The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1853-02-08 00:00:00

FASHIONS FOR FEBRUARY.

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Ball dresses claim cur first attention, though they are
so varied and magnificent that it is with difficulty we can
make the selectiou. It may be observed that bouillons
continue very much employed as trimmings for the skirts,
bodies, and sleeves. In speaking of these bouillons, we
must observe that, to give grace to them, they are often
crossed at distances by wreaths of small flowers, ruches a
la vieille of ribbon, or leaves of ribbon.

Tunicues are also much worn, either real, or marked on
the skirts by ruclts of tulle, or rows of lace fastened up
at intervals by long floating ribbons, or hanging wreaths
of small flowers, to match the cofure. We have seen
some beautiful dresses of this description, imitating the
costume of the Illyrians and the Croats; but, instead of
being open in front, the sides are opened, fastened toge-
ther by zigzag lacings of pearl beads, showing the under
skirt of crape, trimmed with perpendicular louillons. The
body is also in two pieces, joined on the shoulder and
down the arm in the same manner as the skirt.
Tulle robes with double skirts are trimmed deeply with
bouillons of tulle, with dots of violets arid geld leaves ;
the short bovffants sleeves are trimmed in the same man-
ner ; the waist is round, and the sash of gold llama ribbon
is tied on one side.

Many tarletane robes have twelve or fifteen stripes of
gold or silver tissue :corked in the material. The skirts are
double, the top one looped up with bows of ribbon with
long floating ends, or by bouquets of mixed flowers.
Gold and silver embroidery, mixed with rich shades of
silk, upon tulle or organdi, are also much used for full
dress. In this style may be seen robes of tarletane,
worked with wreaths of small flowers in gold and silver,
mixed with fuchsias in bright silks, which decrease in size
and width towards the waist. The bodies have a large
bouquet embroidered on the front, spreading towards the
shoulder. The sleeves are raised in drapery by bows of
broths, gold, and puce ribbon, and are edged with a small'
embroidered wreath. A robe of moire antique, with over-
skirt and bouillons of tulle, worked with violets and gold.
thread. The body, of moire, is of quite a novel make,
having no shoulder -piece ; it is cut heart-fashion, and is
very low, in the form of low corsets. The top and waist
are embroidered with gold. A deep bouilkaine- of white
tulle is placed on the top, and crosses the shoulders ; the
short sleeves are alSo composed of bouillon7l6,, with small
violets placed in the plaits. The tulle skirt is edged with
gold, and covered with small bouquets of violets.
The colours of the crape and tulle dresses, embroidered
with gold and silver, are chiefly white, rose colour, blue,
and maize. For court dresses, brocades brocile-S, with gold
or silver, or the Pompadour llame; are much employed.
There is a new material, called the robe imperials, which
is likely to become in great request.
The make of walking dresses approaches nearer to the
Puritan and Claltelaine style than the Louis The
bodies are high, and closed either in front or behind. The
waists are round, or ornamented with sasques, deep only
towards the back. The ballon sleeves-are obtaininaemuch
success. They tit at the wrist, and are worn with cuffs
and bracelets. On account of the round waists, the quasi
empire and crossed bodies, the skirts close on one side.
A very elegant innovation, is trimming them with small
silk buttons; like the sleeves.
Evening dresses have the bodies drawn and cut low, a
la reins Hortense, or a la vierge, flat at top, and drawn
at the waist. The sleeves are short, formed of one or two
bouffants, and often trimmed at distances with small bowie
of ribbon, or buttons of pearl beads.
The materials which were so vaunted by our grandmam--
mas, are mue.h surpassed in our time. Our robes; maa--
nificent as theirs, " standing alone" like theirs, are ?Par'
more finished in'designs and delicacy of colouring. Our-
attention has been particularly struck by a most beauti-
fully-painted velvet reps, like the interlaced branches of a
young forest. The flowers, troche's in silver, are shaded
by the deep colour of the ground. Then the lampas,
imitating three jounces open in front, and forming a
tablier, is both novel and pretty.
Again, a superb robe, withoneflounce, withiarge flowers
and delicate stalks ; bands in light designs, in the material, •
form a heading to the flounce. Indeed, we might add many-
others to this list. and yet leave much undescribed. The
skirts are all made long, particularly behind, forming a
slight train, and are put in large plaits into the-waist.
Plain reps, or striped with velvet or satin, shaded Dro-
gun', Irish poplin, end imperial satin, are all employed for
dinner dresses, as well as for morning visits.
Plaid velvet redinjotes are also worn. The body is high
and plain, the waist round. Sleeves half-large, .and de-
scending to the middle of the arm. The trimming consists
of small leaves of velvet edged with silk, crossing each
other, and buttoning -on the robe. The operring of the
sleeve is held by three crossed leaves. Collar of guipure
de feriae, forming a point in front. Under-sleeves of the
same, over a booffit2f of muslin, fastened round the wrist
with an embroidered band. The Sully is a magnificent
pardessus of black velvet, in the form of a shawl in front,
and with a point behind reaching the waist, to which is
attached a round and long mantelet, sufficiently full to
hang in large plaits. The Sully is trimmed with a deep
guipure lace, another row is placed round the point, and
forms the sleeves, which fall low over the arms, _Over the
lace is placed a passenzenterie of flat jet beads.. The Sire
de Coney is a very fell mantelet, plaited into the neck.
The isianteart impe-rial of black velvet, gathered into a
neckpiece, and trimmed with alio"' galon. The Te'desio,
a Talma with the sleeves; the pelerineand sleeves trimmed
with fringe. The psierine forms a kind of hood. The
Paulette, trimmed with insertion and guipure fringe,
forming a pelerine. The Chevreuse body, of ruby velvet,
fitting the waist, with indented basques behind. Small
brandebourgs and insertion of guipure, embroidered with.
jet.. A monsquetaire collar of guipure or point d'Alengo2i,
with sleeves to match. This is worn with a silk skirt,
with jounces. The sorties de bal, of white eachemire,
are trimmed with plush ribbon and silk fringe, lined with
sarsenet. The capuebon are round and full • it is edged
with a plush ribbon with a goffered plush ribbon round
the edge. The neck is trimmed with a frill of ribbon ; the
same trimming descends down the front, and continues in
two rows round the bottom. It is made very full and
warmly wadded. A white cachemire sortie de bal, trimmed
round- with a deep embroidery of yellow sewing-silk. The
design is bunches of. grapes, with pines and foliage. The
hood and pelisse are lined with yellow silk. A bow with .
long ends of very broad gold-coloured ribbon to fasten
the pelisse in front, and another on the hood. Another,
of white cachemire, with rows of ruby velvet, crossed.
with gold beads, and rich gold and velvet 3alon. This
galore is about three fingers in width, and placed at the
edge of the manteau- There are three rows at equal dis-
tances ; the outsides of ruby velvet rolls, the inner one of
gold tissue. A rich silk cord, and tassels of gold and ruby
silk, attach the manteau and ornament the hood. A.
third, all white, both material and ornaments, with a hood
lined with satin, and trimmed round the bottom and down
the front with two rows of white satinribbon, embroidered
with silver. Silver fastenings. This sortie de bat is most:
elegant and youthful. A pink cachemire raassteau, lined
with pink satin, and trimmed with a flat silk embroidery...
These manteaux.are a mixture of the Telma and burnous,
cut on the bias. They may be raised or allowed to fall.:
aver the arm at will. The fronts are in long points.
We must now mention the bonnets, caps, and coiffures,:
The capote can never be styled ordinary or simple wheat
the shape is becoming and the trimming tasteful.. Foe
instance, a capote of satin, Cuba shade, quilted diago-
nally,leirnoe
crown is
plan
commenceat-the bottom of the crown at each ear, and
iisthcoqmuipltoesdedsaotfinc.or The edge
which
join on the summit of the head. A bow is placed on the
sati satin. Tnhde
middle of the curtain. This capote is very beautiful', of
white satin, but can only be worn in carriages. A.wreath
of nut roses, concealed under floats of blonde. They are
of satin, with a stamped edge, to imitate quilting. Cepote
of bonffantes, alternately black and violet, separated by a
small plait of black and violet velvet, placed at the edge of
a narrow ruche of black lace. The crown is made of
black lace and small rouleaux of black and violet velvet.
A bouquet of black and violet ostrich feathers falls grace-
fully on either side. The curtain is like the front, and the
inside trimming is small tea rosebuds. separated by bows
of black and violet velvet, with blonde.
A bonnet of pink terry velvet and satin. A blonde
edge; the front is of drawn satin, with two biases of scol-
loped terry velvet, the point edged with a wide white
blonde, reaching the open edge. The crown Is round, and
covered with a fanchon of terry velvet, scolloped at the
edge, and cut on the bias. Two pink feathers are placed
at each ear, very near the edge of the bonnet, so as to turn
inside and mix with the trimmings of the cap, which is of
moss rosebuds and long black velvet ends.
A more simple bonnet is of black velvet, trimmed with.
corms of very broad groseille satin ribbon, mixed with
coques of black velvet. A black ostrich feather, knotted
with groseille silk on the left side, and a bunch of velvet
nines floating at the right ear.
The coiffure armenienne, formed of a rich torsade of
gold like the Greek casque behind, and interlacing the
bandeaux in front. This torsale fastens an Indian scarf
of gold and silk, which is twisted round the torsade.as a,
turban, and falls on the left side in two ends. On the
other there are three rows of gold fringe.
A wreath of flowers, mounted on a gold //an o ribbon.
The flowers are completely veiled under a tulle veil.
A small fiord of black velvet, trimmed round the sate
with bunches of cassia with long foliage of gold. A. very
small bird-of paradise on each side under the brim.
A simple coiffure,,, composed of a mixture of violets,
ruban plume, and wreaths of flowers. It is a round
wreath, of the Mabee form.
For full dress, four small white feathers, two on the
right and two on the left side, held together by a blonde
embroidered with gold.—Le Follet.

THE LATE DR. PEREIRA, F.R.S.

While referring some weeks since to a specimen in the
Museum of the College of Surgeons, Dr. Pereira had the
misfortune, by a fall on the staircase, to rupture one of
the extensor muscles of the thigh. On the night of Thurs-
day, the 20th ult., upon being lifted into bed, the patient
suddenly raised himself, exclaiming " I have ruptured a
vessel of the heart," and died in half an hour.
Dr. Pereira was the distinguished and highest repre-
sentative of the science of Pharmacology. " The elements
of Materia Medics and Therapeutics," to which Dr.
Pereira gave the best years of his life, is considered to be
one of the most elaborate and thoroughly worked-out pro-
ductions of modern science. As a pains-taking and con-
scientious writer Dr. Pereira was unsurpassed, and his
work contains nothing that may not be thoroughly relied
on for its accuracy. He added largely to the botany of
pharmacy. To other sciences allied and bearing upon
pharmacy Dr. Pereira also applied himself with especial
vigour. He was an industrious investigator of the phe-
nomena of polarized light, with reference to its use in
the analysis of pharmaceutical agents, in the distinguish-
ing of oils, and in the detection of adulterations. Dr.
Pereira was occupied in completing the third edition of
his " Materia Medics" at the time of his decease. Dr.
Pereira was an early riser, of quick business habits, and
remarkable for his promptness and rapidity of action.
Another fine trait in his character was his ready expres-
sions of thankfulness, at all times and under all circum-
stances, for the smallest favour that contributed to his
researches. He was a corresponding member of the So-
ciety of Pharmacy of Paris, and of other foreign scientific
bodies, and Professor of Materia Medics to the Pharma-
ceutical Society of London, but his main professional
occupation was that of Physician to the London Hospital.
He was elected a Fellow of the Linnean Society in 1&28,
and of the Royal Society in 1838. He was a man of large
and powerful stature, of pleasing expresssion of counte-
nance, and in the 49th year of his age. He was buried on
Thursday at the cemetery of Kensal Green.