utterly confounded, and then one or two shouted out-A drunkard and a jail bird! I say, Dick, you must be proud of such a relation as that!' Then there was another shout." "Oh, Ross! I think brutes would have scorned to do that!" cried Jeanne, fairly pale with indignation. I "I just turned right round upon them. can't remember what I said, but I believe it was --Boys, that's a mean, sneaking, devilish act. I think the fellow lying there is a good deal better than you this minute." " "Bravo, Ross !" and Jeanne leaned over and kissed her brother, the tears in her eyes this time. “The fun was over for that time, anyhow. The boys looked at each other sheepishly, and one and another slunk away. "I saw Dick go to his brother and try to help him up, but it was no use. His head fell down on the grass. He was dead drunk by this time. "Then Dick went up the lane and threw himself down by a bit of broken stone fence. He didn't see me, and I made up my mind to go off and leave him; but somehow I couldn't, and at last I just turned about and went straight to him. There he was, doubled all up on the ground, sobbing as if his heart would break. “Dick,' I said, 'I just wouldn't care a fig for what those fellows say. They deserve hanging -every soul of them. "He looked up a moment. Oh, dear! I never shall forget how his face looked!" and here Ross broke down and sobbed like a child, not caring this time if a girl did see him cry. And Jean, she cried too. After a while he went on again: "I could see how every limb of Dick's writhed there with the shame, and at last he sobbed out-'He's all I've got in the world to love, Ross, and it's such an awful disgrace; and I wish we were both dead and lying by father and mother. "It isn't any disgrace of yours, Dick. Anybody who isn't a fool must see that you're not one whit to blame for it.' 666 "I never will see one of the boys again,' he said; and he seemed all crushed up, poor fellow. "I sat right down on the ground by him, and tried to comfort him. Now, Dick, don't take it in this way,' I said. 'Hold up your head as high as any of the boys, and be a man. You can just live it down. I'll stand by you to the last. You know you can depend on me, and I tell you you can make the boys ashamed of themselves, and respect you, too. Pluck up heart, now." "He did at last. He threw his arms around my neck. 'Oh, Ross!' he sobbed, ́ I shall remember this as long as I live; and if I am ever anything in the world, I shall owe it all to you.' ” VIRGINIA F. TOWNSEND, THE TOILET. (Specially from Paris.) FIRST FIGURE.-Dress of pearl-grey twilled foulard, having a round skirt trimmed with two flounces laid in flat plaits, and having a row of blue velvet along the bottom. Cardinal mantelet, with very long square ends falling behind and in front. Round the pelerine portion, as well as the bottom of the ends, this model is trimmed with a rich black lace, sewed on to the satin cross-strip, which borders the whole of the garment. The toilette is completed by a blue tulle bonnet trimmed with blue blond and a small diadem of blue corn-flowers. Blue blond barbs, with a small cluster of the same flowers, hang down on the corsage. Plain cambric collar and sleeves, Saxony gloves without buttons. Dull shagreen boots with high heels. SECOND FIGURE.-Dress of light Bismark silk, of which the first skirt, round and formed of six widths, is decorated at bottom with a plaiting and ribbon of the same colour; the second is puffed lengthwise, that is to say, it is cut long and gathered in large puffings, | each occupying a whole width. Very short paletot, slightly drawn in at the sides; the latter are longer and cut square at bottom; there are large pockets bordered with gros-grain ribbon. The sleeves have elbows, and are very narrow. Turban-hat of maroon straw. COSTUME OF A LITTLE GIRL.-Frock of white quilting, ornamented with fine red braid at bottom. Small pointed pockets similarly braided. Corsage low and braided to match the skirt. The sleeves are short. White socks and pearl-grey boots. There seems to be a great deal of searching into former times now in reference to fashions, hunting up old fashions, and copying toiletes, from historical pictures. Our age is accused, and not without truth, of possessing no originality; it can neither invent nor create-it can but imitate or copy. Now, after many hesitations, we seem to have decidedly come back to the fashions worn in the reign of Louis XV. and the earlier part of that of Louis XVI. There are modifications, of course, and exact chronology is not always attended to; but one may safely say that the style of dress most copied in our time is that of the before-mentioned period. How many models are called by the name of the most graceful woman of her age, Marie Antoinette? The most fashionable coiffure, dress, fichu, mantle, and slipper bear her name. We are, however, far from the scant, unbecoming dress of the First Empire. Skirts are gored, it is true, but they are ample and flowing. Crinolines, far from being left off, have merely changed their shape: they are plain in front,' but puffed out on either side, so as to remind one strongly of the hoops or paniers of the last century. These paniers will not be adopted as yet; we think the tournure will be more generally worn. These skirts are made of puffed haircloth, with a few steels at the bottom; they are ungraceful whatever way worn. But fashion declares them necessary in some degree, to support the heavy sashes now so much worn; as yet but few of our most fashionable belles have adopted them. The newest morning robes are made quite in the Louis XV. style-that is, loose and flowing, with plaits at the back, and a cord and tassels to fasten it in at the waist in front. These can be made of white cambric and fastened by coloured ribbon if desired. A new mode of ornament for grenadines is seen in a lilac robe, which bears twig work and a large pansy spray down the centre of each breadth, in applique of shaded silk the same colour, neatly stitched on; this can be done in leaves, or any flowers fancy may dictate. A white grenadine, ornamented with coloured leaves or flowers, would make both a pretty and inexpensive dress. The cape or fichu is a necessary accompaniment to all thin dresses; these are made in many different forms and different materials. We see them of illusion, trimmed with blonde, and satin of embroidered muslin, of the most costly white and black lace, and of laces of inferior qualities. Others are simply made of the same material as the dress, and trimmed to correspond. The Marie Antoinette and Lamballe are decidedly the most fashionable. How are we to speak of bonnets each time it falls to our lot to describe them? They are smaller than the last; those now worn are the smallest yet seen. If they go on decreasing, soon they will be nothing but illusion strings fastened on the top by a spray of flowers. We also notice a black French Neapolitan bonnet, trimmed with black lace and straw (oak-shaped) leaves, with a lace veil falling gracefully over the shoulders, and fastened in front with a bunch of leaves. A French-crape bonnet, of Metternich green, diademshape, the face-trimming formed of brilliant leaves, giving a rich and beautiful effect; a girdle of crape, edged with a fine blonde-lace falling to the front, and streamers of ribbon from the back. A very stylish bonnet is of white frosted illusion, trimmed with narrow folds of white satin; a graceful veil of illusion edged with lace falling at the back, while a light spray of Metternich green decorated the left side. In hats we notice a very handsome one of fine Leghorn, rolled up at one side, with a trimming of blue velvet and wheat upon the up-turned flap; a black Spanish hat, trimmed with rolls of black satin, | jets and steel, with flowers at the side, and a girdle of lace and satin; a white crape hat trimmed with fielddaisies; and a blue crape trimmed with illusion and pink roses. Almost all the hats have a mask veil, with long ends fastened in the back. The veil is made of spotted or plain illusion, trimmed with lace of the same colour. The illusion corresponds in colour with the trimming or colour of hat or bonnet. PASS ON. BY ADA TREVANION. I. I pray thee pass that chamber lone : The toiling crowd knows not. II. I never draw the curtain by ; I never lift the blind, 'III. Violets culled one April day, I've kept there through long years, And when the world most thinks me gay I water them with tears. IV. The lock of hair, the toys of gold, The youthful pencilled face, V. The chamber is a sacred shrine, All wholly, given to one Then pass, and leave it lone. MATERIALS—Boar's Head crochet cotton, of Messrs. Walter Evans and Co., Derby. THE SCALLOP BORDER. 1st Rosette. Fill the shuttle, and, commencing a loop, work 2 double, then (1 pearl and 2 double 11 times); draw close. Keep the cotton at the back and join to the 4th pearl on the right side of the rosette. 2nd. Commence, work 2 double, join to the next pearl; then (1 pearl and 2 double, 10 times); draw close. Keep the cotton at the back and join to the 4th pearl. Make 5 rosettes more as the last, joining after each is made. 8th. Commence, work 2 double, then (1 pearl and 2 double, 10 times); draw close. Turn this rosette down under the thumb, and join to the same pearl of the 7th rosette as before; this forms the point of the scallop. Continue working 7 rosettes as the second rosette, and then repeating the 8th rosette, until 12 scallops are made. In working the rosette after the 8th, the 1st joining is made to the 7th rosette. THE STARS. 1st Oval. Commence a loop, leaving an end of about one yard; work 8 double, then (1 pearl and 2 double, 6 times); 4 double more to make 6 in all; draw close; hold the cotton from the shuttle in the left hand for a straight thread, and taking the end in the right hand make 3 single stitches; take the shuttle again. 2nd. Commence a loop, work 6 double, join to the last pearl; 2 double, then (1 pearl and 2 double, 6 times); 4 double more; draw close and work 3 single as before. 3rd. Commence, work 6 double, join to the last pearl; 2 double (1 pearl and 2 double, twice); take the scallop border and join to the centre of the 3 pearls in the 1st rosette; then 2 double (1 pearl and 2 double, 3 times); 4 double, draw close, and work 3 single as before. Work 3 ovals more the same as the last, joining them to every other rosette of the | border. When finished, pass the end of cotton into the centre of the 1st oval to make it round, knot the ends together, and joining the 1st oval to the last, fasten off. Work 11 stars more the same, always making the 1st joining to the rosette after the one which forms the point. THE JOINING. 1st Dot. Fill the shuttle, and cominencing a loop, work 3 double; take the gimp edge, and, keeping it on the wrong side of the work, join to the 10th pearl of one of the scallops of it, then work 3` double and draw close. Reverse the work. 1st Circle. Commence, work 1 double (1 pearl and 1 double, twice); take the star border, and join to the centre of the oval nearest the one attached to the 1st rosette; then 1 double (1 pearl and 1 double, 6 times); draw close. Keep the cotton at the back and join to the 3rd pearl of the six last worked. Reverse the work. 2nd Dot. Commence, work 3 double, and missing 3 pearls of the gimp edge, join to the 4th pearl of it; 3 double, draw close. Reverse the work. 2nd Circle. Commence, work 1 double, then (1 pearl and 1 double, 7 times); draw close; join the cotton to the centre pearl. Reverse the work. 3rd Dot. Work as the 2nd dot, missing 6 pearls between the scallops of the gimp edge. 3rd Circle. Work as the 1st circle, joining to the next oval of the star. Reverse the work. 4th Dot. Work as the 2nd dot, missing 3 pearls; when finished, join the cotton to the 5th pearl of the next rosette, and then join again to the 6th pearl of the same rosette. 5th. Work as the 2nd dot, missing only 1 pearl. Commence again at the 1st circle; repeat all round; fasten off. |