THE MAJERONIS.

Otago Witness, Issue 1874, 21 October 1887, Page 33

THE MAJERONIS.

I cannot do better than reprint the following description of Signora Majeroni's dresses in "Jealousy":— They are perfect models of elegance_ and good taste, and are suited to each particular scene with a due regard to its requirements and development. The first costume worn by Signora Majeroni is a morning walking dress of j pale pinky heliotrope, a shade that looks so well I by gaslight. The front of the dress is festooned with soft white lace ; the back draperies are full, and also trimmed with lacs ; the bodice pointed, and a cascade of same down the front; very full high panniers, finished in frout^ with long loops and ends of wide ribbon, falling to thu edge of the dress ; shoulder knots of narrow ribbon are a pretty addition to the bodice. The chapeau is puce white, with a large I uffy feather, the same shade as the dress, resting lightly on the hair; a cluster of small ones are arranged at the left side ; a sunshade en suite completes this charming toilette. In the next act Signora Majeroni wears un evening dress of cream satin brooby, full frunt j draperies of pale terra-cotta satin, caught up here and there with pompons of a paler shade ; long heavy pendants of white jet f till from them ; fringes of the same finish the plain hip panniers. The train is very long and rounded, the edge furnished with a deep full niching of cream and terra-cotfca. The corsage is square, full pleating of net and lace relieved with touches of terra-cofcta, elbow sleeves trimmed to march. A delicate hand-painted fan, edged with marabout feathers, and finished with long loops and ends of ribbon, is parried. Clusters of autumn leaves were on the corsage, skirt and train. The signora wore a necklace, pendant, and bangle of bplendid diamonds, and diamonds gleaming in her dark hair. In the third act a gown of buttercup gros grain, the bodice and train eutiu que, of silk canvas, with large pines of embossed velvet, the colour being just perceptible through it, sleeves to match, the skirt in front has fans let in, broad battlements being between, the two flouncings of wide black-jetted lece on cither side to simulate pointed draperies. The bip panniers of this, handsome gown are very quaint, being full and bunchy. They are kept in place by an Eastern girdle of silk, same as the dress, gathered in at the ends, and long jet tassels as a finish. A graceful train, with full, finely-pleated shell trimming, caught here and there by the points of the black drapery that is slightly bouffant at the waisfc, complete this striking costume. In the scene when she is returning from the ball, the signorft comes on in a splendid circular cloak, with hood, of white plush, lined with 6oft white silk, and finished with a heavy fringe of silk and chenille. Enveloped in this she looks perfectly lovely. Jn the fourth ap.d last act, when the reconciliation takes place between husband aud wife, Signora Majeroni wears a ntgliyt tea gown. The under robe is of pale blue, cut low, and sleeveless, but deeply trained. The over dress is of Indian muslin, plain in front, but beautifully hand-embroidered. The back has a very deep flouuce, also worked, and cascades of lace, with flots of narrow ribbons — two shades of blue— and long hoops and ends of the same coming from either side of the waist, and floating down almost to her feet, finish this becoming robe. i As Queen Mary, the Signora wore only one j costume throughout — a long trailing robe | of black silk velvet and black satin, made i with alternate panels of each material. The sleeves were long and hanging ; cap of black velvet with border of white. The collar was the full ruff that was worn in Mary's court. Very pretty indeed did the Signora look. It will be long ere we shall forget the pictures she has presented to us.

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