will be the more interested in the sale of this handsome volume, when informed that the profits are specifically devoted to the cause of promoting the Gospel in the East under the American Board of Commissions for Foreign Missions.
From J. S. REDFIELD, 110 and 112 Nassau Street, New York, through W. B. ZIEBER, Philadelphia:—
SKETCHES OF THE IRISH BAR. By the Rt. Hon. Richard Lalor Shiel, M. P. With Memoir and Notes, by R. Shelton Mackenzie, D.C.L. In two volumes. These volumes will greatly interest such readers as may desire to investigate the Irish character, as displayed under the higher influences of education, talents, and patriotism, and when aroused into action by motives of rivalry or ambition for place and power. Independent of these personal characteristics, the volume contains a great deal of information connected with the actual history of Ireland not yet embodied in any other work that has come under our notice.
THE PARTISAN.A Romance of the Revolution.By W. Gilmore Simms, Esq., author of "The Yemassee," "Guy Rivers," "Martin Faber," etc. etc. A new and revised edition. The first edition of this work was so favorably received by the critics, and was so generally read, it would seem unnecessary for us to call particular attention to its merits as a history or a romance. We may say, however, with great justice, that in his revision of the work the author has availed himself of all the new facts brought to bear upon his subject by the critical observations of friends, and that the volume now presents a complete history of all the leading events in the war of the Revolution in South Carolina, dating from the fall of the city of Charleston, in 1780.
From J. P. JEWETT& CO., Boston:—
DRESS AS A FINE ART. By Mrs. Merrifield. The publisher, in his preface, says: "This work of Mrs. Merrifield's has been circulated among the forty thousand subscribers of the 'London Art Journal.'" He might have added, "and also among the hundred thousand subscribers of the 'Lady's Book;'" for we have published nearly every word of it. Still, the book before us is beautifully got up, and, the articles being gathered together and placed before the reader upon beautiful type and paper, it must command a great sale, as it is an admirable work. That may be taken for granted, or it never would have appeared in "Godey." The book is a splendid specimen of typography.
NOVELS, SERIALS, PAMPHLETS, &c.
From Garrett & Co., 18 Ann Street, New York, through T. B. Peterson, 102 Chestnut Street, Philadelphia: "Dashes of American Humor." By Howard Paul. Illustrated by John Leech. This is a collection of amusing stories.
From Bunce & Brothers, New York, through T. B. Peterson, Philadelphia: "Annie Vincent; a Domestic Story." By the author of the "Twin Sisters."
From D. Appleton & Co., 200 Broadway, New York, through C. G. Henderson & Co., Philadelphia: "An Attic Philosopher in Paris; or, a Peep at the World from a Garret." From the French of Emilie Souvestre. There are many excellent thoughts and worthy examples within the unpretending paper cover of this little volume.—"Linny Lockwood: a Novel." By Catharine Crowe, author of "Susan Hopley," etc.
From T. B. Peterson, 102 Chestnut Street, Philadelphia: "The Young Duke; or, the Younger Days of George the Fourth." By B. D'Israeli, M. P., P. C., author of "Henrietta Temple," etc. etc. With a beautiful portrait of the author. Complete. Price 37 cents.—"Memoirs and Correspondence of Thomas Moore." Edited by the Rt. Hon. Lord John Russell, M. P. Part 6. Price 25 cents.—"Contarini Fleming: an Autobiography." By B. D'Israeli, M. P., P. C., author of "The Young Duke," etc. With a portrait of the author.
From J. S. Redfield, New York, through W. B. Zieber, Philadelphia: "The Partisan: a Romance of the Revolution." By W. Gilmore Simms, Esq., author of "The Yemassee," "Guy Rivers," etc. etc. This is a new and revised edition of one of the author's most popular works.—"Poems, Descriptive, Dramatic, Legendary, and Contemplative." By William Gilmore Simms, Esq. In two volumes. The first of these volumes contains "Norman Maurice: a Tragedy;" "Atlantis: a Tale of the Sea;" "Tales and Traditions of the South;" "The City of the Silent." The second volume embraces "Southern Passages and Pictures;" "Historical and Dramatic Sketches;" "Scripture Legends;" "Francesca da Rimini." These, and the prose writings of Mr. Simms, have established his fame as a chaste and brilliant writer. We hope he will receive from the publication of his prose and poetical writings, in their present complete and uniform editions, the pecuniary reward to which his incessant literary labors so justly entitle him.
From Ticknor, Reed, & Fields, Boston, through W. P. Hazard, Philadelphia: "Poems and Parodies." By Phœbe Carey. The name of this author and the character of her poetry are familiar in every town and country in the United States that can boast a newspaper. This is a handsome collection, and will be sought after by her numerous friends.—"The Young Voyagers; or, the Boy Hunters in the North." By Captain Mayne Reid, author of the "Boy Hunters," "The Desert Home," etc. With twelve illustrations by W. Harvey. Captain Reid has been a great traveller, and he describes men, and birds, and beasts, and strange and startling incidents with wonderful minuteness.
From Herman J. Meyer, New York: "The United States Illustrated; in Views of City and Country." With descriptive and historical articles. Edited by Charles A. Dana. We have received Parts 8, 9, and 10, East and West, of the first volume of this beautiful and truly national work. All connected with this work deserve great credit for the literary and artistic excellence exhibited in every number.
OURAPRILNUMBER.—We do not perceive any falling off in the "Lady's Book." As we commenced, so we go on. We have, at a very considerable expense, procured the very latest style for bonnets, dresses, and mantillas, for spring wear. These may be depended upon, as they are not mere reprints taken from other publications, but designed and engraved expressly for Godey. We will furnish patterns of the dresses for $1 50, and of the mantillas for $1.
THEDairy House and Piggery in this number are from the excellent work on Rural Architecture published by C. M. Saxton, New York. We can furnish the work complete, postage free, on receipt of $1 25.
"THETrials of a Needlewoman" continues to increase in interest. Our exchanges and private letters pronounce this Mr. Arthur's best story.
BYthe way, for the last ten or fifteen years, we have considered Godey's Fashions unrivalled. No other magazine equals him in this particular. So says the "Illinois Union," and so says almost every one of our exchanges. It is useless to enlarge upon this subject. It is conceded.
THE"Germantown Telegraph," whose editor was also caught with the imported story—"Marrying through Prudential Motives"—comes out like an honorable gentleman, as he is, and thus speaks he:—
"JUSTICE,THOUGHTHEHEAVENSFALL!—Some two or three weeks ago, we found in one of our respectable New York exchange papers an excellent story, purporting to have been taken from 'La Belle Assemblée;' entitled 'Marrying through Prudential Motives,' which was no doubt much admired by our readers; but the paternity of which belongs to 'Godey's Lady's Book,' instead of the Parisian journal, which, it appears, had unhandsomely appropriated the production without any acknowledgment of the original ownership. Coming back to us with a French godfather, of course, it was a thousand times better than the domestic article, and therefore it 'took' surprisingly. Our own apology is, not that we ever deny our friend Godey any of the merit that belongs to his elegant and popular magazine, but simply that the story in question was overlooked at the time of its publication, in the multiplicity of good things always filling its pages, and that when it was published in our own columns, it came under our eye for the first time at the opportune moment. Our desire is at all times to do 'justice though the heavens fall;' and to none would we yield it more promptly than the gentlemanly proprietor of the 'Lady's Book.'"
BACKnumbers from January can be supplied throughout the year, as the work is stereotyped.
WHITE'SBONNETESTABLISHMENT INSECOND ABOVECHESTNUTSTREET.—Mr. White has got into his new building, and we unhesitatingly pronounce it one of the handsomest fronts in the city. It is of brown stone of the finest quality, and is now the palace of the longest business street probably in the world. Second Street is about five miles long, and if one side of the street was placed at the end of the other, it would make a straight line of ten miles of stores.
THE"Georgia Times" has caught us. We certainly must plead guilty to his charge:—
"Godey is up to the highest notch, and seems determined that none shall outstrip him. Our junior has just given us an idea. Oh, we've got you, Uncle Louis—caught you in a mistake one time! You said there should be no 'difference between your January and February numbers:' and there is, for the February number is the better! Now then, sir, ain't you caught?"
A PROPERACKNOWLEDGMENT.—We find in the New York journals copies of a correspondence between W. C. Bryant, Gulian C. Verplank, Jonathan Sturges, F. W. Edmonds, A. B. Durand, and other eminent citizens, as a committee, and Abraham M. Cozzens, Esq., President of the American Art Union, on the occasion of presenting a service of plate to the latter, as a testimony on the part of the donors of their "appreciation of his long and faithful services to the cause of Art in the United States." We can add our own assurance to that of the committee—for circumstances have made us familiar with the fact—that, "for a series of years," Mr. Cozzens has "devoted both time and labor, at a great sacrifice of his personal interests, to the promotion of a taste for the Fine Arts among his countrymen, and to the encouragement of native artists," and we cordially agree with them that his "distinguished services render him worthy of this tribute"—the tribute being a complete and costly dinner set of massive silver. We may add, moreover, that besides his special merits as a patron and promoter of Art, Mr. Cozzens is a fine, frank, generous, right-minded, true-hearted gentleman, who wins his honors fairly, and knows how to wear them gracefully.
BURTONhas produced "Shakspeare's Midsummer's Night Dream" in most splendid style at his theatre in New York, and Marshall has brought it out at the Bowery. Opinions seem to differ among the New York press as to which house has produced it in the best manner.
A HAPPYHIT.—"The Three Bells," gratefully dedicated to the noble Captain Crighton. A very pretty piece of music, which everybody ought to purchase. It will keep before them the memory of "the greatest captain of the age."
THESewing-Machine published in our February number is Messrs. Grover, Baker, & Co.'s patent, whose advertisement will be found on our cover.
THAT"Republican" man of McArthur is hard to please. We have not a. little "Godey" to spare. There are five of them, and we wish there were a dozen.
FRENCHFURNITURE.—The furniture which is now made in the ateliers of Paris is unparalleled in magnificence and extravagance. Bedroom, as well as drawing-room furniture, is laden with sculpturing and ornaments. Gilt furniture is much in vogue for drawing-rooms; the rich brocatelles and damasks produce a beautiful effect in the gilt frames. The superb furniture of the state-rooms of the Tuileries is of gilt; when illuminated by a thousand wax lights, the effect is gorgeous. This style of furniture is only suitable for large reception-rooms.
THEfollowing is dreadfully touching, and what is more, it is pointed. It cannot possibly affect any of our subscribers, however, for there is not one of them but would scorn the implication of being a delinquent to the "Lady's Book." We need hardly say that it is an imitation of Hood's "Song of the Shirt":—