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as the French call it, and large below. Jupe full, with rather deep plaits.

The trimming of the robe is a fringe composed of rich black chenilles and silk fringe. The chenille forms as an

lying down, and from each junction fall back three ends. At the middle of the openings is seen the crest of a silk fringe. There are three rows of this trimming upon the jupe, entirely covering it almost to the hips, and a row of the same kind, but narrow at the edge of each sleeve, and at the edge of the opening of the corsage, the of chenille only. Under-sleeves of white lace. FIGURE 6. Toilette de ville.-Bonnet with double face, the under side of bright green satin, the upper of green velvet; that below smooth, trimmed with black lace, that above, with embroidered dents of a black lace. Bavolet of plain green satin, covered with a velvet with dents of lace. Crown flat, but with rounded corners; three rosettes of satin ribbon mingled with black lace, and placed at the junction of the crown and face. Manteau ajusté, of green satin, smooth over the chest and close round the neck, where a small collarette comes out with a noeud at the throat. The front is quilted from the seams at the top of the shoulders, the quilted part narrowing to the waist and then widening a little, but toward the lower part of the jupe extending all round. Sleeves wide, gathered at the shoulder, trimmed by a fringe sewed on en biais from

the elbow to the lower edge in front. A wide fringe also passes all round the base of the jupe. Robe of rich damask, roseate pearl-gray, broché in columns of large waving reed leaves.

FIGURE 7. Toilette de ville-Gray felt bonnet without trimming except the plain crossing of the strings. Lining and under-trimming of white satin. Gray poplin dress trimmed up the front with parallel bands of silk galons and buttons. Pardessus of green satin trimmed with wide lace; deep pelerine trimmed to match.

FIGURE 8. Home Toilette.-Cap of white tulle coming near to the forehead, in a point, retreating to the side of the head, then extending in rather long rounded ears to the cheek, and finally retreating again to the back of the head. The material of the cap is very full and puffed as it were, and quilted all over by numerous little rose-bells, in the hollows of the tulle. On each side is a thick cluster of these rose-bells. Under these clusters, the puffings are much thicker than those on the head, as are also those near the edge of the cap behind. Hair in puffed bandeaux. Robe of light green moire; corsage open in front in an elongated V, and trimmed like the edge of the sleeves with dark green chenille fringe; waist long, and pointed in front. Sleeves wide below, reaching in front only to the bend of the arm. Under-sleeves tight. Skirt very full and trimmed with three rows of the dark chenille fringe, of graduated widths, the lower row being twice as wide as the upper. Around the opening of the corsage is an under edging of white lace, and near the point appears a very

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FIG. 7.

TOILETTE DE VILLE.

FIG. 8.

HOME TOILETTE.

FIGURE 9. Evening Dress.-White satin robe, with skirt trimmed with thirteen volants of English application, and with small white roses and foliage placed together, and arranged en tablier (apron-like). Body low, with long

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point with berthe of lace like that on the skirt. Corsage bouquet of orange flowers and white roses. The hair is ornamented very gracefully with clusters of pearls and vineleaves.

FIGURE 10. Marriage Costume.-Lace guimpe and veil. Robe of damask trimmed on each side of the front breadth of the skirt with two rows of point d'Alençon, separated by a bouillonné of crêpe lisse. High body open to the waist; trimming similar to that of the skirt, and placed around the edge of the opening. Sleeves, open to the elbow, rounded in front, trimmed with bouillonnés and lace falling over the wrist.

FIGURES 12, 14, 16, and 18 are spencers or guimpes of the latest styles, with embroidery anglaise and valenciennes. FIGURE 11 is a ladies' morning cap.

FIGURE 13, is a cap for an infant.

FIGURES 15, 17, and 19 are sleevelettes and a collar. FIG. 20. Cavalier Pardessus. This pardessus is in the style of the times of Charles II. There are indications which promise for it much favour in future. It is the same in shape as that on figure 1, but the application of the trimming is somewhat different.

The chaussure of this winter, for ball or full evening dress, is shoes of satin, and embroidered silk stockings; for the morning, gaiters of the same colour with the dress are worn: at home, slippers, either of velvet with large puffs of satin, or of white or rose satin trimmed with lace.

FIG. 10. MARRIAGE COSTUME.

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The Pearl-Oyster.

A SONG.

WORDS AND MUSIC RESPECTFULLY DEDICATED TO "THAT MAN!"

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THE PEARL.OYSTER.

169

many a man, with a cunning plan To force it its treasure to yield,

Has won him a girl, while he

lost the pearl That lay in her bosom concealed, Has won him a girl, while he lost the pearl that

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THE THREAD OF LIFE.

THERE are those undoubtedly who may sincerely pray, with ancient Pistol,

"Abridge my doleful days,

let grievous, ghastly, gaping wounds Untwine the sisters three. Come, Atropos, I say;"

or think, with Casca,

"He that cuts off twenty years of life,

Cuts off so many years of fearing death;"

who are unwilling patiently to wait

"Till the Destinies do cut the thread of life;"

our nature. What images of horror does not this instinct summon to its aid?

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"To die, and go we know not where;
To lie in cold obstruction, and to rot;
This sensible warm motion to become
A kneaded clod; and the delighted spirit

To bathe in fiery floods, or to reside
In thrilling regions of thick-ribbed ice;
To be imprisoned in the viewless winds,
And blown with restless violence round about
The pendent world; or to be worse than worst
Of those, that lawless and incertain thoughts
Imagine howling!-'tis too horrible!
The weariest and most loathed worldly life,
That age, ache, penury, imprisonment
Can lay on nature, is a paradise
To what we fear of death."

Nor is it fear only that asks the withholding of the fatal shears. A nobler motive often prompts the cry for life. The dying mother, as she thinks of the little ones she is to leave behind, prays, passionately prays, for their sake to be spared; with Mrs. Osgood in one of her sweetest lays, she may say,

"Ah, let me stay!-albeit my heart is weary,
Weary and worn, tired of its own sad beat,
That finds no echo in this busy world
Which cannot pause to answer-tired alike
Of joy and sorrow, of the day and night.

My frank and frolic child, in whose blue eyes,
Wild joy and passionate wo alternate rise;
Whose cheek the morning in her soul illumes;
Whose little, loving heart a word, a glance,
Can sway to grief or glee; who leaves her play,
And puts up her sweet mouth and dimpled arms
Each moment for a kiss, and softly asks,
With her clear, flute-like voice, 'Do you love me?'
Ah, let me stay! ah, let me still be by,

To answer her and meet her warm caress!"

Pardon, kind reader, if the picture has made us sad. Look upon that mysterious thread, and count not the question inopportune, even

who might even say, with Cleopatra to the asp, at this festal season-for, of the many thous

"Come, thou mortal wretch,

With thy sharp teeth this knot intrinsicate

Of life at once untie;"

some, yea how many, young and loving wives, who heart-broken and in despair over a husband wrecked on the quicksand of intemperance, are ready to cry out, with Amavia in the Legend of Sir Guyon,

"Come, then; come soon; come, sweetest Death to me, And take away this long lent loathed light;"

and yet, when

"The strings of life begin to crack,"

they find the web "is of a mingled yarn, good and ill together;" they shrink, and call on Atropos to withhold a while the dreadful shears.

The fear of death is the common instinct of

ands for whose eyes this paragraph is written, there are certainly some of whom it may be said before this sheet meets the light,

"Their thread of life is spun"that thread in the picture is it yours, dear reader, or mine?

"Fates! we would know your pleasures:-
That we shall die, we know; 'tis but the time,
And drawing days out, that men stand upon."

Shut not, then, the thought of death from thy heart. Look once more upon the picture. Clotho, the eldest of the fatal Three, has begun to spin, Lachesis with heaven-directed hand is disposing, the mysterious thread of our existence: when, when, dread Atropos, shall thy office commence ?-J. S. H.

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