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LET ME DIE IN THE AUTUMN-TIME.
BY “MARY NEAL."
BY REV. B. T. 1. CAKE.
LET me die in the autumn-time,
When the winds are round me sighing;
And her flowers are dead and dying:
While their branches wave above me;
And around are those who love me:
When the shadows fall around me;
Let the chords be loosed that bound me:
The autumn sunset hour;
Hath knelt to her magic power:
Lay my ashes gently there;
That once floated through my hair:
My forest bed to trace;
My peaceful resting-place:
I would have ye sometimes come,
To bear in your bosom home:
'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. 0 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 careThat 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 stars forever
In thy eternal crown!
THE HEART OF MAN IS LIKE A HARP.
BY JOHN A. OHAPMAX.
LOVE AND TRUTH.
BY BLAXCEZ BENNAIRDE,
LOVE sought for Truth: a charming form drew near,
Arrayed in robes most fair; a form divine,
And many graces here seemed to combine:
And thought that Love might surely here resideWhere all was Truth-and evermore rejoice,
Without a cloud to darken or divide.
He saw that he might linger there in vain,
And 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 heart of man is like a harp
of many thousand strings;
When broken are its wings.
From this poor heart of mine;
Moved by a hand divine.
Come from each trembling string;
From her heart withering.
Breathe on it soft and low;
A melody in woe.
There are two styles of chamber furniture now ? Following upon the oaken sleeping closets, whose in vogue, which have alınost equal claims to taste massive doors shut out alike sound and intrusion, and fashion. At the North, where curtains are not they suited the lofty rooms for which they were ori. indispensable, housekeepers seem to incline to the ginally designed, and now, in the rage for the furnilow French or couch bedsteads, with dressing-bureau ture, as well as the customs of the Middle Ages, they and light cane-seated chairs to correspond. Further have been revived with the improvement of lowering South, where mosquito-bars become a necessity, the bed itself within a more moderate and conve. heavier furniture is more frequently found, the high nient distance of the floor. From the cornice, it posts being finely carved, and supporting a cornice will be noticed, depends a lambrequin of brocatelle, of corresponding workmanship, as in the design damask, or satin laine, as in window drapery, edged given above. This is, perhaps, unusually rich, the with a heavy frill of fringe, and having tassels delower cornice having a centre-piece, and the posts pendent from the central points: the same may be being surmounted by urns, in the style of our grand- placed at the deep scollop of the lambrequin upon mothers. Who cannot recollect the heavy, time- the post. Beneath this are suspended the draperies, worn furniture of some fine old country-house, where which are usually festooned with a heavy silk cord the wood is darkened by the passing of many years, and tassel matching those upon the lambrequin. and the tapestried coverings, with their antique These draperies are sometimes of damask, etc., with stories, have faded from their once brilliant bues ? lace curtains beneath, or simply lined with some
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.
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 rery thin gum-water, or white sugar and water, using a
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.
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. Sth.-Purl. Oth.-Knit 3 together. 20 tulips will be required.
FOR THE TULIPS.
5 tulips to be knitted in 7 shades of amber, and 5
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 col. lar, 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 timo, 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
or less through the winter.
PATTERNS FOR SILK EMBROIDERY.
Táis is intended for a continuous pattern, the pattern to be continued by uniting the ends.