For each band there will be necessary 1 row of black chenille, 8 of red wool, which forms 4 ribs, 1 black row. Six of these bands will be necessary for the cushion. When they are finished, the points must be placed opposite each other, and sewed together, which will leave open spaces of a diamond shape, to be filled up with diamonds worked separately in silk, and sewed in. These are made in the following manner: 20 chain; turn and make on these, 3 long, 2 chain, 3 long, 3 chain, 3 long, 2 chain, 3 long, 2 chain, 1 long. Turn and work 3 long in the open space, 2 chain, 3 long, etc. Work 8 of these rows for a diamond, and 30 diamonds for the cushion. Afterwards sew them between the bands. To make the cushion square, half diamonds must be worked as follows: 1st Row.—1 chain, 3 long on it, turn. 2d Row.— 3 long in the 1st stitch, 2 chain, 3 long in the last. 3rd Row.—3 long in 1 stitch, 2 chain, 3 long, 2 chain, 3 long. 4th Row.—3 long, 2 chain, 3 long, 2 chain 3 long, 2 chain, 3 long. 5th Row.—3 long, 2 chain repeat 3 times, end with 3 long. 6th Row.—3 long, 2 chain, repeat 4 times, end with 3 long. 7th Row. —3 long, 2 chain, repeat 5 times, end with 3 long, Sew these also in the open spaces remaining.

Afterwards work a lace for the edge, to be sewed on after the cushion is made, 1st Row.—In chenille. 1 long, 1 chain, 1 long, 1 chain, etc. 2nd " —In wool. 7 long, 5 chain, 7 long, etc. 3rd " —5 long above the 7, 3 chain, 1 long, 3 chain, 6 long, etc. . 4th " —3 long above the 5, 2 chain, 1 long, 2 chain, 1 long, 2 chain, 3 long. 5th " —1 long above the 3 long, 2 chain, 1 long, 2 chain, 1 long, 2 chain 1 long, 2 chain, 1 long. 6th " —1 long, 2 chain, 1 long, 2 chain. All these long stitches taken on the spaces formed by the chain of the preceding row. 7th " —In corn-colored silk. 1 plain in the space formed by-the chain of the preceding round, 6 chain, 1 plain in the next space, etc. 8th " —Like the 7th ; the plain taken in the points of the preceding, consequently alternating with the last. If the above materials are thought too expensive,all worsted can be used. Worked with a larger needle, the pattern will answer for a tabouret or sofa-pllow.

Bracelets.—String steel beads on silk of the same color; work a round in crochet with a bead in every stitch. This round should be two-thirds of an inch in diameter. Make eight of them and unite them like cameos; then sew on a little steel clasp. These brace-lets may also be made of black bugles to imitate jet. A pretty lace.—Make a chain of any number that you may require, work a row of long stitches that it may be strong at the edge. 1st Row.—1 chain, 1 long, into every loop to the end of tlie row. 2nd " —Two chain, 1 long, into every 2nd loop to the end. 3rd " —Three chain, 1 long, into every 3rd loop to the end. 4th " —Three long (a), 2 chain, 3 long into every 3rd loop, commence again from (a). An insertion.—Cast on 19 stitches for the insertion down the side. 1st Row.—Knit 2, make 1, 2 together, knit 1, 2 together, make 1, 2 together, make 1, knit 1, make 1, 2 together, make 1, 2 together, knit 1, 2 together, make 1, knit 2. 2nd " —Knit 2, make 1, 2 together, purl 11, 2 together, make 1, knit 2 9

3rd Row.—Knit 2, make 1, 2 together, 3 together, make 1, 2 together, make 1, knit 3, make 1, 2 together, make 1, 2 together, 2 together, make 1, knit 2. 4th " —Same as second. 5th " —Knit 2, make 1, 2 together, knit 1, make 1, 3 together, make 1, knit 2, make 1, 2 together, knit 1, make 1, 2 together, make 1, knit 1, 2 together, make 1, knit 2. 6th " —Knit 2, make 12 together, purl 13, 2 together, make one, knit 2. 7th " —Knit 2, make 1, 2 together, purl 9, knit 2, make 1, 2 together, make 1, 2 together, knit 1, 2 together, make 1, 2 together, make 1, knit 2, 2 together, make 1 knit 2. 8th " —Same as sixth. 9th " -Knit 2, make 1, 2 together, knit 3, make 1, 2 together, make 1, slip 1, 2 together, pass over, make 1, 2 together, make 1, knit 3, 2 together, make 1, knit 2. 10th " —Same as sixth. 11th " —Knit 2, make 1, 3 together, knit 3, 2 together, knit 1, 2 together, make 1, 2 together, knit 2, 2 together, make 1, knit 1. 12th " —Same as second.

California scollop.—Cast on 19 stitcbes. 1st Row.—Knit 4, make 2, knit 2 together twice,knit 1. 2nd " —Knit 3, purl 1, knit 2, purl 1, knit 4. 3rd and 4th rows plain knitting. 5th " —Knit 4, make 2, knit 3 together 3 times. 6th " —Knit 3, purl 1, knit 2, purl 1, knit 2, purl 1, knit 4. 7th and 8th rows plain knitting. 9th " —Knit 4, make 1, knit two together 6 times. 10th " —Knit 1, purl 1, knit 2, purl 1, knit 2, purl 1, knit 2, purl 1, knit 2, purl 1, knit 4. 11th " —Plain knitting 12th " —Cast off ten, knit eight. A pretty lace collar.—Cast on 19 stitches; knit one plain row. 1st Row.—Slip 1, knit 2, make 1, knit 2 together, make 1, knit 2 together, knit 1, make 1, knit 2, make 1, knit 2, make 1, knit 1, make 1, knit 2 together twice, knit 2. 2nd " —All purled. 3rd " —Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 3, make 1, knit 3, make 1, knit 2 together 3 times, knit 2. 4th " —Same as second.

5th Row.—Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 2 together, make 1, knit 2, knit 2 together, make 1, knit 1, make 2, knit 2 together 3 times, knit 2. 6th " —Same as second 7th " —Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 3 together, make 1, knit 2 together three times, knit 2. 8th " —Same as second. 9th " —Slip 1, knit 2, make 1, knit 2 together twice, knit 1, make 1, knit 3 together, knit 3 together, make 1, knit 2 together 3 times, knit 2. 10th " —Same as second. Recommence at the 1st row, and knit sufficient for the collar. A purse.—The materials are one spool of silver thread, one of blue purse twist, one of grey or dust-color. Make a chain of sufficient length, and work length-wise. The first 3 rows are worked in double crochet, and with blue silk. At the end of each row fasten off. 4th Row.—Double crochet with the silver thread. 5th " —The same with blue silk.

6th Row.—Open crochet, 1 long, 2 chain, miss, 2 of, grey. 7th " —Double crochet, blue. 8th—Silver. 9th—Blue. 10th, 11th, and 12th.—Grey. 13th—Silver. 14th.—Grey. 15th.—Open crochet, blue. 16th.—Double crochet, silver. 17th.—Blue. 18th—Silver. Then 3 rows of blue as at the beginning, and repeat the above pattern until the purse is of sufficient width; unite the two sides by a single row of crochet on the wrong side; make 1 end square, and the other round, and finish with blue and silver tassels or acorns. Work bag.—Procure 3 skeins of currant-colored silk, 3 of bright green, 1 of black, 4 of white, and a piece of narrow straw braid, also No. 18 Penelope canvas three-fourths of a yard long, and a little more than half a quarter wide. Worsted may be used instead of silk. Commence by working as follows: 1st Row.—Of green silk, in common cross stitch, three inches high. Omit the next row, which is for the straw-braid; 1 green row, 1 straw, 1 green, 1 white, 1 currant-color, 1 straw, 1 currant-color, 1 straw, 1 currant-color, 1 white, then 1 green, and

repeat until the basket part is 16 inches ia circumference. The blank rows must be afterwards filled by the straw, which is to be fastened by a cross stitch in black at every 4th stitch. The straw is carried from one row to the other by loops which are long on the upper side, and short on the lower. The bottom of the basket is worked in the same way; it should be oval, and the straw without loops. Buy half a yard of gros de Naples silk to make the bag. This should be half a yard in circumference, 6 inches high, including the hem, which should be 2 inches deep, and at the bottom of which should be a caser to contain a little ribbon of the color of the bag. Line the basket part with silk, gather the bag and sew it to the edge.

EMBROIDERY IN ITS VARIOUS MODES. Floss silk is used to embroider on either silk, satin, merino, or any line material which does not require washing. To embroider on cloth, fine flannel, or merino that is to be washed, it is necessary to use three-corded or saddler's silk. Chenille is sometimes employed in canvas work, but being one of the richest materials used in embroidery, it shows to the greatest advantage on velvet, silk, or satin. Worsted is used chiefly for embroidery on canvas; but on fine merino, brown holland, and even white muslin, it is equally beautiful. The color of German worsteds do not fade when washed with soap. A light and simple frame is the most convenient for the above-mentioned species of embroidery. The frame should consist merely of four smooth pieces of light wood, half or three-fourths of a yard in length, and one-fourth of an inch in thickness, neatly joined together. The frame should then be covered with ribbon or muslin wound tightly around it. To this muslin the material designed to be embroidered is to be sewed. Square frames are preferable. After the frame has been prepared, the pattern

to be embroidered should be drawn. If the material used is silk, or satin, or muslin, or any transparent substance, the pattern may be fastened on the wrong side, hung over a window-pane, and traced upon the material with a lead-pencil. When velvet, or cloth, or any dark-colored silk is to be embroidered, the pattern should be drawn on white tissue or blotting-paper, and the paper lightly tacked on the right side of the velvet. The embroidery is to be executed over the paper, and when the work is completed the paper is carefully torn away. Sometimes patterns are drawn on dark materials by means of chalk, but the chalk is apt to rub off. After the pattern is drawn, the work should be sewed into the frame in such a manner as to be perfectly smooth and even. It is not necessary that the frame should be of the same size as the materials to be embroidered. If the stuff is longer or wider than the frame, the portion over should be rolled up and covered with white paper. "When the article is smaller than the frame, a piece of muslin may be sewed on so as to make the stuff of the necessary size. For worsted work a rather coarse darning-needle should be used, and for floss silk a fine one. A large round-eyed needle is necessary for chenille and three-corded silk. If the needle is too large, besides being clumsy, it will make a hole in the work.

The stitch for embroidery is very easy. You make a knot at the end of your silk, chenille, or worsted, and bring your needle through the material on which you intend to work, from the under side to the upper one. Next, put the needle through to the under side, following the pattern, and then put back and bring to the upper side close to where it came through before. The same process is then to be repeated, care being taken not to draw the silk too tight. The stitches should lie slantingly and beside each other. To embroider the stalks of flowers, a stitch very similar to back stitch should be used. STITCHES ON MUSLIN AMD LACE. Satin stitch.—This resembles the threads in satin, and is much used in embroidery. You make a knot at the end of the cotton, silk, or worsted, and bring it through the material on which you intend to work, from the under side to the upper one. Next, the needle is again put through to the under side, at about half an inch distance, and is then put back and brought to the upper side, about half way from the first point; the next stitch is carried to the same distance from the second; again the needle is brought back, and the same process is repeated. 9*

In working on a surface, the stitclies run in parallel lines to each other, and are taken the length-way of the figure or subject you are making. They are also of unequal lengths, in order that the ground may be more effectually covered. In the working of drapery, you must be sure to take each stitch the way the threads or grain would naturally fall. Button-hole stitch.—The needle must go in on the wrong side, and be brought out on the right, five threads down. To make the stitch, the needle is passed through the loop, before it is tightened, or drawn close. Eyelet holes.—They are first run round; then a hole is cut out or made by a piercer, which is the preferable way; and the needle is passed through the aperture under the inner thread, and you sew it round thickly, so as to entirely conceal it. You may make oval eyelet holes in the same manner, making the opening oval instead of round. Formatrion of bars.—You take four threads of the muslin on the needle, and sew three times over them, passing the needle through the same opening each time, and drawing the four threads as close as possible. Each succeeding four threads are taken up the

same way; and thus the required number of bars can easily be formed. The thread in this stitch passes from bar to bar, on the right hand. Embroidery feather stitch.—Leaves are often worked in this stitch, which is only an elongated button-hole stitch. Its appearance on a leaf is very beautiful. Glover's stitch.—This is the same as button-hole stitch, only each stitch is taken a little higher up than the one which preceded it. Double button-hole stitch.—This is two stitches together, then the space for two left unoccupied, then the two button-hole stitches repeated, and so on alternately. Half herringbone stitch.—This is worked the cross-way of the muslin; four threads are taken on the mesh at once. Lines.—These are formed by drawing together six threads of the muslin, and sewing over them with fine thread as close as possible.

Straight open hem.-This is done by drawing out three or four threads the selvedge-way of the muslin, and working over the cross-threads from side to side, in a kind of zigzag direction. Veining open hem.—This is worked in a curve, or other pattern, in which the threads cannot be drawn out. The hem is made by sewing over two threads, take the angular way of the muslin, and then pursuing the same method with two threads taken the contrary way, and uniting them together as in a straight open hem. The appearance is the same, but the pattern is a curve or other shape. Chain stitch.—This is often employed in lace work. Make a knot at the end of the cotton, and draw it through to the right side. While you put in the needle, let the end hand loose and bring it out below, so as to incline a little to the left hand; pass the needle over the cotton, as you draw it out, and this will form a loop; each succeeding one is done in the same manner. Pearling.—This is a kind of lace edging, not worked with needles, but often used as a finish to embroidery on muslin. It is very pretty, and is sold ready for use.

Darning.—This is, when employed in lace work, done as follows: It is worked as common darning, but with fine double cotton; and, in this stitch, the inner edge of flowers is sometimes worked, the centre being executed in half herring-bone stitch. It looks prettily; but rows of chain-stitch are much preferred by many persons. Interior stitch.—So called, because often employed to fill up the centre of leaves, in lace work. The stitch is formed by taking two threads the breadth-way of the leaf, and sewing over them; then leaving a row of one thread, and sewing over two threads, as before. Eyelet holes in lace work.—These are not difficult to execute, and when well arranged have a beautiful appearance. One mesh of the net is left for the centre, and you work round it in button-hole stitch. A great variety of devices may be formed, by a tasteful disposition of these eyelet holes. Spots on net.—These, though simple, form an elegant variety in lace work. To make each spot, the needle is to be passed backwards and forwards through one hole in the net, and alternately under and over two of the threads of which that hole is

formed. These spots must be placed in clusters, but an open mesh must be left between each. Tambour stitch.—This has a close resemblance to chain stitch. The needle, which has a small hook at the end, and is fixed in a handle of ivory, is put through the material stretched in the frame, on the upper side, and the cotton being held underneath, in the left hand, is put upon the hook and drawn through to the right or upper side, where it forms a loop. Through this loop the needle is again passed and also through the material, a few threads from the place it passed through before. The cotton is again drawn through, and thus a succession of loops is formed. The pattern is worked entirely in these loops or stitches. Drawing patterns.—When a pounced pattern has been obtained, a moderate knowledge of drawing will suffice for tracing the design on the material which is to be worked. To accomplish this, the paper pattern must first be laid upon the material, care being taken that both are perfectly flat and even—and the pattern placed in its exact position, and kept firmly therein by means of weights; as the slightest shifting, either of the pattern or the material, would entirely impair the desired effect. The

pounce should then be rubbed over the pattern, so as to penetrate equally every part of the perforated outline. This is best done by means of a flat stump, formed of a strip of cloth an inch and a half wide, tightly rolled up. On removing the paper pattern (should the operation have been skilfully performed), the design will be found distinctly marked on the material. The pattern, thus transferred, must be rendered permanent, by tracing it over with a suitable composition, using a goat's hair pencil for the purpose. When large patterns are required to be drawn,such as table-covers,ottomans, and the like, where the same pattern or its reverse is intended to be repeated, it will be found a great saving of time and trouble to draw one division of the design only on the paper, with certain corresponding guides or marks (also to be pounced), by which the pattern may again be placed in its exact relative position — to continue, or repeat, the other portion of the design that has been previously pounced. This method, if followed with adroitness, will produce a more correct pattern when finished than if the whole design had been drawn and pounced at the same time. For pouncing upon velvet, the greatest care is required, as the elasticity of the pile renders the paper pattern liable to change its position during

208 THE LADY'S GUIDE the process; it must, therefore, be firmly adjusted by the weights in the first instance, for should it move, it would be impossible to reinstate it in its original position. The richer the velvet—the pile being closer and shorter—the greater the facility with which it can be pounced and drawn upon. Satin, from its glossy smoothness of surface, is, perhaps, the most difiicult to draw upon—the pencil being apt to follow the straight threads of the warp; thus rendering it less easy to produce, with gracefulness, curved lines, as on other materials. It is scarcely necessary to observe, that the finer the cloth, the greater the facility with which patterns may be traced upon its surface. Very finely ground pumice forms the best kind of pounce. It does not in any way deface the most delicate material. Pulverised charcoal may be added to the pumice in order to render the outline a little more distinct. Composition for drawing patterns.—The excellence of any composition, used for tracing patterns for needlework, is best tested by its tenacity, and the firmness and clearness of the outline it will produce. Mixtures of gum and whiting, should be avoided, they produce a rough, uneven surface, are easily

rubbed off, and injure the silks used in embroidery; whilst for braiding, the pattern of one part is frequently worn off, during the working of the other— by the mere working of the fingers. The bladder colors, used by artists, mixed with varnish, and rendered more liquid by the addition of spirits of turpentine, will be found superior to most compositions generally employed for this purpose. Hints on canvas work.—Do not wind wool; cut it into short lengths, suited for the needle. Divide a skein of German wool into three—for fine work; but for coarse work, when the needleful is rapidly used, cut it in halves. Secure a sufficient quantity of wool for grounding, before commencing that part of the work. Use German wool for working flowers, but English wool for grounding. Take Hamburg wool for grounding large pieces of needlework; it is durable and economical, and comfortable to use. Use an ivory thimble when working with white or delicately colored wools. Do not fasten on, or off, in the same place, in the succeeding, as in the preceding row. A mixture of the two materials—silk and wool—must always be avoided, when an endeavor is made to copy nature. Do not work cross-stitch on one thread, on a canvas

finer than 19 threads to the inch. Tapestry-stitch is best, when worked with single wool, on fine canvas. Finish each cross-stitch in succession; never half-stitch the work. Let the different shades of color be comparatively distinct when working on fine canvas. Never carry the wool, or silk, from one part to another when working on Berlin canvas. Beads, gold thread, chenille, or patches of raised work, should not be introduced in the execution of historical subjects. In using chenille it is well to draw only a short piece through the eye of the needle. A needle with a round eye should be employed. Sofa pillows or cushions.—Sofa pillows, intended as articles of decoration rather than of use, must not be made too soft; they otherwise fall, and do not display the needlework to advantage. The pillow itself is better filled with down, than with feathers, provided one or two layers of wadding be slightly quilted inside the case. This will give general support to the whole. The case should be made of thick cotton, and of the same size as the covering of needlework. When,a very soft pillow is desired, the case must be made with silk, and simply filled with down. If the covering be crochet or knitting, the latter description of pillow should always be

used; when it may be trimmed with lace, or a light fringe, or with a border similar to the work, but without tassels. When the needlework is very rich, the under side of a pillow may be made of damask, or other materials employed for the general furniture of the apartment, and trimmed with cord and tassels. Harmony and adaptation of colors.—A good eye for colors is a natural gift; and although the proper perception and appreciation of the harmony of colors, like every other faculty of the human mind, may be greatly improved by cultivation and practice, yet quick discernment in other respects, aided by general good taste, will cause some persons more quickly to excel in the adaptation of colors than others. To the most gifted, however, length of time and experience are necessary to a perfect knowledge of harmonious coloring—hence the difficulty of arranging the various colored wools for a piece of tapestry work, or as it is technically termed, when working from a colored drawing—sorting the patterns. There is a great difference between silk and wool similarly dyed; every kind of preparation and texture produces corresponding modifications; roughness, smoothness, and glossiness are all to be considered. The same silk used as floss, materially differs in

color when twisted. One great desideratum—permanency of color—must also be taken into account. All colors are not equally durable; some fade more quickly than others; therefore, as far as lies in our power, we must guard against the evanescence and perishable nature of some of the brilliant appearances of color, and avoid those materials whose gay dyes aim only at transient beauty. The numberless hues of grey, buff, slate, brown, russet, maize, salmon, fauns, Esterhazy, lilac and green, not to mention the more easily distinguished hues of pink, scarlet, geranium, blue and yellow, together with the various tints and shades of the same, require greater ability for their arrangement and disposition than might at first be supposed, and can only be understood by those who have devoted much attention to the subject.

CHAPTER VII. THE ART OF MILLINERY AND DRESSMAKING

CHAPTER VII. THE ART OF MILLINERY AND DRESSMAKING GENERAL DIRECTIONS FOR MAKING BONNETS, HOUSE CAPS, ETC.—FACTS AND RULES IN THE MAKING or DRESSES. BONNETS OF VARIOUS SHAPES Effect of bonnets on the general appearance.—That there is a charm in a neat and well-made bonnet, is a fact that no one will be disposed to deny, because all feel it; and it appears almost like an instinct of our nature to desire that the head-dresses of those forms of loveliness which move around us, and whose sweet smiles constitute the sunshine of our lives, should be worthy of the fair faces they are intended to adorn. Fashion is ever changing, so that to lay down invariable rules for any portions, and especially those which may be considered the ornamental ones, of female attire, is altogether impossible; still the general principles are invariable, and the alterations

demanded by the fickle goddess who presides over the lady's wardrobe exhibit her power, not so much in the changes of general costume as in an ever-varying attention to details; so that of most articles of dress, especially bonnets, it may be said, "Ever varying, still the same." It is, then, essential that all to whom time and economy of expense are of any value, should be well grounded in those general principles which regulate the preparation of the various articles of dress; and those who are so grounded will find little difiiculty in adapting such general knowledge to any particular details which the changes of fashion may render it advisable to adopt. Mode of proceeding.—Bonnets of various shapes are made of plain and figured silk or satin, and must be formed upon a stiff foundation. The best and most economical way is to purchase a foundation or shape adapted to your own taste and wishes; these may be found in abundance at large millinery establishments. Then proceed as follows: Detach the crown from the front, and shape the material by the pattern; tack the lining and the outside to the front, and cord or otherwise secure the edges. Then make the crown, covering the top first; then put on it the piece of material that is to

go round, in a proper manner, and secure it at the top by a single or double row of cord; fit it as tightly as possible to the frame you had before prepared, and fasten it on at the back. You then turn in the edges and set it on to the front. You put in the head lining and attach the cape. The bonnet may then be trimmed according as taste and fancy may direct. Bonnets for children may be made in the same manner, and of the same materials. Mourning honnets.—Mourning bonnets are made of black silk and trimmed with crape, or if for deep mourning, covered with crape. In trimming mourning bonnets, the crape bow and strings are generally broad-hemmed, the double hem being from half an inch to one inch broad. For very deep mourning, the front of the bonnet has a fall or veiling of crape, half a yard deep, and a yard and a half long, having a broad hem at the lower edge. The upper edge, being drawn up to the size of the front, is set on with a fold of crape.

HOUSE CAPS. A handsome house cap.—This is made of net, and formed of two pieces, exclusively of the border and trimmings. The pattern must be cut in paper, both for the head-pieces and the crown. The head-piece is, when opened, twelve and a half nails long, and two wide. The paper pattern is only a half one, and the material is to be doubled before cutting it. You cut from the front in a slant line, commencing at the point of the double, and reducing the open ends half a nail; you also slit from the back at the bottom, one nail and a half in depth, leaving the extremities, only an obtuse point. The crown is in length four nails and three quarters, and five nails wide. You cut off from the top, having previously doubled it half a nail, sloping it round at the corners; the bottom corners are done in a similar manner. Make the cap up by first putting wire round the head-piece, and then, having previously whipped the crown, setting it on plain for about two nails above the ears, and the remainder in small plaits quite to the front. The back is also plaited a little to make it fit properly to the head; and in cutting the slants for the head-piece, you must do it in the shape of a quarter of a circle. The cap is bordered with

blonde, and a small bow is put on at tbe back. Over the front a ribbon, either white or colored, is brought, which is left of sufficient length to form the strings. A neat bonnet cap.—This is made of net, and is neat and convenient. You commence by taking a square of seven nails, which you double, and the back is hollowed out a little. You then hem the front and the back, and join it up at the top with a piece of lace, satin, or ribbon, about one nail in length; the rest of the top is whipped and gathered to the point of the insertion work. The border is of blonde, net, or lace, and is set on full and double at the sides, single and plain in front. A simple flower, placed between the double border on each side, is a neat and tasteful addition. Night-caps.—A very stylish looking night-cap may be made in this way: The head-piece is made of one piece of thick muslin, and the crown, which is in the shape of a horse-shoe, of another. You must be careful to have both large enough to admit of the cap being drawn up to the size required, which is done either by a strong thread or fine bobbin. Having drawn up both parts to the proper size for the head, you unite them with a cord run in

between them, and overcast the raw edges on the inside. You sew the front and ends into a narrow band of muslin made double; then finish by setting on the border and strings. Another shape may be made thus: Take a piece of muslin one yard long, and a quarter of a yard broad. Make four runs lengthwise, put a fine string into each and draw the cap the size of the head. The crown is gathered full at the head-piece. A lace may be set on the edge. This is a very elegant night-cap. A capotte.—This is often worn by young ladies who are liable to take cold. It is made thus: a piece of silk or satin ribbon is taken of the proper length for a cap front, and not quite two nails in breadth, which is reduced to half a nail, by the insertion of a ribbon wire at each edge. Cross pieces of wire in the middle and at each end are introduced, for the purpose of keeping the ribbon its full width. Another piece of wire, covered with ribbon, the same as the front, goes at the back of the head, the length of which must be made to fit the wearer, and care must be taken that it does so in as accurate a manner as possible, as almost all the ease and comfort of the capotte depend upon it. This is firmly sewed on to the front; a little above the ears. The border

is of net, blonde, or tulle, and set on to the front in plaits; upon the edge a satin ribbon is laid in folds, so as to cover the stitches and form the strings. These directions may be slightly varied, so as to conform to the prevailing fashion. Lappets.—These are made of net,lace, or blonde, set on, as a double border, to a ribbon which forms the strings. They may be either plaited all round, or left plain in front. In the latter case, a plain piece of blonde is generally passed over the forehead. DRESSMAKING. General facts and rules to ie remembered.—Some few things are true about the making of all skirts, through every change of fashion, and whether the dress be of the coarsest stuff or the richest satin. In cutting off the breadths, be careful to have them all of precisely equal length; also see that regard is paid to the figure running up or down, when the breadths are being basted, previous to running them. This is a matter that is frequently overlooked, even by experienced dressmakers. The breadths should be basted or pinned securely while running them, because a puckered skirt will spoil the appearance

of the most elegant dress. Commence running each breadth at the bottom, first measuring off a length of silk sufficient to prevent the necessity of making any breaks of any sort in the seam. Not one back stitch can be permitted, as it will show distinctly on the right side, especially if the material be stiff silk. The fastenings of the dress should he sewed on with great care, so that they may last as long as the dress itself. Whalebones should be smoothly pared on the edges and ends, to prevent them from slipping out after wearing holes in the waist-lining. Obtaining the materials.—First the materials for the intended dress must be procured, and it is advisable, whenever practicable, to get them all at the same time. The necessary requisites are the material, the lining for the body and skirt, wadding, covering, hooks and eyes or buttons, whalebones, silk and thread. These are all required for a silk dress, and most of them for dresses of other fabrics. Cutting the dress.—Having thus procured the required articles, proceed to cut out the dress, first measuring off the number of breadths of the proper length for the skirt. These must be immediately sewed over the edge to prevent their ravelling out. If tucks are intended, a proper calculation must be

made as to their width, previous to cutting the breadths. Next cut out the sleeves by the paper pattern which you have previously provided. Double the lining and cut it out according to your paper pattern. If you design the sleeves to be cross-way of the cloth, see to it that it is cut exactly cross-way, as also should be the outside, or they will draw when the dress is finished. Measuring and fitting.—The skirt and sleeves being-thus prepared, proceed to take the proper measures for the front and back of the body, by fitting a pattern to the shape of the person for whom it is intended. This pattern may be of thick paper, or what is better, thin white cloth. Pin the straight edge of the paper to the exact front of the body, letting it lie smoothly as possible over the bosom, and extending as far as the shoulder, where the paper may be secured by a pin, Lay three folds of equal breadth under the bosom, for biases. Pin these carefully, as much of the beauty of the waist depends upon them. Then pare out the neck, and arm, and cut off the bottom of the waist to suit your taste, with either a long or short bodice. Fold over an inch on the straight side of another piece of paper, and pin it up and down the back. Cut it to

fit, and meet the front piece at exactly the side of the body. You will then have an exact pattern of one half the waist. Cut the lining of the waist hy the pattern thus obtained, and cut the silk material by the lining. It is not generally advisable to cut out the half of the back all in one piece, as it fits better with pieces joined at the sides ; they are called side-bodies; and this method should always be adopted, unless the lady has a very flat back; in that case it is best to cut the half all in one piece. Running or seaming the breadths.—Be sure that the skirt is quite full, as narrow skirts are now completely exploded. Fasten the edges of the breadths to your knee, or to a pincushion screwed to the work-table, to hold them firmly. Run the lining together in a similar manner, and fasten each of the outside seams to a corresponding one in it, after which overcast the top and bottom edges. An opening must be left in one of the seams for the pocket-hole, which must not exceed one quarter of a yard in length. Having thus completed the skirt, to which flounces may be added, or into which tucks may be introduced, if deemed advisable (they seldom are in silk dresses), you proceed' to make the sleeves, and trim them before stitchinar them into the waist.

dom out of fashion. They are especially proper in white and black dresses. It is sometimes good economy to make the sleeve of a dress in two separate parts, so that the lower portion can be taken off at pleasure. For an evening dress this is found very convenient, as when the under part is removed, a lace can be placed upon the short sleeve, thus giving a very dressy and tasteful appearance. Silk and other heavy dresses should be lined, but muslins and calicoes look better when hemmed at the bottom of the skirt. It is a good plan to set a worsted braid around the inside of the bottom of nice dresses, of the same color, and projecting one quarter of an inch below the material. Much wear is thus avoided, and the braid can easily be replaced. We have been thus explicit with regard to the minutiae of dressmaking hoping that we might add many to the present numbtr of ladies whose interest and pleasure it is to be their own dressmakers. THE END.