LET ME DIE IN THE AUTUMN-TIME.

BY "MARY NEAL."

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: Yes, then, when all things bright decay, Let my spirit gently pass away.

Let me die 'neath the forest trees,

While their branches wave above me; While my cheek is fanned by the cooling breeze, And around are those who love me: There, 'neath the broad blue dome of heaven, Let my last farewell 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 chords be loosed that bound me:
When my last bright day on earth is done,
Let my soul depart with its setting sun.

'Tis a time I have ever loved,

The autumn sunset hour;

When my heart, by Nature's glories moved,
Hath knelt to her magic power:

When my soul hath sent forth to God above
Its meed of praise for this priceless love.

BY BLANCHE BENNAIRDE.

LOVE sought for Truth: a charming form drew near,
Arrayed in robes most fair; a form divine,
Upon whose brow was joy, whose eyes shone clear,
And many graces here seemed to combine:

I heard the music of a sweet-toned voice,

And thought that Love might surely here resideWhere all was Truth-and evermore rejoice, Without a cloud to darken or divide. But when Love ventured to lift up his eyes, He saw that he might linger there in vain, For all that seemed so fair was flattering liesAnd then he fell to earth in grief and pain. "Why should I hope?" said Love; "Truth is not there!" And I was left to weep at Love's despair.

THE TWINS.

BY REV. B. T. F. CAKE.

"TWAS 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 innocent immortals
Was their angelic care;
Gems of a regal diadem,

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

In beauty and in grace, Each seemed a very mirror

For his brother's form and face.

O Infinite! who formed them,
How perfect was thy touch!
How rich thy heavenly dower!
Could mortal crave so much?
That sense, nor limb, nor feature,
Should lack thy holy care-
That they in each, in everything,
Might God's own image bear.

I thank thee, O our Father,
Maker of worlds and men,
Thou'st given so rich a treasure
To give thee back again:
Oh, grant their hearts, with ours,
The grace, when life is done,

To be twin sturs forever

In thy eternal crown!

THE HEART OF MAN IS LIKE A HARP.

BY JOHN A. CHAPMAN.

THE heart of man is like a harp
Of many thousand strings;
Touched by a skilful hand, & 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 'tis like a joyous bird,
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 each trembling string;
Sad as the childless mother's heart,
When all she loved is laid below,
And the hot tears unbidden 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.

THERE are two styles of chamber furniture now in vogue, which have almost equal claims to taste and fashion. At the North, where curtains are not indispensable, housekeepers seem to incline to the low French or couch bedsteads, with dressing-bureau and light cane-seated chairs to correspond. Further South, where mosquito-bars become a necessity, heavier furniture is more frequently found, the high posts being finely carved, and supporting a cornice of corresponding workmanship, as in the design given above. This is, perhaps, unusually rich, the lower cornice having a centre-piece, and the posts being surmounted by urns, in the style of our grandmothers. Who cannot recollect the heavy, timeworn furniture of some fine old country-house, where the wood is darkened by the passing of many years, and the tapestried coverings, with their antique stories, have faded from their once brilliant bues?

Following upon the oaken sleeping closets, whose massive doors shut out alike sound and intrusion, they suited the lofty rooms for which they were originally designed, and now, in the rage for the furniture, as well as the customs of the Middle Ages, they have been revived with the improvement of lowering the bed itself within a more moderate and convenient distance of the floor. From the cornice, it will be noticed, depends a lambrequin of brocatelle, damask, or satin laine, as in window drapery, edged with a heavy frill of fringe, and having tassels dependent from the central points: the same may be placed at the deep scollop of the lambrequin upon the post. Beneath this are suspended the draperies, which are usually festooned with a heavy silk cord and tassel matching those upon the lambrequin. These draperies are sometimes of damask, etc., with lace curtains beneath, or simply lined with some

HAVING promised our readers a description of this trimming, now so fashionable, we have selected a pattern suitable for underclothes, which is translated by the following explicit directions:

To prepare this work, select a good and fine jaconet or French muslin, and tear off strips for the length required, allowing each to be at least one inch wider than the extreme width of the pattern. The strips must, of course, be torn on the width of the muslin, and the object of separating them is to secure a regularity in marking the design, as it is much more difficult to draw the pattern perfectly straight on a large piece of muslin.

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

fine sable brush, or soft quill pen. When one length of the paper is marked over, move it along to the next piece of plain muslin, taking care that there are no breaks or defects in the pattern.

TO WORK THE BRODERIE.-With fine scissors, cut out all the holes of a small piece of the patternnot 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 thumb, as is done in common whipping, and sew it closely round. To pass from one hole to another, slip the needle on the wrong side.

The border is finished with the button-hole stitch, the outline having previously been traced in cotton. The holes, being so small, are not cut out, but made by piercing the muslin with a stiletto.

The materials for this work are very fine jaconet muslin, and Evans's embroidery cotton, No. 50.

12 shades of amber, 7 shades of lilac, 4 shades of green, all 4 thread Berlin wool-4 skeins of each. 5 steel needles, No. 14. Cardboard foundation, covered with white or amber cambric, 8 inches in diameter.

FOR THE MAT.

Knit 4 rounds of each shade of amber, beginning with the lightest. Cast on 2 stitches on each of 4 needles; bring the wool forward, knit half the stitches on the first needle; thread forward and knit the other half; repeat the same on each of the other 3 needles; knit the next round plain; repeat these two rounds until there are 48 stitches on each needle; then cast off, and sew this on to the covered cardboard foundation.

FOR THE TULIPS.

5 tulips to be knitted in 7 shades of amber, and 5

in 7 shades of lilac; 4 rounds to be knitted of each shade; 4 needles. Cast on 2 stitches on each of 3 needles; thread forward at the commencement of each needle; knit 1 plain round; purl a round, increasing at commencement of each needle. Repeat these two rounds, till there are 11 stitches on each of the 3 needles; then 1st, knit 3, knit 2 together, knit 1, knit 2 together, knit 3; turn the work back, and purl the 9 stitches.

3d.-Knit 2, knit 2 together, knit 1, knit 2 together, knit 2.

4th.-Turn back and purl.

5th.-Knit 1, knit 2 together, knit 1, knit 2 together, knit 1.

6th.-Turn back and purl.

7th.-Knit 1, knit 3 together, knit 1.

8th.-Purl.

9th.-Knit 3 together. 20 tulips will be required.

THE LEAVES (TEN OF WHICH WILL BE NECESSARY).

4 shades of green, 12 rows of each; 2 needles. Cast on 3 stitches; knit plain, till before the centre stitch; thread forward, knit the centre stitch; thread forward, knit the remainder plain; purl the next row; repeat these two rows, till there are 12 open stitches up the vein of the leaf; then #knit 1, knit 2 together, knit plain till 2 from the centre stitch; then knit 2 together, thread forward, knit 1, thread

forward, knit 2 together, knit plain, till 3 from the end; then knit 2 together, knit 1; purl the next row; repeat from till there are 8 more open stitches, that is, 20 rows from the beginning; then knit 2 together at the beginning and end of every other row, till the leaf ends in a point. Now sew the leaves round the mat by the part where the stem should be; then sew the tulips on as in engraving, sewing the leaf about 6 rows from the point on to the stem of the tulip.

We give two styles of chemisettes, plainer than those usually engraved; but, at the same time, neat and ladylike.

No. 1 is composed of cambric muslin, an insertion extending around the throat, which is left open quite low. To this is attached a collar, turning back, of thick English cambric embroidery, in deep scollops. This chemisette is most suitable for merinos, or dark, plain silks.

No. 2 has a front of an entirely new style, in the shape of an elongated diamond, double, and edged with two narrow quillings, also of Swiss muslin, of

which the whole chemisette is made. A double collar, in the same style, may be fastened by a brooch or a ribbon. It is quite suitable for mourning, being perfectly neat and plain, and, at the same time, relieving the sombre sameness of the garb.

For those ladies who do not care to go to much expense in their muslins, there is a saving of time, trouble, and material, to have the chemisette made like an ordinary "dickey," the collar falling over it at the throat, and the edges concealed beneath the dress. Chemisettes will be worn more or less through the winter.