veils only fall down the back, and do not cover the face. All the bridesmaids are dressed alike, and their bouquets are made of coloured flowers.

The older guests at a wedding should choose some rich material, trimmed with lace, and should wear a lace or other handsome shawl. Their bonnets should be trimmed with feathers and flowers.

If little boys are present at a wedding, they should be dressed in some fancy suit; black velvet, trimmed with gold buttons, is the best.

now.

Mourning used to be worn much longer than it is A year is considered long enough for a father or mother, and six months for uncles, aunts, or cousins. It is now considered better taste to wear plain garments instead of the handsome heavy dresses in which our mothers and grandmothers mourned.

Widows wear their weeds, consisting of crape dress, large black silk cloak, crape bonnet and veil, and widow's cap for a year, and wear ordinary mourning after that as long as they like.

THE

'HE chief events in matters musical that have happened since we last wrote, are the openings of the two Opera Houses. Mr. Gye had been first in the field with his prospectus, and he was also first with his performance, opening Covent Garden nearly a fortnight before Mr. Mapleson commenced his season at Drury Lane. The opera selected by Mr. Gye for his opening night, Tuesday, April 6, was Rossini's master-piece, "William Tell," which does not depend for its effect upon the voices of the star sopranos, who are so very shy of appearing upon an opening night. The prominent characters in "William Tell," as every one knows, are the tenor, baritone, and bass-Arnoldo, Tell, and Walterand these had worthy representatives in Signor Marini, M. Maurel and Signor Bagagiolo. The female parts in "William Tell" are of secondary importance, but they were very fairly supported-Madame Scalchi, Mr. Gye's leading contralto, taking the part of Edwige, the wife of Tell; Mdlle. Cothiro being the boy Jemmy; and Mdlle. Bianchi, the young soprano who made such a favourable impression here last season, appearing as Mathilde. It was hardly to be expected that the young vocalist would be able to obliterate the recollection of the many famous singers who have supported this character, but she made a very decided success, singing the music well, and acting with intelligence. Signor de Sanctis, one of Mr. Gye's new tenors, made his first appearance on the following Saturday as the Duke in Verdi's "Il Ballo." He achieved only a moderate success, owing partly to the recollection of the superb way in which Mario had filled the part so many years, and partly to a want of charm and sweetness in his voice, which appears to have lost much of its original tone, and to the absence, on his part, of any special qualifications as an actor. The cast was not a particularly happy one in other respects, but Mdlle. Bianchi again asserted her claim to be placed among the most useful and versatile of the Covent Garden sopranos.

The following Saturday, April 10, was an especially interesting occasion, owing to the first appearance “on any stage," as the advertisements have it, of Mademoiselle

Zare Thalberg, a daughter of the famous pianist. The young vocalist, who is said to be only seventeen years of age, chose for her debut the character of Zerlina, in Mozart's immortal "Don Giovanni ;" and public curiosity was raised to a high pitch, owing partly to the famous name she bears, and partly also to the favourable reports which had been current as to her powers. At her first appearance Mademoiselle Thalberg by her youth and beauty gained the suffrages of her audience, but she soon showed that these were not the only charms she possessed. She has a very sweet and pure soprano voice, and has been thoroughly well trained; and if she goes on as she has begun, a very brilliant future is in store for her. It is only to be hoped that the enthusiastic welcome she received at Covent Garden will not lead her to imagine that she has not much yet to learn, but will rather stimulate her to further exertions.

Mr. Mapleson's season, his best as he and all his supporters hope, in Drury Lane, commenced on Saturday, the 10th, with a performance of Beethoven's" Fidelio." Pledged as Mr. Mapleson is to the support of classic opera, and having among his ranks such an exponent of it as Mademoiselle Titiens, there was a peculiar fitness that he should put Beethoven's immortal work in the forefront of his battle. The great German soprano was as grand as ever in the trying part of heroine, though her voice showed some traces of the indisposition from which she had recently been suffering. Mademoiselle Bauermeister made a decided advance in popular favour by her impersonation of Marcellina, and was well supported by Signor Rinaldini as Jacquino, but Signor Bignardi, the new tenor, was somewhat overweighted with the part of Florestano. The glorious "Leonora," No. 3 overture was given between the acts, and was repeated in answer to an unanimous call.

Italian opera, however, is not the only attraction that Mr. Mapleson has provided at Drury Lane. On the "off nights" the Italian tragedian, Salvini, appears in the character of Othello, in an Italian version of Shakespeare's grand tragedy. He made his first bow before an English

audience on the evening of April 1, and since then he has been the "talk of the town." His chief fame has been gained in his own country, and he has also played with great success in America, but here in England his name was known to comparatively few, even of those conversant with dramatic affairs, and doubtless a very large proportion of the audience were quite unprepared for the astonishing performance they were to witness. The first appearance of the actor produced a good impression on the audience, who could not but admire the noble, expressive face, the easy, dignified gestures, and the rich, mellow voice, capable of expressing every variety of emotion. In the scene before the Duke and Council of Venice, where the grand speech, commencing " Most potent, grave, and reverend signiors" occurs, the actor forbore to make any great effort, delivering the speech in a simply dignified manner, and a total absence of declamation. This was certainly an innovation upon established custom, but the value of it was speedily made evident; as the dramatic interest of the play heightened, the actor put forth gradually the power he had held in reserve, and gradually led up to a climax which was only saved from being repulsive by its real grandeur as a piece of acting. It is easy to see that Signor Salvini has formed a very distinct idea of the Moor's nature, and has not shrunk from carrying out his conception to its logical and necessary issues. His Moor is a gallant warrior full of the tenderest affection, but with the old savage nature still strong within him, ready to flame out at a moment's provocation. The scenes with Iago in the third and fourth acts were perhaps the most artistic of all. For a long time the Moor listens with confident carelessness to his Ancient's crafty insinuations, but, by degrees, his suspicions are aroused; then they are confirmed by the confusion into which Desdemona is thrown; and as soon as this stage is reached, the man is transformed into a brute, incapable of listening to reason, and possessed entirely with a mad frenzy of revenge. The terrible realism of the final act we have already hinted, still, terrible as it is, it is unquestionably defensible, only we cannot help thinking that a mistake is made in delivering the grand speech," Soft you, a word or two before you go," with so much action, we prefer to see that "calm repose in the face of death," as it has well been called, which shows that all the passion is spent, and that the man is human once more. We have only space to dwell thus briefly upon the details of a most remarkable performance, which all the town is flocking to see, including the actors of the leading London theatres, for whose convenience Signor Salvini kindly consented to give a special morning performance. We may add, that Signor Salvini is supported by a thoroughly good working company, none of whom, however, are individually of special merit.

The Desdemona of Madame Giaragnoti, and the Iago of Signor Carboni, are performances decidedly above the average, but the chief merit of the company lies in the way in which they act together and support each other.

To return to matters musical, we find that although we are rapidly getting on to the very height of the season, there is really very little of importance to record. The winter series of concerts are dying out, and those which flourish in summer are just springing into life. At the Crystal Palace the last of the series of winter concerts was given on the 17th, to be followed in due course by Mr. Manns' usual benefit concert. The present series has been more than usually attractive, and most of the concerts, especially the last few, were distinguished by some special feature of interest.

The Albert Hall season ended at Easter with the usual Passion week performances of Bach's Passion Music ("St. Matthew"), Handel's "Messiah," and a miscellaneous concert given on Easter Monday. We understand that the choir are now engaged upon rehearsals of Verdi's Requiem, of which at least three performances are to be given, but the dates are not yet announced.

Beyond the appearance of Signor Salvini at Drury Lane, there is but little to record in the dramatic world. A few new pieces have been produced, but none of any great importance. At the Gaiety, the adaptation of "Rose Michel," a play which had been wonderfully popular in Paris, was a decided failure.

At the Prince of Wales's, Mrs. Bancroft has withdrawn "Sweethearts" and "Society," and has produced Shakespeare's play of "The Merchant of Venice." In our next month's Dramatic Notes we shall be able to record how this clever little company, who have already given satisfactory proof that their powers are not confined to one branch of dramatic art, have succeeded with one of the most famous plays of the great national poet. At the Royalty, Messrs. D. C. Gilbert and Arthur Sullivan have co-operated in the production of one of the richest pieces of absurdity that has been seen on the stage for a very long time. The piece is entitled "Trial by Jury," and is a burlesque of the most extravagant order upon a case of breach of promise of marriage. "A Trial by Jury, set to music," is in itself a sufficient incongruity, but when to this is added the comicality of the defendant singing the story of his troubles to a guitar accompaniment; a judge describing also, through the medium of song, the account of his rise to the bench, supported by an occasional choral refrain from the spectators; a plaintiff in full bridal attire, with her attendant bridesmaids, and the final solution of the difficulty in an engagement between the wronged lady and the learned occupant of the bench, it will be easily seen that the fun is about of as outrageous a character as it can well be.

OUR WORK-ROOM.

RULES AND REGULATIONS. All letters requiring answers in the following month's issue must be forwarded to SYLVIA, CARE of EDITOR, Messrs. Ward, Lock, & Tyler, Warwick House, Paternoster Row, E.C., before the 5th of each month.

2. All letters asking questions should be written on one side only of the paper, and a space should be left for each answer.

3. In writing for advice as to the making up and altering of dresses, it is advisable to mention height, complexion, and colour of hair, in order that the best combinations of colour may be given.

4. Photographs sent for this purpose cannot be returned, unless accompanied by a stamped directed envelope.

5. Letters for the Work-room must be written on separate paper from those intended for the Drawing-room or the Exchange Column.

No charge is made for replies to any question in the Work-room: it is open to all comers, and all are welcome.

As we give elsewhere all the latest information as to modes and styles, we cannot answer questions as to the way of making up new materials, except when the quantity is so limited as to require contriving, in which case we are glad to give our best help.

MRS. ELIZA M.-See notice at the top of this page. You have abundant material for a plain dress. See illustrations and descriptions. Black silk may be trimmed with velvet, fringe, satin, jet, or passementerie.

ELSIE would feel greatly obliged to Sylvia if she would tell her how to alter a poplin dress (pattern enclosed). It is nearly as good as new, as it was only made last summer, but was cut so badly, it never fitted nicely. It is made now with a cross flounce nine inches deep, headed with two bias bands edged with satin a shade darker. The front breadth has six flounces three inches deep, an open polonaise trimmed with satin and fringe Elsie forgot to mention the skirt is walking length. She is between eighteen and nineteen years of age, height 5 feet 7 inches. She hopes Sylvia will not think her letter too long, and that she will receive an answer in the next number. She has taken THE YOUNG ENGLISHWOMAN for three years, and has not troubled the kind Editor or Sylvia before. She likes it very much. [You do not say what the fault was in the fit of your dress, whether too tight, too loose, etc. If you had done so, Sylvia would be better able to help you. Perhaps a sleeveless jacket of velvet a shade darker than your poplin would remedy the misfit. Also, as polonaises open in front are not now so fashionable as the tablier, would not the back of your polonaise cut the tablier, and the front make the ends to hang at the back? The trimming of your front breadth could then be placed over the deep flounce on the back breadth.s.]

CHRYSANTHEMUM would feel obliged if the Editor would give a paper pattern of the little girl's dress, 137 and 138, March number of THE YOUNG ENGLISH WOMAN, and also wishes to know if it would look well made up in print or holland? [Madame Goubaud, 30, Henrietta Street, Covent Garden, supplies these patterns. I do not think the style is too elaborate for print or holland.] This is the first time Chrysanthemum has asked

a favour. She has taken the magazine for a considerable time, and is highly pleased with it.

GERANIUM would feel much obliged to Sylvia if she will answer the following questions-I have a dress same as pattern enclosed, made with two narrow frills round the skirt, and two rows of dark blue velvet 1 inch wide between them, a small panier trimmed round with one row of the velvet and black Maltese lace, jacket body trimmed to match the panier (the body is a little small). What could I do with it to make 'it suitable for a walking dress for the summer, and would it look old-fashioned? I am about twenty,

5

feet 5 inches, rather fair complexion, but with little colour, and dark brown hair. [The silk is unfashionable in colour, and it would look best worn with a tablier and sleeveless bodice of very dark blue material, beige, serge, cashmere-anything but silk. Trim the skirt with the panier, in addition to its own trimming, up the back. Trim the sleeves with the Maltese lace and bands of silk.] Will the long tablier with sash at the back be more worn than the round panier for the summer? [Yes.] I have taken the magazine some years, and like it very much. I hope I have written this properly. [You have.]

EFFIE wishes to know if Sylvia will kindly give a pattern of a sleeveless jacket. As they are so much worn now, she is sure it will be very useful to have a nice easy pattern suitable for braiding. [We will give one very soon. There is one given this month with braid design in THE ENGLISHWOMAN'S DOMESTIC MAGAZINE.]. Should the jacket be cut out and sent to be marked for braiding before it is made up? [Yes, or merely outlined instead of being cut out, as the edges fray.] Have I addressed this rightly? [Yes.]

EMILY would feel greatly obliged to Sylvia if she would give her a little advice with regard to altering and making up a silk dress (pattern enclosed). The dress is not much worn, but is oldfashioned. The length is 1 yard 8 inches, width 1 yard 35 inches; there is a small panier at the back, the depth of which is 19 inches. The skirt is gored, and quite plain. Emily is fair, about 5 feet in height, and has brown hair. Emily does not wish to go to very much expense, and as the dress is to be worn in the summer months, she thinks velveteen would be too heavy to go with it; so would Sylvia kindly recommend a more suitable material? [You have surely made a mistake as to the width. Your dress would look very pretty cut a little shorter, the lower part of the front breadth trimmed with the panier, and worn with tablier, and bodice of muslin with white ground, and pansies or other flowers of the same class of colour. You could wear plain white muslin with it, also grenadine, or some thin woollen material of the same colour, but a different shade, would also look very well.]

PATTIE would feel obliged if Sylvia would kindly inform her how she can alter a grey Japanese silk (nearly new), which should have been walking length, but was made too short in front. It has no polonaise; the skirt is trimmed with the same, and a puff behind. Jacket bodice, also trimmed with same, and black velvet buttons. Pattie is seventeen years old, 5 feet 9 inches, hair rather light. You must add to the length by putting additional material at the top of the front breadth. The basques of the bodice will hide the join.]

DIANA would feel obliged to Sylvia if she could advise her what to do with a white pique dress, trimmed with bands of pique piped with black cambric. It was a very expensive dress, but the first time it was washed, although every care was taken with it, the black ran into the white, and it looked shocking. I have had it washed several times since, but never could wear it, as the dye still comes out. Do you think it advisable to take the pipings out? It will be a tiresome job, as there are so many of them, and all put on with a very fine machine stitch. If you think it best to renew the black cambric, could you direct me where I could buy one that the dye could be warranted not to run? [There is nothing for it but to take the black all off and trim with coloured cambric. If it had been washed carefully the first time, the black would probably not have run.] I have a fine silver grey serge dress, made three years ago, that I should like to make fashionable, if you would kindly tell me how to alter it to the best advantage. It has a very full trained skirt, with a flounce ten inches deep round the bottom, and a band one inch wide, box-pleated, to head the flounce with; a plain bodice, with two points in front, and wide sleeves. I should like to trim it in the tablier style. I could not match the serge, I think, but I have about four yards of black velvet on the cross about four inches wide. I should like the skirt still long. [You can spare a breadth from the skirt to make new sleeves, which you can trim with cuffs made of the old sleeves. Trim the front en tablier with your black velvet, and wear with a black velvet sleeveless basque jacket.]

DORAH would like Sylvia's advice with regard to a very handsome black silk dress with long skirt and polonaise that could be worn with any other dress. I have been in mourning for twelve months for my little son twelve years old, and should like to use the dress. Could Sylvia advise with me how to put crape on it, as it is now trimmed with folds of black velvet, and below that lace, and by laying away would get oldfashioned. My age is forty. Also, would a black silk with lavender figure on it be suitable to wear the second year for a girl of fourteen, and if so, what would do for the shoulders with such a dress? And I should not like to take up more of your valuable magazine than I possibly can, but my daughter has a blue serge with black velvet trimmings. How could that be converted into a dress for mourning? Would it dye well, or could you suggest anything better for a useful school dress? I have taken your magazine in some time, and find it exceedingly useful, especially the Work-room, where there are families. This is my first query, and hope I have not trespassed too much. [It is unusual to wear crape so long, but perhaps you particularly wish it. If so, you could put the folds of crape wherever the folds of velvet are now, heading them with narrow jet beading, if you like. Bands of silk would be quite deep enough mourning at present, and in six months more you could wear the dress without alteration. Figured black silks are not very suitable for young girls, but the dress you describe would be deep enough mourning, and could be worn with a cashmere jacket or fichu, either braided or prettily trimmed. Serge dyes admirably. Nothing could be better for a useful school dress.]

A SUBSCRIBER Would feel greatly obliged if Sylvia would kindly advise her what to do with a black silk dress she has. The skirt is long, with a train, and very good, as it has not been very much worn. The jacket body and tunic are not good, as they have been a great deal worn with other skirts. The body is quite worn done, the tunic not so bad, but it is very soft, and there are many small cuts behind where it is tucked up. A Subscriber has a new plain body, without trimming, which she got to wear with the skirt, and a lace polonaise over it, for dinner. Sleeves of body are cut at the elbow, with a frill. She wants to make a walking dress of it for summer, but does not know how to make it up or trim it. There is a silk fringe round the tunic, which is very good, and some of the same on the old body, which might be of use. A Subscriber is in mourning, but would not like it trimmed with crape. Would Sylvia kindly tell her what would be the way to make it nice for summer? [Cut the skirt to a walking length. Of what you cut off, make coat sleeves, which you can trim with your elbow sleeves. Turn the tunic the best side out. Trim it with your fringe, and bands of silk made from the remainder of what you cut off the skirt, and make it as nearly as possible in its former shape, so that the cuts will not show. If the tunic is worn up the front, lay a band of silk up each side of the front, and place buttons between.]

VIOLET writes-Sylvia must excuse my extreme stupidity in not having explained how my Japanese dress is made. I hope she will answer me in next number. The summer is near, and I should like to have it for that month. It is for a walking dress, and at present the skirt has two flounces scalloped, each about a finger and a half wide; it is rather short, and not gored. I am eighteen years old, 5 feet 3 inches, with fair hair. The basque of my dress is rather full behind, and open down the front. It is such a wretched fit, that I am afraid it will never make anything nice. I hope Sylvia will be able to understand my explanation. What could I do with eight yards of very handsome point lace a finger wide? Is it entirely gone out of fashion for walking dresses? Will jet continue fashionable during the summer? What way could I settle my hair? It is short, and I find it hard to settle a Catogan. [Your dress can be made to fit you by using some silk or velvet of a darker shade down the front of your basque bodice to simulate a vest or waistcoat. Lay the original material over this, and when you have got it to fit you, cut away all that is unnecessary. You will see in many of our back numbers illustrations of the sort of bodice I mean. Your sleeves will have to be slightly trimmed with the darker blue. You can add to the length of your skirt by a join under the basques. Your point lace will trim a dinner or fête dress very handsomely.]

I

ELLA would feel obliged for Sylvia's advice. I have a black silk jacket, half-fitting, bought three years ago, cost 148. a yard, trimmed with passementerie and deep Maltese lace. It is 26 inches in front, 27 inches at back. It is slit up at each side, with two pleats to tuck it up. think it looks old-fashioned. It is very good, being little worn. Could Sylvia kindly suggest some way of altering it to be more fashionable? It has wide sleeves. I am married, of medium height, and inclined to be stout. [Make it into a tight basque bodice. If your wide sleeves will not cut coat sleeves, put on deep false cuffs.]

EMMIE writes Will Sylvia kindly inform me in the May number how to remake two silk dresses (patterns enclosed). Of the violet I have three plain widths, measuring 48 inches, ten gores round body, coat sleeves, and a yard and a quarter of new. [The ten gored breadths ought

to make the skirt wide enough. Of the three plain breadths make a tablier, and you will have enough over, with your new silk, to make a flounce round the skirt, and loops and ends at the back of the waist. Wear with a pretty belt.] The striped I intend turning. It has a trained skirt, plain, round body, coat sleeves, about half a yard of new, a small panier and fichu trimmed with frills of the same, bound each side with satin. I bought a yard and three-quarters of plain silk last summer, and perhaps I can still use it. [The plain silk will make you a sleeveless basque jacket to wear over your round body. Trim the three front breadths of the skirt with small flounces made from the fichu, panier, and trimmings. Wear the back breadths plain, with a sash of handsome brown ribbon.] I am 5 feet 2 inches in height, rather fair, with light brown hair.

M. C. has a black silk dress, made three years ago, with flounces 9 inches wide at the bottom of long skirt, eight widths in skirts, full panier, trimmed round with frills all pinked like the flounce. M. C. has been in mourning six months for a brother-in-law, and is now leaving off crape. How could she have the silk dress turned and altered to look modern and fresh? Will Sylvia kindly suggest in the May number, or if this is too late for May, please answer in the June magazine? 2. Will jackets be worn for middle-aged ladies? [I should trim the three front breadths with the frills of the panier, and make of the latter tunic ends to wear at the back of the waist. Sponged and turned, with this slight alteration, the dress should look quite fresh and fashionable, but you do not say how the body and sleeves are made. 2. Yes.]

ANNIE will be obliged to Sylvia if she will answer the following questions in the May number-Would it be good taste to trim a black grenadine tunic with white lace, for out-of-door wear, over a black silk skirt? Annie thinks it would look more stylish than black lace, as black and white is so fashionable just now. [It would not be good taste.]

EDITH has had a very handsome black satin quilted skirt given to her by her husband, who is rather fond of dress in a woman. Will Sylvia kindly tell her what would look very handsome over it for summer wear? It is quilted threequarters at the sides and back, quite to the waist in front. Could I wear it with that part at the back, as it is only slightly gored. I should prefer something black, as that always looks well, Please answer me in May. [With a little management as to the length, you could wear the front at the back. A black cashmere tablier or polonaise would look very handsome over it.] I beg to say I sent seven stamps to Heather Bell for fern roots last month, but I have not received the roots or the stamps. I found when I had posted my letter that it was November number 1 intended sending to Miss Clyde. Some one must have received the stamps. I am glad I did

not send more.

HILDA has a dress like the enclosed piece or silk, several years old, but quite fresh, having been worn very little. It consists of six breadths 21 inches wide, 50 inches long The body has been full and long. The back piece is 17 inches long, the fronts 20 inches. The sleeves seem to be quite hopeless affairs, being very short and wide. They measure from the top to the bottom at the back 19 inches, and the inside 10 inches. If Sylvia thinks it possible to make such a limited quantity of silk into a dress of respectable appearance, will she please say how it is to be done, and also whether the silk itself would look oldfashioned? A little expense not minded. Hilda is tall, rather stout, and old-looking for twentytwo. [I do not think this can be made into a

complete dress. It would make a tablier and bodice, or would look very well made into a skirt walking length, over which you could wear a tablier and bodice of plain blue. You would have enough silk for two or three flounces on the skirt. The silk will not look old-fashioned if made up in combination with plain blue silk.]

MYRTLE would feel greatly obliged to Sylvia if she will tell her at what age babies should leave off wearing hoods, and what should they then wear? [At three months. Little white hats.] I have a black silk dress. The polonaise is too much worn to do up, but the train is not at all worn. Would you tell me how to trim it so as to look nice. It is a plain long train. My height it feet 5 inches, figure rather slight. I have also a black and white gauze shawl, could I make any use of that? [I should keep the trained skirt as it is, and wear over it a long tablier and ends made of the shawl.] This is the first time I have troubled you, although I have long been a subscriber, but seeing you so kindly help others with your advice, I thought you could also help me. Have I kept to the rules? [Yes]

E. W. N. writes-Seeing how kindly you answer the numerous questions put to you in the magazine, I have ventured to ask you a few. I have a good black silk jacket, have only worn it a very few times, so it is nearly as good as new, and it is made with tight back and loose fronts. Could you suggest some way so that I could have it made to wear this summer either for indoors or out. [Make it into a tight basque jacket.] I want a dress for spring. What sort of one would you advise me to get, and how should it be made? [There is an immense choice of materials, homespun, beige, serge, cashmere, etc. See fashion articles and plates.] I have seen an advertisement in the magazine, Mrs. Judd's book for teaching dressmaking and fitting. Would it enable you to do a little without any lessons? [I have never seen the book, so cannot say.] I suppose when we ask any questions, we have to state appearance, etc. Height about 5 feet, complexion dark, brown hair, rather thin than stout. Also, when we write to you, have we to enclose a stamped directed envelope. Being the first time that I have ventured to write to you, I hardly know how to begin. [We do not require stamp or envelope, unless you expect replics from our correspondents to be forwarded by post.] Is this written in accordance with rules? Have I left enough space for answers? [Rather limited.] Also, would you kindly tell me the proper way, when you do not hear what a person says-is it proper to say, "What do you say?" or, "I beg your pardon?" I have heard some adopt the former, though I use the latter. [The latter generally is perhaps the better.] Also, will fichus be worn this summer? [Yes.]

NELLIE writes-Will black polonaises be worn over coloured skirts this spring, just for a morning? [No.] Can you infer from my letter that I am very deficient in grammar? Being very delicate, my education has been neglected. [I can infer that you are young enough to be able to make up for lost time.] Could you, or any of your correspondents, give me the words of a hymn beginning

"How firm a foundation,

Ye saints of the Lord"?

Have I written this in accordance with rules, being the first time that I have ventured to address you? [Yes.] Also, would you give me the proper address? I did not know scarcely where to send this to, not seeing the Editor's address in the magazine. [See notice at top of previous page.] What will the prevailing colours be for dresses this spring? [Neutral colours.]