Véronique, the first ot ii new series of comic operas with a plot, was remarkable altogether for its exquisite frocks. No prettier harmony could have been imagined than the chrysoprase-green and white of the first act, unless it be the many gradations of pink, cerise, and red which graced the last act in company with a little band of maidens clad in pale-lemon colour. The picture of Véronique shows her with the close lace cap threaded with little green ribbons, and with short soft glace sacque trimmed with ribbons, and this she wore in the famous swing scene, where the daintiest of little early Victorian brides danced in white muslin and a poke bonnet under the shade of pink and white chestnut trees.
The Othello of my picture is wearing a dress of thick woollen fabric in deep cream tone; his head is bound with a white turban, in which greenly glistens a huge emerald, emeralds being embroidered on the sleeves interspersed with a design of red silk; and there are jewels of all colours encrusted in his sword-belt, and his sash is of red cashmere fringed with red and green.
It is invidious to make comparisons—I have heard this for many years, and known it even longer—yet I would boldly declare that there are but few ladies upon the stage who understand the important fact that, by the dressing of the hair and the decoration of the head, they may make or mar the most gorgeous or most simple garment. Miss Ellen Terry and Mrs. Tree share a talent for historical head-dressing, whilst of the younger generation Miss Dorothea Baird and Miss Lily Bray ton most justly deserve the palm of excellence for the way they express their sense of period in the
