records of fashion; the time in which she
flourished will, if we mistake not, be celebrated
as a kind of ÆRA. in the decoration of the
female world. It is, perhaps, unnecessary to
inform those female readers who are possessed
of experience in the science of costume, and
can count the revolutions of fashions with accuracy
and precision, that Lady Charlotte Campbell
was the first inventor of what is technically
called short waists."

To get hold of a personage who is at once
an inventor—an inventor of a waist, too—
and who is besides a member of the female
aristocracy is such a chance as does not come
in the way of a compiler of biographical sketches
every day. The portion of La Belle Assemblée
which was dedicated to the subject of female
costume and the fashions was not regarded as
the least valuable part of the elegant compilation.
Let us ascertain what was prescribed for
a lady who wished to be dressed "like other
people" in the month of May, 1800. She was
expected to wear "a fine cambric round gown,
with high collar, finished with needle-work and
scolloped lace. . . . A Spanish spencer
of black or puce-coloured velvet, edged with gold
lace. A waistcoat or wrap-front of marble, or
leopard satin, with collar the same as the spencer,
edged also with gold lace. The Vigonian helmet,
or patriotic bonnet (!), composed of the same
materials; the helmet edged with gold lace, and
the crown crossed with gold cord terminating
on one side with a cone tassel. Hoop earrings
of wrought gold; necklace of variegated amber:
gloves, York-tan, and half boots of tan-coloured
kid, laced with black cord."

Such was the morning costume. That for the
evening is too elaborate in description to be
quoted entire. There seems to have been a
strong leaning towards the antique and Eastern.
The "robe" was to be a Spartan robe; the head-dress
a Spartan cap, with Persian diadem,
composed of various gems, while a "Carthage
cymar" was to be suspended gracefully from
one shoulder, and, crossing the skirt of the
figure behind, was to be "confined towards the
front by the natural disposition of the adverse
kind"—whatever that may mean. The word,
"adverse," seems to be a favourite with the
writer. In describing the illustration to this
very notice he says, speaking of a mirror which
is introduced in the background, that it is placed
there in order to display the tasteful effect
of this costume on the adverse front of the
figure—meaning apparently the back. The
changes are rung perpetually upon Roman
stomachers, Armenian, collars, Alcantara hats and
mantles, Carthage cymars, Cossack pelisses,
Vigonian helmets, and Patriotic bonnets—
articles, to judge by the illustrations, one
and all, of unexampled hideousness. The
reader cannot have any idea of the horrible
aspect presented by a figure in a white robe
tightly wrapped about the feet, and loosely
wrapped about the waist, shrouded in an Alcantara
mantle, and wearing an Alcantara hat upon
its head. No notion can be given in words of
what a Vigonian helmet is like, or a Patriotic
bonnet. They are weird things, all of them, and
the "fashionables," who are represented as
wearing them, have all a phantom-like look
which, curiously enough, reminds one of the
ghosts and spectres that William Blake used
to draw—Blake, who lived about the time, and
when youthful imagination may, without his
knowing it, have been impressed by the figures
clad in Alcantara mantles and Patriotic helmets,
which he encountered flitting about in lonely
places.

The author of these descriptions sometimes
ventures to demur to the taste displayed in
some of the smaller details. There is a walking
costume, some of the component parts of
which are "a Chinese parasol of lilac sarsnet,
with deep Eastern awning, with shoes and gloves
of pea-green kid;" of which the writer ventures
to say—"the parasol strikes us as being more
correct when chosen of the same colour as the
lining of the coat or the shoes." Generally,
however, he is profoundly satisfied with the
beauty of the illustration on which he writes.
Sometimes this gentleman give his fair readers
the benefit of his opinion on dress in a more
abstract form, and as distinct from the fashion-
plates,which it is generally his practice to
illustrate. "Mantles and cloaks," he says,
speaking now on his own authority, "of green
Vigonia or merino cloth of various shades,
from the sombre hue of the Spanish fly to the
more lively pea-green, have succeeded to the
purple, which, though a colour most pleasing in
itself, is now become too general to find a place
in a select wardrobe. Scarlet cloaks are no
longer to be seen on genteel women, except as
wraps for the theatre; the satiated eye turns,
overpowered by their universal glare, to rest on
more chaste and more refreshing shades." At
other times our author warms with his subject,
and is betrayed into an outburst of the finest
eloquence. "Buds and blossoms," he cries,
speaking of the month of May, "now burst
forth into gay luxuriance, and the spirit,
renovated by the charming scene, lights anew our
hopes, awakens our slumbering energies, and
gives to our mortal essence a second spring.
It is now that the village-maid throws aside
her woollen cloak and vestment of humble brown.
It is now also that the fair fashionable discards
the velvet mantle and coat of Georgian cloth,
for those of more seasonable elegance. Now is
seen the unconfined pelisse of gay and pliant
sarsnet, the rich and graceful scarf, yielding to
each gentle breeze, and sporting gay with
zephyrs." Something like a fashion-chronicler
this!

Fashion would die of the "vapours" without
news, and, in the form of a letter from a young
lady in London to a friend in the country,
the B. A. gives intelligence of all that is going
on in the world of fashion, conveying her
information in a style which is both easy and familiar.
This young lady is staying in 'London with
friends who appear to be very high-flyers
indeed. Their house, " which is in Grosvenor-square