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satin ground, and buttons down the front, where it is not more than three-quarters of a yard in length, from the throat; but is gradually sloped to a round point on the left side of the figure, and reaches at this termination nearly to the hottom of the petticoat. It is constructed with a high puckered collar, and two deep printed capes, which fall over each shoulder. The whole is terminated with a rich and deep fringe, shaded to suit with the colours of the pelisse. I need not observe that this mantle is properly confined to females of rank and affluence, both from its singularity and expence. The pelisse is composed of superfine mazarine cloth, with a Spanish vest and spenser; a high collar, and pointed capes, sitting full round the back. The whole trimmed with rich silk Trafalgar of the same colour. What constitutes the ingenuity and convenience of this elegant garb is, that the coat and spenser being made separate, they may be worn apart; and by a little judicious arrangement, appear as three distinct articles. We are engaged next week to a splendid ball and supper, which will be given by the Marchioness of E. Mary has received a carte blanche for the occasion, and intends mustering a strong party of belles aud beaux. Her attire for the evening will consist of a round robe of white undrest crape, worn over white satin; the drapery, &c. ornamented with a border of the scarlet geranium, in raised velvet. Her hair will be confined in the antique sle, and decorated in front with a tiara of the same flowers designed to nature. Her earrings, bracelets, and armlets of brilliants; and slippers of pale green satin, with silver rosettes. My dress is composed of pale green gauze over white satin. It is formed in a simple round gown, meeting within one-eighth the bottom of the petticoat, where it is cut in five deep vandykes; trimmed with silver beading or fringe, and each point terminated with

correspondent tassels. I wear my hair in a large twisted braid at the back of my head, and in simple curls in front, divided on the forehead with a coronet of pearl, which compose also many other ornaments. We have each a French opera fan, of carved amber, uncommonly elegant—a present from my aunt.

At Lady L- --'s concert last evening, was the Countess B, whose illustrious marriage I formerly named to you. She appeared to great advantage in a Byzantian robe of white gossamer satin, with a petticoat of silver tissue. She wore ornaments of blended emeralds and pearl; and her hair was folded round her head in the Eastern style, while the ends fell in irregular glossy ringlets on one of her white and finely formed shoulders. I believe I have before told you, that Indian shawl dresses are considered very fashionable and attractive garbs. They are formed in simple round dresses, with short trains; bordered round the bottom, bosom, and sleeves, with correspondent trimmings: Some are worn with a long sleeve of the same, which is confined on the arm and wrist with the treble bracelet. Others choose a short sleeve of white satin, either in the Spanish slash, frock, or bishop form. The backs of dresses are cut lower than ever, but are frequently shaded with broad point lace, placed flat from shoulder to shoulder. The waist is visibly increased in length. You must wear no other than white kid gloves in evening parties. Not even the light Limerick, or pale tan, are now admitted in this style of

costume.

And now, dear Julia, fare thee well!-I shall hope soon to hear of the progress, and felicitate you on the happy issue of your love, although I cannot entertain you with any account of my own. Keep, therefore, no circumstance on that, or any other subject which concerns you, from your ever faithful and affectionate

ELIZA.

London: Printed by and for JoHN BELL, Southampton-street, Strand.

ON account of an accident which occurred in the printing of two of the Cartoons, viz. the " Charge to Peter," and the "Sacrifice to Paul and Barnabas," we are prevented from including them in the Supplement, according to our promise.—Our Subscribers, however, may rest assured, that they will be presented gratis in the next Number of the Magazine; which will likewise contain an outline of the "Death of General Wolfe;" all being in addition to the usual decorations.

ALL THE CARTOONS OF RAPHAEL,

NOW IN HAMPTON-COURT.

No. I.

THE DEATH OF ANANIAS. Acts of the Apostles, Chap. V. Verses 3, 4, 5. "But Peter said, Ananias, why hath Satan filled thy heart to lye to the Holy Ghost, and to keep back part of the price of the land.-While it remained, was it not thine? And after it was sold, was it not in thine own power? Why hast thou conceived this thing in thy heart? Thou hast not lied unto men, but unto God. "And Ananias hearing these words, fell down, and gave up the ghost-And great fear came on all those that heard these things."

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figure is Peter.-He stands erect and firm, with a full confidence in his divine office, and the power to punish guilt in HIM who sent him-His mantle is thrown around him with surprising simplicity and dignity.

He stretches forth his hand, and points with his finger towards the falling Ananias, denouncing the terrible judgment of God, and the awful example which was required in this early state of the church, to repel every approach of corruption and fraud.A kind of divine austerity pervades the group around him; and, in the whole works of Raphael, there is nothing, perhaps, which more evidently marks the sublimity of his genius than the composition of this single group. The accuracy with which he has conceived the several characters; the propriety with which he has brought them forward in their due stations and respective dignities; the expression which he has given them, at once so majestically

the noble simplicity with which the whole is crowned, are points of excellence which the pencil of Raphael has never carried farther.

THE moment of time which Raphael has chosen in this Composition, is that in which the apostle Peter, by the divine inspiration of the holy ghost, detects the fraud, of Ananias, and upbraids him in the above language of scripture.-Struck with the consciousness of his guilt, he replies not. Smitten by the immediate hand of death, his fall is sudden and terrible.-severe, so serenely firm; and, above all, The figures, on each side of him, are evidently impressed with a consciousness that the judgment of heaven has overtaken him. -The characters which form the cther groups, as yet ignorant of this awful event, are employed in presenting their first alms and offerings, their goods and their money, to the fathers of the primitive church.-On || one side, the apostles are receiving the contributions of the pious; on the other, they are distributing them amongst the poor; whilst Peter, and his brethren in the centre, appear from their thought and action, more immediately connected with the awful scene before them.

In the disposition of this group, we see the unaspiring, the incorrupt, the simple, and unpatronized state of the early church; a few rails, and a common scaffold newly put together, separate the Christian fathers from the surrounding groups. From this simple platform they are delivering the word of truth, and dispensing the punishment of heaven upon the guilty-So correct, so simple, so deeply founded in nature and truth were the taste and judgment of Raphael.

In this composition Raphael has employed no more figures than were necessary The composition of this group, together to bring home the subject with its due cha-with the falling Ananias, who is so finely racter and force, and to shew the state of the church at the first dawn of christianity. -The composition is divided into three leading groups-The ceutre is composed of the apostles, amongst whom the principal

connected with the figures in the centre by the action of Peter, forms what Raphael intended should be the climax of this subject, and that which should distinguish it from all others.

A 2

No. II.

PAUL PREACHING AT ATHENS.

Vide-Acts of the Apostles, Chap. 17.

must have been his feelings, what the energies of his mind at this moment?-There is a sufficient answer to the question in the figure which Raphael has given us of Paul in the present composition.-We see him placed firmly and immovably upon both feet, like a column under that new fabric he was about to raise.-Both arms are lifted up; his action is at once simple and full, of almost colossal strength; his countenance is firm, steadfast, and replete with expression: and each attitude and motion carry the stamp and reflect the qualities of that divine faith which he was now promulgating in all its first pureness and simplicity

THE moment of time which Raphael has chosen in this composition, is that in which Paul rises in the midst of Mount Mars-He is surrounded by the different sects of Philosophers which then divided Athens, and all the heads of the various schools in which science and wisdom were taught in that illustrious seat of learning. We here see the Epicurcan, and the Stoic Philosopher'; the Peripatetic, and the disciple of Epictetus; the Cynic, and theThis figure, as a work of art, leaves us Areopagite.

When we consider what must have been the feelings of Paul at this moment; what must have been the energies of his mind

in order to meet the situation in which he

nothing to wish or expect beyond it.

Let us now turn to the characters of his audience.-How wonderful has been the variety and discrimination of Raphael in this part of his composition.-The leading was thrown, when he beholds himself in figure in this group is that of the Philosothe most cultivated city of the ancient pher who stands forward in the centre of world, and in the midst of the most polish- the Picture.-Not his countesance and ed people, a people justly proud of their action only, but even his drapery bespeaks pre-eminence in every branch of Philoso- his character and his feelings-He is eviphy and Art; when we consider that he dently occupied in full thought, in tranquil was promulgating, for the first time, the reasoning and the contemplation of obobscure and unknown doctrines of Chris-jects now first starting upon his mind.tianity, of which it was one of its principal The serene and thinking mind is well triumphs that it set at nought all the marked by the grand flow and broad folds efforts of human learning, and placed the of the drapery, and the placidity of his virtues of the man against every talent of aspect denotes the soul of the Philosopher the scholar; when we consider that this -This figure is finely contrasted with the chosen Apostle of the Gentiles was now group disputing amongst themselves-The entering, for the first time, upon the great turbulence of controversy is well shewn in objects of his mission, that of confounding the confused folds of the drapery; and the idolatry and crushing paganism wherever scoffers and the hearers are characterized he went; when we consider likewise, that with equal skill and choice-The half he was attacking it in its chosen citadel and yielding convert, leaning on his crutch, is school, where it reigned in all its triumph nobly expressive of a wavering faith, and of pomp and magnificence, surrounded and the countenances of Damaris and Diony. defended by philosophy and science, and sius leave us no doubt of their conviction. supported and decorated with all the splen- It is by reasoning upon thėse principles of dour and glory that could be derived from science which governed the choice of Rathe art and genius of man, when we rephael in this composition, that we are led flect, we say, upon this glorious, but no less to a conviction, that as a work of art, in the trying situation, in which Paul was cast, higher qualities of design, expression, aud to combat with all human learning in de- composition, it has never been excelled by fence of its own prejudice and in aid of its the pencil of man. own power, we are naturally led to ask what

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