Fig. 2 represents a morning costume. Dress high, with a small ruffle and silk cravat. The material is plain mousseline de soié, white, with a small frill protruding from the slightly open front. The body is full, and the skirt has a broad figured green stripe. Sleeves full and demi-long, with broad lace ruffles. The skirt is very full, and has three deep flounces.
Fig. 3 is a plain, and very neat costume for the opera. The body, composed of blue or green silk, satin, or velvet, fits closely. The sleeves are also tight to the elbows, when they enlarge and are turned over, exhibiting a rich lining of pink or orange, with scalloped edges. The corsage is open in front, and turned over, with a collar, made of material like that of the sleeves, and also scalloped. Chemisette of lace, finished at the throat with a fulled band and petite ruffle. Figures 2 and 3 show patterns of the extremely simple CAPS now in fashion; simple, both in their form and the manner in which they are trimmed. Those for young ladies partake mostly of the lappet form, simply decorated with a pretty nœud of ribbon, from which droop graceful streamers of the same, or confined on each side the head with half-wreaths of the wild rose, or some other very light flower. Those intended for ladies of a more advanced age are of a petit round form, and composed of a perfect cloud of gaze, or tulle, intermixed with flowers.
Traveling Dresses are principally composed of foulard coutit, or of flowered jaconets, with the cassaquette of the same material. Plain cachmires are also much used, because they are not liable to crease. They are generally accompanied by pardessus of the same material. When the dress is of a sombre hue, the trimmings are of a different color, so as to enliven and enrich them. The skirts are made quite plain, but very long and of a moderate breadth; the bodies high and plain, and embroidered up the fronts.
FOOTNOTES:
[1] This sketch of Revolutionary scenes and incidents in and about Boston, is part of an unpublished chapter from Lossing's "Pictorial Field Book of the Revolution," now in course of publication by Harper and Brothers.
[2] The following is a copy of the inscription:
Here,
On the 19th of April, 1775,
was made the first forcible resistance to
British Aggression.
On the opposite bank stood the American
militia, and on this spot the first of the enemy fell
in the War of the Revolution,
which gave Independence to these United States.
In gratitude to God, and in the love of Freedom,
This Monument was erected,
A.D. 1836.
[3] The following is a copy of the inscription:
"Sacred to the Liberty and the Rights of Mankind!!! The Freedom and Independence of America—sealed and defended with the blood of her sons—This Monument is erected by the Inhabitants of Lexington, under the patronage and at the expense of the Commonwealth of Massachusetts, to the memory of their Fellow-citizens, Ensign Robert Monroe, Messrs. Jonas Parker, Samuel Hadley, Jonathan Harrington, jun., Isaac Muzzy, Caleb Harrington, and John Brown, of Lexington, and Asahel Porter, of Woburn, who fell on this Field, the first victims of the Sword of British Tyranny and Oppression, on the morning of the ever-memorable Nineteenth of April, An. Dom. 1775. The Die was Cast!!! The blood of these Martyrs in the Cause of God and their Country was the Cement of the Union of these States, then Colonies, and gave the Spring to the Spirit, Firmness, and Resolution of their Fellow-citizens. They rose as one man to revenge their Brethren's blood, and at the point of the Sword to assert and defend their native Rights. They nobly dared to be Free!!! The contest was long, bloody, and affecting. Righteous Heaven approved the Solemn Appeal; Victory crowned their Arms, and the Peace, Liberty, and Independence of the United States of America was their glorious Reward. Built in the year 1799."