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THE HEART—THE HEART!

TO A SISTER.

COLOUR IN DRESS.

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COLOUR IN DRESS. LET us note lie colouis on the dresses of the first six ladies we meet. What do we see first ? a fancy straw bonnet, lined and trimmed with rose colour, an orange shawl, and a lilac muslin dress. the next wears a blue llonnel, lilac visite, and pink dress. A third has a violet bonnet, pink bows inside, sky-blue strings, and a green veil. Now we follow a lady in a cool muslin dress, a while shawl chequered with peach bios- morn and green, the bonnet peach blossom trimmed simply wi:b ruches of nirrow tulle. Here, our companion exclaimed is an exception to yourgeneralrule -it is impossible that two colours could be better contrasted or harmonised. Stay, we replied let its see the lady's face, and ascertain whether the same harmony is preserved throughout the costume. We ac- cordingly quickened our pace, passed the lady, looked in her face, and saw—bright amber-coloured bows inside her lilac bonnet, and broad strings of yellow ribbons with a stripe The very thought of such a combination of colour sets one's teeth 01 edge. Who comes next ? A Quaker lady, with her elose and prim drab silk bonnet lined with white, which is threw i.into shadow by the close fb.m of the bonnet, and is se parated Iron, her fine complexion by her smooth bands of hair, and the neat ruche of gauze; she wears a drab silk dress. and a plain white sl>a*I, offer which is turned a collar of the whitest and most transparent lawn. It is positively a relitfto the eye to rest upon the quiet dress of this lady, after the thock it has received from the inharmonious contrasts we have just described. Formal and s:itf. as the bonnet worn by the ladies belonging to the sect of Friends is in shape, we cannot for a moment as to hesitate which is the most lady-like and becoming dress indeed, it is somewhat difficult to imagine that Q i k r ladies, who have the use o' their eyes, hare never, between the days of George Fox and our own time, made the importint discovery that the semi neutral colours which thev so geneta ly adopt are becoming to the complexion. If this were not the fact, why should Titian, Vandyck. and other gteat painters, introduce a drab coloured scarf or veil around the bust of single figures, and in contact with the skin 1 and why should this contrivance be adopted by modem painters also ? It is known that the effect of the drab scarf is to maVe the flesh tints look brighter by contrast A few general ob- servation.) connected with the subject of colour, as applied to dress, occur to us. We shall mention the fo lowingBlack and daik dre-ses have the effect of making the persons wear. ing them appear smaller than they really are for this reason they are 8«,table for s'out persons The skme may be ob- f u resPpc' fo black shoes, which diminish the apparent tize Ot the loot. The contrary effect takes place with r.gatd to whit. and light coloured dresses, which make people look larger than they really are. Very stout persons should, there- fore, dress in black and dark colours. Large patterns make the figure look shorter, without diminishing the apparent size. The immense patterns which are now so much the fashion, are only tit for wndow 01 bed curiainj, or, at least, for a lady or gigsn ic proportion5, who wears a hoop. Longitudinal stripes, in dress if not too wide, are considered to add to the height of the figure; they may, therefore, be worn with good effect by poisons of low stature. Horizontal stripes have a contrary effect, and are far from graceful.—Art Journal.

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