work, 2 chain, miss one double crochet, work 7 consecutive double crochet, 3 double crochet in the centre stitch of three double crochet at the top, 7 more consecutive double crochet, all this taking up the one back thread of the stitches that the work may sit in ridges, and, working firmly, miss the end stitch; repeat from * six times; and one leaf will be fashioned; fasten off. Make two more similar leaves and sew the three in a group, placing the sides of two leaves together, and the third leaf below between the two top leaves. Then for the mid-rib, bring the cotton to the front by the tip of the leaf at the bottom of the spray, do 12 chain, 1 single crochet in the top of the same leaf, 8 or 10 chain, and 1 single crochet at the top of the two upper leaves. where they are sewn together, 12 chain, 1 single crochet where two roses are joined together, 10 chain, and 1 single crochet in the foundation chain of the heading above, and fasten off, securing the end neatly; rib the other leaves similarly, bring up the cotton by the tip of the leaf to the right of the spray, 12 chain, 1 single crochet in the place where the two leaves are joined and where the centre mid-rib is already affixed, 12 chain, 1 single crochet by the tip of the leaf to the left of the spray, and fasten off, and secure the ends. The other sprays of leaves are worked in the same way.

A very handsome portiere for a summer parlor may be made of creamwhite cotton-canvas by painting on it a frieze design in shades of yellow, outlining the design with liquid gold. Or the design may be painted in outline between two bands of color, and then all the spaces outside of the design painted in liquid gold, throwing up the design in the creamwhite of the canvas. A water lily design, showing each blossom set against the disk of a lily pad, will be very pleasing. The lily pads and stems may be painted in golden green, leaving the lily in white against its green leaf or pad. Or the pads and stems may be in gold, throwing out the blossom in white. Any other color may be chosen for the design, as this treatment is entirely conventional, and therefore nature is not followed.

WATERCOLOR DRAWING ON WOOD.

The art of watercolor drawing on wood is a delightful amusement for ladies. The tools are simple and inexpensive. Half a dozen brushes of different sizes, three sable brushes of different sizes, an H. B. pencil, a bottle of India ink, half a dozen Gillott's artist pens (303), some tracing and transfer paper, a bottle of Chinese white and a pan or tube of sepia will be found ample for the beginner. Articles to be decorated can be bought at any of the artists' material stores in plain woods, the same that are used for pyrography, comprising stools, tables, frames, bon-bon boxes, trays, basins, etc. Hard, plain woods should be chosen, without any ornamental grain.

The harder the wood the less possibility of color running. The best surfaces are white maple, boxwood, and holly. A little practice will enable a correct judgment of the most

suitable woods, yet with care any plain wood surface will answer the purpose.

The design is first drawn in outline with the H. B. pencil on the tracing paper, then transferred to the wood. Do not press hard enough when tracing to injure the surface of the wood which must not be polished. The spaces left light are first filled in. Take some of the Chinese white and rub it smooth; add a little water if required. It should be worked pretty stiff. Go over the parts and lay on the white as smoothly and evenly as possible. The black portions of the design are next treated in the same manner with the India ink, while the shaded part of the design is tinted with the sepia. When thoroughly dry the pencil lines are gone over with the pen and India ink. Should the colors not have been laid even, it will be necessary to go over them a second time before the outlining is done because these fine lines give a decisiveness and finish that is not otherwise attainable.

The foregoing is the simple method. Other colors, gold and bronzes may be used. This work does not necessarily involve acquaintance with the higher principles of art, and accordingly success may be attained with natural ability, joined to perseverance and patience. patience. The last part of the work remains-the polishing of the surface that has been colored. This may be done with lacquer. Take two ounces of white shellac and dissolve it in one pint of 95 per cent alcohol. Put this in a warm place and frequently shake it, allowing the liquid to settle for twenty-four hours. Then decant the clear liquid. This should be kept in a dark place or put into a dark bottle as the light discolors it. Apply the liquid lightly with wide camel's-hair brush several times, allowing a few minutes for each coat to dry. This will be found a beautiful varnish for colors and metallic lusters. Ordinary work may be wax finished. Put 2 ounces of ordinary beeswax into a pint of turpentine. As soon as dissolved it is ready for use. Apply as above, and when almost dry polish with a medium stiff brush.

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AN EASEL WORKSTAND.

The easel is formed by stringing spools on heavy wire, and stands three feet high. It is made in the form of the illustration given. If carefully made it will be very strong. I put a little good glue on the ends of the spools as I string them, thus making it quite firm. (I pride myself in making what I do make as strong as a man would.) The easel when finished was gilded, taking about half a package of diamond gilt powder to it. I then procured a round Japanese basket that would just fit between the sides of the easel and rest upon the lower cross piece. Upon the opposite sides of the basket long hairpins were thrust, and thus were firmly twisted around the sides of the easel. The basket had been lined before it was placed in position. It was then tilted a little forward, and a two-inch peacock blue satin ribbon tied around the outside of the basket (this concealed the twisted hairpins), and the ends were tied in a handsome bow upon one side.

VOL. VI.

No. 5.

By night the Winter came out of the North, And went through the sleeping land:

All wrapped in shroud

Of the dun, gray cloud,
Over forest and fell,

Over field and hill

(The wind was asleep, and his step was still), Went he like a sower, and scattered forth The snow from his spectral hand.

It fell like a dream

Over meadow and stream,
Along the ways of the woodland glen,
Above the homes of sleeping men,
By the gray rocks on the ocean shore
Where Mystery sleepeth evermore,
On the broad highway, on the footpath small,
Fell the eddying whiteness enwrapping all.

Then the sun looked over the white world's rim,

And peered through the aisles of the woodland dim;

The forest and fell, The field and the dell.

The broad highway, and the footpath small,

The sun looked forth and beheld them all.

Then every deed of the vanished night
Lay plain to the eye of the risen light, -
Its story writ in the telltale snow.
The hillside fox that had prowled below,
The hungry wolf that had torn his prey,
The strange, wild creatures that shun the day,
The skulking thief with his booty fled,
Palę murder chased by fear of the dead;

The homeless turned from the rich man's door,
The mercy that sought out the shivering poor,
Each left his track where his foot did fall:-
The Night remembered and told it all.

So, sooner or later, each hidden deed,
Wrought in a darkness where none can read,
But leaving its track on the Ways of Time,
Shall stand confessed; for a Light sublime
Will arise at last, when the night is done,
And Truth will shine as another sun.

For the elements all are in league with Right,
And they serve her cause with a tireless might;
The Earth is the Lord's, and whatever befall,
Will mark, will remember, will publish all.

-Rev. W. H. Savage in the Arena.

for we must not only possess the necessary qualifications to conceive an idea, and the capacity to form it into some tangible shape, but we must have the ingenuity to put it into practical operation, and the power of will necessary to force it to success.

All knowledge must be organized into faculty before it can be wielded as a weapon; vital ideas and purposes have their beginning in sentiment; this is the living principle, the soul of thought, determining the direction and constituting the force of faculties. It takes the form of intelligence in productive ideas and the form of organization in character, and at the end, intellect and will kindled in one blaze, united in the same individuality, break out in one purpose. The person is then a living soul, there being no flaws in the various parts of his nature, but a vital unity in which intellect seems to have the power of will and will the foresight of intellect. There is no hesitation here in the pursuit of a lofty aim because the elevation, being the elevation of nature,

is established on the sound basis of character. One thus possessed realizes that not failure but low aim is crime, and, though he may be met by disappointments and obstacles of every kind, his energies are indeed sharpened by the opposition; he has found that defeat is but the first step to something better, and so beyond the bright spot of his hopes is shining clear to the inner eye of his mind, tempting, enticing, urging him on through all difficulties by the sweet attractive force of its visionary charm. This life of the soul is the swift ascending instinct of the spirit to spiritual ideas and laws, a complete resignation of self to something it values more than self, and it is this that shows the true element in one's nature-that indicates an ideal standard of conduct.

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It is not measured entirely by intellect, for the reach of our thoughts depends on the pressure of the will; thus, while the desire and necessity of the age in which live is education, or that culture which enlarges and enriches each individual intelligence according to its capacity for becoming familiar with the facts and laws of nature and human life, yet no education can make us a positive force in the world. There is no escape from slavery but in the radical power of self; all solid intellectual culture is simply the right development of individuality. We build up our natures in time though our origin and being are in eternity. All the objects of sense and thought exist outside of the essential personality; but, bound up in that being, are sympathies and capacities which connect him with external objects and render it possible to convey their inner spirit and substance into his own personal life. The result of this assimilation is character which converts unconscious things into self-conscious men, and it is from this doctrine of the mind's growth that success in all the departments of life over

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which intellect holds dominion, depends, not merely on the outside knowledge connected with each department. a man from any profession and we find that the principles of his calling are inwrought into the substance of his nature; he has laid a good foundation and knows that there is no act, however trivial, but has its trail of consequences. He feels that to perform well that duty which lies before him in daily life is the highest wisdom, and, commonplace though it may appear, this accomplishing of one's duty, embodies the highest ideal of life and character. Such a one can feel himself growing stronger day by day: soon the presence and pressure of his whole nature in each act will keep his opinions on the level of the good solid character he has formed. We remark in men of this kind no distinction between power of intellect and power of will but an indissoluble union of force and insight, because facts and laws have become so blended with their personal being. They may exhibit no striking individual traits and yet be none the less potent individualities.

Indeed, in the highest efforts of action, where the person is mightiest and amazes us by the giant leaps of his intuition, the mere peculiarities of his character are unseen. His caprices are burnt away by the fire of his genius. These, though they may sometimes cause despair, rather than encourage, still simplify and emphasize the principles of all mental growth and production, for this power they possess of having their thought radiated from them as acts, is by no means accidental. The progress is from film to form, and it is only when any individual has reached his full mental stature that he is capable of noble thoughts and great actions. If we search into the causes of that excellence which in its intensity has dazzled and confounded us if we trace it from the minor stages through which it has passed to its present summit of power, we shall find that to unceasing labor it owes its splendor and that under similar circumstances and with as firm a will, there are few of us who could not present the same result. Many are the valiant purposes formed that end merely in words; many the deeds intended that are never done; and all for want of a little courage or decision. We too often