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THE LADIES' PAGE.

WINDOW CURTAINS IN SQUARE CROCHET.

1 C, 1 O, 2 C, 3 0, 1 C, 7 0, 1 C, 2 O, 2 C, 2 O, 1 C, 4 0, x repeat.

MATERIALS.-W. Evans & Co.'s Boar's-head Crochet-cotton, No. 8, with Crochet Hook No. 16, Bell Gauge, One pattern requires 120 stitches; and as three patterns make about the width of a yard, a curtain two yards wide will require six patterns, or 720 chain, and one chain over. If you desire to have a wider curtain, add the number of chain for one, two, or more patterns, taking care that there are always so many times 120 and one chain over.

This pattern forms a very pretty Anti-Macassar, done with Evans's Boar's Head cotton, No. 12 or 16, and Crochet Hook No. 18, Bell Gauge. When the chain is inade, work thus:1st Row. 9 C, 6 O, 9 C, 4 O, 8 C, 4 O, × repeat. Finis every row with a De stitch.

2nd.-x 1 C, 2 O, 1 C, 4 O, 1 C, 6 O, 1 C, 4 0, 1 C, 2 O, 1 C, 4 0, 1 C, 60, 1 C, 4 0, x repeat.

3rd.-Like 2nd.

12th.- 3 0,1 C, 2 O, 1 C, 4 O, 2 C, 4 O, 1 C, 2 O, 1 C, 6 O, 4 C, 2 O, 4 C, 3 0, x re peat.

The 13th to the 24th rows, inclusive of both, are like those already given, being worked inthe 11th; and so on until the 24th is done like versely; the 13th and 12th alike, the 14th like

the 1st.

25th.-× 3 0, 1 C, 16 O, 1 C, 3 0, 1 C 14 0, 1 C, x repeat.

26th.- × 3 0, 1 C, 16 O, 1 C, 4 O, 1 C, 12 O, 1 C, 1 0, x repeat.

27th.-X 30, 1 Č, 16 O, 1 C, 5 O, 1 C, 4 0, 2 C, 4 O, 1 C, 2 O, × repeat.

28th. 3 0, 1 C, x twice, 3 O, 2 C, †

4th. x 4 C, 4 O, 8 C, 4 O, 9 C, 6 O, 5 C, 3 0, 1 C, † twice; 6 0, 1 C,* 2 O, 1 C, *

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X, repeat.

5th.-x 1 C, 3 O, 1 C, 14 O, 1 C, 3 0, 1 C,

16 0,

repeat.

6th. x 1 C, 4 O, 1 C, 12 O, 1 C, 4 O, 1 C, 16 0, x repeat.

7th. x 1 C, 5 O, 1 C, 4 O, 2 C, 4 O, 1 C, 5 0, 1 C, 16 O, × repeat.

8th. x 1 C, 6 O, i C, 2 O, 1 C, 2 O, 1 C, 2 O, 1 C, 6 O, * 1 C, 3 O, * twice, 2 C, 3 O, 1 C, 3 0, x repeat.

9th. -x 4 C, 4 O, 3 C, 2 O, 3 C, 4 O, 4 C, 4 0,8 C, 4 0, x repeat.

10th.

x 3 0, 1 C, 4 O, 2 C, * twice, 4 O, 1 C, 7 O, 2 C, † 1 0, 2 C, † twice, 4 0, x repeat.

11th. x 3 0, 1 C, 3 O, 2 C, 10, 1 C, 2 O,

three times; 3 0, †.

29th.- × 4 C 4 0, 8 C, 4 O, 4 C, 4 O, 3 C, 2 O, 3 C, 4 O, × repeat.

30th.

---

× JC, 7 0, × 2 C, 1 0, x twice; 2 C, 7 O, 1 C, * 4 O, 2 C, * twice, 4 0, x. 31st. -x 1 C, 7 O, 1 C, 2 O, 2 C, 2 O, 1 C, 7 O, 1 C, 3 0, 2 C, 1 O, 1 C, 2 O, 1 C, 1 0, 2 C, 3 0, x repeat.

32nd..--× 1C, 6 O, 4 C, 2 O, 4 C, 6 O, 1 C, 2 O, 1 C, 4 O, 2 C, 4 O, 1 C, 2 O, × repeat.

33rd like 32nd, 34th like 31st, and so on, backwards, to the 40th, like the 25th. This completes the pattern, and must be repeated until the curtain is a proper length. Two rows of Sc should be worked down each side, in order to work the ends securely in.

KNITTED OPERA HOOD.

MATERIALS.-Two skeins of white and one of coloured eider yarn. For the hood a pair of knitting pins, No. 11 bell gauge, and one pin, No. 19. For the border, a steel netting needle, and a mesh No. 2. Commence with the white wool. Cast on 141 stitches rather loosely, using one of the large pins. The small pin is only used in every fourth row of the pattern.

1st row.-Knit the 2 first stitches together, and the rest of the row quite plain.

2nd-The same as the first row. 3rd-Pearl the 2 first stitches together, then pearl the rest of the row.

4th-With the small pin knit the 2 first stitches together, *, then make a stitch and knit every 2 stitches together. Repeat from * to the end. "To make a stitch"-the wool is brought forward between the pins.

These 4 rows form the pattern, and they are to be repeated until the work is reduced to six stitches, it having been decreased one stitch each row.

Cast off the remaining stitches.
THE NETTED Border.

Fill the needle with the white wool. Commence on a foundation string, and, using No. 2 mesh, net 780 stitches, this being the number

required to make sufficient trimmings to go all round the hood; it may, however, be worked in two pieces, netting 360 for the back, and 420 for the sides and front.

After the 1st row is worked net 2 rows more plain; then with the coloured wool, doubled, net a plain row.

These 4 rows are now to be turned, running the string in the coloured row; then on the other side work with the white wool two rows more, and one row with the coloured wool; take out the string, as this completes the netting.

To plait the trimming, use a rug-needle and the white wool; commence in the centre row of the netting, and make a box-plait with five stitches, sewing it together in the centre; then leave one stitch between the plaits, and continue forming them until all the netting is used.

These plaits are now secured at the top by tying every six stitches of each side together, in the row under the coloured one; the stitches should only just be caught together, and the ends of the wool knotted and cut close.

THE TOILET.

(Specially from Paris.)

FIRST FIGURE.-Dress of plain black faille with a single headed-flounce at the bottom. Corsage low, square and plain, with an embroidered muslin chemisette under it. Nacarat coloured bow in the middle of the corsage. White cashmere cloak lined with nacarat silk and having the old woman's hood. The lining is turned over the edge as a cross-strip all round. Red coral necklace; pomegranate flowers placed as a puff on the top of the head behind.

SECOND FIGURE.-Dress of white tarlatane with rather wide puffings down the skirt, separated by cross-strips of mauve silk. Tunic en pannier and corsage of mauve silk. A round bertha of drawn blond, ornaments the body, and is itself decorated at intervals with small cockades of mauve ribbon matching the dress. The very short sleeve is also made of blond. Coiffure consisting of three leaves of mauve velvet surrounded with pearls and having an agrafe of pearls with a tassel falling behind; white feathers placed at the side.

THIRD FIGURE.-BALL TOILET.-First skirt of white tarlatane with a very deep flounce plaited à la russe. Tunic of lemon-coloured faille cut in large vandykes bordered with a double row of black velvet. Second tunic and corsage of white faille cut in small vandykes bordered by black velvet and pendant ornaments. The sleeves very short with the same points, have pendant ornaments similar to those on the white tunic. At each side of the tunic and at the head of each vandyke a spray of roses with foliage is placed. White waistband bordered with black velvet. Black pearl necklace of three rows fastened by agrafes. The coiffure consists of a double diadem of pale tortoise-shell with balls on the top and a garland of roses placed very backward. White kid gloves with three buttons. Shoes with Louis XV. heels made of white satin with a blond rosette.

FOURTH FIGURE.-Dress of green silk, trimmed at bottom with two gathered flounces, one deeper than the other, and each surmounted by a row of black lace or guipure falling over the flounce. Louis XVI. corsage, high behind, low and square in front bordered by a narrow flounce forming a head to a row of lace like that at bottom. Short sleeves. Coiffure with a châtelaine puff of violet velvet surrounded by pearls, and completed by a white frizzed feather placed at the side. Chemisette of fluted white tarlatane. Kid gloves. Dauphine shoes of green gros-grain silk with a square bow of black lace.

The compliment or finish to walking or visiting dress, the above all-the envelope--or whatever here comes under the head of confections, must of necessity be black, except in the case of ladies who wear tunics and panniers to match

their robes. At present cashmere, grenadine, and crepon de Chine, are favourite materials for these confections; we reserve the ever elegant faille for dress toilets. For the most part they are disposed in the casque form as far as the waist, and the skirt divided into four large rounded dents, garnished with a pinked flounce, the head of which is fulled and makes a heading. The dents, or basques behind, are very ample and sufficiently long to be very bouffantes when disposed in the form of a pannier. If worn in walking costume, we simulate with an ornament which encircles the neck behind, but it is square in front, the form of a low body. It is very pretty if really cut decolleté. The ceinture is round with a bow without ends. The sleeves are to be worn or not as desired, they are made large in order to show an under-sleeve; this model is very convenient because the undersleeves may be made of the same colour as the skirt. Shawls, to reintroduce which great efforts are being made, are only worn with trained dresses. A pretty new form which approaches that of an adjusted mantle, is likely to be looked upon with favour.

For ordinary dresses, changeable winsey, mohair, thin serges, poplin, alpaca, and many mixtures of silk and wool, and wool and cotton are in demand; the latter are cheap in price but spoil in the first shower. Changeable silks, stripes, and checks, will all be worn. Black and white promises to be again in favour, and the useful raw tussor silk is in demand for morning wear. Here we seem to be getting more and more Spanish in our style of dress, and I should not be surprised if one of these days we throw off the bit of lace, rosebud, and two straws, of which a modern bonnet is said to be sometimes composed, and adopt the mantilla. The prevailing colours are soft shades of fawn, grey, lavender, pearl colour, light brown, green, &c. Rather wide stripes of two colours will also be worn; but, except on tall women, they are not becoming. French chintzes, percales, and muslins, with delicate grounds sprinkled with bouquets of flowers are of course in request. Hats of the Louis XV. style are much worn, and are admirably adapted to stylish-looking persons. It is rumoured that three and four graduated skirts will be worn this summer instead of two which prevail at present. One deep fluted flounce, or two three or more pinked ones are in favour. Straw, silk, tulle, or crape bonnets. A great many are still made with diadems, but the diadems of flowers are not posed in front, but at the back; and the barbes are attached by a bouquet to match. For dress bonnets I announce a charming innovation, A bonnet these are garnished with white lace. of Belgian or rice straw is bordered with black

same.

gros-grain, and trimmed with a knot of the The barbes, composed of a little volant of point d'Angleterre, pass behind the bonnet and are attached by a large bow of black grosgrain. They descend to the middle of the

breast, and are fastened with a large knot of black gros-grain. White lace is also used with other coloured trimmings above all with grosseille and mauve, but with black it makes a mélange extremely distingue.

THACKERAY'S WOMEN.

The secret of Thackeray's failure in the deli-, neation of female character is embodied in the following sentences, from one of "Mr. Brown's Letters to a Young Man about Town :" "A set has been made against clever women from all time. Take all Shakspere's heroines: they all seem to me pretty much the same-affectionate, motherly, tender-that sort of thing. Take Scott's ladies, and other writers; each man seems to draw from one model. An exquisite slave is what we want; for the most part an humble, flattering, smiling, child-loving, tea-making, pianoforte-playing being; who laughs at our jokes, however old they may be; coaxes and wheedles us in our humours, and 'fondly lies to us through life.'

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Now, in the spirit of the above sentences one might only see the vein of sarcastic raillery intended to characterize these burlesque letters to a young kinsman; but take them in connection with Thackeray's writings, and you will perceive that they are the real spirit, the actual embodiment, of his positive and veracious views of women, their sphere, condition, and duties. These ideas and opinions regarding women are what he has been regularly trained and bred up to in his heart of hearts. There is a sentiment of real devotion to and chivalrous admiration of woman as she ought to be, and oftentimes is, notwithstanding these conventionalities, that every true man must feel, and to which Thackeray can, upon occasion, give utterence in dulcet tones and beautifullyrounded periods: but he has been so trained and reared amid women of this tame order, this low stamp, and tutored by inen holding these lowering views of women, that he cannot bring his imagination to the point of conceiving, or his pen of delineating, a fine and elevated woman-a clever one, as he terms her-though his man-heart does justice to her claims. In his novels, he has portrayed, with his caustic powers, femininie personages, neither flesh-andblood women-they have not a redeeming trait of humanity, nor a touch of nature-nor demons; heartless, soulless figures, that giitter and amaze us, thrust into animation and seeming action by his fine strokes of satire, brilliant and sarcastic thrusts and dashes at errors and frailties, that have not even power to fill us with horror or disgust as a really bad woman would, What is Beckey Sharp? Is she a living, breathing woman? Rather a concentration of all the vices, follies, and degrading efforts of an age, draped about a senseless block, as they show

off the fashions on a wooden shape in a shop. And yet his attempted portrayal of the good and lovely ones, the heroines of his books, is a faithful carrying out and depicting of the sentiments above quoted. So insiped and tame are they in their "humble, smiling, flattering, childloving, tea-making" excellence, as to be dull enough in the mere perusal, not only to excuse a lover like George (if he had not been so insipid himself) for lighting his cigars with her billet-doux, but also to make every girl who fain would become a heroine, almost rush into Becky Sharp-ishness, or any other kind of sprite-like mischief, rather than be one of those same good, sweet, gentle Amelias, even with the prospect of such an undying, never-failing attachment as that of a Major Sugarplums. Men must still nature's impulses, urging their admiration of the real woman, in obedience to the received and accredited spirit, laws, and opinions of society and the age; and if authors write down to the level that has compelled Thackeray, in spite of his better nature, to make his heroines the heartless, insiped things they are, yet it is the adoption and carrying out of such views and principles in regard to women by men, whom they are born, to serve, to please, to love, and to endeavour to delight, that makes SO many of them seemingly what they are, "humble, flattering, tea-making, piano-playing deceivers," and more talent, more time, art, ingenuity, and patience are necessary to pervert nature's master-pieces of love and tenderness into this senseless, silly, deceptive mother and slave, than with open manliness, enlightened views, and a free and generous insight into her capacities and position, man-her brother probationist, ere he becomes her lord-might have expended to form an open, upright, candid, truth-loving, fervent, devoted woman, wife, friend; forbearing to faults, tender to frailties, forgiving to errors; devoted with keener, and livelier, and humbler, because more expansive, love to his welfare, his honour, and his interest.

Oh! cannot men see and feel wherein this error lies, and conquer it, for the sake of their own hearts, homes, and of their unborn sons? When standing together on the home-hearth in the holy twilight's deepening gloom, drawing nearer to each other tenderly as the nightshades deepen and the day declines, ere the candle-light flares on them, would it lessen the softness, derogate from the sweetness and gentleness of this hour of love, if each (that young husband, that up-looking, confiding wife) had,

in that shadowy hour, unseen, except to the answering heart that consciously knew it, a brow clear, unclouded, serene with truthearnest truth, loving truth, human truthstamped on it, so that in after-coming years neither might quail nor blanch beneath the downcast, averted glance of the other, for the breach of any of the commandments, lesser or greater, sacred to both?

But to return to Thackeray's sentiments on this subject. He may unchallenged assert that Scott's ladies are many of them as he describes and believes; for it was the error, the want, in Scott's brilliant depictings of life's pageantries, that these low views of women scarcely ever allowed him to do justice to himself or to his heroines, the actual love-heroines of his novels. Those who, at the conclusion of his tales, are led to the altar, and in the true Prince-andCinderella style, are united to the heroes in all due form, in the holy bands of matrimony, are rarely, in any of his works, the woman of heart, soul, character, and, withal, true womanliness, | who, as a delineator of human nature, under a necessity to make his book interesting, he was forced to describe as they are, and around whom entwine every interest and warm affection of the reader. Yet, as a man reared and tutored by custom and the force of received opinions, he dared not brave, with the usual clap-trap necessary for stage-effect, after rousing our sympathies for, entwining our minds by, and enchaining our hearts to one of those noble exhibitions of woman as she might, ought to be, and oftentimes is, he leads us gradually down from the height of this well-placed admiration and noble aspiration, causing glowing feelings, by slowly-winding descent to the worldly termination of necessity-for the hero to marry the tame piece of smiling propriety, capable of becoming all that Thackeray describes, and who has for this purpose, through these pages, in a shadowy, impalpable manner, only made us aware of another presence beside the real woman, to be ready at the close for the approved and expected consummation.

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of the most beautiful and glowing specimens of woman, and though his imagination and pencil depict such, yet his worldly self, the educated man and calculating Scotsman, withdraws prudently from all such the crowning point of woman's glory-love, and the devotion of the heart, leading to marriage. And why? Because they were not capable of carrying out into daily life and practice, with firm and gentle devotion, their duty as women? No; but because men have for ages, allowed themselves so low a standard of moral excellence, that even in those instances of rare intellectual endowments they dare not put themselves on a lovel in daily contact with a clear-sighted woman of pure and elevated views.

It is not that men are so mean or narrow in their range of vision, or do not acknowledge the beauty of high excellence, that they will not allow a rival near the throne of mental supremacy. Nature has so distinctly marked their supremacy in points essential for duty in their different spheres, that few men, even of limited capacity, but must be conscious of a difference of powers. Allowing their superiority in many respects over women of fine intellects, they never can interfere with each other, their powers and the needs for their exercise are so diverse. The whole error exists and has arisen from defective moral training in men for untold ages; lowering the standard of excellence at which they are to aim, and lessening their responsibility, and the force of moral perceptions of right. Here lies the evil. Let but a Decalogue be acknowledged for men as well as women; let but both sexes be trained to clear and earnest views of right, truth, and duty, and there need be no clashing or collision of interests, or jealous claims for superiority. Men will have manliness enough to see, to feel, to admire, to allow and acknowledge the beauty, purity, refining and beneficial influence of clear, high-minded, right principled woman; will know that bread and puddings can be as well concocted, and buttons and braids as neatly put on, by a woman of such qualifications, as by one who has striven earnestly to be a wheedling, fondling, lying one through life; the woman will look up with delighted reverence and proper homage to her lord, her governor, her king, in the broad place of rightful head and superior, where God and nature placed him. It is the false basis upon which each is placed by the accumulated defective training of ages, that renders it necessary for men to ignore, despise, and contemn-or endeavour to do so-all intellectual women, and necessary for intellectual women to hide their light under a bushel, more than half-afraid or ashamed to show it, and consequently, as Thackeray says, "fondly lie" through life.

Who-what man even-has not felt indgnant that, despite the strong prejudices of the age against her name and nation, and the prestige of Rowena's royal Saxon descent, the noble, queenly Rebecca should be calmly put aside for the fair-haired Saxon lady-Flora MacIvor for Rose Bradwardine? Even little Fenella seems wronged, and oh! how many others! Die Vernon alone, of all his lady-heroines, acts out her part, and shines throughout the book, from first to last, the sole, sole charm; and why? Because, forsooth, her fine abilities are permitted to be more than half obscured by her physical powers and abilities, horsemanship, etc. Jeanie Deans, of course, is below the mark. But Shakspeare-Shakspeare to be put in Scott could allow that a true woman, in her the same category with writers who are not begrade of life, might be as clever as she could; yond or above their age!-Shakspeare! he who but even here the wilful, wayward, spoiled wrote for the whole world, for all ages-of all beauty is the love-heroine. Though Scott's men, for him to be accused of having drawn manly and chivalrice heart allows the existence"affectionate, motherly, that sort-of-thing wo

men !"

far-searching glance of fearless rectitude? Rosalind, with her powers of wit and winning brightness? Beatrice, even, in her sparkling, diamond-jewelled robe of raillery and talent, shows through its folds and brilliancy freshglowing gleams of real woman's heart as well as

Shakspeare! we do indeed view all things through the colouring of the glasses that necessity, education, or habit induce us to wear. Shakspeare! what play of his is there in which the women-the clever, brilliant, noble, gifted, talented women, right women-are not the main-spring of the plot; the more than half-will. essential charm of the whole, which removed, Thus it will ever be a clever woman beneath the play would seem stale, flat, and unprofit- the protecting ægis of a noble man, if not seem able? Change them, and try the effect. Re-ingly so brilliant as herself, yet feels that the place Portia, in the "Merchant of Venice," by power is there, the strength; and beneath the one of those tame, motherly, deceiving dames, overshadowing ægis of his beaming, fostering and where is the play-the interest, power, love, such a woman will live and breathe only foree? Even Nerissa and Jessica-remove gently, and bless and soften and purify; and them and insert in their places insipid Amelias, man, yes man-the world, will yet see these ensee the effect, and how every other character shrouding mists of probation vanish away, and would fail in interest! prove that the error is not in woman, or in their being clever women, but in men being educated to false views of life, duty, and self.

Where can a specimen of more noble womanhood, in the whole range of literature, be shown than Portia, with her wit, her brilliant sallies, her intellectual riches, her clear, cool judgment, keen perception? And did Shakspeare allow the possession of these qualities to lessen her attractiveness as a woman; her gentle, fervent, earnest, tender devotion and submission to her bosom's lord, to whom she gave herself so freely and so beautifully. No! but Bassanio was a man worthy to be loved by such a woman as Portia; and therefore he gloried in her glory. He feared not her rivalry; he knew still that, as in every true woman's heart and character, the brightest light, the clearest radiance, was that derived from him who has to love and cherish her-her husband; and that the beams of his excellence and glory must, as the sun's rays do, illuminate and display, in softened splendour, the mountains, hills, vales, and waters of the moon, which, without the possession of these inherent qualities would not by half so well reflect it from arid moor or desert sand. Look through the whole range of his plays is one woman made capable of interesting our sympathies or winning our admiration, in whatever circumstances placed, without the charms of intellect and cultivated mental faculties? Where is Isabella, in her holy beauty and her

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ANSWERS TO CORRESPONDENTS.

POETRY received and accepted, with thanks: "I'll
Hope no more;" "To the Little Eastern;" "In
Te Speravi;" "A Woman's Song;" "Lines;"
"The Mysterious Visitor."

M. W., Ballymoney, will perceive we have not over-
looked her graceful favour. We shall be glad of
others from her pen.

POETRY declined, with thanks: "The Bluebell
Wreath" (pretty, but imperfect); "The Contre-
temp" (clever, but unsuitable); "Life's Wayfarer."
PROSE accepted, with thanks: "A Voyage from
Corfu," &c.; "Lord Byron's Letters."

PROSE declined: "The Deerings of Deerings Draff.' We very regretfully return this story, which opens so well that we were the more disappointed at the want of sustained power in the second part. Unhappily, the alterations have rather weakened than improved it.

W. E. and Co.-We have not received the music referred to by this correspondent, but will notice it in our next, if received in time.

Music, books for review, &c., must be sent in by the 10th of each month, to receive notice in our next number.

PRINTED BY ROGERSON AND TUXFORD, 265, STRAND.

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