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 stances a matter of unimportance, and like a beauty who had some confidence in the power of her own charms, she laid aside her travelling cloak and capotaine hat. The dress she wore under these vestments was somewhat of a theatrical cast, so as to suit the assumed personage of one of the females who was to act in the pageant." She wears a white silk petticoat embroidered in gold, and a redingote of pink satin also embroidered in gold and trimmed with green satin. The front of her bodice is low and resembles a stomacher, with trimmings of gold embroidery to match the petticoat. The sleeves are very striking, and, so far as I know, are not in Elizabethan style. There are tight, very much puffed under sleeves of white satin, over which are large open wings of pink satin embroidered in green satin thread. The accessories of this beautifully dressed lady include a crown of gold paper ornamented with gold and green beads, a high lace ruffle, several rows of tiny pearls to which a cross of gold beads is attached, and white leather shoes with gold rosettes.

Now and again one comes across a genuine Dutch face, which has been obviously recognised by the Princess or her attendants, and its possessor characteristically attired as Dutch peasant. There is the quaintest little doll imaginable, called Ernestine (23), which, according to the doll-book, "was brought from Berne." Unlike a AF the other dolls, it is made of white leather, is about four inches in height, and the same in breadth. She is a little squat, dumpy woman, with a huge waist and a squareness of countenance and figure and frock that is irresistibly humorous. Her short, full black skirt, edged with red, her green-striped silk apron, muslin chemisette, frilled cape, black velvet stomacher and braces give the buxom little woman an absurd air of reality and familiarity, sending your mind instantly to Swiss figures and scenes.

But to return to the dolls clothed by Her Majesty, naturally the chief interest to most of us. Male characters seem to have been especial favourites, though they are by no means so elaborately cared for as the ladies.

Count Almaviva (25) is, as will be remembered, one of the principal male characters in "The Marriage of Figaro" and in "The Barber of Seville," both of which operas were frequently played about this period. He looks a very dashing Count indeed in baggy white silk breeches, a long sky-blue satin frock coat finished off with a lace ruffle, and on his head a circular broad-brimmed hat of blue satin, adorned with blue and silver striped ribbon and a crown of frilled white muslin.

Monsieur Musard (54), "dressed by Princess Victoria," is, I think, the only doll with an unmistakable man's face. He is evidently a clown, and has the brightest of yellow silk pantaloons, baggy sleeves, a short blue silk jacket, and a fascinating little lace frill.

Some of the lady dancers are charming. There is Mlle. Pauline. Duvernay (17). Who does not remember Thackeray's raptures about Mlle. Duvernay?—"When I think of Duvernay prancing in as the Bayadère, I say it was a vision of loveliness such as mortal eyes can't see nowadays. How well I remember the tune to which she used to appear! Kaled used to say to