THE LADIES' PAGE. CROCHET PATTERN FOR QUILTS, CUSHIONS, &c. With white cotton make a chain of stitches of the length required; turn, and work one long treble stitch in the fifth stitch; then work another long treble in the fourth stitch of the chain, thus crossing over the long treble first worked; work one long treble in the third next stitch, then one in the stitch before that, so as to cross them again, and repeat to the end of the row. For the next row take the pink coton; make 4 chain, work 1 long treble in the first opening of last row, then 1 in the third CROCHET FLOWERS, SPIDER-WORT. This flower is formed of three small petals, and requires two shades of violet Berlin wool; one rather deep, the other lighter, though it must not be too pale. Take the lightest colour, not split, and make a chain of three stitches; fasten off. Take the second shade, and work in the first loop of the chain 1 plain stitch, in the second loop one stitch of double crochet, and one plain stitch; then make a chain stitch, and begin the second round in double crochet, putting a wire in the edge. In this second round you must increase one stitch in the first, third, and fifth long stitches of the preceding row. This round being completed break off the wool, twist the ends of the wire together, and cut off one of them. The stamens of this little flower are very beautiful-they are of violet colour, with a top of the richest golden hue-and spring from a little tuft of silky violet threads. It would be better to buy them ready-made, if possible; but, if preferred, they can be made thus: Take a bit of floss-silk, of a bright golden colour, make a knot at the end of a piece of violet silk, or wool, insert thebit of gold-coloured silk in the knot, and tie it as tightly as possible; cut the end of the gold silk quite short. Make another knot about half an inch from the first, insert a bit of gold silk, tie it like the first. Cut short the violet and gold silk, and make another knot at the end of the latter; tip it with gold in the same manner; place your silk across the halfinch, tipped at both ends, and tie it in the middle, so as to make three stamens of equal length; place them in the middle of a little tuft of violet silk, or wool, and fix the whole in the middle of the flower. Cover the stem with green wool, split. The Spider-wort grows on a long stem, without leaves, and generally with two or three flowers on one stalk. The leaves are always close to the bottom of the stalk; they have the appearance of a blade of grass, and are about a foot long and an inch broad, and are of a very bright green colour; but the little bunch of flowers will form a pretty ornament for mats, &c., without leaves or buds, THE TOILET. (Specially from Paris,) FIRST FIGURE.-Indoors dress, composed | is of the same material. The sleeves are double: of a skirt of nasturtium-coloured satin (capucine) as we call it here, trimmed at the bottom with a deep Marguerite plaiting. The body, plain, high, and buttoned, is indented round the neck. Sleeves tight, trimmed at the wrist with a plaiting two inches deep. Polonaise of black satin or velvet the ends of the widths-which are trimmed on the seams with a torsade of capucine satin enrolled with black velvet-are hollowed in the peplum fashion; and the points which are thus formed are laid the one over the other, and each point finished with a handsome black silk tassel. The lapping over of the points should begin at the height of twelve inches. The edge of the Polonaise is finished with a similar torsade to that on the seams. SECOND FIGURE.-Dress of mauve grosgrain silk, having the skirt mounted in gathers behind. In front the plastron of the body, and the width beneath it, are cut (the latter en tablier) in square notches at the side, which are edged with a roll of white satin. Sleeves tight, ornamented at bottom with four similar notches to those on the front of the dress, finished and fixed, as are the others, by satin buttons. Waistband with a roll of white satin along each side. Hair rolled back from the forehead, and dressed high, in a circle on the head, with one long curl depending on the shoulder. For walking toilets, bands of fur or of cachemire are much used as trimmings. They are cut very narrow, and are placed round the bottom of the skirt and on the seams. I have seen a robe of black velvet, with the skirt trimmed behind down the middle of a rounded train, at the bottom and on the seams, with a narrow band of marten. This skirt is cut with bias seams. The corsage is that known as the Agnes Sorrel, and is cut very deep, descending to the hips. This prolongation of the corsage exhibits the bust to perfection. The bodice is bordered, like the skirt, with marten-skin. The underskirt is of mauve faye, and the high body the first, of mauve faye, are tight-fitting; the second, of velvet, are very long, open and encircled, with marten-fur. Black is very much worn both for evening dress and for ball-toilets. One of the newest dinner dresses is composed of a first skirt of rose-coloured drap du Champ du Mars, over which falls, cut in the Chinese style, a tunic of black velvet, bound with gold galon. A large bow of black velvet, powdered with gold pearls, retains the openings of the tunic, to which is attached a very low body bordered all round with gold, and cut en cœur in front. The under corsage, of rose colour, is made high, and is ornamented with three rows of light foliage, formed of Chantilly lace. Sleeves of rose-colour satin, tight to the arm, garnished from below the elbow to the bottom with the same lace foliage, disposed in three bracelets; over these long sleeves of black velvet, in the pagoda form, bound with gold galon. By the way, the Polonaise has quite displaced the peplum. At this moment we are specially occupied with ball toilets, of which I shall describe one or two models for the benefit of your fair clients. One consists of a yellow skirt, veiled with black tulle, scattered over with stars of black velvet. At the bottom of the skirt a flounce of Chantilly lace, very lightly fulled. Corselet of yellow satin striped with Chantilly lace, with draperies of white tulle above, separated between the plaits with narrow black lace. Floating sleeves of tulle, starred with black velvet. Another toilet de bal consists of a skirt of white satin, veiled by a long tunic of Chantilly lace, relieved at the sides by a spray of foliage in green velvet, with dew on it (in the model in question) formed of diamonds. At the bottom of the satin skirt seven biases of green satin, separated by rouleaux of velvet of the same tint. From place to place on the biases are posed barettes of Chantilly lace. Corselet of green satin. Fichu Marie Antoinette, composed of tulle illusion, formed of bouillonnees separated liant star; barbes of blue blond, fastened with by rouleaux of green satin, set between very a bouquet of plumes. Another, called the mannarrow black lace. For ball dress the fichu tille, is made of drawn-white tulle, covered by Marie Antoinette, with long ends, is more than a mantle of point d'Angleterre, fixed beneath ever the order of the day, and for this purpose the chin by a group of fruits in ponceau velvet is made of the lightest and most vapourish ma- enriched with gold. terials. Bonnets are worn, if possible, smaller than ever. A charming model is of royal blue velvet, ornamented before with a diadem formed of a willow plume powdered with gold. Behind, it is finished with a puff of blue velvet and a bril The newest caps are those made in the fichu form, as nearly as possible like the bonnets; all are bouillonnée, and trimmed with narrow velvet, and brides-barbes of velvet, sometimes appliques with lace. A largerose is often posed at the side, OUR LIBRARY TABLE. THE GOLDEN SHEAF. Poems contributed by Living Authors. (Houlston and Wright, 67, Paternoster Row, London.)-Though making its appearance at the gift-time of the year (for our notice of it is rather out of date), this volume has nothing of the ephemeral finery of its Christmas and New-year's compeers in its appearance it is wanting in the allurements of coloured binding, gilded edges, and pictorial art; but its neat cover, no less than the clear, bold type in which it is printed on toned paper, pronounces it at first sight a volume "Not too bright or good For human nature's daily food" -a conception of it fully borne out by an acquaintance with its contents. This might probably be anticipated, seeing that it is edited by the Rev. Charles Rogers, editor of "Lyra Britannica," &c. It is a book for everyday reading by which phrase we do not exclude the Seventh—a book, not for the polished drawing-room table, to be opened and looked at and laid down, but a book for the sofa by the fire-side, or the window-seat in summertime, for use and remembrance. Going but a page or two beyond the preface we find an essay "On the Poetic Art," by E. J. Reed, the chief Naval Constructor; which proves that gentleman to be as ingenious a critic, and as acute a judge of the proportions of true poetry, as he is of the mathematical harmony requisite to the floating of an armour-plated ship. It is not the first time we have read an essay of bis, or a lecture so matured and finished that it took the literary form of one, and do not despair of seeing a volume of them by the same facile pen. Going further into the volume we find its contents are varied in subject and execution, as might be expected from the fact that eightyfour authors have contributed to it-each independent, probably, of the intention of any other of the eighty-three. The editorship probably suggested that a slightly serious shade should predominate the volume, and hence "The Golden Sheaf" is rather religious than secular in character. A tone at once tender and exalted steeps many of its pages; but the lively neighbours, the solemn, and the grave come close to the gay. Some of the truest poetry in the book is, as it should be, that inspired by sacred subjects. Take, for instance, the opening poem, by Bishop Alexander, "His Name," which has ingemmed in it, as it were, the thoughts and hopes and fears of every earnest mind. We give a fragment: O Counsellor four thousand years They asked the vault, but no one spoke; They asked the depth--no answer woke; They asked their hearts-that only broke. They looked, and sometimes on the height The secret of the years is read; The enigma of the quick and dead By the Child voice interpreted. O, everlasting Father, God! Sun after sun went down, and trod Race after race the green earth's sod, Till generations seemed to be Mr. Goodwyn Barmby has evidently, like the author of Religio Medici, two books, from which he collects his divinity-"besides that written one of God, another of his servant Nature, that universal and public manuscript that lies expansed unto the eyes of all." One, whose pen has often graced our own pages (W. C. Bennett) is represented by an elegant little poem, entitled "Psyche." "Far Away," by the late (it is sad to write that "late," after the name of one so gifted) Stanyan Bigg: listen, how like an anthem without music, save the rhythm of the words, his verse sounds: Evermore a glory breaks Over peak and over plain, In the distance far away; Vnd the gorgeous skirts of day, Mrs. Rosa F. Hill contributes a picturesque poetical description of "Venice Free," which reads as if written on the spot. Mary Howitt's "Birth Song," tenderly exultant, and "Song of Death" (especially the latter) are worthy her pen, who first won our hearts as a poetess. We can only indicate Eliza A. H. Ogilvy's "Californian Myth," which exhibits imagination, and a certain power of language and versification; and Miss Bessie R. Parke's graceful contribution, "The Campagna of Rome," in which she paints a picture while singing a song; for one cannot read her poem without realizing the scene that suggested it. Meanwhile, from its length and the impossibility of quoting it in fragments, we have been obliged to pass over Lady Georgiana Chatterton's poetic legend, "Aveleen of Munster"; and, for the same reason, Mr. E. R. Reed's "Hastings", and many other of the numerous contributions that deserve to be noticed. There are weak verses here and there in the volume; but, as a whole, it is a charming addition to our fireside volumes. But we must not, however pressed for space, forget to mention that the Editor, who has judiciously and carefully performed his duties, has himself contributed a "Hymn," full of devotional feeling and loving faith. The book is beautifully printed on toned paper, and adorned with head and tail pieces and flowery initial letters. THE HAWK. No. 12. (W. Wheaton, Ringwood.)-We have missed our pleasant contemporary for some months past, and had imagined ite monthly "hover" had come to an untimely end. Not so, however; it has kept the "even tenor of its way" to the finish of its twelfth number; but the fate we feared (the fate of so many promising ventures in periodical literature) has overtaken it at this fatal figure; and its enterprising and hopeful editors, like the brave officers of some foundering ship, have stood by it to the last, and have even succeeded in bringing it into port complete and unshaken-a perfect volume, with a treasure of garnered practical knowledge and experience for themselves between its covers. In another year the editors hope to start afresh, making their recess an opportunity for "organizing a more effective system of circulation." But it is not only this that is wanting the "Hawk," like the "Household," has fallen by its own weight. The bird was overbalanced with too solid fare, and took up subjects that, however cleverly discussed or important in themselves, were quite out of the field of its flight. Had it simply kept to such a programme as the editors quote from Dr. Stevens's letter: "Natural history objects, beasts, birds, insects, and flowers" [Why not the singing brooks and fishes?], "with antiquities architectural and other, geology, and much good folk-lore, besides a deal of latent book-knowledge," we venture to say the publication would have found supporters in many counties besides Hampshire, and have become the depository of much curious local, as well as learned information, and a great help to future editions of the county history. The editors of the "Hawk" know that we write this with no hostile feelings to their undertaking, which we believe intended to fulfil these purposes from the first; but our experience probably dates further back than half their life's time; and experience enables a looker-on to comprehend at one view the possibilities of a contemporary. But besides the observations of others the editors have now their own experience, and thus we have real hope that their twelvemonth's rest will be of material use, and aid them (notwithstanding the fetters that, more or less, must encumber the free action of the conductors of an amateur magazine) to see that articles, however excellent, out of the scope and purpose of a work, must militate to its disadvantage by occupying space necessary to the development of its specialities and the exile of half a dozen interesting features by the gravely egotistical appearance of one or two. In the present number a paper elegantly and appreciatively written, entitled " Poetry in three phases," specially recommends itself to our attention. "Notes on human food," an interesting subject, from whatever side we view it, and by no means nearly exhausted though so frequently treated of, is very agreeably written. Great is the pen of a ready writer. Its power will sometimes effect that popularly discredited possibility-the making of black white, an instance of which may be seen in the article "Abyssinia," the natives of which, under the hands of the author, come forth absterged in |