the musical pupil with more satisfaction. He will have twelve pretty short tunes, which he may play with ease, and, if he is sufficiently initiated in the mystery of waltzing, dance to perfection. The music is free from any affectation of the grand genre in composition, no ultra-combination, nothing crabbed; all runs smooth and pleasantly, and, we must add, tastefully. These little things may be recommended as capital lessons, brief, intelligible, and sure to take the scholar's fancy.

Preceptive Melodies, forming a pleasing and instructive Sequel to the Five Finger Airs, composed in various characters, progressively arranged, in the humble endeavour to lead the Pupil by the easiest gradations from the natural position of the hand, to a system of fingering for the Piano-forte, by J. Green. Pr. 6s.-(J. Green, Soho-square.)

"Tis a "lengthy" title to copy; but as it fully explains the object of the book-a -an object, moreover, which in our opinion the work as fully accomplishes the transcript will shorten our comment. Mr. Green's "Five Finger Airs," i. e. tunes requiring no change in the position of the five fingers, were noticed at the time of their publication. The present book, after some very sensible introductory remarks, leads the pupil on to such airs as demand alterations in the digital mechanism. The various rules and artifices, however, are not drily strung together; they are progressively, cautiously, and very gra

ceed each other, exemplify every new digital manœuvre, and shew its use and advantage, preceded as they are by the author's observations at every additional step.

The benefit resulting from such a mode of instruction is so evident, that any expression of approbation. would be quite superfluous, and might only weaken the impression which we would wish to be excited by Mr. Green's praiseworthy labour, But we will add, that his book may be of great service even to those that are sufficiently advanced to play all the airs with apparent ease in their way. As he not only illustrates, but reasons as he proceeds, the work may be the means of correcting vices in fingering, which negligence may have suffered to creep in. Overture to the Opera of Otello,

arranged as a Duet for two Via-, lins, composed by Rossini. Pr. 28. -(Hodsoll, High-Holborn.)

This is one of the best dramatic overtures of Rossini. We were delighted with it at the King's Theatre; and we have seen a foreign edition of an adaptation for four hands on the piano-forte, which struck us as uncommonly effective. Even on the very reduced scale in which it here appears, it has its proportionate attractions; because Rossini knows how to give abundance of work to his violins. The arrangement for these two instruments is satisfactory; but some of the very peculiar tints of piano and forte have been left unnoticed, without any apparent reason.

DINNER DRESS.

DRESS of emerald green gros de Naples; corsage plain, and bordered at the top with a satin band of the same colour, and a narrow tucker of tulle: the sleeve is very short and full, and composed of crèpe lisse; the fulness regulated by pyramidal bands of gros de Naples, and finished in a double satin band round the arm. A very novel kind of flounce ornaments the bottom of the skirt, which is cut nearly a quarter of a yard up, and a fulness of crèpe lisse introduced, and formed into a regular row of demi-bells, the lower part kept extended by two satin pipings, and the top of each surmounted with a double satin circlet and a triplet of satin leaves appliquée. Fichu of crèpe lisse, edged with satin piping, and trimmed all round with narrow blond, confined at the shoulders with corded leaves, and arranged in front to form a stomacher, the points coming below the ceinture, which is also edged with

terwoven with a white satin rouleau: tucker of the finest blond: the sleeves are short and full, slashed and regulated by the entwining of a pink satin rouleau round the centre, and set in a folded band round the arm. The skirt has the novelty of a little fulness at the sides; and from the centre of the waist downwards is a satin trimming, cut transversely into oblong parallel segments, imperceptibly increasing in width till it reaches that which goes round the bottom of the skirt, which is of a regular size, and entwined by a white satin rouleau: beneath are two broad pink satin rouleaus. Head-dress, a wreath of Calamata blossoms or Provence roses; the hair parted on the forehead, in large curls on each side, and turned up behind à la Grecque. Necklace and ear-rings of pearl set in embossed gold, with an elegant cross of St. Louis in front. White kid gloves, and white satin shoes.

a leaf rosette with the corner of the fichu. The hair is separated in front, and a pearl comb confines it on each side from the temple; round the back of the head it is arranged in large regular curls. Ear-rings and necklace of rubies. White kid gloves; white satin shoes; India shawl.

BALL DRESS.

Dress of pale pink tulle over a satin slip; the corsage rather long and full, of a moderate height; the bust is encircled with a row of pink satin leaves, uniformly arranged, and in

AND DRESS.

Very little change is yet observable in promenade dress. Furs, indeed, are less in request, but they are by no means entirely laid aside. The large tippet is still occasionally used for the morning walk, but shawls are more generally adopted in the middle of the day. A few velvet spencers also have already been seen, without any other envelope than a scarf tied carelessly round the throat.

Velvet bonnets are still considered fashionable; but we saw also a good many of Leghorn, and some satin of