Amiability and self-command .—Where the manners indicate amiable, moral qualities and a gentle and benignant spirit, this will go far to atone for any lesser imperfections by which they may be marked. Nevertheless, it is not only desirable that you should appear amiable, but unconstrained; that you should feel at ease yourself, and be able to put others at ease around you.

You will be placed, almost of course, in a variety of situations. It is important that you should have that habitual self-command that will enable you readily to accommodate yourself to the peculiarities of each; and, at least, to conceal from those around you the secret that you are not perfectly at home. Possibly this is not essential to your passing in good society, but it certainly is essential to the perfection of good manners.

Good society a means of improvement .—It is of great importance, in the formation of good manners, that a young lady should be accustomed to mingle in good society. It is not necessary that you should select all your associates from the more elevated 0083 73 walks of life, for this would be likely to unfit you for mingling with case and advantage among the less refined; but so much intercourse with cultivated persons as will permit you to feel perfectly at home is very desirable, and will enable you to combine in your manners both elegance and refinement.

It is a rare instance indeed, that a young female, who is habitually accustomed to society of a rude or grovelling character, ever becomes dignified or graceful in her own manners; and on the other hand, where her intimate associates are persons of intelligence and refinement, it is almost a matter of course that she becomes conformed, in a good degree, to the models with which she is conversant.

Servile imitation to be avoided .—The privilege of good society, in the formation of manners, should be highly esteemed, but care should be taken to guard against servile imitation. You may have a friend, whose manners seem to you to combine every quality that is necessary to render them a perfect model; who unites elegant simplicity with generous frankness, and dignified address with winning condescension; who, in short, is everything, in this respect, that you could wish to be yourself; but, after all, it would be unwise in you to become a servile copyist even of such manners. For you are to remember that a 4 0084 74 certain cast of manners suits a certain cast of character; and, unless your character were precisely that of the individual whom you would imitate, you would, in attempting to assume her address, deservedly expose yourself to the charge of affection.

You will, therefore, do yourself much better service by looking at good models in a general manner, and by endeavoring to become imbued with their spirit, than by making any direct efforts to become exactly conformed to them. Indeed, it may be doubted whether you will not reap every possible advantage by simply mingling in their society, without ever thinking of them as models.

The folly of affectation .—More particularly, young ladies should guard themselves against affectation. This is very easily acquired, and is so common a fault that the absence of it is always remarked as a great excellence. Some persons of many amiable qualities, and considerable intelligence, have been absolutely spoiled for society by attempting to assume in their manners what did not belong to them. Wherever anything of this kind exists, it requires but little sagacity to detect it; and even those who are not exactly sensible where the evil lies, are still aware that there is something which needs to be corrected.

It happens, however, too frequently, that what is quite palpable to everybody else, escapes the observation of the individual who is the subject of it; and the cases are frequent, in which the kindest intimation of the fact, from a friend, has been met with expressions of resentment. You should have not only your eyes open, to inspect narrowly your own conduct on this point, but your ears also open to any admonition, that you may detect the fault if it really exist.

Affectation is justly regarded as consummate folly; and unless it happens to be associated with an unusual cluster of real excellences, it brings upon the individual little less than absolute contempt. Let your manners be as much improved as they may, but regard it as essential that they should be your own.

Diffidence preferable to ostentation .—Beware, also, of an ostentatious manner. By this is meant that kind of manner which savors too much of display; which indicates a disposition to make yourself too conspicuous; and which, in short, is the acting out of a spirit of self-confidence and self-conceit. This appears badly enough when discovered in one of the opposite sex; but when seen in a young lady, it is quite intolerable.

Liability to embarrassment from every slight change of circumstances, and an awkward bashfulness, are not to be commended; but between these and an ostentatious manner, there is a happy medium, consisting of a due mixture of confidence and modesty, which will be equally pleasant to yourself and those with whom you associate.

If, however, either of these extremes must be followed, it will be found that diffidence will be more readily pardoned than ostentation. It would be preferable to excite by your bashfulness a feeling of compassion, than, by your excessive confidence, a feeling of disgust.

Undue reserve causes anger or distrust .—While ostentation is to be avoided, it is well to be on your guard against a studied reserve. We sometimes meet with persons whose manners leave upon our mind the painful impression that they are afraid to trust us, and that they regard both our actions and words with suspicion.

Wherever this trait appears, it is almost certain to excite anger or disgust. Most persons will bear anything with more patience than to be told, either directly or indirectly, that they are unworthy of confidence. A significant smile, or nod, or look, with a third person which is intended not to be 0087 77 understood by the individual with whom you are conversing, is a gross violation of propriety, and has often cost a deeply-wounded sensibility, and sometimes a valued friendship.

While you studiously avoid everything of this kind, let your manners be characterized by a noble frankness, which, in whatever circumstances you are placed, shall leave no doubt of your sincerity.

Pride and overbearance always odious .—Avoid every approach to a haughty and overbearing manner. It is exhibition of pride, which is one of the most hateful of all dispositions; and of pride in one of its most odious forms. If you should be so unhappy as to form an example of it, whatever variety of feeling it might excite among your associates, you may rely on it, they would all agree to despise you. As you value your character and usefulness, be always courteous and affable.

Preliminary matters—dress of the parties .—A well informed writer on this interesting matter lays down the following rules to be observed:—

Where a wedding is celebrated in the usual forms, cards of invitation are issued at least a week beforehand. The hour selected is usually eight o'clock, P.M. Wedding cake, wines, and other refreshments, are prepared by the bride and her friends for the occasion. The bride is usually dressed in pure white; she wears a white veil, and her head is crowned with a wreath of white flowers, usually artificial ; and orange blossoms are preferred. She should wear no ornaments but such as her intended husband or 0115 105 father may present her for the occasion; certainly no gift, if any such are retained, of any former suitor.

The bridesmaids are generally younger than the bride, and should be dressed in white, but more simply than the bride. The bridegroom must be in full dress; that is, he must wear a black or blue dress coat, which, if he pleases, may be faced with white satin; a white vest, black pantaloons, and dress boots or pumps, with black silk stockings, white kid gloves, and a white cravat.

Duties of the bridesmaids and groomsmen .—The bridegroom is attended by one or two groomsmen, who should be dressed in a similar manner. It is the duty of the bridesmaids to assist in dressing the bride, and making the necessary preparations for the guests. The chief groomsman engages the clergyman or magistrate, and upon his arrival introduces him to the bride and bridegroom, and the friends of the parties.

Treatment of guests .—The invited guests, upon their arrival, are received as at other parties, and after visiting the dressing-rooms and arranging their toilets, they proceed to the room where the ceremony is to be performed. In some cases the marriage 5* 0116 106 ceremony is performed before the arrival of the guests.

The ceremony .—When the hour for the ceremony has arrived, and all things are ready, the wedding party, consisting of the bride and bridegroom, with the bridesmaids and groomsmen, walk into the room, arm in arm; the groomsmen attending the bridesmaids, preceding the bride and bridegroom, and take their position at the head of the room, which is usually the end furthest from the entrance ; the bride standing facing the assembly on the right of the bridegroom, the bridesmaids taking their position at her right, and the groomsmen at the left of the bridegroom.

The principal groomsman now formally introduces the clergyman or magistrate to the bride and bridegroom, and he proceeds to perform the marriage ceremony ; if a ring is to be used, the bridegroom procures a plain gold one previously, taking some means to have it of the proper size.

After congratulations and festivities .—As soon as the ceremony is over, and the bridegroom has kissed the bride, the clergyman or magistrate shakes hands with the bride, saluting her by her newly-acquired 0117 107 name, as Mrs. —, and wishes them joy, prosperity, and happiness ; the groomsmen and bridesmaids then do the same ; then the principal groomsman brings to them the other persons in the room, commencing with the parents and relatives of the parties, the bride's relations having precedence, and ladies being accompanied by gentlemen.

In this manner all present are expected to make their salutations and congratulations to the newly-married couple, and then to their parents and friends. If the wedding ceremony has taken place before the arrival of the guests, they are received near the door, having, of course, first visited the dressing-rooms ; they are then introduced in the same manner.

The groomsman takes occasion, before the clergyman or magistrate leaves, to privately thank him for his attendance, at the same time placing in his hand the marriage fee, which is wrapped up nicely in paper, and if more than the legal sum, as is usually the case where the parties are wealthy, it is usually in gold. The bridegroom, of course, takes an early opportunity to reimburse his groomsman for necessary expenses.

Sending cards .—When a wedding takes place in a family, the cards of the newly-married pair are sent round to all their acquaintances to apprise them of 0118 108 the event. The cards are sent out by the bridegroom to his acquaintances, and by the parents of the bride to theirs. In some instances, the cards have been united by silken or silver cords ; but this mode has not been adopted by people of fashion.

To those who leave cards at the residence of the newly-married couple during their absence in the “honeymoon,” cards are sent to inform them of their return.

When cards are left for married people who reside with their parents or relatives, their names should be written on the cards left for them, to preclude mistakes. If persons without parents are married, they should send cards to their acquaintances.

If you intend to sing or play, do so at once when requested, without requiring to be pressed, or making a fuss. On the other hand, let your performance be brief; or, if ever so good, it will be very tiresome. When a lady sits down to the piano-forte, some gentleman should attend her, arrange the music-stool, and turn over the leaves.

Ladies should accept introductions only from 0120 110 relatives and intimate friends. Ladies how instead of courtesying.

A lady should never seem to understand an indelicate expression, much less use one. In ascending staircases with ladies, gentlemen should go at their side or before them.

A lady offers a chair to a gentleman, but asks a lady to sit on the sofa. In winter, the places of honor are the corners of the fire-place.

Ladies should be particular not to cross their knees in sitting, nor to assume any indecorous attitude.

We address a married lady or widow as madam, or by name as Mrs. or Mistress —. In answering a question we contract the madam to ma'am; as yes ma'am, no ma'am. Ladies who have passed a certain age, although unmarried, may be addressed as madam.

A gentleman meeting a lady at an evening party, is struck with her appearance. Ascertaining that she is not engaged, which he may do from some acquaintance, he takes some opportunity of saying, “Miss Atherton, will you accept my escort home tonight;” or, “Miss Eugenia, shall I have the pleasure of seeing you home;” or, “Miss Somerby, make me happy by selecting me for your cavalier;” or, “Miss Ella, allow me to be your protector home.”

All these may be hall in jest, half in earnest, for 0121 111 these matters are best managed without assuming too much gravity. The lady may reply, “Excuse me, Sir! I am already provided for;” or, pleasantly, “How unfortunate! if you had been five minutes earlier, I might have availed myself of your services;” or, “Thank you, Sir! I shall be obliged for your attention;” or, “With pleasure, Sir! if my company will pay you for your trouble;” or any other pleasant way of saying that she accepts, and is grateful for the attention proffered to her.

It is very simple as well as vulgar to be continually claiming acquaintance with distinguished people. Some persons indulge in the frequent use of the name of Governor this and General that; evidently to increase their own consequence.

While music is playing, especially while any one is singing; it is very bad manners, little better than an insult, indeed, to converse even upon urgent matters.

There is nothing so impolite as inquisitiveness in regard to the personal affairs of others.

Where ladies are accompanied to a party by a gentleman, he attends them frown the dressing-room to the parlor or drawing-room, to salute the hostess, finds seats for them, and dances with them once, before engaging himself to any other.

Points to be considered .—In the regulation of female dress too much is sacrificed to fashion and appearance. The whims of a French or English mantua-maker, or the depraved taste of some reigning beauty, are of infinitely more weight in determining the nature of the clothing worn by the females even of this country, than all the arguments drawn from the character of our climate, and the attention which experience teaches us should be paid to the season of the year, the state of the weather. and the amount of exposure.

Many of the diseases to which the delicate and youthful of the female sex are peculiarly liable, and by which so many of them are hurried lute the grave in the spring-time of their existence, may be traced to impropriety of dress: either in preventing, by its undue tightness and inconvenient form, the proper growth of the body, and the natural and free play of its various parts and organs, or to a want of caution in accommodating it to the temperature of the season, and to the Various and rapid vicissitudes of the weather.

One cause of the alarming prevalence of consumption among the females in this country may, we suspect, be traced to the general adoption of a style of dress which is totally unadapted to guard the body from the influence of cold, and of those sudden transitions from heat to cold, so common, especially in the middle and northern States; and more, especially, under circumstances when these transitions of temperature are most liable to produce their baneful effects upon the system.

Dress for the house and for company .—Strangers who have visited the United States, have frequently expressed their astonishment at the flimsy dresses of our fashionable females, so illy adapted to enable them to withstand the inclemency of the winter, and 0127 117 the frequent changes of temperature experienced during the spring and autumn.

We should perhaps be considered as exaggerating the imprudence of our females, in neglecting to protect their bodies by sufficient clothing, if regard were had only to the dress worn by them whilst within doors; and, especially, whilst engaged in their domestic duties. This, we admit, is sufficiently well adapted, so far at least as warmth is concerned, to all purposes for which it is intended.

But in preparing for an evening ball or party, or even for a simple visit to a friend, it is too common for females, when the temperature of the external air is that of mid-winter, to retire from a warm parlor to a cold dressing-room, and there exchange a comfortable, warm gown, for one perhaps of thin silk or muslin (with wide sleeves of a still more flimsy material than the gown itself, which leave the arms almost entirely naked), and their worsted or cotton stockings and thick shoes, for flimsy silk stockings, and slippers of a scarcely more substantial material; and thus attired, with their neck and shoulders bare, or merely covered with thin lace, they sally forth into the damp and chilly air of the night, and arrive at the place of their destination shivering with cold. After several hours passed in a hot, close, often crowded apartment, and perhaps when the body has 0128 118 been heated by the exercise of dancing, they again brave the cold and dampness of the external air, and on arriving at their homes retire to their beds with cold feet and a shuddering frame.

Who can be surprised that the consequences of such imprudent exposure are affections of the throat and lungs, attended with cough and hoarseness, and too often terminating eventually in fatal consumptions? Motives of delicacy, as well as a proper regard for health, have been repeatedly urged in vain to enforce the strong necessity of relinquishing such destructive practices; the arguments of the moralist and of the physician have alike failed to induce conviction. And hundreds, who might have shone forth for years among the most estimable and lovely of the sex, have in early youth been dressed in the shroud, because, in an evil hour, they laid aside those parts of their apparel which their health as well as comfort rendered absolutely necessary.

Ladies' morning attire .—The most appropriate morning dress for a lady upon first rising is a small muslin cap and loose robe. It is not in good taste for a lady to appear at the table in the morning without being laced at all; it gives an air of untidiness to the whole appearance. The hair-papers which cannot be removed on rising (because the hair would not 0129 119 keep in curl till evening), should be concealed under a bandeau of lace or of the hair. They should be removed as soon as may be.

In this dress we can receive only intimate friends, or persons who call upon urgent or indispensable business; even then we should offer some apology for it. To neglect to take off this morning dress as soon as possible is to expose one's self to embarrassments often very painful, and to the appearance of a want of education.

Necessity of attention to an appropriate change in the dress during the day .—It is well to impose upon yourself a rule to be dressed at some particular hour (the earliest possible), since occupations will present themselves to prevent your being ready for the day; and you will easily acquire the habit of this.

Disorder of a lady's toilet can be excused when it occurs rarely, or for a short time, as in such cases it seems evidently owing to a temporary embarrassment; but if it occur daily or constantly, if it seem the result of negligence or slovenliness, it is unpardonable.

To suppose that great heat of weather will an authorize the disorder of the toilet and will permit us to go in slippers, or with our legs and arms bare, or to take nonchalant and improper attitudes, is an error of 0130 120 persons of a low class, or destitute of education. Even the weather of dog-days would not excuse this, and if we would remain thus dressed, we should excuse ourselves from seeing company.

On the other hand, to think that cold and rainy weather will permit like liberties, is equally an error. Ladies should not wear large socks of list and similar materials; much less noisy or awkward shoes. When you visit in rainy weather, all these articles, together with muff, umbrella, and cloak, should be laid aside. To make a noise in walking is entirely at variance with good manners.

Street dress .—However pressed one may be, a lady should not go out in a morning dress, neither with an apron or cap, even if it is made of fine cloth and trimmed with ribands. The dress should be adapted to the different hours of the day.

Morning calls may be made in an elegant and simple négligé, all the details of which we cannot give, on account of their multiplicity, and the numerous modifications of fashion. We shall only say that ladies generally should make these calls in the dress which they wear at home, with some slight additions.

The relations of green to other colors .—Green is the opposite, and complements, to red; green, therefore, reddens adjacent hues, and red adds a green tinge to them; but green and red set off each other to the best advantage when placed side by side; the green looks greener; the red redder; and this is, of course, most thoroughly the effect when the two colors are alike in depth of tone. What green is to red, yellow is to violet, and blue to orange. In the same way it may be said that the yellow tints of green suggest their complements and opposites, the violet-reds; the yellow-oranges contrast with violet-blues, and the orange-reds with the blue-greens.

Thus the pink of the complexion is brought out by a green setting in dress or bonnet; and any lady who has a fair complexion, that admits of having its rosetint a little heightened, may make effective use of the green color, but it should be a delicate green, since it is of importance to preserve harmony of tone. When there is in the face a tint of orange mixed with brown, a brick-red hue will result from the use of green; if any green be used at all in such a case, it should be dark.

Adaptation of yellow to a brunette complexion .—For the orange complexion of a brunette there is no color superior to yellow. This imparts violet to a fair skin and injures its effect. A skin more yellow than orange has its orange neutralized by the suggestions of the complement, and a dull-white effect imparted. The orange skin, however, has the yellow neutralized, and the red left; so that the freshness of complexion is increased in black haired beauties.

Effect of violet .—As the complement of violet is yellow, which no lady desires to see added to the color of her skin, it follows that violet is only suitable for dress when it is very deep in tone, and worn by those who wish to have the complexion whitened by contrast.

Suitable colors for white and blonde complexions .—Blue imparts orange, which enriches white complexions and light flesh tints; it also, of course, improves the yellow hair of blondes. Blue is therefore the standard color for a blonde, as yellow is for a brunette. But the brunette, who has already too much orange in her face, must avoid setting it in blue.

Orange suits nobody. It whitens a brunette, but that is scarcely a desirable effect, and it is ugly. Red, unless it is of a dark hue, to increase the effect 0138 128 of whiteness by contrast of tone, is rarely suitable in any close neighborhood to a lady's skin. Rose-red destroys the freshness of a good complexion; it suggests green.

Rose-red should not be chosen for the linings and hangings of the boxes of a theatre, if ladies who frequent it are to look well in their evening toilets. Wine-red and light crimson boxes also give a green tint to the ladies in them. If it is desirable to exhibit the complexion to the best advantage, the hangings should be of light green. Amber hangings would be best adapted to brunettes; and dark crimson would tend to whiten all complexions.

Trimming of bonnets .—Enough has now been said to display some principles that may be carried into application in a thousand ways. The painter upon canvas knows that if he places certain colors side by side, though they be as pure as tube can hold, yet they may look dirty, because they spoil each other by the complements that they suggest. He knows that in painting from the model, whenever there is much contrast of color in small compass, he must not directly imitate each color that he copies with a stroke of the same color from his brush; he is compelled to use false tints to get the true ones.

Upon the same plan must a lady go to work in the 0139 129 arrangement of her dress, and the trimming of a bonnet, keeping apart those colors that cannot come together without quarrelling. Thus she would do well to trim a yellow bonnet with violet or blue, and a green bonnet with rose-red or white flowers, and to follow the same general idea in grouping the colors of the dress.

Additional observations on taste in dress as founded on the low of contrast in colors .—The rules of the contrasts and harmonies of colors, as derived from nature, and recognized by painters, who, from the nature of their studies, are the best judges of colors, are said, by a writer of acknowledged taste and ability, to be the following: yellow, red, and blue are contrasts in all their shades, and the harmonizing tints are discovered by the union of two of them. These colors have different qualities; blue is of a cold, unassuming nature; yellow illuminates, and red warms; yellow-and blue form green; yellow and red form orange, and blue and red produce violet; and, though yellow, blue, and red are contrasting colors, yet still greater contrasts to each may be produced by the union of two of them; for instance, blue and red form violet, and violet is the greatest contrast to yellow. The other intermediate colors, also, of green 6* 0140 130 and orange, form the greatest contrasts to red and blue.

Grey and black are contrasts to white ; yellow and a yellowish tinge the harmonizing tints ; yellow and a deep purple are contrasts, with which orange and a pale yellow-green harmonize. The deepest blue is the greatest contrast to orange, and the harmonizing tint is red ; but bright red must be mixed in a very small proportion, and not allowed to interfere, but be introduced as a harmonizing principle.

Orange and blue, when mixed together, give an olive color, which may be not unsuitably introduced with the contrasts of blue and orange, as it harmonizes with both red and orange.

Green, graduating from yellow to the deepest shade, has contrasts in red, which should incline to purple when the greens incline to yellow ; green, in its deepest shade, is the contrast to bright scarlet ; the intermediate color is red, or very deep scarlet. The colors that are not very unfit to be mixed with these, are orange, blue, and a small proportion of yellow, purple, and black.

Light blue is contrasted to orange, and may be subdued by the mixture of black and white ; its harmony is deep blue.

The contrast to violet is yellow. The blue, which 0141 131 is a mixture of violet and of white, has its contrast in pale yellow ; the intermediate color is deep purple. Crimson has its contrast in deep green, and its harmony in violet.

Nothing contributes in a more particular manner to heighten the beauty of the skin than a judicious choice of colors. For example, females of fair complexion ought to wear the purest white ; they should choose light and brilliant colors, such as the rose, azure, light yellow, etc. Women of a dark complexion, who dress in such colors, as we too frequently see them do, cause their skin to appear black, dull, and tanned. They ought, therefore, to avoid wearing linen or laces of too brilliant a white; they should avoid white robes, and rose-color or light blue ribbons, which form too disagreeable a contrast with their carnations. Let such persons, on the contrary, dress in colors. which are best suited to them ; in particular, green, violet, puce, purple, and then that darkness, which was only the effect of too harsh a contrast, will suddenly disappear, as if by enchantment ; their complexion will become lively and animated, and will exhibit such charms as will dispute and even bear away the palm from the fairest of the fair.

In a word, the fair cannot be too careful to correct, by light colors, the paleness of their complexions; 0142 132 and darker women, by stronger colors, the somewhat yellow tints of their carnation.

We must not omit a very important observation, respecting the change of colors by light. Thus, crimson is extremely handsome by night, when it may be substituted for rose-color, which loses its charm by candle-light; but this crimson, seen by day, spoils the most beautiful complexion ; no color whatever so completely strips it of all its attractions. Pale-yellow, on the contrary, is often very handsome by day, and is perfectly suited to those who have a fine carnation ; but at night it appears dirty, and tarnishes the lustre of the complexion to which it is designed to add brilliancy.

Foundation chain .—The chain is formed by tying a loop at one end of the cotton; insert the needle in the loop, draw through it another moderately tight; continue to draw one loop through the other in this manner till the chain is of sufficient length for the article required.

Chain stitch .—Draw the thread through the loop on the needle.

Single crochet .—Keep one loop on your needle; put the needle through the upper edge of the chain, and draw the thread through the chain stitch and the loop on the needle at the same time. 185

Double crochet .—Insert your needle into the upper edge of the chain stitch on the work, and draw the thread through the work; then through the two loops on the needle.

Double long crochet .—Catch, or place the thread twice round the needle before you insert it into the work; then draw the thread through the work, then through one loop, and then through two loops successively, until you have drawn the thread through all the loops on the needle.

Long or treble crochet .—Catch the tread round the needle before you insert it in the work; draw the tread though the work, then through one loop, then through two loops, then through the two loops remaining on the needle.

Treble long crochet .—The same as double long crochet, with the simple difference of the thread being put three times round the needle instead of twice.

Open crochet .—Catch the wool round the needle before you insert the needle into the work; draw the thread through the work, then through one loop, 0197 187 the through two loops, again through two loops, and then through one loop.

To carry on two threads at the same time .—Place the thread you are not using over the first finger of your left hand, and when you draw the thread you are using through the work, take it below the one you are not using; and when you draw it through the loops on the needle, catch the thread up above the one over your finger. Of course, you can only carry on two threads when you work in double crochet stitch.

Round —is when you continue working all round any piece of work.

Row —is when you work back and forwards, or from end to end of your work.

Increase .—Put your needle thrice in the same stitch.

Decrease .—Put your needle into two stitches at the same time, or miss a chain stitch.

To fasten on .—Tie the cotton to the first stitch, leaving an end; work this into the fist stitches.

To fasten off .—Cut off the cotton, and draw, it tightly through the last loop.

Variegated cricket .—For working colored patterns in double crochet. After working a few rows of the grounding color, fastening off at the end of each row, working from right to left, commence with both colors, say a purple ground with amber pattern; the ends of the wool must be hidden at the back; this is done by keeping the color you are not using laid along at the back of the loops; and in working the other color, taking the first half of the stitch under it, and the other over it: this quite conceals the wool, carrying it on till it is required again. To make the pattern correct, a half stitch is required at each end, or the work will appear drawn aside; so if the pastern you are working should be eight stitches of the purple ground, and two of the amber pattern, you must work seven stitches of the purple and half of the eight stitch, finishing the stitch with the amber; then work two whole stitches with the amber, and half of the next stitch, finishing with the purple; these half stitches must be scrupulously attended to, and after a trial will be found perfectly easy of execution.

To work with beads .—The beads must be threaded on the silk, but can only be worked on what is usually called the wrong side of crochet; draw a bead close up to the work, then make the stitch, which will keep it quite firmly in its place; any of the patterns used for variegated crochet, are also available for bead work.

To join one pieces of work to another .—Take the needle out of the loop you desire to join to another piece of work. Put it in the loop of the latter at the place to be joined, and draw the former loop through the latter.

To commence a round in treble stitch .—Work three chain stitches to make the round of the desired height, which three chain stitches are equivalent to the first treble stitch.

To commence a row in double crochet .—Put the thread round the needle so as to form a loop. For a row of trouble, put the thread round as before, and put it over again as in a treble stitch.

Newly-unrented crochet chain stitch .—Take any two colors, fasten them together, make a loop with both, then holding them a little apart, work with 0200 190 each color alternately; the loop thus left on what has hitherto been the wrong side of the chain, constitutes a new and pretty face to it. In working, care must be taken not to twist the wools or cotton.

Each stitch in the description of the patterns is to be repeated until the round, or required length is obtained.

The words loops and chain stitches, signify the same.

When choosing wools of different shades for crochet work, it is not necessary that the shades be so near in resemblance with regard to color, as for knitting; the effect indeed being better when the shades are not too close.

Toilet cushion .—Half an ounce of Berlin wool, of a dark cherry color, or currant, 5 pieces fine black chenille, 3 oz. colored silk,

1st Row.—Cast 90 stitches with the chenille. 2nd Row.—In wool. 14 double, in the 15th work 3, afterwards 13 double; omit the 14th, 13 double, omit the 14th, etc. 3rd Row.—Like the 2nd, always making 3 on the middle stitch of the 3rd of the preceding row, and at the same places.

This crochet is worked backward and forward, always taking the backside of the loop. The first and last stitch of each row must be diminished.

For each band there will be necessary 1 row of black chenille, 8 of red wool, which forms 4 ribs, 1 black row. Six of these bands will be necessary for the cushion. When they are finished, the points must be placed opposite each other, and sewed together, which will leave open spaces of a diamond shape, to be filled up with diamonds worked separately in silk, and sewed in. These are made in the following manner: 20 chain; turn and make on these, 3 long, 2 chain, 3 long, 3 chain, 3 long, 2 chain, 3 long, 2 chain, 1 long. Turn and work 3 long in the open space, 2 chain, 3 long, etc. Work 8 of these rows for a diamond, and 30 diamonds for the cushion. Afterwards sew them between the bands. To make the cushion square, half diamonds must be worked as follows: 1st Row.—1 chain, 3 long on it, turn. 2d Row.— 3 long in the 1st stitch, 2 chain, 3 long in the last. 3rd Row.—3 long in 1 stitch, 2 chain, 3 long, 2 chain, 3 long. 4th Row.—3 long, 2 chain, 3 long, 2 chain 3 long, 2 chain, 3 long. 5th Row.—3 long, 2 chain repeat 3 times, end with 3 long. 6th Row.—3 long, 2 chain, repeat 4 times, end with 3 long. 7th Row. —3 long, 2 chain, repeat 5 times, end with 3 long, Sew these also in the open spaces remaining.

Afterwards work a lace for the edge, to be sewed on after the cushion is made, 1st Row.—In chenille. 1 long, 1 chain, 1 long, 1 chain, etc. 2nd " —In wool. 7 long, 5 chain, 7 long, etc. 3rd " —5 long above the 7, 3 chain, 1 long, 3 chain, 6 long, etc. . 4th " —3 long above the 5, 2 chain, 1 long, 2 chain, 1 long, 2 chain, 3 long. 5th " —1 long above the 3 long, 2 chain, 1 long, 2 chain, 1 long, 2 chain 1 long, 2 chain, 1 long. 6th " —1 long, 2 chain, 1 long, 2 chain. All these long stitches taken on the spaces formed by the chain of the preceding row. 7th " —In corn-colored silk. 1 plain in the space formed by-the chain of the preceding round, 6 chain, 1 plain in the next space, etc. 8th " —Like the 7th ; the plain taken in the points of the preceding, consequently alternating with the last. If the above materials are thought too expensive,all worsted can be used. Worked with a larger needle, the pattern will answer for a tabouret or sofa-pllow.

Bracelets.—String steel beads on silk of the same color; work a round in crochet with a bead in every stitch. This round should be two-thirds of an inch in diameter. Make eight of them and unite them like cameos; then sew on a little steel clasp. These brace-lets may also be made of black bugles to imitate jet. A pretty lace.—Make a chain of any number that you may require, work a row of long stitches that it may be strong at the edge. 1st Row.—1 chain, 1 long, into every loop to the end of tlie row. 2nd " —Two chain, 1 long, into every 2nd loop to the end. 3rd " —Three chain, 1 long, into every 3rd loop to the end. 4th " —Three long (a), 2 chain, 3 long into every 3rd loop, commence again from (a). An insertion.—Cast on 19 stitches for the insertion down the side. 1st Row.—Knit 2, make 1, 2 together, knit 1, 2 together, make 1, 2 together, make 1, knit 1, make 1, 2 together, make 1, 2 together, knit 1, 2 together, make 1, knit 2. 2nd " —Knit 2, make 1, 2 together, purl 11, 2 together, make 1, knit 2 9

3rd Row.—Knit 2, make 1, 2 together, 3 together, make 1, 2 together, make 1, knit 3, make 1, 2 together, make 1, 2 together, 2 together, make 1, knit 2. 4th " —Same as second. 5th " —Knit 2, make 1, 2 together, knit 1, make 1, 3 together, make 1, knit 2, make 1, 2 together, knit 1, make 1, 2 together, make 1, knit 1, 2 together, make 1, knit 2. 6th " —Knit 2, make 12 together, purl 13, 2 together, make one, knit 2. 7th " —Knit 2, make 1, 2 together, purl 9, knit 2, make 1, 2 together, make 1, 2 together, knit 1, 2 together, make 1, 2 together, make 1, knit 2, 2 together, make 1 knit 2. 8th " —Same as sixth. 9th " -Knit 2, make 1, 2 together, knit 3, make 1, 2 together, make 1, slip 1, 2 together, pass over, make 1, 2 together, make 1, knit 3, 2 together, make 1, knit 2. 10th " —Same as sixth. 11th " —Knit 2, make 1, 3 together, knit 3, 2 together, knit 1, 2 together, make 1, 2 together, knit 2, 2 together, make 1, knit 1. 12th " —Same as second.

California scollop.—Cast on 19 stitcbes. 1st Row.—Knit 4, make 2, knit 2 together twice,knit 1. 2nd " —Knit 3, purl 1, knit 2, purl 1, knit 4. 3rd and 4th rows plain knitting. 5th " —Knit 4, make 2, knit 3 together 3 times. 6th " —Knit 3, purl 1, knit 2, purl 1, knit 2, purl 1, knit 4. 7th and 8th rows plain knitting. 9th " —Knit 4, make 1, knit two together 6 times. 10th " —Knit 1, purl 1, knit 2, purl 1, knit 2, purl 1, knit 2, purl 1, knit 2, purl 1, knit 4. 11th " —Plain knitting 12th " —Cast off ten, knit eight. A pretty lace collar.—Cast on 19 stitches; knit one plain row. 1st Row.—Slip 1, knit 2, make 1, knit 2 together, make 1, knit 2 together, knit 1, make 1, knit 2, make 1, knit 2, make 1, knit 1, make 1, knit 2 together twice, knit 2. 2nd " —All purled. 3rd " —Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 3, make 1, knit 3, make 1, knit 2 together 3 times, knit 2. 4th " —Same as second.

5th Row.—Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 2 together, make 1, knit 2, knit 2 together, make 1, knit 1, make 2, knit 2 together 3 times, knit 2. 6th " —Same as second 7th " —Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 3 together, make 1, knit 2 together three times, knit 2. 8th " —Same as second. 9th " —Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 3 together, knit 3 together, make 1, knit 2 together 3 times, knit 2. 10th " —Same as second. Recommence at the 1st row, and knit sufficient for the collar. A purse.—The materials are one spool of silver thread, one of blue purse twist, one of grey or dust-color. Make a chain of sufficient length, and work length-wise. The first 3 rows are worked in double crochet, and with blue silk. At the end of each row fasten off. 4th Row.—Double crochet with the silver thread. 5th " —The same with blue silk.

6th Row.—Open crochet, 1 long, 2 chain, miss, 2 of, grey. 7th " —Double crochet, blue. 8th—Silver. 9th—Blue. 10th, 11th, and 12th.—Grey. 13th—Silver. 14th.—Grey. 15th.—Open crochet, blue. 16th.—Double crochet, silver. 17th.—Blue. 18th—Silver. Then 3 rows of blue as at the beginning, and repeat the above pattern until the purse is of sufficient width; unite the two sides by a single row of crochet on the wrong side; make 1 end square, and the other round, and finish with blue and silver tassels or acorns. Work bag.—Procure 3 skeins of currant-colored silk, 3 of bright green, 1 of black, 4 of white, and a piece of narrow straw braid, also No. 18 Penelope canvas three-fourths of a yard long, and a little more than half a quarter wide. Worsted may be used instead of silk. Commence by working as follows: 1st Row.—Of green silk, in common cross stitch, three inches high. Omit the next row, which is for the straw-braid; 1 green row, 1 straw, 1 green, 1 white, 1 currant-color, 1 straw, 1 currant-color, 1 straw, 1 currant-color, 1 white, then 1 green, and

repeat until the basket part is 16 inches ia circumference. The blank rows must be afterwards filled by the straw, which is to be fastened by a cross stitch in black at every 4th stitch. The straw is carried from one row to the other by loops which are long on the upper side, and short on the lower. The bottom of the basket is worked in the same way; it should be oval, and the straw without loops. Buy half a yard of gros de Naples silk to make the bag. This should be half a yard in circumference, 6 inches high, including the hem, which should be 2 inches deep, and at the bottom of which should be a caser to contain a little ribbon of the color of the bag. Line the basket part with silk, gather the bag and sew it to the edge.

EMBROIDERY IN ITS VARIOUS MODES. Floss silk is used to embroider on either silk, satin, merino, or any line material which does not require washing. To embroider on cloth, fine flannel, or merino that is to be washed, it is necessary to use three-corded or saddler's silk. Chenille is sometimes employed in canvas work, but being one of the richest materials used in embroidery, it shows to the greatest advantage on velvet, silk, or satin. Worsted is used chiefly for embroidery on canvas; but on fine merino, brown holland, and even white muslin, it is equally beautiful. The color of German worsteds do not fade when washed with soap. A light and simple frame is the most convenient for the above-mentioned species of embroidery. The frame should consist merely of four smooth pieces of light wood, half or three-fourths of a yard in length, and one-fourth of an inch in thickness, neatly joined together. The frame should then be covered with ribbon or muslin wound tightly around it. To this muslin the material designed to be embroidered is to be sewed. Square frames are preferable. After the frame has been prepared, the pattern

to be embroidered should be drawn. If the material used is silk, or satin, or muslin, or any transparent substance, the pattern may be fastened on the wrong side, hung over a window-pane, and traced upon the material with a lead-pencil. When velvet, or cloth, or any dark-colored silk is to be embroidered, the pattern should be drawn on white tissue or blotting-paper, and the paper lightly tacked on the right side of the velvet. The embroidery is to be executed over the paper, and when the work is completed the paper is carefully torn away. Sometimes patterns are drawn on dark materials by means of chalk, but the chalk is apt to rub off. After the pattern is drawn, the work should be sewed into the frame in such a manner as to be perfectly smooth and even. It is not necessary that the frame should be of the same size as the materials to be embroidered. If the stuff is longer or wider than the frame, the portion over should be rolled up and covered with white paper. "When the article is smaller than the frame, a piece of muslin may be sewed on so as to make the stuff of the necessary size. For worsted work a rather coarse darning-needle should be used, and for floss silk a fine one. A large round-eyed needle is necessary for chenille and three-corded silk. If the needle is too large, besides being clumsy, it will make a hole in the work.

The stitch for embroidery is very easy. You make a knot at the end of your silk, chenille, or worsted, and bring your needle through the material on which you intend to work, from the under side to the upper one. Next, put the needle through to the under side, following the pattern, and then put back and bring to the upper side close to where it came through before. The same process is then to be repeated, care being taken not to draw the silk too tight. The stitches should lie slantingly and beside each other. To embroider the stalks of flowers, a stitch very similar to back stitch should be used. STITCHES ON MUSLIN AMD LACE. Satin stitch.—This resembles the threads in satin, and is much used in embroidery. You make a knot at the end of the cotton, silk, or worsted, and bring it through the material on which you intend to work, from the under side to the upper one. Next, the needle is again put through to the under side, at about half an inch distance, and is then put back and brought to the upper side, about half way from the first point; the next stitch is carried to the same distance from the second; again the needle is brought back, and the same process is repeated. 9*

In working on a surface, the stitclies run in parallel lines to each other, and are taken the length-way of the figure or subject you are making. They are also of unequal lengths, in order that the ground may be more effectually covered. In the working of drapery, you must be sure to take each stitch the way the threads or grain would naturally fall. Button-hole stitch.—The needle must go in on the wrong side, and be brought out on the right, five threads down. To make the stitch, the needle is passed through the loop, before it is tightened, or drawn close. Eyelet holes.—They are first run round; then a hole is cut out or made by a piercer, which is the preferable way; and the needle is passed through the aperture under the inner thread, and you sew it round thickly, so as to entirely conceal it. You may make oval eyelet holes in the same manner, making the opening oval instead of round. Formatrion of bars.—You take four threads of the muslin on the needle, and sew three times over them, passing the needle through the same opening each time, and drawing the four threads as close as possible. Each succeeding four threads are taken up the

same way; and thus the required number of bars can easily be formed. The thread in this stitch passes from bar to bar, on the right hand. Embroidery feather stitch.—Leaves are often worked in this stitch, which is only an elongated button-hole stitch. Its appearance on a leaf is very beautiful. Glover's stitch.—This is the same as button-hole stitch, only each stitch is taken a little higher up than the one which preceded it. Double button-hole stitch.—This is two stitches together, then the space for two left unoccupied, then the two button-hole stitches repeated, and so on alternately. Half herringbone stitch.—This is worked the cross-way of the muslin; four threads are taken on the mesh at once. Lines.—These are formed by drawing together six threads of the muslin, and sewing over them with fine thread as close as possible.

Straight open hem.-This is done by drawing out three or four threads the selvedge-way of the muslin, and working over the cross-threads from side to side, in a kind of zigzag direction. Veining open hem.—This is worked in a curve, or other pattern, in which the threads cannot be drawn out. The hem is made by sewing over two threads, take the angular way of the muslin, and then pursuing the same method with two threads taken the contrary way, and uniting them together as in a straight open hem. The appearance is the same, but the pattern is a curve or other shape. Chain stitch.—This is often employed in lace work. Make a knot at the end of the cotton, and draw it through to the right side. While you put in the needle, let the end hand loose and bring it out below, so as to incline a little to the left hand; pass the needle over the cotton, as you draw it out, and this will form a loop; each succeeding one is done in the same manner. Pearling.—This is a kind of lace edging, not worked with needles, but often used as a finish to embroidery on muslin. It is very pretty, and is sold ready for use.

Darning.—This is, when employed in lace work, done as follows: It is worked as common darning, but with fine double cotton; and, in this stitch, the inner edge of flowers is sometimes worked, the centre being executed in half herring-bone stitch. It looks prettily; but rows of chain-stitch are much preferred by many persons. Interior stitch.—So called, because often employed to fill up the centre of leaves, in lace work. The stitch is formed by taking two threads the breadth-way of the leaf, and sewing over them; then leaving a row of one thread, and sewing over two threads, as before. Eyelet holes in lace work.—These are not difficult to execute, and when well arranged have a beautiful appearance. One mesh of the net is left for the centre, and you work round it in button-hole stitch. A great variety of devices may be formed, by a tasteful disposition of these eyelet holes. Spots on net.—These, though simple, form an elegant variety in lace work. To make each spot, the needle is to be passed backwards and forwards through one hole in the net, and alternately under and over two of the threads of which that hole is

formed. These spots must be placed in clusters, but an open mesh must be left between each. Tambour stitch.—This has a close resemblance to chain stitch. The needle, which has a small hook at the end, and is fixed in a handle of ivory, is put through the material stretched in the frame, on the upper side, and the cotton being held underneath, in the left hand, is put upon the hook and drawn through to the right or upper side, where it forms a loop. Through this loop the needle is again passed and also through the material, a few threads from the place it passed through before. The cotton is again drawn through, and thus a succession of loops is formed. The pattern is worked entirely in these loops or stitches. Drawing patterns.—When a pounced pattern has been obtained, a moderate knowledge of drawing will suffice for tracing the design on the material which is to be worked. To accomplish this, the paper pattern must first be laid upon the material, care being taken that both are perfectly flat and even—and the pattern placed in its exact position, and kept firmly therein by means of weights; as the slightest shifting, either of the pattern or the material, would entirely impair the desired effect. The

pounce should then be rubbed over the pattern, so as to penetrate equally every part of the perforated outline. This is best done by means of a flat stump, formed of a strip of cloth an inch and a half wide, tightly rolled up. On removing the paper pattern (should the operation have been skilfully performed), the design will be found distinctly marked on the material. The pattern, thus transferred, must be rendered permanent, by tracing it over with a suitable composition, using a goat's hair pencil for the purpose. When large patterns are required to be drawn,such as table-covers,ottomans, and the like, where the same pattern or its reverse is intended to be repeated, it will be found a great saving of time and trouble to draw one division of the design only on the paper, with certain corresponding guides or marks (also to be pounced), by which the pattern may again be placed in its exact relative position — to continue, or repeat, the other portion of the design that has been previously pounced. This method, if followed with adroitness, will produce a more correct pattern when finished than if the whole design had been drawn and pounced at the same time. For pouncing upon velvet, the greatest care is required, as the elasticity of the pile renders the paper pattern liable to change its position during

208 THE LADY'S GUIDE the process; it must, therefore, be firmly adjusted by the weights in the first instance, for should it move, it would be impossible to reinstate it in its original position. The richer the velvet—the pile being closer and shorter—the greater the facility with which it can be pounced and drawn upon. Satin, from its glossy smoothness of surface, is, perhaps, the most difiicult to draw upon—the pencil being apt to follow the straight threads of the warp; thus rendering it less easy to produce, with gracefulness, curved lines, as on other materials. It is scarcely necessary to observe, that the finer the cloth, the greater the facility with which patterns may be traced upon its surface. Very finely ground pumice forms the best kind of pounce. It does not in any way deface the most delicate material. Pulverised charcoal may be added to the pumice in order to render the outline a little more distinct. Composition for drawing patterns.—The excellence of any composition, used for tracing patterns for needlework, is best tested by its tenacity, and the firmness and clearness of the outline it will produce. Mixtures of gum and whiting, should be avoided, they produce a rough, uneven surface, are easily

rubbed off, and injure the silks used in embroidery; whilst for braiding, the pattern of one part is frequently worn off, during the working of the other— by the mere working of the fingers. The bladder colors, used by artists, mixed with varnish, and rendered more liquid by the addition of spirits of turpentine, will be found superior to most compositions generally employed for this purpose. Hints on canvas work.—Do not wind wool; cut it into short lengths, suited for the needle. Divide a skein of German wool into three—for fine work; but for coarse work, when the needleful is rapidly used, cut it in halves. Secure a sufficient quantity of wool for grounding, before commencing that part of the work. Use German wool for working flowers, but English wool for grounding. Take Hamburg wool for grounding large pieces of needlework; it is durable and economical, and comfortable to use. Use an ivory thimble when working with white or delicately colored wools. Do not fasten on, or off, in the same place, in the succeeding, as in the preceding row. A mixture of the two materials—silk and wool—must always be avoided, when an endeavor is made to copy nature. Do not work cross-stitch on one thread, on a canvas

finer than 19 threads to the inch. Tapestry-stitch is best, when worked with single wool, on fine canvas. Finish each cross-stitch in succession; never half-stitch the work. Let the different shades of color be comparatively distinct when working on fine canvas. Never carry the wool, or silk, from one part to another when working on Berlin canvas. Beads, gold thread, chenille, or patches of raised work, should not be introduced in the execution of historical subjects. In using chenille it is well to draw only a short piece through the eye of the needle. A needle with a round eye should be employed. Sofa pillows or cushions.—Sofa pillows, intended as articles of decoration rather than of use, must not be made too soft; they otherwise fall, and do not display the needlework to advantage. The pillow itself is better filled with down, than with feathers, provided one or two layers of wadding be slightly quilted inside the case. This will give general support to the whole. The case should be made of thick cotton, and of the same size as the covering of needlework. When,a very soft pillow is desired, the case must be made with silk, and simply filled with down. If the covering be crochet or knitting, the latter description of pillow should always be

used; when it may be trimmed with lace, or a light fringe, or with a border similar to the work, but without tassels. When the needlework is very rich, the under side of a pillow may be made of damask, or other materials employed for the general furniture of the apartment, and trimmed with cord and tassels. Harmony and adaptation of colors.—A good eye for colors is a natural gift; and although the proper perception and appreciation of the harmony of colors, like every other faculty of the human mind, may be greatly improved by cultivation and practice, yet quick discernment in other respects, aided by general good taste, will cause some persons more quickly to excel in the adaptation of colors than others. To the most gifted, however, length of time and experience are necessary to a perfect knowledge of harmonious coloring—hence the difficulty of arranging the various colored wools for a piece of tapestry work, or as it is technically termed, when working from a colored drawing—sorting the patterns. There is a great difference between silk and wool similarly dyed; every kind of preparation and texture produces corresponding modifications; roughness, smoothness, and glossiness are all to be considered. The same silk used as floss, materially differs in

color when twisted. One great desideratum—permanency of color—must also be taken into account. All colors are not equally durable; some fade more quickly than others; therefore, as far as lies in our power, we must guard against the evanescence and perishable nature of some of the brilliant appearances of color, and avoid those materials whose gay dyes aim only at transient beauty. The numberless hues of grey, buff, slate, brown, russet, maize, salmon, fauns, Esterhazy, lilac and green, not to mention the more easily distinguished hues of pink, scarlet, geranium, blue and yellow, together with the various tints and shades of the same, require greater ability for their arrangement and disposition than might at first be supposed, and can only be understood by those who have devoted much attention to the subject.

CHAPTER VII. THE ART OF MILLINERY AND DRESSMAKING

CHAPTER VII. THE ART OF MILLINERY AND DRESSMAKING GENERAL DIRECTIONS FOR MAKING BONNETS, HOUSE CAPS, ETC.—FACTS AND RULES IN THE MAKING or DRESSES. BONNETS OF VARIOUS SHAPES Effect of bonnets on the general appearance.—That there is a charm in a neat and well-made bonnet, is a fact that no one will be disposed to deny, because all feel it; and it appears almost like an instinct of our nature to desire that the head-dresses of those forms of loveliness which move around us, and whose sweet smiles constitute the sunshine of our lives, should be worthy of the fair faces they are intended to adorn. Fashion is ever changing, so that to lay down invariable rules for any portions, and especially those which may be considered the ornamental ones, of female attire, is altogether impossible; still the general principles are invariable, and the alterations

demanded by the fickle goddess who presides over the lady's wardrobe exhibit her power, not so much in the changes of general costume as in an ever-varying attention to details; so that of most articles of dress, especially bonnets, it may be said, "Ever varying, still the same." It is, then, essential that all to whom time and economy of expense are of any value, should be well grounded in those general principles which regulate the preparation of the various articles of dress; and those who are so grounded will find little difiiculty in adapting such general knowledge to any particular details which the changes of fashion may render it advisable to adopt. Mode of proceeding.—Bonnets of various shapes are made of plain and figured silk or satin, and must be formed upon a stiff foundation. The best and most economical way is to purchase a foundation or shape adapted to your own taste and wishes; these may be found in abundance at large millinery establishments. Then proceed as follows: Detach the crown from the front, and shape the material by the pattern; tack the lining and the outside to the front, and cord or otherwise secure the edges. Then make the crown, covering the top first; then put on it the piece of material that is to

go round, in a proper manner, and secure it at the top by a single or double row of cord; fit it as tightly as possible to the frame you had before prepared, and fasten it on at the back. You then turn in the edges and set it on to the front. You put in the head lining and attach the cape. The bonnet may then be trimmed according as taste and fancy may direct. Bonnets for children may be made in the same manner, and of the same materials. Mourning honnets.—Mourning bonnets are made of black silk and trimmed with crape, or if for deep mourning, covered with crape. In trimming mourning bonnets, the crape bow and strings are generally broad-hemmed, the double hem being from half an inch to one inch broad. For very deep mourning, the front of the bonnet has a fall or veiling of crape, half a yard deep, and a yard and a half long, having a broad hem at the lower edge. The upper edge, being drawn up to the size of the front, is set on with a fold of crape.

HOUSE CAPS. A handsome house cap.—This is made of net, and formed of two pieces, exclusively of the border and trimmings. The pattern must be cut in paper, both for the head-pieces and the crown. The head-piece is, when opened, twelve and a half nails long, and two wide. The paper pattern is only a half one, and the material is to be doubled before cutting it. You cut from the front in a slant line, commencing at the point of the double, and reducing the open ends half a nail; you also slit from the back at the bottom, one nail and a half in depth, leaving the extremities, only an obtuse point. The crown is in length four nails and three quarters, and five nails wide. You cut off from the top, having previously doubled it half a nail, sloping it round at the corners; the bottom corners are done in a similar manner. Make the cap up by first putting wire round the head-piece, and then, having previously whipped the crown, setting it on plain for about two nails above the ears, and the remainder in small plaits quite to the front. The back is also plaited a little to make it fit properly to the head; and in cutting the slants for the head-piece, you must do it in the shape of a quarter of a circle. The cap is bordered with

blonde, and a small bow is put on at tbe back. Over the front a ribbon, either white or colored, is brought, which is left of sufficient length to form the strings. A neat bonnet cap.—This is made of net, and is neat and convenient. You commence by taking a square of seven nails, which you double, and the back is hollowed out a little. You then hem the front and the back, and join it up at the top with a piece of lace, satin, or ribbon, about one nail in length; the rest of the top is whipped and gathered to the point of the insertion work. The border is of blonde, net, or lace, and is set on full and double at the sides, single and plain in front. A simple flower, placed between the double border on each side, is a neat and tasteful addition. Night-caps.—A very stylish looking night-cap may be made in this way: The head-piece is made of one piece of thick muslin, and the crown, which is in the shape of a horse-shoe, of another. You must be careful to have both large enough to admit of the cap being drawn up to the size required, which is done either by a strong thread or fine bobbin. Having drawn up both parts to the proper size for the head, you unite them with a cord run in

between them, and overcast the raw edges on the inside. You sew the front and ends into a narrow band of muslin made double; then finish by setting on the border and strings. Another shape may be made thus: Take a piece of muslin one yard long, and a quarter of a yard broad. Make four runs lengthwise, put a fine string into each and draw the cap the size of the head. The crown is gathered full at the head-piece. A lace may be set on the edge. This is a very elegant night-cap. A capotte. &mdash This is often worn by young ladies who are liable to take cold. It is made thus: a piece of silk or satin ribbon is taken of the proper length for a cap front, and not quite two nails in breadth, which is reduced to half a nail, by the insertion of a ribbon wire at each edge. Cross pieces of wire in the middle and at each end are introduced, for the purpose of keeping the ribbon its full width. Another piece of wire, covered with ribbon, the same as the front, goes at the back of the head, the length of which must be made to fit the wearer, and care must be taken that it does so in as accurate a manner as possible, as almost all the ease and comfort of the capotte depend upon it. This is firmly sewed on to the front; a little above the ears. The border

is of net, blonde, or tulle, and set on to the front in plaits; upon the edge a satin ribbon is laid in folds, so as to cover the stitches and form the strings. These directions may be slightly varied, so as to conform to the prevailing fashion. Lappets.—These are made of net,lace, or blonde, set on, as a double border, to a ribbon which forms the strings. They may be either plaited all round, or left plain in front. In the latter case, a plain piece of blonde is generally passed over the forehead. DRESSMAKING. General facts and rules to ie remembered.—Some few things are true about the making of all skirts, through every change of fashion, and whether the dress be of the coarsest stuff or the richest satin. In cutting off the breadths, be careful to have them all of precisely equal length; also see that regard is paid to the figure running up or down, when the breadths are being basted, previous to running them. This is a matter that is frequently overlooked, even by experienced dressmakers. The breadths should be basted or pinned securely while running them, because a puckered skirt will spoil the appearance

of the most elegant dress. Commence running each breadth at the bottom, first measuring off a length of silk sufficient to prevent the necessity of making any breaks of any sort in the seam. Not one back stitch can be permitted, as it will show distinctly on the right side, especially if the material be stiff silk. The fastenings of the dress should he sewed on with great care, so that they may last as long as the dress itself. Whalebones should be smoothly pared on the edges and ends, to prevent them from slipping out after wearing holes in the waist-lining. Obtaining the materials.—First the materials for the intended dress must be procured, and it is advisable, whenever practicable, to get them all at the same time. The necessary requisites are the material, the lining for the body and skirt, wadding, covering, hooks and eyes or buttons, whalebones, silk and thread. These are all required for a silk dress, and most of them for dresses of other fabrics. Cutting the dress.—Having thus procured the required articles, proceed to cut out the dress, first measuring off the number of breadths of the proper length for the skirt. These must be immediately sewed over the edge to prevent their ravelling out. If tucks are intended, a proper calculation must be

made as to their width, previous to cutting the breadths. Next cut out the sleeves by the paper pattern which you have previously provided. Double the lining and cut it out according to your paper pattern. If you design the sleeves to be cross-way of the cloth, see to it that it is cut exactly cross-way, as also should be the outside, or they will draw when the dress is finished. Measuring and fitting.—The skirt and sleeves being-thus prepared, proceed to take the proper measures for the front and back of the body, by fitting a pattern to the shape of the person for whom it is intended. This pattern may be of thick paper, or what is better, thin white cloth. Pin the straight edge of the paper to the exact front of the body, letting it lie smoothly as possible over the bosom, and extending as far as the shoulder, where the paper may be secured by a pin, Lay three folds of equal breadth under the bosom, for biases. Pin these carefully, as much of the beauty of the waist depends upon them. Then pare out the neck, and arm, and cut off the bottom of the waist to suit your taste, with either a long or short bodice. Fold over an inch on the straight side of another piece of paper, and pin it up and down the back. Cut it to

fit, and meet the front piece at exactly the side of the body. You will then have an exact pattern of one half the waist. Cut the lining of the waist hy the pattern thus obtained, and cut the silk material by the lining. It is not generally advisable to cut out the half of the back all in one piece, as it fits better with pieces joined at the sides ; they are called side-bodies; and this method should always be adopted, unless the lady has a very flat back; in that case it is best to cut the half all in one piece. Running or seaming the breadths.—Be sure that the skirt is quite full, as narrow skirts are now completely exploded. Fasten the edges of the breadths to your knee, or to a pincushion screwed to the work-table, to hold them firmly. Run the lining together in a similar manner, and fasten each of the outside seams to a corresponding one in it, after which overcast the top and bottom edges. An opening must be left in one of the seams for the pocket-hole, which must not exceed one quarter of a yard in length. Having thus completed the skirt, to which flounces may be added, or into which tucks may be introduced, if deemed advisable (they seldom are in silk dresses), you proceed' to make the sleeves, and trim them before stitchinar them into the waist.

Baste securely the parts of the waist and try it on, for the urpose of perfecting it as to its fit. Then cord the neck, arms, and other parts. Plain sewing is now all that is required to finish the waist ready to be placed upon the skirt. Turn the skirt in at the top till it is of the proper length, both behind, before, and at the sides. Gather or plait the skirt, according to the prevailing style in this respect. Capes to dresses are often very desirable, made of the same material. They are very convenient articles; and no great art, though a proper degree of attention, is required to make them neatly. The lining is to be tacked to the silk or stuff, and the cape cut out by a paper pattern the size and shape required. Before taking out the tacking thread, a cord should be run in at the edges, and these latter are to be turned, and, the lining sewed down firmly upon them. Yon now take out the thread, and ornament or leave the cape plain, as you please. In making flounces, be sure that they are cut precisely cross-wise of the material, otherwise they will hang ungracefully. Sometimes fashion dictates straight-way flounces; they are more easily made than those cut cross-way, but are not so elegant, except as fashion rules. Tucks, with or without open-work between them, have an exceedingly neat appearance, and are sel- 10*

dom out of fashion. They are especially proper in white and black dresses. It is sometimes good economy to make the sleeve of a dress in two separate parts, so that the lower portion can be taken off at pleasure. For an evening dress this is found very convenient, as when the under part is removed, a lace can be placed upon the short sleeve, thus giving a very dressy and tasteful appearance. Silk and other heavy dresses should be lined, but muslins and calicoes look better when hemmed at the bottom of the skirt. It is a good plan to set a worsted braid around the inside of the bottom of nice dresses, of the same color, and projecting one quarter of an inch below the material. Much wear is thus avoided, and the braid can easily be replaced. We have been thus explicit with regard to the minutiae of dressmaking hoping that we might add many to the present numbtr of ladies whose interest and pleasure it is to be their own dressmakers. THE END.