looking down with a dejected air. "Adieu, hasten away-I shall stay here a little longer."

For a moment Madame de Tremont was cast down by this answer; but, as usual, her courage soon returned. Besides, what worse could happen? and was she not condemned?

So she picked up a bit of charcoal from among the ashes of a fireless chimney, and, having no paper, wrote upon her handkerchief:-"I am the Marchioness de Tremont, the queen's friend, and I wish to see you."

"Here, my girl," said she then to Theresa, as she gave her the handkerchief carefully folded, so as not to efface the writing, " carry this quick to the citizen, and you will see that he will consent to see me."

The young woman hesitated a moment, but on seeing the air of authority that had spread over the features of her companion she durst not refuse, and again left her to execute the commission.

She returned in a few moments. "Make haste up," she said; "the citizen expects company, and has only a moment to give you."

Madame de Tremont did not wait to be told twice, but instantly followed her generous con ductress.

They went to the queen's private apartments, and Theresa opened a low door through which the marchioness passed, and immediately found herself in the presence of the person she sought. Theresa retired.

"Well, citizen Giraud, what do you want?" said Robespierre to the marchioness, with a sardonic smile..

"I want justice, sir," answered she fearlessly. On hearing these bold words Robespierre threw himself back in his chair, and shut his eyes as if he wanted to sleep.

66

Say on," said he; "I hear you."

The marchioness was again undecided for a moment as she looked on that vulgar, illfavoured countenance, incapable, as she thought, of expressing a good feeling or a generous sentiment. There was something of the cat and the tiger in the man, which made the Marchioness of Créquy humorously remark that in his gallantries he resembled a cat that had been drinking vinegar. Then the hypocrisy of treating her like a woman of the lower orders, well knowing who she was, for he affected to call her mother Giraud, leaving her standing before him -all this embarrassed and confused her. But, raising her eyes to heaven, she prayed God to protect her, and dissembling her apprehensions under an exterior of firmness and energy

"You know, sir, that I am the Marchioness of Tremont," said she, "and I will tell you what brings me into your presence."

Robespierre did not even stir. Then Mme. de Tremont continued:

"I might have emigrated, as many of my friends have; but two motives withheld methe desire to save the property of my children, and the illness of one of them, whom it was impossible to take with me. I am a widow, sir; I am therefore my own mistress and have abandoned my rank to save us all. A little shop was on sale, I bought it; the deed of sale is perfectly valid, as you may ascertain if you doubt my words; and far from my family, dead to the world, to politics, and to all the past, I live only for my children, and conscientiously discharge the new duties I have taken upon myself. I have been this day apprised that my name is on the list of suspected persons, and I resolved to see you and ask for justice. Shall I obtain it? It is for you to say. But before you speak, reflect well that it is a sentence of life or death that you are about to pronounce."

As she uttered these words, the marchioness drew herself up calm and dignified before the man who was about to decide her fate.

Robespierre remained a few moments motionless, and then appeared to awake from a deep sleep.

"What! are you still here, mother Giraud ?" said he, rubbing his eyes. "Well. then, measure me for a pair of speckled stockings, which I must have; but mind you are quick, for you know I don't like to wait."

And as he said this, the proud tribune held out his thin lean leg to the noble marchioness, who, quite astonished, knelt down before him, and took the measure for the stockings required.

At this very moment several Conventionals came into the room.

"Here," said he, with one of those smile peculiar to himself, "here is a worthy citizen who makes the best stockings in the world. I advise you to give her your custom. She lives in the Rue des Marmousets, at the sign of the 'Two Pigeons'."

Then, with a familiar gesture, he dismissed the marchioness, who neither that day nor after was ever disturbed by the revolutionary tribunal, so that she succeded not only in bringing up her children, but also in saving their fortune.

branches. Insert at the points of these branches eight pins; these pins are meant to fasten the windings of the cotton, and ornament the star in the centre with a coloured wafer or point russe embroidery pattern.

THE CIRCLE.

The Beading.-Commence with 9 chain, turn, miss the last 6 chain, and work 1 plain in the 3rd stitch of the chain; then 1 chain, miss 1, and 1 treble in the 1st chain stitch; turn back, that is, on the wrong side. Make 6 chain, and work 1 treble on the top of the last treble stitch; 1 chain, miss 1, and 1 treble on the plain stitch; turn back. Make 6 chain, and work 1 plain on the treble stitch; then 1 chain, miss 1, and 1 treble on the next treble stitch. Repeat from until 9 points are made, counting both sides of the beading; turn back, and for the Small Star -Make 12 chain, turn, miss the last 5, and work 1 single in the 7th stitch of the 12 chain to form a round loop; turn so as to cross the chain, and in the round loop work 2 plain; then 5 chain, and 2 plain four times more; make 2 chain, and on the 6 chain left miss 2, and work 1 single; then 3 chain, and on the beading work 1 treble on the last treble stitch; 1 chain, miss 1,1 treble; turn back. Make 6 chain, work 1 plain on the treble stitch; 1 chain, miss 1, 1 treble; turn back; then 3 chain, join to the next 5 chain of the star; 3 chain, 1 treble on the treble stitch; 1 chain, miss 1, and 1 treble. Repeat from 3 times more; then fasten off, leaving an end of cotton, and when the circle is finished use it to join the first and last row together. Always take both edges of the previous stitches. The work should be tight.

The Centre Star.-Commence with 6 chain, and work 1 single in the 1st stitch to make it round. 1st round. Work 2 plain, both in a chain stitch of the foundation round, 6 times, then 1 single. 2nd. For the 1st division, make 12 chain, take the beading and join to the first point of it; and on the 12 chain, miss 1, 1 plain, 1 treble, 4 long, 2 treble, 1 plain, 2 single, and on the 1st round, 1 single in the same stitch as the last, and 1 single in the next stitch.

2nd division. Make 11 chain, miss the last 4 chain, and work 1 single to form a dot; then 4 chain, join to the next point but one of the beading; make 9 chain, miss the last 4, and work 1 single; then 6 chain, and on the 1st round, 1 single in the same stitch as the last, then 1 single.

3rd. Work as the 1st division, joining to the next point but one of the beading.

off.

Repeat these 3 divisions 3 times more. Fasten
Work 15 circles more the same.

THE BANDS OF INSERTION.

Commence with 5 chain, turn, miss the last 3 chain, and work 2 treble stitches both in the 2nd chain stitch; then 4 chain, and work 2 treble both in the 1st stitch of these 4 chain, which forms two small divisions. *Make 10 chain, miss the last 3, and work 2 treble both in the 7th stitch of these 10 chain, then 1 plain between the two divisions; 4 chain, 2 treble in the 1st stitch of them; work an extra long stitch on the 1st stitch of the foundation chain. Make 11 chain, join to the last stitch of the 6 chain to the right, miss 1, and 1 single on the 11 chain, leaving 9 chain. Make 10 chain, and work 2 plain in the centre of the 9 chain; then 4 chain, and 1 extra long on the last long stitch. Make 5 chain, miss the last 3, and work 2 treble in the 2nd stitch; 4 chain, miss 3, and 2 treble in the 1st stitch of the 4 chain; then 2 chain, join to the 6th stitch of the 10 chain to the right, miss 1, and 1 single on the 2 chain. Repeat from until four small crosses are made, and fasten off. Repeat these bands of insertion.

The squares.-Commence with 7 chain, work single, on the 1st stitch; and in this foundation round work 8 chain and 1 plain, then 11 chain and 1 plain, alternately for 8 loops. Fasten off, and repeat.

THE BORDER.

LEAVES

THE PEAR TREE.

(Translated from the German.)

Old Rupert sat, at the close of day, in the shade of a beautiful pear tree which stood before his house, while his gradson ate of the pears, and could not cease praising the sweet fruit.

Then said the grandfather-"I must tell you how this tree came here. One evening, more than fifty years ago, I stood here, when there was empty space, but where now this pear tree stands, and complained to a rich neighbour of my poverty. Oh,' said I, 'how perfectly contented should I be if I could only possess one hundred dollars-'

·

"The neighbour, who was a wise man, said That you can easily do, if you only set about it. See,' said he, there in the soil where you stand are more than forty pounds, if you can only get them.'

"At that time I was only a foolish young

man, and so on the following night I dug in th ground on that spot, and to my great mortifi cation found not a single shilling. In the morning, the neighbour saw where I had been digging, and laughed heartily at my simplicity.

"I see,' said he, that you did not understand me. I will send you a young pear tree; set that in the hole which you have dug, and after a year the pounds will begin to appear.'

"I set out the young tree. It grew, and became what you now see it. The luscious fruit which it has borne year after year has brought me in far more than fifty pounds, and it is yet a capital which yearly brings in a good interest.

THE EASTER NOVELTIES.

Verily the ways of theatres are devious and sometimes past understanding; while houses with really good plays lately produced appear to languish, at any rate not to be too well attended, other houses with bad and meretricious plays are crammed with large audiences. The "Frou-Frous" at the ST. JAMES's and OLYMPIC theatres are followed by playgoers whose vitiated tastes can only be sated by the hectic drama of the "Gymnase" and other Parisian theatres; a kind of drama which perpetually deals with the frailties of the sex, and which frailties we believe to be more common as mere stage vices than as actual vices in French society. But "Frou-Frou," take which version you like of the French Jezebel's career, is as a drama more tantalizing than satisfactory. The unfaithful wife of the aged Pandarus, who is her husband, is too frivolous at first and too hypocritically repentant at last to prove worthy either of our admiration or our sympathy. It is Frou-Frou's fine dresses and not herself that are admired. Worth and Alexandrine have exhausted the resources of their art in attiring their model Parisian lady of fashion. Her wardrobe is magnificent at the St. James's

theatre, where Mrs. John Wood's liberality as the directress has spared no cost in providing the robes of her Frou-Frou, so elegantly played by a real French actress, viz., Mdlle. Beatrice. The "Frou-Frou" of the Olympic, played by Miss Plessy Mordaunt, is also elegantly dressed, and like Deselee, the original σε FrouFrou" at the Gymnase, a butterfly of the most variegated hues; but the latter is the more agreeable character, since when she becomes penitent she does not so readily descend to 66 sackcloth and ashes." Such are the two "Frou-Frous" imported on to the English stage. The rustle of their dresses is with a difference; Mdlle. Beatrice is robed with the most splendour, Miss Plessy Mordaunt, perhaps it may be considered, with the most elegance. However, we think a drama dependant only upon externals, being weak and antithetic in itself, is too unsubstantial a creation to permanently occupy our stage.

'Frou-Frou," it appears, is a diminutive or term of endearment drawn from the mantuamakers' vocabulary, to be applied to a fine lady, and signifies the rustle of a silk dress. We will give another signification-Frou in French is a whistle, or call-bird.

Our visit to Miss Oliver's well-managed theatre, the ROYALTY, to witness a new and original petite comedy by Mr. Madeson Morton, entitled "Little Mother;" produced about the same time as the objectionable French piece above animadverted upon, was, as it happened, well-timed; it enabled us to contrast a healthy with an unhealthy style of drama. After inhaling the exotic air of the conservatory, laden with the breath of forced camellias, it is refreshing to breathe the pure air of nature. We found in the comedietta of "Little Mother" a moral commentary on the unchaste "FrouFrou." Mr. Morton makes his little heroine a young milliner, who is engaged to the son of a gentleman, Spartan-like in her respect for the proprieties. In this virtuous sentiment she is well supported by her rustic eister, who comes up to London from Devonshire to rescue her, as events fall out, from an equivocal position. Against all the arts of the seducer the "Little Mother" (or sister) shows herself armed even prematurely; since in reality there is no seducer to expose, although "Little Mother" is so vigilant a guardian of her sister's honour that she fancies one in every young fellow she meets. Miss Oliver plays Little Mother with all that simplicity and ease required for the part, and Miss Bishop carefully represents the young milliner, whose cares arise from her fears that she will be cast off by the gentleman who has fixed his affections upon her, and who she loves. There is a country bumpkin's part in the piece played with much humour by that excellent comedian Danvers. We regret that the able management of this house by Miss Oliver came to a close last week.

The GAIETY has entirely changed its programme for the Easter holidays, and now rejoices in an excellent after-piece, viz., Offenbach's latest and most popular opera-bouffé of "The Princess of Trebizonde." The piece has been produced with magnificent mountings and with a strong caste, including Mr. J. L. Toole, Miss E. Farren, Miss Loseby, Miss Hughes, Miss Tremaine, Mr. Soutar, &c., and an additional operatic company. The first piece here has been for some nights, "A Lucky Friday," a little comedy in which Mr. Alfred Wigan plays so admirably.

Yet another theatre is established in the Strand, close to the Gaiety and closer to the Adelphi. The VAUDEVILLE theatre (the name of which is pronounced with the oddest variation by the audiences), will no doubt occupy the place it seems to have been designed to fill, a house for the lighter forms of the drama and operatic music. The new theatre opened on the 16th ultimo, when the curtains were withdrawn for the first time on the representation of a new comedy by Mr. Andrew Halliday, entitled "For Love or Money." Mr. H. J. Montague, a rising young actor and one of the lessees, played excellently well the principal character in the piece, that of a city clerk newly married, and trying to live genteelly at Camden-town on £300 a year. The young married couple are

rendered rather uneasy by their quiet but respectable mode of life, being practically placed in invidious contrast with the style in which " "the Skimmingtons," their relations, live at £5,000 a year. "Can any good come out of Camden town" is the question it is the business of the play to solve. The result shows that it can, and the moral is that the city clerk and his wife are happier than the parvenu Skimmingtons with their May Fair aspirations but concealed misfortunes. The best acting in the piece after Mr. Montague's City Clerk, is the Major Buncombe of Mr. George Honey, the gay young widow of Miss Ada Cavendish, and the affectionate little wife of Miss Amy Fawsitt. But the texture of Mr. Halliday's present work is not so sound as that we observed in several of his comediettas produced at the Royalty. The second novelty at the new Vaudeville is a burlesque of an exceedingly amusing description, entitled "Don Carlos; or, the Infante in Arms." The personal attractions and splendid mountings of the piece at once secured for it approbation; and the "horse-play," resorted to with so much success at the Strand, found perhaps quite as many applauders at the rival establishment; although it is not certainly everyone who can laugh at the childish extravagance of a "bullfight" carried out with the old-fashioned pantomime agencies. But notwithstanding our own sedate objection, it must be said that the "bullfight" extravagance finds an applauding public at no less than three theatres at the present moment. The Vaudeville is a small but pretty house; the decorations are in the romanesque style. The stage and machinery are built upon the newest principles, and the lighting of the stage is effected by a novel mechanism, which does away with the old footlights; that is to say, keeps them entirely out of sight. Mr. C. J. Phipps is the architect. We wish Messrs. H. J. Montague and Company every success with their spirited venture.

The HOLBORN theatre, lately tenanted by Mr. Barry Sullivan, has reopened under new management with a new drama written by Mr. George Roberts, and entitled "Behind the Curtain." The subject scems to have been suggested by "The First Night," the piece in which Mr. Alfred Wigan, plays so finely the part of the French "professional" Dufaur, who brings out his daughter as an actress, with an address and solicitude of the most pathetic nature. "Behind the Curtain" is an elaboration of this idea, just as "The Prompter's Box" at the Adelphi is also a dramatic version of "The First Night." The Holborn novelty has proved a thorough success, and the sensational scene of the "burning of a theatre" is witnessed with great interest and curiosity. The acting is very good. Miss Wingfield, from the Theatre-royal Dublin, who enacts the interesting part of the clown's daughter, Polly Scott, imparts the character of the young actress with much animation and affecting earnestness. Mr. J. C. Cowper, who enacts the part of John Bolton, a thoroughpaced scoundrel, played in the highest form of