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LET M E DIE IN THE AUTUMN-TIME.

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LET ME DIE IN THE AUTUMN-TIME.

BT "MART MAL."

Let me die in the autumn-time,

When the winds are round me sighing; When gone is summer's golden prime, <

And her flowers are dead and dying: Yea, then, when all things bright deeay, Let my spirit gently pass away.

Let me die 'neath the forest trees,

While their branehes ware above me;
While my eheek is fanned by the eooling breeze,

And around are those who love me:
There, 'neath the broad blue dome of heaven,
Let my hut farowell to earth be given.

Let me die at the sunset hour,

When the shadows fall around me; *\ When my heart is filled with its soothing power,

Let the ehords bo loosed that bound me: When my last bright day on earth is done, I Let my soul depart with its setting sun.

Tis a time I have ever lovod,

The autumn sunset hour; J When my heart, by Nature's glories moved,

Hath knelt to her magie power: j

When my soul hath sent forth to God above j

Its meed of praise for this prieeless love. I

Then, loved ones left behind,

Lay my ashes gently there; J Let my dirge be sung by the autumn wind,

That onee floated through my hair: Let the leaves that onee waved o'er mo rest Calmly and sweetly on my breast. .

Then raise no eostly tomb i

My forest bod to traee; j

But I'd have ye mark, by the wild flower's bloom, ]

My peaeeful resting-plaee: j

And plant one pure white ro-e, to shed

Its sweetest fragranee o'er my head.

And then, at sunset hour, j

I would have ye sometimes eome, And pluek from thenee a remembranee flower, J

To bear in your bosom home: And sometimes drop, while standing there— "lis all I ask—affeetion's tear. J

LOVE AND TRUTH.

BT BLANCHE BENKAIRDB.

Love sought for Truth: a eharming form drow near, <

Arrayed in robes most fair; a form divine, i Upon whose brow was joy, whose eyes shone elear, \

And many graees here seemed to eomhine: I heard the musie of a sweet-toned voiee,

And thought that Love might surely here reside— J Where all was Truth—and evermoro rejoiee,

Without a eloud to darken or divide.
But when Love ventured to lift up his eyes,

He saw that he might linger there in vain, j For all that seemed so fair was flattering lies—

And then he fell to earth in grief and pain. "Why should I hnpe?" said Love: "Truth is not there!" £ And I was left to weep at Love's despair. \

THE TWINS.

BT REV. B. T. P. CAKE.

Twar a soft and mellow evening,

In the leafy month of June, When summer bowers first opened

Their roseate blushing bloom, That angel wings bore to me, .

In the stillness of the night, Heaven's blessing in a treasure

That ravished sense and sight .

Two innoeent i in mortals

Was their angelie eare; Gems of a regal diadem.

They seemed the lovely pair; Twin-born in time and feature,

In beauty and in graee, Eaeh seemed a very mirror

For his brother's form and faee.

0 Infinite I who formed them, How perfeet was thy toueh!

How rieh thy heavenly dower!

Could mortal erave Ro mueh? That sense, nor limb, nor feature,

Should laek thy holy eare— That they in eaeh, in everything,

Might God's own image bear.

1 thank thee, O our Father,
Maker of worlds and men,

Thou 'st given so rieh a treasure
To give thee haek again:

Oh, grant their hearts, with ours,
The graee, when life is done,

To be turin slurs forever
In thy eternal erown I

THE HEART OF MAN IS LIKE A HARP.

BT JOHN A. CHAPMAN.

The heart of man is like a harp

Of many thousand strings;
Touehed by a skilful hand, a tone
Breathes from it sweet, or low, or sharp,
Or plaintive as a fairy's own,

When broken are its wings.

Oh! many are the notes that ring

From this poor heart of mine;
Sometimes His like a joyous hird,
When at the first warm days of spring,
The fountain of all love is stirred,

Moved by a hand divine.

But then again sad tones of woe
Come from eaeh trembling string;

Sad as the ehildless mother's heart,

When all she loved is laid below,

Aud the hot tears unbldden start
From her heart withering.

Deal gently with this wondrous harp—

Breathe on it soft and low;
Let every trembling note be free,
Whether of sweet, or low, or sharp,
That e'en the saddest tones may be

A melody in woe.

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Trerx are two styles of ehamber furniture now in vogue, whieh have almost equal elaims to taste and fashion. At the North, where eurtains are not indispensable, housekeepers seem to ineline to the low Freneh or eoueh bedsteads, with dressing-bureau and light eane-seated ehairs to eorrespond. Further South, where mosquito-hars beeome a neeessity, heavier furniture is more frequently found, the high poets being finely earved, and supporting a eorniee of eorresponding workmanship, as in the design given above. This is, perhaps, unusually rieh, the lower eorniee having a eentre-pieee, and the posts being surmounted by urns, in the style of our grandmothers. Who eannot reeolleet the heavy, timeworn furniture of some fine old eountry-house, where the wood is darkened by the passing of many years, nnd the tapestried eoverings, with their antique stories, have faded from their onoe brilliant hues? 383 -

Following upon the oaken sleeping elosets, whoso massive doors shut out alike sound and intrusion, they suited the lofty rooms for whieh they were originally designed, and now. in the rage for the furniture, as well as the eustoms of the Middle Ages, they have been revived with the improvement of lowering the bed itself within a more moderate and eonvenient distanee of the floor. From the eorniee, it will be notieed, depends a lambrequin of broeatelle, damask, or satin laine, as in window drapery, edged with a heavy frill of fringe, and having tassels dependent from the eentral points: the same may be plaeed at the deep seollop of the lambrequin upon the post. Beneatlvthis are suspended the draperies, whieh are usually festooned with a heavy silk eord and tassel matehing those upon the lambrequin. These draperies are sometimes of damask, ete., witk laee eurtains beneath, or simply lined with some

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Havino promised our readers a deseription of this'trimming, now so fashionable, we have seleeted a pattern suitable for underelothes, whieh is trana!ated by the following explieit direetions:—

To prepare this work, seleet a good and fine jaeonet or Freneh muslin, and tear off strips for the length required, allowing eaeh to be at least one ineh wider than the extreme width of the pattern. The strips must, of eourse, be torn on the width of the muslin, and the objeet of separating them is to seeure a regularity in marking the design, as it is mueh more diffieult to draw the pattern perfeetly straight on a large pieee of muslin.

Draw the design on good writing-paper, from the seetion given in the engraving, and ink it eleurly; when it is dry, lay it under the muslin, put weights to keep it down, and traee the pattern on the material with a mixture of stone-blue dissolved in verg thin gum-water, or white sugar and water, using a

heusekeepers mueh trouble, as they do not readily soil. Mr. Carryl has also imported eheap and tasteful embroidered muslin and laee eurtains for Freneh bedsteads, used by being drawn through a ring, or falling from a eanopy suspended from the wall—the most graeeful of all ehamber adornments: in fine, his new stoek eomprises every artiele relating to bed draperies, of the plainer as well as more elegant styles.

I fine sable brush, or soft quill pen. When one length \ of the paper is marked over, move it along to the ) next pieee of plain muslin, taking eare that there are no breaks or defeets in the pattern.

To Woak Vhe Bronrhie.—With fine seissors, eut out all the heles of a small pieee of the pattern— not at the marks, but within them, to allow a little for turning in, in working them round. For working, turn in the edge, by rolling it slightly with the thumh, as is done in eommon whipping, and sow it elosely round. To pass from one hele to another, slip the needle on the wrong side.

The*border is fmished with the button-hele stiteh, the outline having previously been traeed-in eotton.

I The heles, being so small, are not eut out, but made

i by piereing the muslin with a stiletto.

\ The materials for this work are very fine jaeonet

; muslin, and Evans's embroidery eotton, No. 50.

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THE LEAVES (TEN OP WHICH WILL BE NECESSARY).

4 shades of green, 12 rows of eaeh; 2 needles. Oast on 3 stitehes; knit plain, till before the eentre stiteh; thread forward, knit the eentre stiteh; thread forward, knit the remainder plain; purl the next row; repeat these two rows, till there are 12 open stitehes up the vein of the leaf; then *knit 1, knit 2 together, knit plain till 2 from the eentre stiteh; then knit 2 together, thread forward, knit 1, thread

j forward, knit 2 together, knit plain, till 3 from the

j end; then knit 2 together, knit 1; purl the next

\ row; repent from * till there are 8 more open stitehes,

, that is, 20 rows from the beginning; then knit 2

i together at the beginning and end of every other

\ row, till the bsaf ends in a point. Now sow the

! leaves round the mat by the part where the stem

i should be; then sow tho tulips on as in engraving, sowing the leaf about 6 rows from the point on to

> the stem of the tulip.

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; whieh the whole ehemisette is made. A double eol

: lar, in the same style, may be fastened by a brooeh

j or a ribbon. It is quite suitable for mourning, being

j perfeetly neat and plain, and, at the same time, re

j lieving tho sombre sameness of the garb. ] For those ladies who do not eare to go to mueh

i expense in their muslins, there is a saving of time,

i trouble, and material, to have the ehemisette made

j like an ordinary "diekey," tho eollar falling over it

j at the throat, and the edges eoneealed beneath the dress. Chemisettes will be worn more or less

J through the winter.

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This is intended for a eontinuous pattern, the pattern to be eontinued by uniting the ends.

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