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AGAIN we feel ourselves called on to acknowledge the high and illustrious patronage with which our labours continue to be honoured-again, at the close of our fourth volume (New Series), we gladly avail ourselves of an opportunity to offer our best and most grateful thanks to many of the most distinguished personages of the realm, for the facilities with which we have been favoured in the prosecution of our grand plan for forming a Picture Gallery Of The Female NOBILITY OF Britain—and again, too, we are happy in the opportunity of expressing our sense of obligation to the respective artists, who, by their taste, judgment, and talent, have kindly assisted us in the performance of our task. We cannot but feel proud of our success.
La Belle Assemblée-the only publication of note, as we have before had occasion to observe, that now presents its Subscribers with Portraits-has, since the commencement of its present series, or the 1st of January, 1825, produced twenty-four Portraits of eminent and distinguished Ladies, executed in a style of art before unknown to periodical literature_every individual plate possessing more intrinsic value than the entire cost of the work.* Nor have our elegantly-tinted Illustrations of Fashionable Costume been inferior of their class.
No higher proof can be adduced of the universal estimation in which LA BELLE ASSEMBLÉE is held by the Polite World, than the fact, that during the last twelve months—a period of unprecedented depression in every branch of the book-trade-its sale has been not only gradually, but rapidly on the increase. We doubt whether this can, in truth, be said of any other periodical extant. La BELLE ASSEMBLÉE, indeed, constitutes a striking and almost solitary instance of long-continued public favour. In the course of nearly a quarter of a century, its proprietors have beheld numerous works—some of lofty, some of more humble pretension-rise and flourish for a time, then decay and fall around it ; their structure, on the contrary, acquiring strength by time, and energy with age.
For this, we must be allowed to take some credit to ourselves. Never was La Belle Assemblée so elegant or so beautiful in its embellishments as it is at present-never before was it conducted upon a system of such general and comprehensive utility -never before was it sustained by writers so accomplished, so high, and varied in talent. The entire work, it should ever be borne in mind, is
* The Portraits, accompanied by Illustrative Memoirs, Historical and Genealogical, already given in LA BELLE ASSEMBLEE, are as follows:
Vol. I. Lady Elizabeth Belgrave; the Countess of Denbigh ; Lady Ducie; Viscountess Ebrington ; Lady Eleanor Lowther; and Miss Jane Porter.
Vol. II. Her Royal Highness the Duchess of Kent; Lady Alicia Peel; Lady Grantham; the Countess of Charleville ; Lady Emily Feilding; and Lady Emily Pusey.
Vol. III. The Countess of Surrey; Lady Georgiana Agar Ellis; the Countess of Jersey; Amelia Anne, Marchioness of Londonderry; Viscountess Tullamore ; and Lady Isabella Anne Brydges.
Vol. IV. Frances Anne, Marchioness of Londonderry; the Marchioness of Winchester ; Lady Hobhouse ; Lady Audley; the Countess of Warwick; and Lady Rodney.
original : with the exception of occasional brief extracts in the review department, it admits of no selections, in prose or in verse- - all that it contains is written expressly for its own pages.
It is to this system that we feel ourselves indebted for a large portion of our success; and upon this system we hope to retain full possession of all that we now enjoy.
* PROOF Impressions of the Portraits in La Belle Assemblée may be had of Mr. Colnaghi, Cockspur Street, and of the principal Printsellers in London, on 4to. Colombier, India Paper, 5s., plain 4s.
In the Illustrative Memoir of the Right Honourable Charlotte Georgiana Lady Rodney, page 233, col. 2 line 10 from the top, for Jane, read Jane Ruperra; and, in the succeeding line, for Raperra read Ruperra.
In the same page and column, line 18, for Humphrey read Homfray.
In the same page and column, lines 17 and 18 from the bottom, for 9. Anne, born 1793, died 1807, read Jane, born 1793, married 1824, E. Poller fen Bastard, Esq., M.P.; and, in lines 14, 15, and 16, for Anne Jane, born 1795, married, 1824, E. Pollexfen Bastard, Esq., M.P., read Anne, born 1795, died 1807.
EMBELLISHMENTS IN VOL. IV.
No. XIX. Portrait of the Most Noble Frances Anne, Marchioness of Londonderry, from a
Painting by Sir Thomas Lawrence, P.R.A.
A Ditto, in an Afternoon Home Dress.
A Ditto, in a Morning Dress.
A whole-length Portrait Figure, in private Concert Costume, appropriately co
A Ditto, in a Morning Visiting Dress.
A Ditto, in a Sea-side Dress.
G. Hayter, M. A.S. L.
A Ditto, in Morning Costume.
by H. W. Pickersgill, R. A.
COURT AND FASHIONABLE
NEW SERIES, No. XIX., FOR JULY, 1826.
De La Fons' Description of the New
Patent Instrument for Extracting Teeth ib.
FOREIGN DRAMA, THE FINE ARTS, &c. Fine Arts' Exhibitions, fc. - British In-
THE SUPPLEMENTARY Number to Vol. III. of La Belle ASSEMBLEE (New Series),
Captain Maitland's Narrative of the Surrender of Buonaparte ;– Testament of Napo-
“ Lines addressed to Lady Sarah Beresford, eldest daughter of the present Marquess of
We have great pleasure in announcing the receipt of " Weddings, by a Parish Clerk ;
Was it the intention of “ F.P.” to play off a hoax upon the good-natured credulity
BRIDGET ” shall hear from us, agreeably to her request.
Sketches from my Diary, No. II.” as early as possible.
“ Stanzas to A. S.” and “ Stanzas to are accepted.
“ Loreley, a Legend of the Rhine, from the German,” shall, if possible, appear next
“ A Reflection from the Mirror of Life," by J. B.” of Yoxford, is reserved for very
So also are the “ Recitative and Rondo, translated from the Opera of Il Crociato in
Unaffectedly do we regret the inability to avail ourselves of “ The Mother and Son."
A Soldier's Dirge" we hope to insert at a very early period. We are always
“ Eustace St. Valerie” shall not be forgotten.
PRINTED BY cox AND BAYLIS, GREAT QUEEN STREET, LINCOLN's-INN FJELDS.