Laura Addison's Viola adds another to this lady's list of "Shakspeare's women," in which she is so charming: her Viola, however, was deficient in one point-in the man's disguise she lost too much her feminine character, as though the audience, as well as Orsino, were to be deceived. The maid "who never told her love" ought to be of all masqueraders the least masqued. Shakspeare never seems to intend her to feign the pert boyishness of Rosalind the manly dignity of Portia; the woman is ever peeping out from under the assumed garb. Except in this respect, Miss Addison's Viola was perfect. Phelps essayed a new line in Malvolio: this part he acted admirably, dressed inimitably; no one would have recognized Phelps in the " cross-gartered" steward of Olivia: he gave to the character the dignity which is its due, elevating it above the merely comic. There is an earnestness about Malvolio which one cannot help liking; he is a gentleman at bottom, though in rank a steward; and there is more of ambition than vanity in the credulity upon which Maria practises so wittily. Apropos, Mrs. H. Marston's Maria was capital. Sir Toby and Sir Andrew found fitting representatives in G. Bennett and Scharf. Hamlet" has also been presented; but we forbear giving a criticism until personal witness enables us to do so adequately, as Phelps' Hamlet offers too great a pleasure to be lightly passed over. Towards the close of the month Sheridan Knowles' "Love" has given a MUSIC AT FRANKFORT. Among the concerts of this season in our town, was that of Mr. Aguilar, which took place on the 19th inst., in the "Hotel de Hollande," conducted by Kapel-meister Guhr, and assisted by Miss Oswald, Messrs. Eliason, Bockmühl, and André. The concert-room was well filled, and the audience appeared much gratified. The concert commenced with Mendelssohn's 2nd trio (op. 66) for the piano, violin, and violoncello, by MM. Aguilar, Eliason, and Bockmühl. The selection of one of the last and most beautiful compositions of this deeply-regretted master did honour to the feeling of the giver of the concert, and afforded the liveliest satisfaction to the hearers. The execution of this very difficult composition was admirable, showing a full understanding of its worth. Each act concluded with one of Mr. Aguilar's own compositions, viz., his third Capricio, and a Fantasia upon an air in “La Fille du Regiment." Mr. Aguilar has obtained a firsttalent by indefatigable industry. His performrate standing as a pianist, having fostered his ance not only fulfils all that can be required with regard to the mechanism indispensable to the present style of playing, but is full of feeling. Mr. Aguilar distinguishes himself also as a composer for his instrument; but space will not allow us to analyze technically the compositions now introduced; we must, however, add that he fulfils the demands of modern taste, both as performer and composer.-From the Frankfort Observer, Sunday, Jan. 23, 1848. new character to Miss Addison. The Countess is the one great part in this charming play; all others sink beneath it. Laura Addison sustained it as she was sure to do. In the early scenes she was perhaps a shade too haughty; but in the IRISH FEMALE EMPLOYMENT scene where she suffers Huon to confess his love, the sudden melting of the "proud ladye" into the woman was exquisitely rendered. From this time the character gradually acquired strength and beauty in her hands, and in the last scene with the Empress she was perfect; we say the last scene, because, except for the complete unfolding of the story, the play ends there; the conclusion is but a melodramatic rush of armed men, heralds, banners, &c., to make a grand tableau. Marston's Huon is as good as any part we have yet seen him in, if he could but get over those pet attitudes of his. and be natural. George Bennett-always good-sustained the one scene in which the Countess's father appears, with great success; he seemed to make even Huon act better, through the sympathetic effect of his own performance. Catherine was excellently well done by Miss Cooper; her assumption of the boy-cousin was as good as her Rosalind she is a clever, sensible actress; no genius, but thoroughly well accustomed to stage business, and always seems at home in her part. One or two good after-pieces, among which Mark Lemon's "Ladies' Club" is the best acted, have made no one regret the withdrawal of the pantomime.-D. SOCIETY. There is an old adage, that the best kind of charity is that which helps people to help themselves; and it seems to us particularly applicable to the present occasion. In the miserable condition of Ireland, every step which can rouse its degraded people to self-exertion, is one in the right direction-Women are generally less impracticable than men, and our hopes for the future rest with the Children of to-day. Executed by the female peasantry in their smoky cabins, or by children at their schools, quantities of beautiful needle-work are now on sale. The Society is under the immediate patronage of Her Majesty, and is also supported by many ladies of rank and influence. The collars, berthes, &c., which we have seen, are very beautiful, and of various sorts of beauty. Many useful articles, some for children's wear, in knitting and netting, are also to be had; and cotton counterpanes, of a warm, but new and curious manufacture, have been introduced. The authorised depôt is a stall at the Soho Bazaar; and we hope that the example of the first Lady in the Land will be followed by those who acknowledge that it is a truer kindness to buy from the industrious than to give to the idle. *Brother to our lamented contributor, the late Grace Aguilar.-ED. N. M. B. A. FASHIONS FOR MARCH. Our fashionable winter is now at its height, and as brilliant as ever; indeed the court mourn ing made very little difference, except that the official balls were not given during the first period of it. At present our élégantes are entirely occupied with their evening and ball dresses. But though masqued balls will be continued during the time of the Carnival, they are not likely to be so well attended as usual. Late as it is in the season, some novelties, both in chapeaux and pardessus, have made their appearance; though as regards the former, it is rather the garniture that is really novel. I have selected some of the most striking for the plates. Those for the early morning promenade are always of a very quiet kind; if a capote is adopted, it is generally of satin, of a dark or neutral hue, a close shape, either drawn or bouillonnée, and trimmed in the simplest style, both on the exterior and in the interior, with ribbon of the same calour; a veil, which must be of black lace, may be added, but it is not indispensable. If the head-dress is a chapeau, it is of black or dark-coloured velvet, a moderately close shape, decorated only with a knot of the material of the chapeau, disposed in such a manner that a veil can be thrown over it without crushing the garniture. The pardessus is generally a cloth mantle; those of deep blue or dark faun colour are preferred; they are made rather long, with a large collar; the collar, and also the border of the mantle, is trimmed with very broad flat galoon, or else a narrow embroidery in silk to correspond. This extreme plainness is in striking contrast to the elegance of public promenade, or morning visiting toilettes; but this is grand négligé, and there is another style between it and the toilettes adopted later in the afternoon. A favourite mantle for this intermediate style of négligé, is composed of satin à la Reine, either black or a dark colour, and lined with crimson or orange silk; it is a three-quarter length, a loose form, and made with two pelerines, very large, and of the shawl form; one is much smaller than the other, and both are pointed behind; the lower one conceals the arm-holes, and forms sleeves. The borders of the mantle and the pelerines are quilted all round in lozenges, and that is the only trimming adopted for them. A rose colour, or light green satin capote, wadded and quilted, trimmed with a row of blonde of the same colour, disposed in drapery on the crown, and partly on the brim; it is usually accompanied with two little tufts of small velvet flowers: this is a favourite head-dress with the mantle I have just described. But there are also several other chapeaux and capotes, the latter satin, the former velvet, that may be worn with those mantles. The majority of public promenade pardessus are composed of velvet, and trimmed with fur. To be really elegant, it ought to be sable, of a fine kind; its extravagant price, however, has brought inferior kinds of sable into favour. One of the most fashionable pardessus is called the Moscovite, and in truth its appearance shows that it is properly named, for it looks quite warm enough for the climate of Russia. It is composed of bishop's violet, or golden brown velvet, lined with ruby satin, and made a three-quarter length, fitting moderately close round the upper part of the bust, very ample as it approaches the bottom, and made with a small collar, and very deep pelerine rounding and falling over the robe in such a manner as to supply the place of a sleeve; the entire is bordered with a very broad band of the finest Siberian sable. The Duchesse is made of bright blue or emerald green velvet, and lined with white satin; it is ample every way, and rather more than a three-quarter length. Large sleeves cut out in the mantle; they are bordered with ermine; a small straight standing collar, also of ermine: the same fur descends down the fronts of the mantle in the form of a broken cone, and turns back at the bottom in a very broad band; the fronts are closed by fancy silk buttons, of a new form and a large size. This pardessus is adopted only in carriage dress. The Espagnol, composed of black satin, and lined with groseille, or cherry-coloured satin, has something of the form of a Spanish cloak, and is almost entirely covered with volants of very rich black lace; it may be adopted either in carriage or public promenade dress. The materials for chapeaux and capotes have not yet altered. Capotes are principally of satin; they are of a round shape, and more open for the public promenade than for the early part of the morning. I may cite among the prettiest, those of the drawn kind, in pink or blue satin; trimmed with narrow blonde lace, disposed in crête de coq on each runner; a rouleau of velours épinglé is placed between each of the runners. Some others, also of light colours, are decorated with ornaments of velours épinglé, disposed in a small drapery that ties at one side. Several satin capotes are trimmed with biais of velours épinglé, forming lozenges. Velvet capotes are equally fashionable, but not so generally adopted. The most novel is the capote Clarisse; its crown, bavolet, and a new kind of knot, called by the inventress nœud batelière, are all in one piece; the brim is demi-evasée; the interior trimmed in a very light style with tulle. Velvet chapeaux of dark colours, lined with velvet or velours épinglé of a lighter shade, continue their vogue; they are trimmed in the interior of the brim with coques of velvet, corresponding with the exterior, and that is decorated with velvet rouleaux placed one against the other, half upon the brim and half upon the crown. Black lace has lost nothing of its vogue for garnitures; several velvet chapeaux are trimmed with it and an intermixture of the velvet of the chapeau. A good many, both of velours épinglé and velvet, are à la Pompadour that is, the chapeau is light blue, and lined with pink of the same material. The interior of the brim is trimmed with small blue flowers; the exterior, with a long and very full feather, shaded in both hues. Several velvet and velours épinglé chapeaux are trimmed on the exterior with a bouquet of têtes de marabouts at each side of the brim; they are of unequal lengths, and droop in such a manner as to meet at the back of the crown over the bacolet, so as to form a demi-wreath the interior of the brim is trimmed with tufts of small flowers; they may be either a much deeper shade of the colour of the chapeau, or a strongly contrasted hue. Blonde lace, of the colour of the chapeau or capote, is still employed in garnitures, but not so much so as it has been. The redingote form is still the most in request for public promenades. Several composed of plain velvet are closed entirely down the front by a row of rich fancy-silk buttons; others have a double row, crossed by a cord. This style of trimming in bugles, or very small jet beads, on black velvet has a very rich effect. I may cite also several redingotes of satin, Pekin, and gros de Tours, made with corsages quite high and full; the sleeves-demi-large, open, and rounded at the bottom-are trimmed with a double row of narrow black lace; the under-sleeve is muslin, arranged in close bouillons by embroidered entre deux, and terminated by a Valenciennes lace ruffle. The skirt is trimmed with three rows of folds, put two together, and parted by a row of black lace laid flat. five or seven narrow; but in any case they mount very high on the skirt. They are frequently headed with some of the new flat fancy trimmings, very richly worked. The number of robes made without garnitures round the border is very great. Corsages are still made high, not only in morning, but in half-dress; they are always pointed at the bottom, except for complete négligé; but the length of the point differs according to the use to be made of the robe. For evening and ball dress it is very deeply pointed; but not so much so for demi-toilette. The splendid silks which I announced in the beginning of the season are now in the height of their vogue, for evening robes, brocades, damasks, moires antiques, pekins, satins, velours épinglés, and striped and figured silks, of an excessively rich kind, particularly those striped and broché in velvet. We have, in truth, more variety of materials than forms; for certainly this season there has been little alteration in the make of dresses. The novelty consists principally in the garnitures with which they are decorated. The corsages of robes of these rich materials are deeply pointed, and low at the top; but not so low as ball dresses. Some open en cœur on a lace guimpe; the opening is trimmed with a revers, either of lace or passementerie. But this style is not so general as a close corsage, and lace berthe, or one of passementerie; which is sometimes, though not always, adopted if the garniture is of the latter. A good many damask and satin robes, of groseille, violet, rose, and deep maize colour, are trimmed with very deep flounces of black lace; they mount nearly as high as the hips, with very little space left between; so that the skirt is nearly covered with them. There is always a heading; sometimes it is a light, open-worked Wadded pelisses, composed of satin or levan-band of passementerie, at others a ruche of black tine, are a good deal adopted for the promenade; tulle, or of narrow ribbon, corresponding with they are worn over robes, and with a fur camail, the colour of the robe. The berthe is always of instead of a pardessus; the border is quilted all black lace; it is a large double fall, generally round. They are also much in favour in morn-descending in a point to that of the corsage, ing dress; for which they are always made en peignoir, opening on an under-dress trimmed round the bottom with a broad border to correspond. The bonnet Fanchon, a loose caul descending in a point on the throat, is a good deal adopted in morning négligé; it is made of clear cambric, or muslin, lightly embroidered, and trimmed with Valenciennes lace and ribbon. It is also worn in half-dress, composed of application de Bruxelles, or of very clear India muslin, richly embroidered. The garniture is always Mechlin, or Brussels lace, and satin or velvet ribbon. The redingote form is still the favourite in demi-toilette. As yet there is no alteration in their forms; but the trimmings, generally of passementerie, give them an air of novelty. If robes are adopted, and they are trimmed round the border, flounces are generally employed; they are either of the material of the robe, and festooned round the border, or else they are of black lace. If they are of the material of the robe, they may either be three deep ones, or else falling low over the sleeves, which generally reach almost to the elbow. Those of ball robes are much shorter; so much, indeed, that they are usually concealed by the berthe. If the heading of the flounces is composed of ribbon, the berthe is trimmed with knots to correspond; but if tulle or passementerie is employed, any coloured ribbon or flowers may be used. There is a deep flounce of lace set on the sleeve, just under the berthe; so that the entire sleeve is covered with lace. Some Pekin robes have the corsage made with a double revers; it opens on the bosom over a lace guimpe; the revers descends in a point to that of the corsage, and each fall is embroidered in silk of the same colour, but a much darker shade. Short sleeves, with small cleft mancherons similarly embroidered, as is also the bottom of the sleeve; it forms a heading to a narrow lace ruffle. Three deep flounces, similarly embroidered, encircle the skirt. Several satin dresses are trimmed in the redingote style, with knots of ribbon, of the colour of the robe, but |