in black silk cord. Lace collar and undersleeves. Hat of white | casaque has shaped, flowing sleeves over others which are full gaze de soie, with white and green feathers at the top, and two and gathered in at the wrists. The trimming is like that upon pink roses beneath the border at one side. the skirt. Narrow plaitings cross the shoulders. Straw hat, with blue flowers and a long vail of white gaze de soie. No. 3.-Traveling costume of unbleached foulard. The round skirt has a deep border of blue silk with a fold of the No. 5.-Dress of green poult de soie. The train skirt is trimsame at the top. The very deep casaque is close-fitting; the med with two gathered flounces; the second one is shorter, and sleeves are straight; it is trimmed with bias bands of blue silk has a fluted heading. Plain bodice and coat-sleeves. Low and large silk buttons, and is lifted at the sides. Cambric col- tunic without sleeves, made of silk grenadine with satin spots. lar and undersleeves. Blue bow; casquette of fine white straw, This tunic is long at each side, forms a Watteau behind, and is the upturned sides are lined with blue silk. A broad blue rib- fitted to the waist in front by a band passed under the Watteau bon encircles the crown. FRONT AND BACK OF A VISITING TOILET OF ALMOND-GREEN FAILLE.-PAGE 176. At one side is a ribbon bow to match the dress. A black feather starts from this and crosses the top. No. 4.-Dress of pale yellowish-brown foulard. The halflong skirt has a deep gathered flounce: the tunic of white Swiss muslin has a very wide plaiting of the same, which is framed in narrow bands of foulard, covered with white lace. A third band divides it, and it is edged with lace. A narrower plaiting, framed in bands and lace. outlines a second tunic. The loose plaits; it is trimmed with a band of satin and lace flounce. Hat of English straw, lined and bound with black velvet. A green feather is placed at the back. No. 6.-Dress of unbleached twilled foulard, trimmed with bands of maroon crêpeline, placed lengthwise on the bodice and skirt to simulate a tunic with fringed ends. These bands are longer behind, trimming the skirt nearly to the bottom of the train. Bonnet of maroon crape, with bunch of field flowers and bow at the side. Parasol to match. Page 175-Nos 1 and 2.-Front and back of a visiting toilet | plaited flounces are divided near the top by narrow bands of of almond-green faille. The train skirt is trimmed with four black velvet; the rounded open tunic, and the jacket with rerouleaux of black silk and a deep black silk fringe. These out- vers and large sleeves, are all similarly trimmed. Velvet butline a pointed tablier and square tunic. At each side are double tons. Cambric chemisette, with black ribbon bow. Cambric bows of green silk. The basque of the heart-shaped corsage undersleeves. Black ribbons in the hair. follows the outline of the tunic in front, but is pointed at the back, where it may either fall plainly or be turned under to form the pouf, as seen in No. 2. The sleeves are large and halflong. Fringe, bands and bows, compose the trimming. At the the back of the waist is a very large double bow of faille with pointed ends. Ruff and undersleeves of white muslin and lace. Leghorn hat, with an erect quilling of black lace and a white marabout feather. Lace vail. No. 4.-Walking dress of yellowish-brown mohair. The skirt has three upright rows of fluting, each supported by a bias band of silk of a darker shade; the two lower bands are finished by tassel fringes to match; the open tunic forms four parts, and each of these is turned back at the sides, bound with silk and fringed. The skirt of the loose-fitting casaque is en suite. Two loops rise above the silk waistband at the back. Bands and fringe encircle the neck and trim the straight sleeves. Cambric collar and undersleeves. Bonnet of dark-brown silk, trimmed with fringe. Garlands of roses and foliage cross the top and fall at one side. Page 176-No. 1.-Visiting toilet of pearl-gray silk. The half-long skirt is trimmed with a broad puffing of crêpe de Chine to match; this is framed in bands of darker silk, and a narrow fluting of crape rises above the top. The lower edge is finished by a silk floss-fringe like the dress. A broad scarf of China crape falls from one side, supports the puffed tunic, and is at- DESCRIPTION OF PARIS BONNETS AND HATS.-PAGE 167. tached at the opposite side in a large bow with long fringed ends. The close corsage, shaped basque and open sleeves, are trimmed to correspond. Hat of crêpe de Chine and black lace, with floating scarf-ends and a cluster of white flowers. No. 2.-Costume of white muslin, dotted with crimson silk. The deep flounce is put on with a heading; it is arranged in groups of folds, and these are confined by bands of crimson silk, framed in narrow black lace. The second skirt has a wide border of silk, covered by a fall of lace, and is gracefully draped at the back; the open casaque has two deep basques at the sides, and is bordered with silk and lace. The straight sleeve has a deep ruffle and band with a crimson bow; the small pointed vest-fronts are of silk. Bows fasten the white lace chemisette. Hat of fine straw, trimmed with roses, black lace, and wheat-ears. Crimson ribbons knot beneath the chignon. FROM MADAME MORRISSON'S, No. 6 RUE DE LA MICHODIERE, PARIS. No. 1.-Watteau hat of white chip, bound with pink silk, surmounted by a row of black lace. White feather. Pink rose, and bows of pink silk complete this very elegant hat. No. 2.-Straw hat, trimmed with loops of black silk ribbon, white marabout feathers, and a large black net vail. No. 3.-Bonnet of fine white straw, trimmed and bound with blue reps ribbon and edged with narrow white lace. A bouquet of white flowers at the top. No. 4.-Hat with flat crown. The flat, lid-like shape in fine straw is so covered by the trimming, that it only glimmers through under the outer lace. For the latter, which comes a little over the straw edge, a very marked pattern must be selected. As seen, the lace lies at the back several times over No. 3.-Dress of unbleached cambric. The three Russian- the crown, one end hanging loose as a vail over the chignon. A black and a white feather, also a large rosette of white lace, | hair form a butterfly chignon, which is fastened by large pins. finish this fashionable hat. This chignon consists of nine interlaced curls. Ornament with ribbons, flowers and foliage. No. 5.-Tyrolese hat of white crinoline. A wreath of bows of mauve ribbon encircles the high crown. At one side is a white feather, tipped with mauve. No. 4.-Divide each side of the front hair; wave the upper parts, then with the rest of the hair make a heavy torsade, No. 6. This hat is made in fine white, gray, or black fancy which should be fastened at the top of the head. Loops of straw, and also in net, crape, or crêpe de Chine. Our model in colored ribbon, with a large rose and trailing spray. iron-gray crape has a reps ribbon of the same color put round the No. 5.-Here the hair is combed up to the top of the head, crown, edged at the top with a standing black lace, the turned-tied and braided. The loops thus formed are filled in with up side being covered with gray satin. At the elastic string to | long light curls. A longer one falls at one side. The two locks hold on the hat, a large bow of the ribbon is put, and arranged upon the forehead are slightly waved, and fastened down by a so as to fasten at the side of the hair. The prettiest part of the bow of colored ribbon. trimming is a gracefully wound wreath of asters, with a long tendril falling at the side and ending in a large flower. DESCRIPTION OF CHILDREN'S FASHIONS.-PAGE 168 No. 1.-Dress of mauve barège, with a deep plaited flounce divided near the top by a band of silk of the same shade. The basque is of black silk, trimmed with a ruche of the same. divided in the centre by a band of satin. It is caught up at the sides to form a panier. Bands of satin and crochet buttons compose the trimming. No. 2.-Gored skirt of blue summer silk, with a deep fluted founce. Overdress of silver-gray silk, with a pouf and square apron. Flutings of the same, headed by a band of satin of a darker shade. Angel sleeves, trimmed with flutings and buttons on the shoulders. No. 3.-Costume for a little girl. Gored skirt of lavender silk, with a deep gathered flounce divided near the top by a loose plaiting of narrow black ribbon. High bodice of the same, with a lace collar. Polonaise of black silk, cut square, with bows of lavender silk on the shoulders. Fringe forms the trimming around the bottom, with cord and tassels at the sides. No. 4. Costume for a little boy. Tunic and light pantaloons, fastened at the knees, of dark-blue cloth. Broad linen collar and black bow. Linen cuffs. No. 5.-Toilet for a little girl. Gored skirt of green summer silk. Gathered flounce, with broad puff, headed by a narrow fluting of the same. Overskirt of white silk, with green stripes. Low corsage. Short sleeves. The overskirt is faced with green silk, and trimmed with a fluting of the same. It is caught up each side by a rosette of green silk, and is open at the back. A bow of green silk fastens the ceinture. The corsage is trimmed with a fluting of silk. Muslin chemisette. The sleeves are slightly gathered, loose at the wrists, and are trimmed with insertion and Valenciennes lace. No. 6.-Dress of blue and white striped silk. White alpaca tunic, opened in front. The castellated border is trimmed with a box plaiting. Square corsage, similarly trimmed. Linen collar and cuffs. Sash of the same, trimmed with a box plaiting. No. 7.-Costume for a little girl. Dress of white Swiss muslin, with three flounces. Fall corsage, fastened in front. Collar of insertion and Valenciennes. Overskirt and low corsage of pink silk. The skirt is open at the sides, and is trimmed with a ruching of silk. The same around the top of the corsage and on the shoulders. Broad sash, with fringed ends. A bow on each shoulder. DESCRIPTION OF HAIR-DRESSING.-PAGE 170. FROM MR. J. W. BARKER'S, Nos. 622 AND 624 BROADWAY. Nos. 1 and 2.-Make a parting three inches from the forehead. Roll the front hair, and with the ends make two loops. Divide the back hair into two parts. Tie these, and make torsades which cross each other. Fill the centre with loops. Place a cluster of light curls at the top. A long curl falls at one side. A white feather, and rose with trailing spray, completes the coiffure. No. 3.-Part the hair two inches from the forehead; then crimp the front hair and make two bandeaux: with the back DESCRIPTION OF MANTLES.-PAGE 169. Nos. 1 and 2.-Front and back of the Trouville mantle. This mantle may be made either of white cashmere, lined with lutestring. or of summer cloth. It is trimmed with four rows of black velvet, and with tassel fringe. There are four tassels on the hood. In style it is something like a burnous, only instead of being straight at the edge it describes two points. If required for a sortie de bal it would look well made of either white cashmere or silk. DESCRIPTION OF FICHU AND CASAQUE.-PAGE 171. Nos. 1 and 2.-Front and back of the Frou-Frou fichu. (See back of Four-Page Engraving.) This fichu will be found useful for either morning or evening wear. For the promenade it may be made either of the same material as the dress, or of white muslin or grenadine. For the evening, over a low bodice, white tarletane or spotted net, trimmed with lace, would be appropriate. The pattern given consists of two pieces-one front, and half of back. The fronts cross over the chest and meet at the back, where they fasten with a hook and eye. There is a seam on the shoulders. A notch will be found in the front piece, and a corresponding one on the back, where the two pieces are to be stitched together There is a double box plait at the back; a waistband with a bow is added. This fichu is illustrated for evening wear over a low bodice. Our model is made of grenadine muslin, and is trimmed with Valenciennes lace; either a satin or a muslin ruche is added above the lace. For morning wear, and made of the same material as the dress, the Frou-Frou fichu should be trimmed with fringe and ruches to match. Nos. 3 and 4.-Front and back of the Eugénie casaque. The material is black faille; the basque forms a point in front, a smaller one at each side, and again two points at the back. The collar is trimmed at the back with guipure, which stands upright, heading a coquillé of black satin ribbon, arranged to fall the contrary way. This double trimming is continued all round the casaque, it simulates a zouave jacket in the front and borders the points as well. The sleeves are ornamented to correspond. DESCRIPTION OF MUSLIN WAISTS, ETC.-PAGE 174. No. 1.-Muslin casaque. This casaque is a kind of Watteau, and half-fitting; the top is plaited, and simulates a square pelerine, edged with lace. The basque is trimmed with lace, and looped up on each side and behind. Each side of the plaits are ornamented with a ribbon bow. Large straight sleeves, gathered up the seam, and trimmed at the bottom with lace. No. 2.-Bodice of white muslin, open in front, with basques looped up on each side and behind with ribbon bows. It is entirely edged with a plaiting. Square collar, coming very low in front and standing up behind. Bouillonné sleeves, termi|nated by a deep plaiting, and ornamented with a narrow plaiting between each bouillonné. No. 3.-Square fichu, to be worn with dresses open in front. It is edged with a lace flounce, and ornamented with a bow of colored ribbon. No. 4.-Fichu, composed of crossed folds of white muslin, | WHAT SHOULD BE WORN, AND WHAT SHOULD NOT. and edged by a frill of Valenciennes lace, headed by an insertion and by points of embroidered muslin. No. 5.-Tight-fitting muslin casaque, forming waistcoatfronts and basques, open on each side. Plaited collar. The entire garment is trimmed with a lace flounce. Elbow-sleeves, terminated by a deep flounce, and trimmed like the front with colored ribbon bows. DESCRIPTION OF COLORED PLATE. FIG. 1.-Promenade Costume. Gored skirt of pale-yellow silk. The three flounces are of pink silk, gathered and set on with ruched headings. The loose-fitting casaque has straight sleeves, with square cuffs and rounded jockeys. The wide ruffle, buttons, and pipings are of pink silk. The narrow ruffles are yellow. Lace collar and undersleeves. Hat of pink silk, framed in two narrow flutings of white lace. Clusters of roses confine the tulle scarf. Fig. 2.-Skirt of Pale Lavender Silk, with Stripes of a darker shade. The flounce is very deep at the back, forming a square train; it is headed by a bias band and three ruffles. Overdress of darkblue silk. The corsage has open vest-fronts, with pale lavender revers. Blue buttons. A deep ruffle and bias band surmounts the double sleeves; the lower of these is straight, the upper flowing, with lavender revers. The ruffles and bows are blue. Lace chemisette and undersleeves. Blue silk hat, with lavender colored feather. Fig 3-Bridal Toilet of White Glacé Silk. The half-long skirt has two flounces; the upper is divided near the top by a bias band. Flounces border the rounded tunic and simulate a shaped apron. The opening at the back is confined by narrow ruffles and bows. The casaque follows the outlines of the upper skirt. The sleeves are loose; all are ruffled. A large bow is placed above the pointed basques. Lace collar and undersleeves. Vail of white gaze de soie. Fig. 4. Walking Dress of Violet Twilled Foulard. The round skirt has a gathered flounce, surmounted by a bias band of white silk. The open tunic has the band edged with narrow white lace. The revers are of white silk. The close casaque has straight sleeves, finished with full puffs. The trimming consists of bands and single rows of lace. A white silk cord attaches the two large buttons. Lace collar and undersleeves. Casquette of violet silk, with white silk band and ruffles. At one side is a very large violet rosette. Fig. 5.-Toilet of Green Glacé Silk. The deep flounce is divided near the top by a broad bias band. The two large poufs of the shaped tunic are ruffled. The close corsage has pointed vestfronts, with three small silk buttons, and is trimmed with a ruffle, and narrow bands framed in lace. Ruffles and bands finish the straight sleeves. Lace collar and undersleeves. Fig. 6.-Round Skirt of Iris-brown Silk Barège. The lower fluting is headed by a bias band of silk to match; the second iluting is divided near the top by a band. Overskirt of pale yellow barège; this has two large puffs at the back, with a fluted flounce put on with a heading. The front forms a square, flounced tablier. Rouleaux of dark silk trace the pointed tabs; within each of these is a yellow silk button. The casaque has open basques and loose sleeves, and is trimmed to correspond. Lace collar and undersleeves. Hat of white straw, with two feathers, one white the other yellow. Fig. 7.-Promenade Costume of Light Lilac Summer Poplin. The round skirt has two box-plaited flounces of purple silk, each set on with a heading. The puffed overskirt is flounced and draped. The puffed basque of the close casaque has a silk ruffle and large rosette at each side. Silk buttons fasten the close casaque. Ruffles trim the bretelles and straight sleeves. A large rosette attaches the silk ceinture. Lace collar and undersleeves. Hat of lilac silk, edged with a fluting of white lace. Band and bow, with erect ends, all of purple ribbon. FROM THE TABLETS OF A PARISIAN LADY OF SOCIETY. SUMMER is hardly over, and already our readers are eager to know of the fashions of next winter. The new materials are not out yet; the demi-saison costumes are made of cashmere, foulard and silk. There are also some pretty llama materials, not of quite so fine a texture as cashmere, but soft and light, and very suitable for the draped costumes now so fashionable. These are fringedout at the bottom; the fringes have a network heading, and are finished off in tassels. Another new Oriental tissue, called Monzaik, is used both for dresses and for complete costumes. The plain materials continue to be the most in favor, in spite of all attempts at introducing figured ones again. The stripes are the only exception, and they seldom appear excepting as underskirts. Indeed, as long as we have the fashion of the complete costume-skirt, dress, and mantle-of the same material, we cannot expect to wear anything but plain self-colored materials; all others would be in bad taste. The few exceptions to the above rule are very dressy costumes, in which the dress has a colored pattern on a white ground, while the skirt is of the color of the pattern. Wide stripes for the skirt and fine ones for the dress, though not new, is still a frequently seen style of pattern. The looped-up double skirt is rather going out of fashion. We have seen too much of it. The train is quite done away with, the Empress having herself given the example of wearing the round skirt at her soirées at St. Cloud. The most favorite style is now to have the dress skirt very much trimmed with flounces and flutings, and so on, and the jacketbodice made with long and elaborately-trimmed basques, so that a second skirt becomes quite unnecessary. The tournure is made fuller than ever at the back, and sash-bows are worn with most dresses, but without lappets, or with very short ones. For children, as well as for grown-up persons, there are new materials of which charming little costumes are made. A traveling costume, composed for a little girl about ten years old, is of écru colored fancy materials, trimmed with wide strips of brown velvet, and with pretty silk fringe of the color of the dress. The skirt is trimmed with one flounce, the heading of which is fastened down with a strip of brown velvet. To wear with this skirt there is a mantle of the same fancy material, tight-fitting in front and lenghtened into two lappets; it forms a circular at the back, looped up with a strip of brown velvet finished off with pretty gimp tassels. On the upper part of the mantle the velvet trimming is put on like a necklace in front, A bodice of white with a point in the middle of the back. cambric, trimmed with embroidery and Valenciennes lace, is worn under this mantle. We have also noticed, for a little girl a few years older, a foulard dress, striped blue and white. The skirt is trimmed with a number of narrow pinked-out flounces. The jacket-bodice has three basques, edged with flutings to correspond. We have seen the same model in white muslin, with the flounces and flutings put on with narrow bands of rose-colored velvet. There are, for little boys, light costumes of gray cloth, trimmed with velvet of any color preferred. The model we saw was trimmed with red velvet. There was no waistcoat, but a pretty chemisette with a jabot of fluted muslin. The short loose jacket was ornamented with large buttons of red velvet, and similar buttons were placed upon the sides of the short loose trowsers. Other little costumes of white flannel are trimmed with passementerie borders and grelots of blue wool. The short loose trowsers are trimmed at the sides. The little waistcoat is covered with blue braidwork, and fastened with buttons of the same color. The little jacket is trimmed with blue cashmere and buttons to match; there are also blue cashmere cuffs upon the sleeves. The shape most generally adopted for ladies' paletots this autumn is the half-fitting at the back and quite loose in front, SUPERFICIAL knowledge is like oil upon water-it shines de- with wide sleeves. ceitfully, but can easily be skimmed off. We see very nice paletots of gray or light-brown cashmere, entirely covered with braidwork in silk braid of the same | fashions will be more surely fixed and known. At present we shade, or of a darker shade of the same color en camaieu. Other models are quite fitting at the back, with a band which does not come beyond the seam on either side, and loose in front; and others again are half-fitting all round, or can be fitted with a band, which can be put on at pleasure. Most of the demi-saison paletots are white, trimmed with black velvet, or else with fancy braid and Indian embroidery in silks of many colors. The latter style is too fanciful for the town, and fit only for the seaside. conclude with the description of two evening dressess about to be sent to a princely chateau where dancing and music fill up the evening of days devoted to the pleasures of the chase and other field sports. The first is a dress of amber-colored poult de soie, and you may be very sure it is meant for a brunette. The skirt is trimmed round the bottom with a plissé, above which comes a flounce of white silk gauze, the heading of which is a pinked-out ruche of amber silk. A second skirt is of white silk gauze, deeply For the winter a new kind of material called taupeline is likely trimmed with white lace insertion, and a ruche similar to those to be very fashionable. We have already been shown several upon the flounce. This second skirt is slit open on each side, models of dark-blue and purple taupeline, the edge finished and the openings are joined together again by large bows of neatly with a thick piping of faille silk. Some of the paletots fringed-out amber silk. There is a low silk bodice; the white are loose and double-breasted in front, while they are half-silk gauze one is open in front, en châle, with white lace and infitting behind. They are trimmed with black velvet and with sertion trimming. rich dull passementerie in handsome patterns of flowers, leaves, or arabesque. This style of passementerie will also be much used for trimming velvet mantles this winter. Jet is also likely to be worn again, both in dress and mantle-trimmings, and on bonnets. We already see jet ornaments in great favor for demi-toilet jewelry. Lockets and large lockets of cut jet, eardrops and beltfastenings to match. In summer ladies are apt to leave their most precious ornaments in the casket, especially in the season of travels and villigratura, and to take to fancy jewels. Those which imitate the models of the Renaissance lockets, crosses and chatelaines, in enamel, set with small precious stones and pearls, with mountings of many-tinted gold, are the most fashionable this winter. Fancy lace, if one may use the expression, is as much in favor this summer as fancy jewelry. By fancy lace I mean the llama lace, or dentelle des Indes, the finest and softest of black woolen lace. Mantles of this lace are pretty over any colored silk or fancy material dress. | The second evening toilet is made for a young lady-a blonde. The skirt is trimmed with flounces of embroidered Indian muslin, and is itself of pale-blue silk, the flounces being placed far enough apart for the silk to show. The bodice is extremely low and cut square, it has a deep basque, which is draped over the skirt and edged with a fancy braid and blue silk fringe. The bodice is trimmed in the same manner, and completed by a half-low chemisette of embroidered Indian muslin, trimmed with lace. Half-wide sleeves of muslin to correspond, there being no sleeves to the silk bodice, but only fringed epaulets. Wreath of blue forget-me-nots in the hair. ADELINA PATTI. ADELINA MARIA CLORINDA PATTI is the daughter of an Italian father and a Spanish mother, and was born 19th February, 1843. Both parents were dramatic vocalists; and her mother was indeed a singer of some celebrity-being well known by her first married name, Barilli-until the birth of her daughter, Adelina, Next month we shall be already able to describe new cloth when she entirely lost her voice. This misfortune, as well as and velvet mantles for next winter. At present, the llama lace mantles, and a few fancy cloaks for the seaside or country, are all that we can see besides the jackets or short paletots of the complete costumes. The latter will certainly be worn in cashmere and other woolens until the weather really requires the cloth or velvet garment. No great change is as yet to be seen in bonnets, but we can confidently assure our fair readers that the winter shapes will be much larger than those of the present season, for we have seen some of these shapes which Parisian wholesale houses have already got quite ready. They have round crowns, turned-up diadem-shaped front borders, and sloping, curved-out curtains, meant to go, partly, at least, over the chignon. These shapes look strange enough untrimmed, but we have no doubt as soon as they are accepted as fashionable, ladies will think them both pretty and becoming. Besides which the trimming is certainly a great deal-everything, in fact, for the beauty of a trimming. It almost startles one to see the immense flowers, larger than nature, in fact, that are used at present for trimming bonnets, and those prepared in velvet and satin for the winter are still larger. They are full-blown roses, water lilies, tulips, camellias, and anemones. In hats there are some pretty models of Leghorn straw. High round shape and turned-up brim, torsade of crimson velvet round the crown, crimson feather, and aigrette of jet. The same shape in black English straw, with bronze velvet trimming; bronze and gold feather aigrette, fastened on with an ornament of cut jet. Again, a Tyrolese hat of pale gray felt, with velvet and feather trimming of the same soft color. The velvet bow and feathers are put up very high on one side. For the autumn races we are soon to see many new models in felt hats. Some rather eccentric ones are conical in shape, with feathers and aigrettes of cut jet. The later will certainly be the favorite ornament of the coming season. some money losses, obliged the family to go to America, and there it was that Madame Patti's career as a public singer began. M. Strakosch, her brother-in-law, had recognized her musical ability, and gave her instructions in the art, by which she so well profited, that when she was no more than seven she appeared at a concert, and was of course much petted; and the success of this appearance induced M. Strakosch to make a tour with his pupil through the principal towns of the United States. At the end of two years, in the course of which three hundred concerts had been given, the child was withdrawn from public performances; and it was doubtless imagined that she was fated, like other infant prodigies, to an after-life of obscurity. But this retirement was voluntary, and for the purpose of study and preparation for that dramatic career for which the character of her genius had evidently fitted her from the first. On November 24, 1859, she appeared at the Italian Theatre at New York, as Lucia, with much the same result as when she presented herself to an English audience two years later in "La Sonnambula," and what that was every opera-lover, except the extremely young, must remember. As Amina walking on the plank, as Ninetta who did not steal the spoons, as Zerlina flirting with the wicked Don, as Rosina before marriage turned her into a neglected Countess, as Norina perplexing Don Pasquale she has charmed us all, again and again since then; and when her triumphs have been enumerated, what remains to be said? From that opening-night, when the unknown singer, almost unheralded, came before us, the incidents of her life have been too familiar to need recital here; it has been a life of constant successes, of crowded audiences, of triumphant progresses from capital to capital, culminating in what may be called the shower of diamonds at St. Petersburg. In this slight record, however, we must not pass over in total silence that episode that generally graces the last page of a novel, and which despairing opera-goers thought would deprive them of their favorite. Her marriage with the Marquis de Caux made her a marquise to some pcople, but to the great musical public she is But more of this next month, when autumn and even winter still la Patti. |