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spite of the condemnation of the drama by the majority of the press. It is, to tell the truth, decidedly more adapted to the "Surrey-side" than the legitimate business of the Haymarket. It is to be regretted that Mr. Buckstone should have issued such an ill-advised advertisement with regard to the piece; for it is in vain to think that the British public will consent to swallow anything the manager may put before them in the present day. A more healthy tone is obtaining, and we have heard many undisguised sibillations at objectionable points in the theatrical representations lately, from which we argue well.

At the Princess's "Antony and Cleopatra" has been produced, in which Miss Glyn plays Cleopatra, with her usual force and care.

No one should omit visiting the Olympic, to see Mr. Charles Mathews in "Patter versus Clatter." He is as voluble, versatile, and vivacious as ever: in fact, as amusing as Charles Mathews, and he alone, can be.

The Lyceum has closed, and so has Astley's. Various rumours are afloat with regard to the future management of these houses; but I believe nothing is definitely settled at present.

At the Adelphi "Henry Dunbar" has been revived, in which, during some of its latter representations, Mrs. Watts played the part in consequence of her sister's (Miss Kate Terry's) indisposition.

Mr. Charles Reade's sensational, unpleasant drama, "It is Never too Late to Mend," has been transferred to the boards of the Surrey. Mr. Calham sustains his original part of Jacky with great effect.

most incomprehensible affair altogether-it was below contempt. It was most unequivocally "goosed" on its first representa. tion, and has not, I believe, been announced for repetition since. It is difficult to know what our accomplished dramatist has been about, as one of our most skilful critics remarks"Uncertain as to the share each has had in the authorship, we can only account for the failure by supposing that Mr. Oxenford undertook to supply the optical effects, whilst Professor Pepper made his first experiment as a farce-writer."

Mr. John Parry has just produced at the Gallery of Illustration another of his marvellous songs - or rather one of his little domestic dramas, introducing songs, incidents, and characters, the whole of the dramatis persone being supported by Mr. John Parry and his piano. It is called "Merry. making," and it is indescribable, but such an entertainment as no one should omit going to see: it is sui generis, being purely "Parryesque" in its conception and execution.

Messrs. Routledge's new sixpenny magazine, The Broadway, will, it is said, be published in September. Mr. Edmund Routledge, who is the editor, has already engaged a large and ef ficient staff, including some of the best pens of the light literature of the day. A new publication, which seems to be a cross between two titles of gossip-columns of our weekly "illustrateds," and called the Echoes of the Clubs, has made its appearance. It is well printed, and light in tone, but scarcely seems to have the element of extreme longevity about it; and, if its seeming intention is carried out, one will certainly be afraid to open one's mouth at one's club on any subject, however trivial. I hear a rumour, and trust it is not true, of another new comic paper about to appear-the Illustrated Comic News. For my part I think we have un

be facetious contemporaries, and tremble at a fifth making its appearance in the field.

It is with deep regret that I allude to the death of William M'Connell, an artist whose name is familiar to all acquainted with the illustrated literature of this country. He had already attained a high position as an artist and a

It seemed quite like a renewal of my youth when present at the opening of the New Amphitheatre, Holborn, on Saturday evening last; and old recollections of Astley's crowded on my mind as the "fiery untamed steeds" rushed round the circle, and the clown perpetrated some of the most ancient of fossil jokes. It is a charm-doubtedly enough, and to spare, of these woulding little amphitheatre: it is well ventilated and tastefully decorated, and the seats are comfortable. The grand-balcony is well adapted for seeing the scenes in the circle or on the stage, and for having a comprehensive view of nearly every part of the house. One is rather doubtful as to being able to get quickly out of the house in case of fire, as some of the passages seem to be very narrow and cramped. The equestrian performances were varied, and for the most part well performed. M. Fillis went through some marvellous evolutions with his "fire-horse," Tamor. The grotesque performance, Les Nains," by Messrs. Delvevanti and Felix, was one of the funniest things I have seen for a long while; and Capt. Austen's "Lightning Zouave Drill," as a specimen of marvellous rapidity and dexterous manipulative skill, was a marvel to behold. The five clowns are by no means successful. There are rather too many of them, with not sufficient wit, humour, and " 'clownery" for half this number. The farce, "Grim Griffin Hotel, by Mr. Oxenford and Professor Pepper, was

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humorist, as his contributions to the Illus trated News, Illustrated Times, London Society, Punch, Diogenes, Fun, &c., &c., and his illustrations to Mr. Sala's "Twice Round the Clock," amply testify; and, had he been spared longer, would, I doubt not, have achieved a higher position as an artist, though he could never have been more highly esteemed by those who knew his independent spirit and genial worth. Two veterans in art have been called home within the last month-Clarkson Stanfield and Edward Hodges Bailey-both well stricken in years, but with well-earned fresh laurels at their brows.

The only real "sensation" during the last month has been the capture of the sturgeon at a Westminster Bridge, I called to see the won

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FIRST FIGURE. - Undress toilet for the country, consisting of skirt of unbleached foulard, cut in points round the bottom and up the front. These points are edged with white silk piping, and have buttons of the same on the front points. Scarlet Cashmere jacket in the Breton style; white under-body of muslin, presenting plaits alternating with linen stripes ornamented with guipure mosaic. The jacket is trimmed with white soutache, by means of one of Wheeler and Wilson's machines.

Toilets of two tints are much worn: they consist of two skirts; the first of a deep tint for the under-skirt; the second, or upper one, is of a lighter shade of the same colour. The bottom of the under-skirt is trimmed with bias bands of the lighter colour, sown with jet pearls, and finished above with soutache of the lighter shade. There are, on the model I have seen, five bias-pieces, on which, from place to place, lozenges of Chantilly lace are adjusted. The second skirt of the lighter tint describes, at the lower part of the front, a rounded halfcircle, bordered by a bias of the deeper colour; behind it is cut in a very large half-circle: at the sides, between these half-circles, which make a long, sharp point, is placed an ornament with great pearls at the extremities: above this point little double bars remount nearly to the waist, on which are two similar lozenges to those on the skirt, and which reappear on the ceinture. The corsage is also of two tints; the first is of the deepest colour, garnished with five rows of bias-pieces very straightly disposed en collier, each bias being finished with a heading of beaded soutache.

SECOND FIGURE.-Dress of violet or grey faye silk, made with two gored skirts, the first ornamented with a row of black Chantilly lace laid on flat, and surmounted by two bias-pieces of the material, decorated with jet. The second skirt is cut in two deep scollops at the bottom, and trimmed in front, apron-fashion, by means of beaded bias-pieces running up to the waist. Round waistband with long ends behind. Plain corsage. Sleeves semi-tight On each side of the first skirt, in the vacancy left by the indentation made by forming the front and back scollop in the second, an ornament made with beaded bias-pieces. Linen collar, and cuffs to under-sleeves. Plateau bonnet of crape, fringed all round with crystal, and trimmed with a tea-rose at the side. Crape-strings edged with white blond, and fastened at the throat with a flower to match that on the bon-openings tulle bars of the deeper shade. Sleeves, nearly tight, of the darkest colour, ornamented tween a double bias. at the sides by a suite of lozenges traced be

net.

The spring modes are coquettish and elegant, as fresh and gracious as the season-we may specially say this of the bonnets. Here are my remembrances of some of the most notable of them: The Chapeau Mignon is of white crape, with two long ends falling at the back: a little tuft of roses at the left side gives piquancy to the physiognomy. The Chapeau Duchesse is also white, with an ornamentation of satin pearls falling on the front and over the chignon. These bonnets show how marvellously an artistic milliner can idealise a face by the aid of a lace, a flower, or a ribbon,

A very low corselet, of the lighter shade, fore and behind; and we find between these worn upon the high body, is slightly open be

Paletot assorted of the material and colour of the first skirt, cut at the bottom in seven points, bordered by three rows of biases. Sleeves ornamented with similate biases, tracing a lozenge in the middle, at the bottom, and top. With this toilet a bonnet of Belgian straw, surrounded by a cordon of straw-coloured lilies of the valley, with foliage of the same tint. This bonnet is pointillé with black pearls. Brides of Mais taffetas (very wide) are also scattered over with black pointillé,

THE LADIES' PAGE.

KNITTED BORDER FOR A BED-QUILT.

MATERIALS.-Boar's-head knitting cotton, No. 12, of Messrs. Walter Evans and Co., Derby.

White knitting cotton; thick steel pins. Cast on a sufficient number of stitches for the length of the border, which must be able to be divided by 31; knit 4 plain rows, 5th row, alternately make 1, knit 2 together; then 5 more plain

rows.

Now begin the pattern.

1st row.

*Make 1, knit 1, slantways (to knit a stitch slantways, insert the needle from the front to the back and from right to left); † purl 5; knit 1 slantways. Repeat from 4 times more than from to the end of the row.

2nd. The same as the last, except that there are no stitches made, and those that were made in last row are reckoned as stitches.

3rd. * Knit 1; make 1; purl 5; knit I slantways. times more. Repeat from

row.

knit 1 slantways; † Repeat from † four to the end of the

4th. The same as the second.

The increasing caused by knitting the made stitches is regularly repeated in each second row, so that the stitches between the striped divisions increase, and form large triangles; the striped divisions, on the other hand, are narrowed so as to form the point of the triangles. To obtain this result, decrease five times in the 6th, 12th, 18th, and 24th rows, by purling to gether the two last stitches of one purled division, so that each division has but eleven stitches left in the 25th row. In the 28th row knit together one purled stitch with one knitted slantways, so that there will be only 6 stitches left for each division; these stitches are knitted slantways in the 29th and 30th rows. In the 31st row they are knitted together, two and two. There remains in each division three more stitches, which are knitted together in the 34th Two rows entirely purled complete the upper edge of the border.

row.

A BASKET FOR DRYING SALAD.

MATERIALS.-Strong grey thread; packthread of a medium size; cast on 7 stitches.

1st round. 1 treble in the first stitch (you have a loop of 6 chain, of which the 2 first are reckoned as 1 treble), 2 trebles divided by 3 chain in the first stitch of the chain, 3 chain, 1 slip stitch in the fourth stitch of the chain.

2nd. 1 or 2 treble in every stitch of the last round; the first treble of each round is always formed by 3 chain.

3rd. All treble, divided by 4 chain, missing 2 stitches under the 4 chain. Work alternately the 2nd and 3rd rounds until you have a flat circle measuring 12 inches across; to finish the centre, work one round of double crochet. Afterwards work one round in the following way, to begin the sides of the work: alternately, 3 long treble and 3 chain, missing three stitches under the chain. Now begin the 1st round of the sides of the work in the following manner : *8 chain, 2 double, 1 double on the chain of the last row; repeat from *. Make all the rounds like this; but the 20th must be like the

3rd round. When the basket is high enough, make one more round with long treble (3 long treble, 3 chain), and afterwards work the edging,

1st round. * 3 treble, 3 chain, 3 treble; these 6 treble in the centre stitch of the chain of the last row. Repeat from *.

2nd. 1 double, 5 chain, the 1 double once on the loop of chain, and once in the middle of the 6 treble.

3rd. 1 double in the middle stitch of every scallop, 5 chain between them. For the circles that are passed within the openings of the basket to keep it firm, take 12 pieces of packthread, and make what is called a Grecian plait. Take always 2 pieces of the thread (after having divided the whole bundle into two equal parts) on each side, and cross them over in the centre; take the two next, and repeat the same, and so on. Fasten these circles into the basket, by passing the plaiting over and under the treble stitches. Run two pieces of the same packthread at the top, just under the edging, to close the basket.

This basket is useful for drying salad. The salad, after being washed, is placed in the basket, which is then swung about till the leaves are perfectly dry.

THE LADY OF BAGATELLE.

BY LE MOINE.

A few years ago, the giddy people of Paris had their curiosity and wonder excited by a strange and romantic affair. Eugenie Belmont, a young lady with a splendid fortune, and highly accomplished in mind and manners, announced to the world that she would bestow her hand and fortune upon any gentleman who pleased her, but that he must be willing, in consideration of her wealth and other attractions, to put up with a face of unparalleled ugliness. A certain time each day was appointed to receive the suitors at Bagatelle, Eugenie Belmont's lovely residence in the vicinity of Paris.

Among the first who responded to this singular announcement was Sir Charles Dashington, a young Englishman of noble family, who had squandered a princely fortune in the gamblinghouses of the gay and seductive capital of France. He eagerly seized upon this opportunity of repairing his broken fortune, and of establishing himself again in the world of pleasure. Dashington was possessed of that Apollo-like beauty and grace of form and face which attracts the gaze of artists, and wins the love of women. His intolerable vanity led him to suppose that no woman could resist him, and he thought it only necessary to present himself before the Lady of Bagatelle in order to win her hand, and what he valued more, her fortune.

With this design, he attired himself in a magnificent suit of clothes, hired a coach and four, and proceeded in dashing style in search of wealth and a wife. It was a delicious day in June, and the garden and grounds of Bagatelle presented a scene of ravishing beauty to the eyes of Sir Charles Dashington, who looked upon himself as soon to be

"Monarch of all he surveyed."

After a drive of a quarter of an hour, through winding roads bordered with flowers, and through shady woods and cool groves, the superb villa of Bagatelle burst upon the sight. As he drove up, he was met by a servant in handsome livery, who conducted him through an elegant marble gallery into the receptionroom. The matchless splendour of this apartment dazzled the eyes of Sir Charles Dashington. The floor was composed of exquisite mosaics, wrought into quaint and curious designs; the walls were beautifully frescoed, after the style of Raphael; before the crimson-tinted windows hung purple silk curtains, which trembled to the vibration of low, melancholy music, whose origin could not be discovered; tables of pearl and agate were placed in different parts of the room, some of them loaded with richlybound books, and others with vases of flowers, whose odours pervaded the whole apartment. In one corner stood a massive cabinet containing curiosities, and mounted with busts of

celebrated poets, among whom Sir Charles was pleased to see Shakespeare and Byron.

While he was admiring the brilliant saloon, a door softly glided back, and Mademoiselle Belmont was announced. Dashington arose, and advanced to meet the person who entered. He was prepared to see a face ugly indeed; but when his eyes fell upon the frightful features of the lady, he started. Her lips were withered and bloodless, her eyes were sunk deep in their sockets, her large and misshapen nose was revolting to behold, and her skin was as dry and yellow as that of an Egyptian mummy.

Without appearing to notice Dashington's embarrassment, Eugenie welcomed him to Bagatelle in a few sweetly-spoken words, and, to his surprise, she spoke in English, with a charming accent; for among the many accomplishments of this singular creature was a perfect knowledge of the modern languages. Sir Charles was somewhat re-assured by her kind welcome and sweet voice, and he succeeded in overcoming, or at least in concealing the disgust which the horrible ugliness of her face had at first occasioned. After a short, preliminary conversation, Dashington ventured to approach the subject which had brought him to Bagatelle.

"Mademoiselle," he said, with a low bow, "if I did not know that the garden of Eden was in Asia, I should think that I had found it to-day in your delicious retreat;

"For if there be an elysium on earth,
It is this-it is this.'"

"Sir Charles Dashington is pleased to flatter my poor Bagatelle.”

"Pardonnez moi, Mademoiselle, but it is not flattery-the beauty and splendour of your house and garden far surpass all my expectations. Oh! how dream-like might life be, passed in this lovely spot!" exclaimed Dashington, enthusiastically. "With a congenial companion to share its sweets, this place would be a paradise on earth; for, as Goëthe says,

"""Twould be the greatest misery known
To live in Paradise alone.'

"What do you mean by a congenial companion?" Eugenie asked.

"One who possesses an appreciating love of nature; one who finds a greater delight in books than in balls; who prefers meditation and study to the frivolities of modern society."

"You say nothing of beauty-is not that a requisite?" demanded Eugenie, who saw the serpent lurking beneath the flowers of his language.

"Give me the lasting beauties of the mind, and I care not for the fading beauties of a pretty face," cried Dashington.

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Soon after this the interview terminated, | Young d'Arcy's dreary existence was sometimes Eugenie being summoned to meet other suitors. As Sir Charles arose to depart, Eugenie told him that he would hear from her in a week. "I shall expect your communication with impatience," said Dashington, bowing himself

out.

As he crossed the long gallery to reach his carriage, he muttered, in a tone sufficiently loud to be overheard by a servant who kept close behind him, something like, "What a monster! But for the gold that gilds her hideous face, I never could have gone through that interview." These remarks were duly reported to Eugenie Belmont, and they were not likely to advance Sir Charles Dashington's suit. Inquiries were instituted about his habits and prospects, and nothing very favourable was elicited; on the contrary, it was discovered that he frequented some of the most notorious gambling-houses of Paris, where he played recklessly and lost enormously. Of late he had been heard to boast that he could afford to lose, as he expected The soon to marry a lady as rich as Croesus. consequence of these disclosures was, that one evening, as Dashington was preparing to visit his accustomed haunts, the following note was placed in his hands:

"Miss Eugenie Belmont begs leave to say to Sir Charles Dashington that he need not take the trouble to repeat his visit to Bagatelle."

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This unexpected termination of his suit destroyed all Dashington's hopes of maintaining his position, and, to avoid "the wrath to come,' from tradesmen, tailors, shoemakers, gamblers, and other creditors, he fled from Paris to Baden-Baden, where he was soon after killed in a gambling quarrel with a Russian nobleman.

The novel announcement of Eugenie Belmont continued to attract many persons to Bagatelle. They all admired the beautiful grounds and the magnificent reception-room; but when Eugenie appeared, her frightful face drove them away in disgust.

At last, Camille d'Arcy, a poor but talented young man, ventured to advance his claims. He was of an old and respectable family, which had become impoverished during the stormy days of the French Revolution. At twenty, Camille went to Paris to begin the battle of life. Like Alexander the Great, when he set out to conquer the world, he took nothing with him but hope. The Grecian hero depended for success on the sword-Camille relied on his

pen.

He was a graceful and elegant writer; but being poor and friendless, his success was not equal to his genius: he was obliged fami non fame scribere-to write for bread not fame. Camille was not discouraged by his want of success; he was persuaded that the dark clouds that hovered over him would be dispelled, and that the world would acknowledge his merits.

Bright hope! what a consolation to the poor and obscure, the neglected and forsaken!

brightened by delightful dreams of the future. In these exquisite moments his disappointments were forgotten, and his cheerless room was changed as if by magic. He saw before him galleries of light and airy beauty, filled with lovely women, who crowned him with amaranthine wreaths as he approached.

One morning, while Camille was enjoying a gorgeous dream like this, the ethereal fabric was suddenly demolished by a gentleman coming into the room exclaiming: "Camille, would you like to change this altitudinarian cell for a charming retreat near Paris, a beautiful villa in the midst of shady groves and blooming gardens?"

Certainly, a most desirable change, my dear Paul; but how is it to be effected?" "By marrying Eugenie Belmont. "And pray tell me who is Eugenie Belmont?"

"Don't you know who Eugenie Belmont is? Why, all Paris is ringing with her name." "The sound has not ascended so high as my room. Tell me about la charmant Eugenie."

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Eugenie Belmont, better known as the Lady of Bagatelle, has given out that she will accept the addresses of any gentleman who pleases her, and bestow upon him her hand and fortune, if he can put up with an inconceivably ugly face. Many have visited her, but only one could muster up sufficient courage to pop the question."

"Really Paul, this is a most singular and interesting affair. I am tempted to visit the Lady of Bagatelle, merely out of curiosity."

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Do, Camille: perhaps something may come out of it. Au revoir.'

A few days after this conversation, Camille d'Arcy put on the best suit of clothes that his scanty wardrobe contained, and proceeded to visit the Lady of Bagatelle. He did not go at once to the house, but wandered about the grounds, delighted with the beautiful scene spread out before him. A new surprise met him at every turn. In one place he came to a little rivulet which ran through the grassy turf, gemmed with a thousand flowers. Here he approached a grotto, whose cool recesses wooed him to enter; in another place he saw a fountain of water sparkling in the sunlight; he reached a flowery eminence, adorned with a pavilion so delicately constructed that it might have been built by fairies. Around and about this spot, gorgeous pheasants and stately peacocks walked with pompous steps. At last his eye rested upon the crowning glory of the scene-the villa of Bagatelle.

Camille advanced timorously to the magnificent porch, where he was met by a servant, who politely invited him to walk into the house. Entering the saloon, the poor young man was amazed at the superb display around him. He began to repent of his presumption in daring to offer himself as a suitor to the possessor of so much wealth; he dreaded to meet the proud Lady of Bagatelle, and a thousand times he

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