The Fashions.

WALKING dresses are de rigueur in Paris, but have not yet been adopted largely in England, the English ladies showing their usual tardiness in adopting the "last thing" in the mode. These are made only a little below the top of the boot, so that they really are bona fide walking dresses, and do not require to be raised, except in very muddy weather.

For grande tenue, white
They are mostly satin,

Jackets this winter will be short, and fur will be as fashionable as ever. The long fur lined cloaks so much in vogue the last two years, will be as much worn as ever. is very popular among the Parisian élégantes. adorned with lace, and sometimes worn with coloured scarves. The ornaments are extremely costly, jewels cut in the shape of various flowers finding great favour. The embroidery is most elaborate, gold being prominent in many toilettes, and the fringes are rich. Gems are also the fashion for buttons. These, among the most wealthy, are of course real; but there are some marvellous imitations. Serpent bracelets and necklets are the rage for demi toilette.

The Princesse, for almost all occasions, still retains its ascendency; ball dresses are made with under and over skirts, the trains being very long.

"Myra" gives, as most of my readers know, excellent working directions for ladies who make their own attire, and pictures from which an accurate idea of the appearance of the dress when made can be gathered. "Myra " says:

"Two very charming short costumes for young ladies of sixteen or

seventeen are made as follows: the first is of mastic mousseline de laine and blue faille. The skirt is edged with mastic pleatings lined with narrow blue pleatings: the Princess polonaise is edged with lace to match and draped across the front in deep folds; the plain breadth forming the back is puffed and draped much higher on one side than on the other; the end and shorter side only is edged with a blue faille pleating, on the other side the plaits in front of the polonaise end under a series of loops of blue ribbon. The front is ornamented with two rows of lace carried over the shoulder and forming a deep point at the back; the sleeves are trimmed with a pleating and lace; blue bows ornament these and the front of the dress. The second model is less dressy, but forms a very servicable toilette. The dress is of light brown woollen material, trimmed with silk of a much darker shade of the same colour. The short skirt is bordered with a very deep pleating, ornamented near the edge with a band of faille. The Princess polonaise is draped at the sides, and the back, the lower part of which is separate from the sides, is puffed and draped, and the sides lined with brown faille and folded in coquillés. Loops of wide brown ribbon are placed at the sides to conceal the drapings. There is no other trimming on the polonaise except the deep collar and parements of the brown faille."

To those of my readers who do more than amble up and down Regent Street, or Westbourne Grove, let me recommend Marshall and Burt's Hygeia Boots. They are not "splay," as people instantly imagine when a boot is spoken of that does not pinch the foot unmercifully; but fit excellently, the heels are only slightly raised, and of proper size; thus placing the foot in a natural position, and enabling the wearer to walk with comfort. It is not easy for the young ladies even to amble along on the tiny ridiculously high heels usually worn; but a "long stretch," or even moderately extended walk is out of the question. MARGUERITE ANDRE.

Miscellanea.

REFORMATION OF THE DRAMA.-The instinct of dramatic representation, and the love of it, are inherent in every human being. Children in their play imitate the actions of those who are only "children of a larger growth." Savages have their dances in representation of the chief events of their lives. However much we may try to repress the instinct, it exists, and, like all great impulses of our nature, it may be used for good or for evil. That it should be used for good is, of course, the desire of all who wish well to the progress of mankind; that it is very frequently used as a minister of evil is, unfortunately, only too patent to all who are acquainted with the state of our theatres, and who take cognisance of the nature of the plays presented in them. It may be true, and undoubtedly is so, that the grossness of speech and action which in former times disfigured the stage would not now be permitted; even Shakespeare has to be expurgated. But that is only a part of the generally more decent external tone of society. Ordinary talk is, at least outwardly and in general company, more regardful of "propriety" than it used to be. But, although we are not so much in the habit of "calling a spade a spade " as our grandfathers and great-grandfathers were, it is to be doubted whether there are not now to be seen on the stage representations as offensive to real delicacy as ever had place on the boards. The need of dramatic reform is evident to many persons, to whom dramatic representation affords relaxation of the highest and completest character. Nothing gives a more thorough rest to the mind overwearied with strain in one direction, nothing so completely helps it to set pressing care on one side, as a good play. For a moment the actor who "struts and frets his hour upon the stage," holds us spell-bound. We feel with him and in him; our own griefs and cares are superseded by those which he expresses; our minds are turned from our worries

by his mirth and laughter. It is, then, infinitely to be regretted, for the sake of those who seek mental relaxation in the theatre, that, as things in too many cases are at present, there may come something in the play-a phrase, a word, a look, a gesture, a scene-which may jar on the whole nature of the spectator: which may be, indeed, like the dead fly in the sweet ointment of the apothecary. Still more is it to be regretted that whole plays are of such a character that they cannot be seen without consciousness on the part of the spectator of distinct moral reprobation of the tone and spirit of what is set before him. No perfection of acting, no completeness of stage-setting, can condone such offences as these; they only increase their greatness. From time to time great efforts have been made to purify the stage and the theatres; and that the results of the latest of these have not entirely passed away is evidenced in what there is of good and unobjectionable on our stage at the present time. One strong influence for good-that of the presence of the highest personage in the landhas, unfortunately, been long withdrawn. There has been a revival of theatre-going in our day. People want amusement, and they will have it, many of them without being very careful or fastidious as to its character. The number of play-houses has increased, and they have spread into regions far removed from what is, by long custom, the theatrical quarter of the town. But that the popular theatrical representations are all that they should be-even all that they easily might be, without losing one particle of their use as a means of relaxation-it would be impossible to assert. Nay, rather it comes home with much force to persons who consider the matter at all, that the time now presses for the rise of some person or persons strong, persevering, and influential enough to attempt a new crusade in the cause of dramatic reform. That the subject is causing some thought, and even giving rise to some action, is evident from the existence of the Dramatic Reform Association. This association, whose head quarters are in Manchester, numbers many influential persons among its vicepresidents. Of Church dignitaries there are the Bishop of Manchester and Monsignor Capel, besides three clergymen not so well known to

fame. Professors Ruskin and Blackie and Dr. Westland Marston are among the literary men; and of actors there are Mr. Phelps, Mr. Barry Sullivan, Mr. Charles Calvert, Mrs. Kendal, Mrs. Stirling, and Mrs. Hermann Vezin. The objects of the association include the encouraging of good plays, the discouraging of bad ones, and the purification of the theatres, both morally and physically. A small monthly paper advocates the objects which the association has at heart. Farther, as an outcome of the spirit which prompts the association, a boarding house (called the Casa Vocalizia) was set on foot in Milan, where English and American girls, studying to become public singers, could reside under careful and motherly supervision at a not very extravagant rate. We learn that, since the Royal Academy of Music in London has opened a class for the study of opera, the Casa Vocalizia, which has ceased to exist in Milan, is about to be transferred to London. When it is settled here, we hope to refer at some future time to its work. In the meantime, that the Dramatic Reform Association sets good objects before its members is certain. That it has power enough to produce any real and permanent effects remains to be seen. We think that, if it is to do good work, its head quarters must not be provincial. The association, however, has our good wishes for its success, in which we are sure all true lovers of the drama will join.-The Queen.

TRAVELLING ACQUAINTANCES.-One of the chief delights of the Holiday Season is, with many people, the opportunity it affords them of making new acquaintances. There is a popular belief that English people are exclusive, morose, and unwilling to enter into conversation with strangers. The opinion has arisen from those who first set it afloat forming too wide an induction. The English aristocracy, or those who fancy themselves the English aristocracy, are silent and non-gregarious on their travels, as on other occasions, because they are afraid of their artificial importance being destroyed, and their imaginary superiority levelled with the ground; and what they do, a certain number of imitators will do. Again, many English people are silent, and seem to be exclusive, from mere stupidity. They have