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rows alternately plain and purled, to set into the band round the neck, and fasten off.

Those who are quick knitters may do a front for the skirt of a short frock in the same way, beginning it, like the stomacher, with twenty-one stitches, and continuing until the requisite length is completed. For the trimming, cast on 10 stitches, and knit a plain row.

1st of patterns. K 3, m 1, k 2 t, k 1, m 1, k 2 t, m 2, k 2. 2nd.-K 3, p 1, k 2,

k 2 t, k 1 x twice.

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x m 1,

3rd.-K 3, m 1, k 2 t, k 1, m

1, k 2 t, k 4.

4th.-K 6, x m 1, k 2 t, kl

x twice.

5th.-K 3, m 1, k 2 t, k 1, m

1, k 2 t, m 2, k 2 t, m 2, k 2.

6:h.-K 3, p 1, k 2, p 1, k 2, xml, k 2 t, k1 x twice.

7th.-K 3, m 1, k 2 t, k 1, m 1, k 2 t, k 7. 8th.-Cast off five, k 3, m 1, k 2 t, k 1, m 1, k 2 t, k 1.

This trimming is to be used for the top, sleeves, and epaulettes, the double open hem being made in order that the pattern may be perfect above the muslin band and hems, whilst these are covered mostly by the second open hem.

For the band, cast on 17 stitches, and do five rows, alternately knitted and pearled.

1st pattern row.-K 3, m 1, k 2 t, k 1, slip 1, k 1, pass the slip stitch over, m 1, k 1, m 1, k 2 t, k 3, m 1, k 2 t, k 1.

2nd.-K 3, m 1, k 2 t, p 7, k 2, m 1, k 2 t, kl.

3rd.-K 3, m 1, k 2 t, slip 1, k 1, pass the slip stitch over, m 1, k 3, m 1, k 2 t, k 2, m 1, k 2 t, k 1.

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4th.-K 3, in 1, k 2 t, p 3, m 1, p 2 t, p 2, k 2, m 1, k 2 t, k 1.

5th.-K 3, m 1, k 2 t, k 1, in 1, k 2 t, k 1, slip 1, k 1, pass the slip stitch over, m 1, k 3, m 1, k 2 t, k 1.

6th.-Like 2nd.

7th.-K 3, m 1, k 2 t, k 2, m 1, slip 2 together, knit 1, pass the two slip over, in 1, k 4, m 1, k 2 t, k 1.

8th.-K 3, m 1, k 2 t, m 1, p 2 t, p 3, p 2 t, m 1, k 2, m 1, k 2 t, k 1.

Repeat these eight rows until a sufficient length is done for the band; about three-quarters of a yard if the whole band be knitted, or threeeighths if the front only be done. Line the band and front with pink ingrain gingham, which washes with the dress. Make up the dress with jaconet, in preference to twill muslin, and trim the skirt with edging to correspond with that of the body.

INSERTION.

a. Brussels Lace, Evans's Boar's Head, No. 90. b. Venetian Edging, Evans's Boar's Head, No. 70.

c. Dotted Venetian Bars, Evans's Mecklenburgh, 100.

The open rounds of button-hole stitch are worked in the same thread.

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EMBROIDERED PURSE.

Materials: Half-a-yard of French canvas, No. 40, 5 inches wide, 2 hanks of large gold beads, 8 strings of transparent white, of the same size, 4 skeins of emerald green floss silk, 2 skeins of netting silk to match, and half-a-yard of sarsnet ribbon of the same hue; 2 fringed purse-ends and rings.

The mode of working this purse, by doing the ends on fine canvas, is one now first introduced to the public. It is particularly suitable for those who carry a good deal of money about with them, as the ends can never tear or give way. We all know the consequences of a dropped loop in knitting, and of a stitch giving way in crochet; and how often a handsome purse is thus rendered utterly useless. Embroidered ends are quite free from this defect, and have a very handsome appearance.

A diagram is given of one side of the canvas work. The two sides of each end are worked on one piece, divided only by a cross stitch line of floss silk, on which the fringed garniture is sewed. The pattern must be worked from the diagram given, the gold beads being first put on; these are distinguished by a x in the centre of a white square. The white beads are then to be added: they are marked by a white round on a black square. The grounding is done in green floss silk. Of course the canvas must be properly stretched on a frame before it is worked. The beads are put on with strong silk. Leave an inch or two of canvas between the pieces, for the two ends.

The space for the rings is knitted in the fol lowing manner :-Green netting silk, and two needles, No. 17. Cast on 84 stitches, and knit one plain row.

Pattern: knit 1, make 1, knit two together x. Repeat this to the end, and continue it for every row, until sufficient is done: then knit one plain row, and cast off.

TO MAKE UP THE PURSE.Sew up the sides of the canvas as closely as possible (which can only be done by sewing them on the right side). Make linings of the ribbon to fit the ends, put them in, and sew them together at the seams and ends. Sew the knitting to one end, letting the opening come in the centre of one side; slip on the rings and run on the other end. Conceal the joins of the side of the canvas, and those where the knitting is sewed on, by a row of gold beads, fasten on the fringe, and the purse is complete.

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in the summer season.

HOWLEY HAL L.

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Howley Hall, once the magnificent seat of the manor hall," he said. "It had spared this Savile family, has little left to record the former ruin and desolation, and left the building a greatness and beauty of its construction. The model ornament of what an English residence extent of the site may be easily traced. A few should be. But man has been less sparing in broken walls, that rise as if in mockery of their the work of destruction: he has levelled the former pageantry and power-some arched pas- glory of a great family, and scattered its might sages underground, choked with rubbish and and grandeur with the dust! I do not know fallen mortar-work-an ancient and crumbling whether the history of these old walls be ingateway, on which appears, in a worn and teresting to you"-here I assured him that his weather-beaten condition, the armorial bearings information was most acceptable. He then conof its former possessors, are all that now remain tinued:-"The house was built by Sir John to impress the mind of the wanderer with an Saville, the first alderman of Leeds, in the year idea of its former glory. By Camden it was 1599. For two centuries it stood the admiracalled ædes elegantissima, and is said to have tion and pride of the neighbourhood. The magbeen well deserving of the name. Standing on nificence of its ancient proprietors, the ancestral an eminence, commanding a wide and fine view dignity it sustained amid a fair and beautiful of the surrounding country, which must at one country, had rendered it distinguished among time have been singularly picturesque and in- the homes of old England. This broad and eleteresting, the ruins still retain many charms, vated site, these few scattered and crumbling and are the scene of numerous pleasure parties stones, now remain but a melancholy illustration From the ruins south- of all temporal greatness-a solemn spectacle of ward is a steep decline, terminating in a pleasant the mutability of terrestrial things-a tablet on valley, over which the eye ranges untiringly. the face of nature, over which the wild winds of The opposite height is covered by an ancient heaven sweep and bear aloud the letterless inwood, through which are many romantic walks. scription, Ad nihilum recidit! What brought The retired situation of the place-the noble about the destruction and desolation you see Leight and shade of the forest-trees-the grand around is still a mystery among those who have views, interspersing hill and dale, wood and visited the place. It was rumoured that the pasture land-the straggling ruins that are to misrepresentations of a designing steward in the be seen from almost any part of the locality, family was the primary cause; and other and would alone render it worthy of a visit. But it more gloomy insinuations have been offered. is associated with historical incidents that give Certain it is, that the place was undermined and an additional, if not a greater, interest to the reduced to the ground by means of gunpowder. place. Few who have had the gratification of The history of its fate in other respects seems loitering over these grounds have had a better wrapt in gloom and uncertainty." opportunity than myself of knowing the most notable events connected with them. It is very seldom we find an individual residing in a vicinity of this description that knows more of the place than ourselves; and if he does, the chances are that it would take a strict and persevering cross-examination to get anything from him at all interesting. In my visit to Howley I was more fortunate. As I was rambling by the old gateway, which is now converted into a cottage, and occupied by a gamekeeper, I was joined by an elderly gentleman, residing, as I afterwards learnt, in the neighbourhood. He seemed desirous of being communicative, and I showed every disposition to favour his verbosity. After volunteering some remarks on the weather, and the prospects of the approaching harvest, he ran off into a long history of the old hall, and the adjacent scenery; and as this was a subject on which I felt most nearly concerned, I lent an attentive ear. Finding that he had got a most patient auditor, my new-made acquaintance grew warm and eloquent in his descriptions, pointing out the various places he alluded to in his speech, till his gestures grew warm and eloquent as his words.

"Time had dealt more leniently with the old

From these legendary incidents my friend rather abruptly digressed, commencing a rambling history of the adjacent places, in that particular strain of conversation that betrays a readiness to communicate, with a temerity or consciousness of wearying his auditor, giving a hasty and laconic expression to his descriptions. Directing my attention southward, towards the wood skirting the angle of the opposite hill, he entered into the history of its antiquity, of its former proprietors, its extent, the quality of its timber, the beauty of its bowers and walks, its sunshine and shade, and all the anecdotes connected with it. He told me that it was called "The Babes in the Wood," in memory of the two children murdered there, so beautifully recorded in one of our old English ballads. When I smiled incredulously at his story, he assured me that it was the traditionary scene alluded to by the ancient song-writer. I remembered the legend: simple and touching, it has found a home in many an English heart. How the poor children were given by the will of their remorseless uncle into the hands of the murderers--how the assassins quarrelled, wavered in their purpose, and spared the innocent babes-how they gave them up to a more cruel death, left

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them in the wood to starve and die-how the poor plaintive red-breast sang a dirge over their little cold lifeless bodies, and covered them with the autumn leaves: the whole story came fresh and true to my memory. Although my antiquarian friend did not get the ascendancy of my incredulity, he excited me with an interest for the place, inasmuch as I afterwards paid it a visit. I found many relics of its antiquity: ancient timber was interspersed here and thereromantic glades and walks, as they primevally stood, gave an interesting wildness to the scenery; decayed leaves, the accumulation of many an autumn, had made a soft and agreeable path. The solitude, only broken on by the rustling of the game among the underwood, had serious if not solemn impressions for the soul. It was, indeed, a pleasant place to loiter away a thoughtful half-hour; and I went away, almost convincing myself of its association with so great traditionary lore.

After ascertaining that I had no great distance: to journey, and some time still at my disposal, the antiquary proposed that I should accompany him to another part of the locality, to view an interesting memorial of a different description. Leaving the ruins, we presently came in sight of two or three gloomy-looking houses, chiefly remarkable for their antiquity. The windows, and I may say the architecture in most respects, was of the style of the fifteenth century; and the interior, which I was informed did not belie the impressions gained from an exterior view, was built with walls of black oak, casting a gloom even on the brightest day. Passing through a farm-yard, we emerged into an open plain of pasture-land, over which was cut an uneven and rugged occupation road. About fifty yards forward is a small hollow, to avoid which the road has been raised. Within this hollow, buried almost in the green sward, lies a large stone. There is nothing remarkable in the stone itself, and a casual observer might pass it without bestowing any extraordinary curiosity in its discovery. My guide, however, directed my attention to it; and with some difficulty, on very minute examination, I deciphered the following characters: "Here

-

Nevison killed Fletcher, 16-." The last two figures, intended to chronicle the period of that particular event, had become so worn with age, that I could not possibly note the year. I was told that this was a favourite resort of Nevison, the notorious highwayman, a female towards whom he made some professions of courtship, residing in one of the neighbouring houses. A proclamation offering a large reward for the apprehension of the adventurous roadsman, had induced two brothers named Fletcher to engage in his capture. Having traced him to Howley, and coming to close quarters, Nevison saw at once that his only chance of escape was in the death of one of his antagonists, and without hesitation he fired his pistol on the foremost, who fell on the spot. The stone was erected some years afterwards to commemorate the event; it has, however, for a long time been levelled with the

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ground, and the turf is now growing over its sides, barely leaving the almost unintelligible inscription for the curious gaze of the visitor.

Looking over the adjacent country, I descried the long chimneys of the Leeds factories, a few miles distant, sending forth their clouds of smoke over the ancient and princely estate of the Meynell family, Temple Newsome; formerly a residence of the Knights Templar. The smokebesmeared houses of Batley lay at the foot of the hill beneath me, by which the railway runs, connecting that place with Leeds. Turning away from the place, I thanked my friend for the information he had given me, and looking towards the lofty spire of Wakefield's venerable church, I retraced my steps homeward. R. H. B.

THE AUTUMN WIND.
Thou Spirit wild and lone,
Making such mournful moan-
Thy voice comes o'er my feelings with a sharp
And aching pain; and like some lone wind-harp
Stirr'd by the night-breeze, my sad, beating heart
Gives back a thrilling answer, taking part
In quivering tone.

Again that mournful strain!
Doth it not tell so plain
Of blighted hopes?-of days of youth bygone?—
Of those departed dear ones, from us torn
By death's cold hand?-of young eyes, once all bright
With love, and joy, and truth, to meet the sight
Never again?

Hark, how it idly grieves!

With rustling wail! Doth it not seem to say,
Stirring the fallen leaves,
All lovely things of earth must pass away
Into one common tomb for evermore; but I
Must still live on-alas! I cannot die-
Death ever weaves

His net for all things here.
The young, the bright, the dear
I see spring up and bloom-then fade away,
Mix'd in a mass of undistinguish'd clay,
With all vile things; and over them, in vain,
With breaking heart, I pour my mournful strain
Still year by year.

Now with a solemn sweep

Of music, low and deep,
Through the half leafless oak-wood's open doors,
Like a full anthem's sacred swell it pours,
And on the billowy sounds of sorrow surge,
And now they die away in fitful dirge-
And now like sleep,

A silence most profound
Creeps over wood and ground—
A solemn pause in Nature's holy grief-

Unutterably sad-past all belief;

As though the troubled Spirit of the air
Had breath'd a deep, unconquerable despair
On all around.

Ah, me! I cannot choose
Themselves in old remembrances of yore—
But weep! my spirits lose
Of things that once have been, to be no more—
Oh, never more! and low I lay my head
Among the yellow leaves on earth's cold bed,

And life refuse!

ALBERT TAYLOR.

HINTS TO PEDESTRIAN S.

Of all exercises, Walking is the most simple and easy. The weight of the body rests on one foot while the other is advanced; it is then thrown upon the advanced foot while the other is brought forward; and so on in succession. In this mode of progression, the slowness and equal distribution of motion is such that many muscles are employed in a greater or less degree; each acts in unison with the rest; and the whole remains compact and united. Hence the time of its movements may be quicker or slower, without deranging the union of the parts or the equilibrium of the whole.

It is owing to these circumstances that walking displays so much of the character of the walker-that it is light and gay in women and children, steady and grave in men and elderly persons, irregular in the nervous and irritable, measured in the affected and formal, brisk in the sanguine, heavy in the phlegmatic, and proud or humble, hold or timid, &c., in strict correspondence with individual character.

A firm, yet easy and graceful walk, is by no means common, There are few men who walk well if they have not learnt to regulate their motions by the lessons of a master; and this instruction is still more necessary for ladies. Walking may be performed in three different times-slow, moderate, or quick, which somewhat modify its action.

The slow walk, or march.--In the march, the weight of the body is advanced from the heel to the instep, and the toes are most turned out. This being done, one foot-the left, for instance -is advanced, with the knee straight, and the toe inclined to the ground, which, without being drawn back, it touches before the heel-in such a manner, however, that the sole, toward the conclusion of the step, is nearly parallel with the ground, which it next touches with its outer edge; the right foot is then immediately raised from the inner edge of the toe, and similarly ad vanced, inclined, and brought to the ground; and so in succession.

It must be observed that the toe's first touching and last leaving the ground in the march, gives to it a character of elasticity and of spirit, vigour or gaiety; and that when this is laid aside, and the whole sole of the foot is at once planted on the ground, it acquires a character of sobriety, severity, or gloom, which is equally proper to certain occasions. This observation is in a less degree applicable to the following paces.

The moderate pace.-Here the weight of the body is advanced from the heel to the ball of the foot; the toes are less turned out, and it is no longer the toe, but the ball of the foot, which first touches and last leaves the ground; its outer edge, or the ball of the little toe, first breaking the descent of the foot, and its inner edge, or the ball of the great toe, last projecting the weight.

Thus, in this step, less of the foot may be said actively to cover the ground; and this adoption of nearer and stronger points of support and action is essential to the increased quickness and exertion of the pace.

The mechanism of this pace has not been sufficiently attended to. People pass from the march to the quick pace they know not how, and hence all the awkwardness and embarrassment of their walk when their pace becomes moderate, and the misery they endure when this pace has to be performed by them unaccompanied, up the middle of a long and well-lighted room, where the eyes of a brilliant assembly are exclusively directed to them.

The quick pace.-Here the weight of the body is advanced from the heel to the toes; the toes are least turned out, and still nearer and stronger points of support and action are chosen. The outer edge of the heel first touches the ground, and the sole of the foot projects the weight.

It is important to remark, as to all these paces, that the weight is successively more thrown forward, and the toes are successively less turned out.

In the general walking of ladies, the step ought not to exceed the length of the foot; the leg should be put forward, without stiffness, in about the fourth position, but without any effort to turn the foot out, as it throws the body awry, and gives the person the appearance of a professional dancer. The arms should fall in their natural position, and all their movements and oppositions to the feet should be easy and unconstrained; and the pace should be neither too slow nor too quick.

The gait should be in harmony with the person-natural and tranquil, without giving the appearance of difficulty in advancing, and active, without the appearance of being in a hurry.

Nothing can be more ridiculous than a little woman who takes innumerable minute steps, with great rapidity, to get on with greater speed, except it be a tall woman who throws out long legs, as though she would dispute the road with the horses.-From an American Magazine.

OUR CONSERVATORY.

MODE OF MAKING ARTIFICIAL RUBIES, EMERALDS, &c.-The process consists in employing a solvent, which shall first dissolve the mineral or its constituents; and shall further, either on its removal or on a diminution of its dissolving powers, permit the mineral to aggre

gate in a crystalline condition. Such solvents are boracic acid, borax, phosphate of soda, phosphoric acid, &c. :-the one chiefly employed by M. Ebelman is boracic acid. By putting together certain proportions of alumina and magnesia, with a little oxide of crome or other

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