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by a bit of ivy garnishes a leafless tree; the red sun sinking towards evening-time, and the church and distant village.

Paul J. Naftel has visited the Channel Islands in search of pictorial subjects, and has found them in the bays, fantastic rocks, and deep, tree-shaded lanes of Jersey, Guernsey, Alderney, and Sark.

"Houges des Pommières, Guernsey" (67), an apple orchard iu full blossom, is a wonderful bit of floral beauty copied with curious fidelity. We should like to turn back to the "Street and Church of Montevillier, Normandy" (72), with Mr. J. Burgess; but must needs pass on to "The Meet" (75), by Birket Foster, with its groups of vivid children watching, half in wonder, half in fear, the long array of scarlet-coated horsemen who are gathering to the meet. The children, not too pretty, are full of vitality; the grouping is well managed, and the leafless trees painted with the wellknown faithfulness of the artist. A few primroses peep through the sere last-year's leaves, and the furze blossoms on the skirts of the wood, within which the eager, yet timid spcctators, are ensconced.

Mr. C. Davidson has returned to his old love for Knowle Park, and has found new beauty there : his beeches (79), in their autumn foliage, are as beautiful as his beeches of two years since in full leaf.

A pretty bit of realism is Mr. F. W. Top ham's picture (83), "Two Rustic Children," with sun-shaded, upturned faces, following the course of a singing lark to what seems to them, as to the poet, "heaven's gate." The faces, dress, and pose of the children are unaffectedly simple and natural, and this may be said to be the charm of the picture.

"A Street in Frankfort" (93), by William Callow, is one of many noteworthy pictures by this well-known artist.

"Early Morning on the Snowdon Range" (112), H. Brittan Willis, is good. In the background, mountains with breaking mists about them, and cattle drinking at the river.

John Gilbert has chosen unusually sentimental subjects. His "Burial of Ophelia (113), and "Lear and Cordelia" (121), have all his usual richness of colouring, and trench on other fields than those of battle and street brawls, with which his pencil has been so often associated; but the soul requisite to represent sympathetically the pathos of our great poet has not yet entered into the painter.

C. Branwhite's "Old Mill-twilight" (115), a weird, wild-looking, half-wrecked mill, with a lurid sunset sky in the background; is an effective bit of form and colouring.

"Midford, near Bath" (118), G. Rosenberg, green trees, and a still pool full of depth and serenity, is a charming picture; and so is (119) Mr. Paul J. Naftel's "Capetal Cover, Devonshire."

Near at hand we perceive the "Porch of the

Cathedral at Lisieux, Normandy," and "Cattle Market and Church of St. Jacques, Lisieux, Normandy," by J. Burgess, a noteworthy and interesting picture.

Mr. James Holland's "Genova, looking Southcast" (126) has all this artist's charateristic brightness of style and facility of drawing.

Passing admiringly "The Quiet Mill-stream" of Jos. J. Jenkins (127), we find ourselves in front of Carl Haag's grand picture (131), “Kaheen Amran, the High Priest of the Samaritan Community at Nablous, reading the Pentateuch." A solitary figure, finely posed, the boldly simple folds of whose white drapery, the texture of the hangings, and the gorgeous richness of their colouring are marvels in watercolour painting.

A little landscape (149), "Overtaken," by Jos. J. Jenkins, with figures of market-girls on ass-back, and two armed Zouaves striding up to them, is full of vitality.

Mr. Alfred W. Hunt's (155) "Loch Coruishk" is worthy of more than a passing notice; and the same may be said of Mr. John Callow's "Beating up Channel" (160).

For colour and costume we refer our readers to Mr. J. D. Watson's "Carrying in the Peacock (161), a picture of many women's faces. all apparently drawn from one modcl, and that

not a handsome one.

Thomas Danby's "Lake of Geneva" (162), John Callow's "Scarborough, Yorkshire, low water," and Collingwood Smith's "Queen's View Lake of Lucerne " (166), are all worthy of the walls on which they hang, which is no small praise for them.

66

'Glasgerion" (170) is a strange story strangely told. The beautiful face of the young princess is lit up, as is also the colouring of her the face of the seated king and the sleeping robes, by the firelight, which falls weirdly on forms around, and makes strange shadows amongst them.

"Leaving the Highlands" (180), Margaret Gillies, is carefully painted, and with much feeling, the old man's face full of expression, and the colouring excellent.

"The Rugged Path in the Mountains" (203) is a pretty bit of colouring and expression by H. P. Riviere.

"The Banks of the Avon, Wiltshire" (204), G. Rosenberg, a charming study of a charming scene-a tree-shaded river, with shadowy clouds reflected in its depth, and rich, fresh meadows margining it.

Winter" (206), Wm. Callow, is represented by a snow-covered village churchyard, across which totters the bent form of a solitary figure, who may soon, it is suggested, tenant a place in

it.

"Near Whitby" (225), C. Davidson, steps leading to a pathway through a wood, to which a figure gives vitality.

Upon the first screen we have a glowing picture of an Italian "Mid-day" (229), by James Holland,

In a minute or two he looked up, and was amazed to see the porter still standing there, and gazing around with a bewildered air. "What is the matter?" said he. "Have I not paid enough?"

Yes, sir; but I see no preparations for moving, and the new tenant has come with his furniture. You know he has a right to enter at half past twelve, and it is now more than half past eleven."

Then it flashed upon Raymond's mind that he had given notice to his landlord some weeks ago that he should change his lodgings when the quarter was out, and he had never thought of it since. He rushed into the street like a crazy man; but when there he recollected that it was too late to seek a lodging and remove to it in less than an hour, and that what pressed most was to get his furniture out of the way. He was on the point of going back to the house to ask if he could not put it into some garret, when, by one of those chances which often come to the aid of those who cannot help themselves, an empty furniture waggon happened to pass at that moment. A bright idea struck Raymond; he hailed the waggoner, engaged him by the hour, and soon had his furniture placed on the waggon.

"Where shall I go?" said the man. "Go on till I stop you. Drive slowly." So the march proceeded; the driver went slowly, and Raymond walked along examining every house, to see if there was a notice to let on it. It was not an easy search; most of the best apartments had been taken, and of those that remained there was none that suited Raymond. One was too near the top of the house; the staircase leading to another was too narrow; in another the ceilings were too low; in another the rooms were too small; every one that he visited had some fault. Weary and dispirited, he yet continued his search till the sun was low in the west. He was tired and hungry; so was the driver; so were the horses; indeed the latter began to show signs of giving out, and the temper of the driver was not improved by the condition of his horses, and his own privations. He was put out of patience by Raymond's frequent hesitations, and Raymond himself thought he had little more time to lose; so he took the next lodging he came to, which combined most of the disadvantages of those he had rejected. The furniture was hastily put in, and Raymond sat down in the midst of the confusion to consider what was first to be done; but he came to the conclusion that he must go and refresh himself first; he therefore put the key in his pocket, inquired the way to the nearest restaurant, and went to get his supper. After he had supped, he sat some time, not feeling inclined to renew his labours, preparatory for a night's rest, for he had not thought of engaging any assistance before he came out. But the urgency of the case soon drove him out, especially as he would not be sorry to get to bed and to sleep soon. Such, however, was not his good fortune; for on his way to his

lodging he turned into a wrong street, and was soon entirely lost. What added to his confusion was that in the numerous streets through which he had passed he had completely lost the name of the one where he had taken rooms. In vain he tried to remember it: he could not betray his ignorance, and indeed what could he ask? He wandered about till a late hour, and then found himself in a part of the town he knew, not far from the residence of a friend, and he determined to cast himself on his hospitality for a night, and renew his search in the daylight, when he hoped to be more successful.

He spent nearly the whole day in search of the street where he had deposited his furniture. He remembered, indeed, the quarter of Paris towards which he had gone, but nothing further; houses and streets danced before his sight in confusion. "I am in a pretty predicament," said he to himself; "if I should make my difficulty known to my friends, they would laugh at me, and, moreover, how could they help me? My furniture would be no great loss, but my books and papers would, and I should not like to have them fall into anybody's hands; but I have no means of discovering them. Really this would make a good episode in a novel." That idea took possession of his imagination, and he began to think over the various denouements which were familiar to his mind till the idea occurred to him that the police could assist his search. Accordingly, the next morning he went to the chief of the police, and said to him:

"There is an individual named Raymond, who leads a very retired life, and writes a great deal. He professes to be only a literary man, and I do not know that he is a dangerous character; but the day before yesterday he left his lodgings without telling any person where he was going, and his most intimate friends have not been able to discover where he has hid himself, though they have spared no pains to find out. Such a departure is at least very suspicious, and I confess I am particularly interested in finding out where he is."

"He must have some sinister intentions," said the chief of police, "or else something must have happened to him. You may return in two days, by which time I will have discovered what is the matter."

The chief of police asked Raymond his name, but he did not choose to hear the question, and, saying he would call in two days, he left the office.

At the time specified, he returned, and the chief said to him:

"We have found the residence of Raymond. It is in such a street and such a number"naming it. "We found his apartment in great confusion, as if he had just moved his things. We examined his papers, but found nothing to implicate him. He must either have absconded on account of his debts, or something has happened to him; we will know in a few days." "You need not," said Raymond, "for I am he."

MATERIALS.

THE FIRST SIDE.

Commence by working three quarters of a yard of the Trefoil Edging (in the December number, 1868), which will make a cravat of the usual size, but is can be worked any length wished. If the course cotton is used for the Edging, the space of thread between the Dots and Rosettes should be a quarter of an inch in length.

THE POINTED END.-The Edging being left off at the Rosette, tie a piece of coloured cotton into the 1st pearl loop of the last Dot, so as to mark it for a guide in joining, then leave the Edging for the present.

CENTRE ROSETTE.-Fill another shuttle, and leaving an end of a few inches of cotton commence a loop, work 2 double, (make an extra pearl and work 2 double alternately 4 times); then (work an extra pearl and 1 double four times); then (an extra pearl and 2 double 4 times); draw close, and instead of fastening off leave a few inches of cotton. Return to the Edging and continue working as follows:

THE DOT.-Commence a loop, work 3 double, take the Centre Rosette and join to the 1st pearl of it, keeping the ends to the left; then work 3 double; draw close. Reverse.

Work the Rosette as before, and repeat this

Dot and the Rosette until 12 Dots are made, ending with the Rosette. Reverse.

double, 1 extra pearl, 2 double. Miss the last Then for the next Dot-Commence, work 2 Dot of the first side and join to the next pearl to the right of the one marked. Work 2 double; draw close, and reverse.

THE SECOND SIDE.

THE ROSETTE.-Work the second Rosette as before, and reverse.

THE DOT.-Commence, work 2 double; put the pin into the extra pearl last joined and which connects the two Dots together, then drawing the pearl which was marked through it, make a joining to the pearl marked, so that the two pearls form a cross; work 2 double, then join to the extra pearl of the next Dot to the right, so as to leave one pearl between unattached; work 2 double. Draw close and reverse.

Repeat the Rosette and last Dot, until the 1st side is joined. In working the last Dot make an extra pearl instead of the second joining. Repeat the Centre Rosette, etc., for the other Pointed End.

Then with the threads left at the Centre Rosettes join the two pearls unattached, and knotting the ends together cut them off.

This is a new style of work. Procure some Irish linen of a coarse quality, and cut it into squares of the size desired. To produce thick and open-work stripes, it is necessary to draw threads out of the linen. To commence with, draw out forty threads for the fringe, then leave twenty threads undrawn for the border; draw out four threads, and after that leave and draw twenty threads alternately until the top border is arrived at. To form an ornamental design in

the thick stripes, take ingrain black coarse sewing silk, and work cross-stitches, taking up six threads on the needle at once. Work in the same manner all the thick stripes of the linen, and then commence with the open-work stripes. These are done on the wrong side. White cotton, and not black sewing silk, is used for the open-work stripes, taking up six threads as before, but tying them with a knot in the centre, which forms the open work.

Rice-straw hat, trimmed with black velvet cross-strips, a large bow behind; and a cluster of tea-roses, with a trail.

Black lace barbs behind, rather short, and not brought forward to the front.

SECOND FIGURE.-Dress of straw-coloured grenadine, trimmed with five plaited flounces having a head formed of a narrow black guipure, or, which is still better, a row of lace supported by a narrow cross-strip. Jacket of the same, tight in the corsage and describing behind undulations ornamented in the same way as the flounce. An ample puff is formed out of the fullness of the jacket. Plain body, on which is placed a small mantelet in the pelerine form behind and with rounded ends in front, trimmed like the rest of the jacket.

English straw hat of a flat shape, with narrow brims encircled by a wreath of wheat-ears, with a brown velvet band presenting a large bow and long ends hanging down behind. Plain cambric collar and cuffs.

GIRL'S TOILET.-Frock of poplin, with a narrow flounce at bottom, ornamented at intervals with black velvet. Corsage plain, low, and square, across both in front and behind, shoulder straps crenellated and edged with black velvet. Small English apron of unbleached linen, cut shorter than the frock, and having braces festooned with red worsted. Pockets to match, rather large and surrounded with festoons. Russia leather boots, buttoned. The courses of the earth are assuredly those which fashion follows, and at this season the

We see, however, that very pretty toilets can be made with less extravagant materials: black gauze and grenadine are very much worn, without being in mourning, and, beside being economical, are in excellent taste; also an envelope, very ample, of black grenadine, garnished with little frills, that may be worn with all dresses, to which it adjusts itself with remarkable elegance. The form that predominates is the Watteau, with square plaits in the back very much raised at the side, and decolleté in front en cœur and with large Syrian or Pagoda sleeves which permit that of the robe underneath to be seen.

The elegant fashion of wearing light confections of lace and embroidered muslin is revived, and will predominate with either black or coloured robes. The costumes décolletés carrés recall great luxury in lingerie, but do not impose it; nothing is more graceful than an embroidered or lace guimpe, but the simple fichu a la paysanne of muslin or tarlatane has an elegance of its own. We see again manchettes of lace or plaited tarlatane as deep as those of Louis XIII. It is a good style for aristocratic ladies who desire to air their heirloom laces. Narrow flounces are much worn at the bottom of the robe, so also are plaited ones; they are placed in series with a heading of lace above, or rather between them. The races have brought to light delicious little hats in the style Trianon, with the brim raised at the back, on which a great bow is placed. It quite poetizes the visages of the Parisians, and gives them a charming originality.

"The Second City in the Land" not yet decided on. "T. P. S." is thanked; but we have no space for the translation.

"Cork."-Miss M. shall hear from us shortly. "Longlands."-We have replied to this correspondent's inquiry by post.

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

TO CORRESPONDENTS.-Private communications for the Editor may be addressed, till further notice, 2, Beaufort Place, Loampit Hill, Lewisham, Kent.