No. 512. DRESS FOR LITTLE GIRL OF NINE TO ELEVEN YEARS.

Skirt, tunic, and bodice of striped grey woollen cloth, trimmed with pleatings of a checked pattern, bound on each side with red piping. Echarpe of the same material. Frills and cuffs of pleated muslin.

No. 513. APRON FOR LITTLE GIRLS OF SEVEN TO NINE YEARS OLD.

Apron of black grosgrain silk with half-bodice, trimmed with frills of the same material. The frills should be carefully fringed out about half-an-inch in depth.

Nos. 516, 517. Dress of Ecru Coloured ToiLE DE LAINE.

Skirt, tunic, and bodice of ecru coloured toile de laine. The skirt is slightly trained, and has a deep closely-pleated flounce, graduated in front. Tunic of the same material, very long in front, and open at the back, where it is tied below the pouf with a cord and tassels. Several rows of white braid and a deep fringe complete the trimming of the tunic. The jacket bodice fits closely to the figure, and is trimmed to correspond.

No. 518. DRESS FOR LITTLE GIRLS OF TWO TO FOUR YEARS OLD.

Dress of bright blue poplin, the skirt entirely untrimmed; the bodice trimmed with revers of the same material, vandyked in front, and bound with blue grosgrain silk. On the shoulders, and at the waist, bows of blue grosgrain. The vandykes are edged with deep guipure lace, and a narrower lace is introduced round the neck, and on the sleeves.

No. 519. APRON OF BLACK GROSGRAIN SILK, scalloped round the edge, and finished off with a narrow border of passementerie, and designs in appliqué of black silk.

No. 520. ILLUSTRATION OF OUR CUT-OUT PATTERN. Jacket of black and white striped vigogne, trimmed with black grosgrain silk and guipure lace.

Nos. 521, 522. Two FICHUS.

No. 521.-Fichu of black cashmere, trimmed with black guipure lace, and border of beaded passementerie. Hat of white straw, with grosgrain ribbon and flowers.

No. 522.-Fichu of black Sicilian cloth, trimmed with guipure lace, and a crêpe fringe, and a beaded passementerie border.

Nos. 523, 524. COSTUME OF BLACK GROSGRAIN AND BATISTE ECRU.

Trained skirt of black grosgrain silk, arranged in narrow flounces of the same material. Polonaise of batiste ecru, very long at the back and in front, and open at the sides. The polonaise is prettily trimmed with guipure insertion and fringe of the same shade.

No. 525. EMBROIDERED KNITTING BASKET.

The basket itself consists of an oval piece of fancy straw, eight inches broad and twelve long, with straw handles, embroidered in chain stitch with black wool, and in point russe with red, blue, and black wool. The straw part of the basket is then fitted with side pockets, and with a bag of bright blue cashmere; the latter is drawn up by means of a blue silk cord passed through the hem. Between the side pockets and the bag there is an opening left for the knittingneedles, which is finished off by a narrow hem, drawn up by elastic. The basket is lined with blue cashmere, and a double strip of the same material is introduced beneath the embroidered handle. See Illustration.

Nos. 526, 531. EMBROIDERED NECK REST. The cover of this pretty cushion is of brown satin, quilted in diamonds, and ornamented with two strips of embroidery, 2 inches broad. No. 531 gives the original size of the embroidery, which is executed with berlin wool, and filoselle in cross-stitch. The colours required are maize silk, red, green, black, and white. The cushion is finished off with silk cord and tassels, which are chosen to correspond with the embroidery or the satin ground.

Nos. 527, 528. BABY'S SWATHING BAND.

This band requires a strip of white Java canvas 70 inches long and 6 broad, embroidered in a slanting direction with tatting cotton, in point russe, and edged with button-hole stitch. When the work is so far completed, crochet round the edge as follows: alternately 3 double, I purl of 3 chain, and I double in the first stitch. The band is then tied with white tape.

No. 529. ORNAMENTAL SACHET OF BLUE Satin, lined with scented wadding and cardboard, and ornamented with small white buttons. The sachet is edged with white silk cord, arranged in loops, as shown in our Illustration. Inside the sachet, which is lined with blue satin, ribbons are introduced, through which the laces, handkerchiefs, etc., are passed.

No. 530. FLOWER STAND WITH CHAIN AND HOOK.

The framework of the stand consists of black polished cane, and we give in our supplement of to-day the pattern of the cardboard sides. When the cardboard is cut out it is covered with silk, which has been previously embroidered with purse silk in satin stitch and point-russe. The stand is then fitted with bronze chains and a hook, and when the ferns and flowers are tastefully arranged, and the stand suspended from the ceiling, or before the window, our fair readers will be repaid for their time and trouble.

No. 532. SQUARE FOR COVERLETS, ANTIMACASSARS, ETC., IN RUSSIAN BRAID AND CROCHET. Materials: Ecru coloured Russian braid with single row of loops, and white crochet cotton, medium size. Arrange the braid in a double square, according to Illustration 532, fastening the pieces together with great care. The centre design is crocheted separately as follows: 1st round: *, 15 chain, I slip stitch in the 9th chain stitch, 4 double in the 4 previous stitches, I slip stitch in the next free stitch, repeat 3 times from *, I slip stitch to close. 2nd round: *, 2 double, miss I, I slip stitch, 4 double, †, I double in the loop of 6 stitches made out of the 15 chain, 4 chain, 4 long treble where the double was worked, 3 chain, repeat twice from †, then I double in the same loop, 4 double, miss I, I slip stitch in the 1st slip stitch. taking in all the stitches between, so that only the upper part of the 1st slip stitch remains free, I double, repeat 3 times from *. At the end, I slip stitch, fasten and cut the thread. This completes the central figure. Then for the 4 sides of the square, with 18 loops on each side of the braid, proceed as follows: 3rd round: *, I treble in the 2nd loop, 15 times alternately I chain, I treble in the next loop, then I chain, I treble in the next loop (the upper parts not yet drawn up), I treble in the next loop, the upper parts to be drawn up together with those of the last treble, I chain, repeat from * 3 times, I slip stitch to close. round 5 chain, the first 3 to form I treble, 3 times alternately, miss 2, I treble, 2 chain, *, then miss 2, I treble, 15 chain, joining the 6th and 11th to the central figure, as shown in the Illustration, I double in the last treble, I chain, 4 times alternately miss 2, I treble, 2 chain, miss 2, I treble (not drawn up), miss 5, I treble, the upper parts to be drawn up with the last treble, twice alternately 2 chain, miss 2, I treble, then 18 chain, join to the centre figure (see Illustration), then I double in the last treble, 2 chain, twice alternately

4th

miss 2, I treble, 2 chain, repeat twice from *, then miss 2, 1 treble, 15 chain, joining the 6th and 11th to the centre figure; I double in the last treble, I chain, 4 times alternately miss 2, I treble, I chain, then miss 2, I treble (not drawn up), I slip-stitch in the 3 chain that formed 1 treble, 6 slip stitch, 18 chain, joining the 8th to the 2 upper parts of the last treble but 2, and the 13th to the centre figure, I slip stitch in the last slip stitch. Then follow the little corner squares with 3 loops on each side: I treble, *, I chain, I treble (not drawn up), I treble, the upper parts to be drawn up with the last treble, I chain, I treble, repeat 3 times from *. Fasten, and cut the thread. Then follow the oblong spaces with 18 loops on each side, I treble in the 2nd loop of the long side, I chain, †, I treble, 2 chain, I purl of 5 chain and I double in the 1st stitch, 3 chain, I purl, I chain, I double in the 1st of the 2 chain, twice alternately I treble, I chain, repeat 4 times from †, then I treble (not drawn up), I treble in the next loop to be drawn up with the last, I chain, I treble, I chain, I treble (not drawn up), I treble drawn up with the last, 16 times alternately I chain, I treble, joining the 3rd, 6th, 9th, 12th, and 15th to the centre of the 3 chain between the opposite purls, then I chain, I treble (not drawn up), I treble to be drawn up with the last, I chain, I treble, I chain, I treble (not drawn up), I treble to be drawn up with the last, I chain, I slip stitch in the 1st treble. Fasten, and cut the thread. The outside of the square is finished off with a row as follows: alternately I treble, I chain, but at each corner of the square 3 treble separated by I chain between each are required to prevent the work from being too tight.

No. 533. CROCHET EDGING FOR UNDER-LINEN. Commence with 8 chain, join, and form a circle. 2nd row: 12 double. 3rd row: 3 chain, and work 4,treble on the chain, 6 of these are made, and the outer border is chain stitches with picots.

No. 534. LACE FOR WASHING MATERIALS, UNDERLINEN, ETC. CROCHET.

Along a foundation-chain of the requisite length crochet as follows: 1st row: *, I treble, I chain, I purl of 5 chain, and I slip stitch in the first stitch, I chain, I treble where the last was worked, 7 chain, miss 8, repeat from *. 2nd row: *, I treble in the centre of the 7 chain, I chain, I purl, I chain, I treble where the last was worked, 7 chain, repeat from *. 3rd row: *, I treble in the centre of the 7 chain, I chain, I purl, I chain, I treble where the last was worked, 3 chain, 3 purl, I double in the third chain stitch before the purls, 3 chain, repeat from *. 4th row: *, I double in the centre of the centre purl, I chain, I purl downwards (take out the needle from the stitch, put it in the first of the 5 chain, and pull the stitch through), I chain, I purl, II chain, I double in the 5th of the II purl, then in the loop of chain † I double, 3 chain, 3 treble, 3 chain, repeat 3 times from †, then I double in the same loop, I double in the 4th of the 11th chain, 3 chain, I purl, 2 chain, I double in the centre stitch of the centre purl, I chain, I purl, I chain, I purl, 5 chain, I purl, 2 chain, repeat from *. 5th row: *, I treble in the first of the 3 chain after the 3 treble, I chain, 3 purl, I treble in the third

of the chain stitches before the next 3 treble, I chain, 3 purl, I chain, I treble in the first stitch after the next 3 treble, 3 purl, I chain, I treble in the chain stitch before the next 3 treble, I chain, I purl, I chain, I double in the centre of the 5 chain between 2 purl, I purl, I chain, repeat from *.

Nos. 535, 537. PURSE CROCHET,

We recommend this pretty purse to our fair readers, especially on account of its excellent fastening. It is not sufficient to push aside the rings, as in ordinary purses of the kind, one must be initiated into the secret of its fastening, which is quite new. Materials required: blue purse silk, steel rings, and steel beads. The centre part of the purse consists of a strip of crochet 6 inches long, worked in treble stitch, and crocheted on to the end pieces, each of which has a pocket which is so arranged that it can only be opened and shut by means of the centre strip of treble stitch. For these two pockets make a chain of 83 stitches. and in connection with it crochet a double chain of 88 stitches, as follows: 2 chain, pass the needle downwards through the left side of the first stitch, put the silk round the needle, and draw it through, twist the silk once more round the needle, and draw it through the two loops already on the needle, *, draw the thread through the left part of the last stitch, twist the silk round the needle, draw it through both stitches, and repeat from. The pocket at the other end is made like the first one, and the thread is fastened and cut off. For the first pocket fasten on a new thread, and crochet I treble, then alternately I chain, miss I, I treble, repeat 41 times, joining between the 7th and 8th trebles of the centre strip, so that it hangs out on the right side (see Illustration 535), and forms a loop. This forms the beginning of the pocket, and of the flap. Of course there must be room enough between the two treble stitches for the strip to move freely. Then crochet for the 2nd strip of the centre part a double chain as before, and for the pocket at the other end 42 treble, with I chain between each in the 83 stitches of the single chain foundation, joining as before described between the 35th and 36th stitches, consulting carefully Illustration 537. Fasten off the thread, and cut it close to the work. Then follow 17 rows like the above, joining as required by the Illustration. A row of double crochet is added to strengthen the lower parts of the work. Two steel rings are then passed over the work, and a fringe of steel beads is added to the pockets and flaps, as shown in Illustration.

No. 536. EMBROIDERED CRAVAT END.

Trace the design carefully on tracing paper, over which place a layer of mull muslin and fine Brussels net. Go over the outline in the usual way, work the Venetian bars and embroider the outlines in overcast stitch. Cut away the net and muslin according to the Illustration, and put in the lace stitches, and finish with button-hole stitch round the edge.

No. 538. LAMBREQUIN DARNING ON NETTING. This effective design is embroidered on a ground of straight netting with cotton or strong thread in point de toile.

ONE

NE is fain to congratulate the Messrs. Gatti upon their confidence in the excellence of their wares when they commence their series of Promenade Concerts in such intensely hot weather as that through which we have just been passing. A Promenade Concert at Covent Garden is not, at any time, precisely the place where one would expect to find a cool temperature; in a season like the present the heat becomes almost unbearable. Still, in spite of the heat, vast crowds every night avail themselves of the opportunity afforded them by Messrs. Gatti of hearing a popular selection of good music by the best artists at popular prices. This, we take it, is the "platform" of the spirited entrepreneurs, who have now commenced their second series of these concerts. That the public is to be educated, by means of them, to an appreciation of the higher developments of musical composition is, evidently, in no way their object or their intention. No pains have been spared to get together a splendid band, half of the performers in which take high rank as soloists upon their respective instruments, and to whom the execution of the most abstruse music ever written would be little more than child's play; and, in addition to these, there is a special phalanx of soloists, including the famous Wilhelmj, and the almost equally famous Mdme. Norman Neruda, Signor Alfonso Rendano, the pianist, and Herr Jules de Swart, the violoncellist; to say nothing of the vocalists, among whom the most prominent are Miss Edith Wynne, Mdlles. Bianchi and Cristino, and Signor Fabrini, who, by the way, would be all the more acceptable if he would drop the stupid fashion of Italianising the respectable English name he is warranted to bear. At the present time these are the only concerts going on in London.

Both at the Crystal Palace and at the Alexandra Palace there is a temporary cessation of musical performances, and outdoor fetes combined with varied indoor attractions are the order of the day.

The English opera season, which has just been commenced at the Gaiety, under the auspices of Madame Blanche Cole, will, doubtless, gain in popularity as the heat of the weather decreases. In addition to the directress, who is a host in herself, there is a thoroughly good working company, comprising Mr. George Perren, Mr. Ledwidge, Mr. Nordblom, Mr. and Mrs. Aynsley Cook, Miss Annie Sinclair, and Miss Lucy Franklain. operas which have been given up to the present date are Wallace's "Lurline" and " Maritana," and Balfe's" Bohemian Girl."

The

The performance of the perennial "Fille de Madame Angot," at the Opera Comique, has no feature about it which calls for especial notice beyond the capital acting

of Madame Pauline Rita, as Clairette. The part of Mdlle. Lange falls to Mdlle. Cornelie d'Anka, who has often had occasion to prove herself a sufficiently acceptable representation of it.

At the Olympic, the well-known and ever popular "Ticket of Leave" has been revived, and has met with very deserved success. In spite of all its manifold absurdities, the play must always prove an attractive one. The characters are strongly, if somewhat roughly drawn ; the story is clearly and intelligibly told; it abounds in striking and dramatic situations, and is full of variety. Virtue is rewarded, and vice is satisfactorily, if somewhat tardily, laid by the heels and punished, after, the most orthodox fashion, while the sympathies of the spectators are always enlisted upon the side of right and justice. In addition to this the play has the advantage of being very well cast, not so well in all respects as when it was first played at this theatre, some twelve years ago, some few of the most important parts being held by their original representatives. Foremost among them is Mr. Henry Neville himself, whose impersonation of the goodnatured, easily-led Bob Brierley, is as fine as ever it was. Frequent acting of the part has not misled Mr. Neville, as it so often does other actors, into an exaggeration either of the distinctive features of his impersonation, or the various points for which he must have learnt to look for a burst of applause, as a thing of course. Then there is Mrs. Stephens, a simply unapproachable Mrs. Willoughby, though she has been somewhat spoiled by her past success in the part, and introduces a number of weak jokes and "Malapropisms," which are utterly out of harmony with the part as originally written. Still there is so much that is good, that one can afford to put up with a large amount of "gag." Mr. Soutar retains his original part of Green Jones, and his lively little wife is the representative of the young scapegrace, Sam Willoughby. The other actors are new to their parts, at least at the Olympic, and the best of them is Miss Fowler, who makes by far the best May Edwards we have seen. This lady's advance in her profession is something upon which she may most deservedly be congratulated, it seems but the other day when she was only a clever and bustling burlesque actress, and now she has come well to the front as one of the best actresses we have in modern domestic drama. The part of the Tiger, which Mr. Atkins used to play with such remarkable force, is now assigned to Mr. Anson, whose performance of it is thoroughly good-if not altogether equal. The Tiger, as Jem Downey in the first act, or in his true colours in the last, is a better impersonation than the Tiger "in his city get up." Mr. Joseph Eldred is a fairly good Melter Moss,