Griginal in GOOD HOUSEKEEPING. TEA AND TEACUPS. THE USEFUL AND THE BEAUTIFUL. "As near beauteous Boston lying, Three ill-fated tea ships rode." to know that tea is greatly adulterated. To, give the tea a pleasant fragrance certain flowers are mixed with the leaves, one of which is the cape jasmine. Both in China and America there are people engaged in this work. Black lead is added to impart a glossy appearance, and terra alba, Prussian blue, tumeric, indigo, gypsum, and other substances are mixed with the tea leaves. In China they make what they call "lie tea"-a very appropriate name-which consists of the dust of tea leaves and other leaves mixed with gum. Another method of adulteration is to mix the leaves of the willow, poplar, sloe, and other varieties with those of the teaplant, greatly to the detriment of the tea itself. Notwithstanding these unpleasant proceedings, tea will always be a favorite beverage. Who first drank tea, it would be impossible to say; but it was introduced into England from Holland in 1660. It was not common, however, until 1687. While produced in various parts of the world, including some of the Southern states and California, the greatest growers of the plant are the Chinese. Three or four crops are gathered in the year, that of the earliest gathering being pronounced the best. Of course tea drinking led to the making of teacups, as distinguished from cups used for other purposes. The Egyptians excelled in the ornamentation of their cups, which were made of gold and silver, richly decorated with precious stones. They were also made of bronze, porphyry, alabaster, glass, and a colored composition called "glass porcelain." The cups of ancient Assyria were richer than those of Egypt, though the materials of which they were made were the same. The ancient Romans and Greeks had cups made of horn, adorned with gold and silver, and, at another period, gold and silver cups were in use. The Chinese are quite celebrated for the beauty of their porcelain cups; in fact, while the porcelain of the Chinese has been imitated, it has never been equalled. For hardness, transparency, and beauty of coloring, it remains unsurpassed. For eight hundred years, the factories of King-thi-chin have been in operation; but the perfection of the china there made is said to be on the decline. In England ruins have been found of ancient potteries supposed to have been established by the Romans. The site of the celebrated modern potteries occupies the base of a series of hills, and the clay found there is peculiarly good for making pottery. Visitors describe the making of a a cup at the Staffordshire potteries as very interesting. The clay is sometimes mixed. with stone, which makes it hard and solid. Flint is also employed, as it both hardens and whitens. The first thing done is to mix two kinds of clay in long troughs containing water; when thoroughly mixed this is called "slip." To impart a 66 bluish tint, a small quantity of cobalt blue is added. The "slip" is then passed through fine lawn sieves into a kind of kiln and partially dried by a fire. The paste thus formed is beaten by wooden mallets, and then allowed to cool. Sometimes the "slip" is pumped into calico bags, and when the water has been expelled the clay remains in the bags. When the china is to be very white and transparent, the cobalt is not used, but ground calcined bones are substituted. In the iron-stone china" calcined iron-stone is mixed with the clay. Who would suppose that a beautiful teacup could emerge from this unattractive lump of clay. Yet by careful manipulation it does. First, a large lump of clay is placed upon a block, and a boy cuts it through with a wire, then he lifts up the piece which is on the top and throws it upon the other, or, as it is called, "wedges" it. This process is continued until the clay is pliant. A machine has recently been introduced which does this work. The moulds on which the cups are made are formed of plaster, from one that has been previously designed. What are called "thrown cups" are made on a wheel without a mould. In making "fluted" cups, the thin cake of clay is put inside the mould, which is placed on a wheel, and while the mould is turning, the workman presses the clay smoothly against it, and sponges it with water. When removed from the wheel the cup, still in the mould, is placed in a heated room where it remains some hours, when the edges are smoothed with a sharp tool, and the cup taken from the mould. Common cups are made by "throwing," and without a mould. The workman throws a lump of clay on a revolving wheel, at a particular point, at the same time manipulating it into shape. The cups thus formed are then removed and placed in the drying-room. The workman who makes cups by moulds can form six hundred a day, and the thrower can produce sixteen hundred. Thus far we have only the beginning of a cup; and now it must be "turned." This is done by placing it on a board turned by a wheel, and while the wheel is turning, the workman removes with a sharp instrument the inequalities of the cup. The handle is put on by another workman who is called "the handler." The handles are made in moulds the shape of the handles desired, and after being put on, the cups are carried out in the air to be dried. The process of baking now takes place. The cups are placed in pans made of clay, and a little sand is scattered between them to keep them apart. They are placed in an oven, and when sufficiently baked the fire is extinguished and the cups allowed to cool. They are now ready to be printed. The pattern is engraved on copper plate, and on this the colors are spread. The pattern is then impressed on a sheet of tissue paper, and the various parts cut out so as to fit the cup. These are placed by a woman, on the cup, and the pattern is rubbed with a stick covered with flannel, which leaves the imprint on the cup, after which it is plunged in water. Before glazing, the cup is placed in the kiln and exposed to the heat several hours. The glaze is a mixture resembling cream, and into this the cup is dipped. It is then placed upon rings and "stilts" and replaced in the oven to dry. Here it remains from sixteen to twenty-two hours, when it is allowed to cool, and any lumps that may happen to be on the surface of the cup are cut away. Here, then, you have your cup, ready for your tea party. It took two weeks to perfect it, and it underwent a variety of processes before it could hold your tea and adorn your table. Surely, these useful and delicate articles are worthy of more care than the housekeeper generally gives them; for, independent of their beauty and utility, the making of them involved time, thought, and infinite care. -E. B. Cheesborough. Original in GOOD HOUSEKEEPING. A QUILTING MEMORY. REDOLENT OF OLD-TIME CUSTOMS. N these days of cheap counterpanes, "comfortables" and spreads of all kinds, the old custom of piecing quilts is becoming somewhat obsolete, and with the decline of the quilt piecing comes, of course, the decline of quilting parties. But there are still, in rural districts, some thrifty and very economical old and middle aged ladies who are zealous in the patchwork cause. I have before me a letter from a dear, quaint old aunt of mine who lives in one of the rural districts of the West. I copy one extract: We had a quilting yesterday. I finished up that green and red double Irish chain of mine and put it in the frames and made a quilting. There was fourteen of the neighboring women folks come in and they kept at their work so stiddy they got the quilt out just before supper. Then all the men folks come in at night and we had a play party, with cider and apples and pie and doughnuts passed round before the folks went home. Everybody had a right good time and I really needed another quilt. I smile at that last clause. Aunt Priscilla has, to my certain and absolute knowledge, no less than twenty-nine quilts that no soul has ever yet slept under. She has shown them all to me time and again; she has told me just how many pieces there are in each one and what each piece is like,whether it is a scrap of Mary Jane Green's "polynay" or Lyddy Ann Jenkins' baby's double-gown. I know the full and complicated history of the "settin' sun" monstrosity that gave me the nightmare the first night I was forced to sleep under it. I know the year and the days and all the thrilling circumstances connected with the production of the "hen and chickens" quilt on the bed in the spare room; the "touchand-take," the "Marthy Washington," the "double ninepatch," the "log-cabin," the "hit-and-miss," the "album," the "basket" and a dozen other patterns are fresh in my memory. There is one of the "set on" description that has for years been the glory of Aunt Priscilla's life. To it be longs the distinction of having taken the premium "'leven times hand-runnin' at the county fair." "It is of my own make-up," Aunt Priscilla has often said to me with vaunting pride; "I didn't have no pattern nor nothin' to go by, but I just made it all up out of my own head. I don't s'pose there's arry other quilt like it in the country. And I quilted it all myself, too, and maybe you think it didn't take me one while to quilt all them herrin' bones an' feather patterns?" The quilt is rural in design. It represents a scene in the country. In the center is a brown calico house, with green calico curtains and indigo blue calico smoke coming in a straight stream out of a red calico chimney. A very rigid and jointless calico female is standing in the door with arms outstretched like the arms of a guideboard. Her cheeks are puffed up with cotton and are slightly florid in color, being made of pink calico. She has eyes made of two blue glass beads. Her turkey red calico lips extend from ear to ear and between them are rows of white muslin teeth cut in imitation of the teeth of a hand-saw. This charming but giddy looking lady of uncertain age is supposed to be throwing grains of yellow calico corn to a flock of pink and blue and green calico chickens. There is a black dog seated on a triangular tail. The dog has red eyes, and a red tongue, quite as long as his tail, hangs stiffly from his black jaws. A purple calico cow, with a fan-shaped tail and perfectly straight legs, is being chased by a blue and green calico dog twice as large as the cow. The tail of the animal stands out like a pump handle. "Posey beds," sunflowers, horses, wagons and everything generally seen on a farm are represented on this work of art. Aunt often tells me that if I am good I shall have this quilt when she is gone. My wife thinks that is why I am so bad. I hate quilts. The most elaborate "crazy-quilt" is not, in my opinion, half so pretty for a bed as a cotton spread that can be bought for a dollar, and what I hate most of all is a cheap lace rag over a blue or pink cambric cover. Mrs. Dane and I had one for a wedding gift-it must have cost $1.50and it has ever since done duty as a curtain in our girl's attic bedchamber. Aunt Priscilla labored faithfully five months on a rainbow colored calico and muslin quilt of her own design for our wedding gift. When the good soul comes to see us that quilt is topmost on her bed; when she goes away-well, I'm glad Auntie don't know what becomes of that quilt the moment she is out of the house. But O, for one of Aunt Priscilla's good old quilting bees! No "high teas," no "coffees," no "soirées," no receptions, no "Germans," no dinner parties, no luncheons that I have ever known in the days of my fashion and prosperity, have ever given me the pure and unalloyed bliss I have enjoyed at one of those old-fashioned quilting bees, where the quilters came early and stayed late, making their tongues and their needles fly. Sometimes they would sing hymns, and they always gossiped. But it was always a harmless, good natured sort of gossip without the under-current and sting of venom that makes gossip so deadly in its results. And the dinner! Oh, crowning joy of all! There were toothsome dishes there that Miss Parloa and Catherine Owens never heard of. There were pies and cakes and puddings and roasts and stews and jellies and jams, the like of which I have never seen before or since. The preparations for it were commenced a week before-hand, suggestions of it in the shape of sweet and spicy odors had filled the house for days. And when it was all ready; when all the tables in the house had been set end to end in the long kitchen; when there was everything on that table mortal and gluttonous man could wish for, then would Aunt Priscilla's flushed and triumphant face appear in the "settin' "-room where the quilters were, and then would she say, "Well, this poor excuse of a dinner is ready. Put up your needles and come out to it, such as it is." And then came the chorus of protests and the many and truthful declarations that Aunt Priscilla was the best cook in the whole country, all of which the proud and happy soul strenuously denied, her heart swelling the while with this meed of praise. I am not one of those who constantly lament the narrow, cheerless lives of country people." They have sources of enjoyment of which we in our heartless cities know not. -Zenas Dane. HOUSEHOLD WEAVING MACHINE. An ingenious kind of hand weaving machine or loom has been invented in Germany, by means of which, silk, wool, yarn, cords strips of fabric. etc., can be woven into pieces that may be applied to various useful purposes in the household. In using this machine the warp threads are first arranged parallel, either on the backs of two chairs, or secured to the knobs of two doors. The warp threads are then passed through the heddles, arranged on a suitable frame, and the ends of the warp threads are tied together and fastened to the back of the chair upon which the person operating the loom sits, and the other ends of the threads are held in a suitable clamp on the table. The heddle frame or comb is raised by means of the left hand, whereby the threads are separated, and then the shuttle is passed through the warp threads; the latter are shifted; the shuttle passed through in the inverse direction, and so on. [This article is written in response to Inquiry No. 7. General directions for making soup are given, and recipe for consommè soup, and other good soups are given.] OOD soup is such a decided addition to the dinner table that it is surprising that it is not more commonly used by housekeepers, particularly those obliged to practice economy. Nearly every country in the old world has its national soup, not of course to the exclusion of all others, but especially its own. Good soup should appear on the dinner table every day in the year, and would be found the healthiest diet for young and old. It is a common idea with many housekeepers that they cannot make soup unless they purchase fresh meat for the purpose every day, but this is a mistake. In France the leading and uppermost thought in every good housekeeper's mind is economy (and yet, among the poorer class our American soup bone is unknown), and meat eat is never purchased expressly for the soup, but when vegetables are boiled the water from which they are taken is never thrown away, it being considered the essence and substance of the article boiled. The soup kettle is kept as the suitable receptacle for the various things that seem to be proper only for that use. Every little bit of bone and gristle that is trimmed from the meat to be fried, baked, or boiled, every leaf of celery, core of cabbage, the wing tip, feet and head of fowls, the crumbs that fall from the loaf of bread when sliced, and every eat able thing not otherwise available, is thrown into the soup kettle, or, as the French term it, pot au feu, and soup thus made is by no means weak or insipid, as some inexperienced cooks might fancy, or does it have any unpleasant flavor. On the contrary, it is rich and delicious. In making soup, always use soft water and carefully proportion the quantity of it to that of the meat. Something less than a quart of water to a pound of meat is a good rule. Soups which are to make the chief part of the dinner should be richer than those which simply come before heavier courses of meats and delicacies. The best ingredients for soup is, lean, raw meat-beef or mutton-to which may be added veal and ham bones, as well as chicken and turkey bones. In making soup of fresh meat, cut up the pieces and throw into the required quantity of cold water and let stand until the juices of the meats are extracted, and begin to color the water, then put on to boil. The best herbs with which to flavor soups are, sage, thyme, sweet marjoram, tarragon, mint, parsley, bay leaves, and chives; the most suitable vegetables, celery, onions, leeks, carrots, rice, and sage; also vermicilli and macaroni, while the proper spices are, clover, mace, aromatic seeds, and pepper. Catsup, tomato, walnut, and mushroom, with sauces, are frequently used. By properly commingling these seasonings, it is surprising from what a scant allowance of meat a delicious soup may be made. For coloring soup use brown flour, onions fried brown, browned butter, or meat with cloves in it. Poached eggs are an excellent addition to some kinds of soups. As making soup is a tedious process, it is an excellent and economical plan to keep soup stock always prepared; this is particularly convenient to housekeepers living remote from a meat market. The whole character of the commonest foundation for soup may be changed with very little trouble or time. To prepare stock for soup: Buy a nice bone of beef with marrow left in it, and it can be used as a basis of stock for twelve or fourteen days. It is best to soak the meat over 1 night in cold water. In the morning, break the bones and put in a kettle of cold water; boil very slowly, and skim occasionally. It should be kept covered tightly, and after boiling several hours taken from the fire and the meat removed. Set the liquor where it will cool, then skim all the fat from the top, and strain, return to the fire and boil very slow, when it may be poured out to cool. It can now be seasoned, if desired. It will be firm and can be cut like jelly. A slice added to boiling water which may be seasoned with vegetables, or in any way desired, will make a delicious soup. BOUILLON.-Chop raw, lean beef very fine, and to every pound put a quart of cold water, and put it in a closely covered vessel, when it should be set where it will barely heat in an hour's time. Increase the heat slowly after the first hour until it begins to boil gently. Keep it at this point six hours stirring, now and then gently with a wooden spoon. Turn it into an earthen pan. Salt to taste, cover and let cool, then remove the meat from the liquor, squeezing hard to extract the juice; skim the fat from the liquor when perfectly cold. Throw in the shell and white of a raw egg, put over the fire in a tin saucepan, and bring quickly to the boiling point at which it should be kept eight or ten minutes; then lay a clean cloth in a fine sieve, pour the bouillon into it and let it filter through very slowly into a bowl or pan; do not squeeze. When strained the liquor should be a pure amber color. If desired a richer color can be given the bouillon by burning a little sugar and stirring in. Bouillon should be served very hot, and should never be sipped with a spoon, but drank at once from the cup or small bowl in which it is served. CONSOMME SOUP.-Take one chicken, three pounds of beef, one onion, one turnip, two carrots, half a cup of sago, soaked in cold water. Cut the beef in pieces, and joint the chicken; put with the vegetables on the fire, boil six hours, season with salt and pepper. PLAIN BEEF SOUP.-Crack the bone of a shin of beef, and put on-in cold water; let boil two hours and skim. Add four turnips, When done, add OX TAIL SOUP.-Take two tails and put in a kettle with one gallon of cold water, and a little salt; skim when the meat is well cooked, take out the bones and add a little onion, carrot and tomato. Boil until done. PUREE OF FOWL (A la Reine).-Roast two large-sized fowls. Clear all the meat from the bones; chop and pound it thoroughly with half a pound of boiled rice, dilute it with three pints of soup stock, and run it through a seive. Take the purée up in a soup kettle and set to cool, then warm. Mix in a pint of boiling cream, and serve hot. GUMBO SOUP.-Two small chickens fried, half a gallon okra cut up, three onions, one bunch of parsley, one quart of tomatoes, a teacupful of walnut catsup, put in two gallons of water and boil. Season to taste. VEGETABLE SOUP.-Four onions, three turnips, four carrots, one small head of cabbage, one pint of butter beans, and a bunch of sweet herbs. Boil until done; add a quart of soup stock, take two tablespoonfuls of butter and one of flour, beat to a cream; pepper and salt to taste; add a spoonful of sugar. Serve with fried bread chips. SWISS SOUP.-To two gallons of water add six potatoes, three turnips; boil five hours, add a tablespoonful of butter; season with salt and pepper. PILAU-The Turkish Soup.-Put three slices of raw ham in a soup kettle, also a knuckle of veal, a large, fat chicken, and such vegetables as desired. Boil slowly; when the meats are all done take them up and trim carefully from the bones. Put in a kettle with a little rice, and the liquor in which they were boiled; season with pepper. Boil, and add two ounces of raisins, dried currants and dried cherries. Boil twenty minutes, and serve hot. JULIENNE SOUP.-Scrape two carrots and two turnips, and cut in pieces an inch long; put them in a saucepan with two ounces of butter, a teacupful of chopped cabbage, half an onion fried in butter; salt and pepper to taste. Boil two hours. -Eliza R. Parker. Original in GoOD HOUSEKEEPING. SOME USES OF HOSPITALITY, E are never more truly ourselves than when at home. In the home atmosphere is free, unhindered bloom of whatever gift or grace is native to the soul. It follows, therefore, that the influence of men and women is pre-eminently persuasive, subtle, and helpful, when that influence is felt through the associations of the household, or, outside its circle, through its hospitalities. The home-life, the most precious of our earthly comforts, is indeed, in some sense, the one least susceptible of being shared with others; yet its sunniness and its warmth are shed, not only in the tone and temper of the household, as each one goes his way in the world, but more obviously in its hospitalities. In many a village or country neighborhood, some one home, a little above the homes around it in culture and refinement, or in simple Christian living,-be it of pastor or teacher, of doctor or farmer, is helping to lift the lives it touches, or which touch it, through its kindly hospitalities, to a higher and broader intelligence, thought and purpose, is setting the standards of many young men and women, raising them far above what they would otherwise be; and these ideals are to be realized in homes yet unestablished. The pictures on the walls, the volumes on the shelves, the dainty table-appointments, the flowers, the little tactful conveniences, the air things have of being lovingly cared for, and most of all, and rarest, the home atmosphere and the home ways, are all noted by the guests in such homes, though those guests seem to be only awkward boys or shy, giggling girls. I suppose a girl or boy often gets her or his first impetus towards some possible attainment, from such influences. That is a characteristic touch, and a suggestive sentence, where, in "A Silent Partner," Miss Phelps makes one of the mill girls say to the heiress, who is for the first time striving to use her wealth for these ignorant, feeble suffering ones for whom she feels herself sacredly responsible, as her employés and brethren,-speaking in and of that luxurious home whose beauty began to shame and oppress its owner, it seemed so wickedly rich and lovely and useless,-"Let them come up here sometimes." And, acting on the suggestion, the earnest "silent partner" found that her home had a voice for, and a mission to, the lowest and poorest of those she gathered into it from time to time. But it is a good thought, and one to be emphasized, that those who would help their neighbors and God's children, have not always to reach down, down into the abysses, but only to give a friendly hand to one who stands on a level a little lower than their own. One of the most interesting features of the work of Dr. Thomas Arnold, the famous master of the famous English school, Rugby, is his own genial and sympathetic intercourse with his pupils personally. They were made welcome to his home, and the lessons of that household were the complement of those primal ones, of truth and honor, and manliness, which he so deeply impressed upon them in the school-room and on the play-ground. His wife, with her nine children, found time to entertain often and cordially her husband's friends and pupils. Long after the death of Dr. Arnold, one of them said of the household: "The lady who presided there is still living, and has carried with her to her peaceful home in the North the respect and love of all those who have ever felt and shared that gentle and high-bred hospitality. And many is the brave heart now doing its work and bearing its load in country curacies, in London chambers, under the Indian sun, in Australian towns and clearings, which looks back with fond and grateful memory to that school-house drawing-room, and dates much of its highest and best training to the lessons learned there." In our own country, Mrs. Elizabeth Prentiss, the author of "Stepping Heavenward,” amid the duties of wife and mother, of author and friend, and comforter of many sorrowing ones, exercised a most gracious hospitality, not only in her city home, and as pastor's wife. In her beautiful summer home in Dorset, Vermont, the home she chose and planned, and in which she delighted, which seems to have been to her one of the most restful of places,-she entertained her friends, and with them guests whose need of such refreshing was great, but who could have it only by her unobtrusive generosity. Many years ago, when Alice and Phoebe Cary lived together in their charming home,-the home the genius and industry of Alice had won,-the home the genius and the love of Mary Clemmer pictured for us so vividly and tenderly, some one wrote of them: "These sisters are authors of more than books. Their influence in their home is beautiful and conservative and preservative." And Mary Clemmer's own home, in Washington, was "a large, hospitable brick mansion, book-lined and picture-hung." sion, book-lined and picture-hung." There came not only distinguished guests and grateful tributes, but it was said: "Women go to her home as on a pilgrimage to seek the sweetness and light that never fails them there. Many an Independent letter has been sacrificed, many an artistic expression has been left unwrought, to meet the claims of humanity." Are not these things, and the spirit they reveal, a nobler memorial of her than the most brilliant of her letters? RECREATION FOR LEISURE HOURS. INFANTS' TRICOTED Boot. WO skeins cream white, Star Light Lady Grey Wool. Two spools Corticelli embroidery silk, ruby color, one yard ruby sarsnet ribbon, bone tricot hook. Make a chain of six stitches. First to sixth rows-plain tricot. Seventh row-work up a loop through each of three stitches, work up a loop through the two next stitches together, and one through the sixth stitch; work off in the usual way. Eighth to thirteenth rows-plain tricot. Fourteenth row-Work up a loop through the first loop, two through the second, one through the third, two through the fourth, and one through the fifth. Fifteenth to Twenty-third rows-work without increase or decrease. Twenty-fourth to Thirty-sixth rows-increase by working up two loops through the first and last stitches of each row. Thirty-seventh row-work on all but the two first and two last stitches of the row. Thirty-eighth row-work on all but the three first and three last stitches of previous row. Now commence the side. Work on nine stitches, counting from the edge of front; that will be the two stitches passed over in the thirty-seventh row, the three passed over in the thirty-eighth row, and four worked of thirty-eighth row. Work twenty-six plain rows to form the sides and back of boot, join with a needle and wool to the other side of boot. The strip formed by the first twenty-three rows is for the sole. Work a row of one double crochet into each stitch all round the sole and sides of boot, turn the work inside out, and sew the sole to the bottom of boot. FOR THE ANKLE. First round-one double crochet into each stitch of tricot. Second round-one treble crochet into a stitch, one chain, pass over one stitch and repeat. Third round-one double crochet into a stitch, six chain, one double crochet into the next stitch. Repeat all round. Repeat third round five times more. Ninth round--one double crochet into a stitch, one chain, pass over one stitch. Repeat all round. Tenth round-one double crochet into a stitch, pass over one stitch, five treble crochet into the next, pass over one stitch. Repeat all round. Eleventh round-with the red silk double crochet into each stitch of last round. A piece of ribbon is run through the holes of the second round and tied in a bow in front. Stars in red silk are worked with a needle over the front and sides of boot. CROCHETED Edging. Make a chain the length required. First row-one treble crochet into a stitch, one chain, pass over one stitch,* repeat from * to *. Second row-*one double crochet into each of eight stitches, eleven chain, pass over six stitches,* repeat from * to *. Third row-*one double into each of the six center stitches of eight doubles, five chain, one double into the center of eleven chain, five chain,* repeat from *to* to end of row. Fourth row-*one double into each of four center stitches of six doubles of last row, five chain, pass over three chain, one double into each of the five next stitches, five chain,* repeat from * to Fifth row-*one double into the center of four doubles of last row, five chain, pass over four stitches, one double into each of the seven next stitches, five chain*, repeat from * to *. | Sixth row-*five doubles over the doubles of last row, eleven chain,* repeat from * to *. Seventh row-*three doubles over the doubles of last row, seven chain, one double into the center of eleven chain, seven chain,* repeat from * to *. to *. Eighth row-three doubles over the doubles of last row, six chain, one double into the fifth of seven chain, five chain, one double into the fourth of next seven chain, six chain,* repeat from Ninth row*one double into the center of doubles of last row, five chain, one double into the fourth of six chain, five chain, one double into center of next five chain, five chain, one double into third of next six chain, five chain,* repeat from * to*. -Eva M. Niles. Original in GOOD HOUSEKEEPING. MY TREASURES. My children, how many? Why bless you, there's four : Who always gives mama enough work to do, Dear Ruby, who "helps mama lots," in her way, At the close of the day, I sit down beside In sweet dreams of childhood, the others repose; To be the fond mother of blossoms so fair, You keep your fair lands and your couches of down, Prepared for GOOD HOUSEKEEPING. -Elsie C. Alden. IT IS WELL TO REMEMBER That opportunity is the cream of time. That the sunniest lives have seasons of shadow. That the more you say the less people remember. That a mother's tears are the same in all languages. That a man cannot go where temptation cannot find him. That good breeding is a letter of credit all over the world. That he who depends on another dines ill and sups worse. That good is slow; it climbs. That evil is swift; it descends. That he who does good to another man does good also to himself. That there is not a single moment in life that we can afford to lose. That publicity is the barn door upon which fools love to chalk their names. That the plant of happiness cannot thrive without the air of cheerfulness. That the noblest and most exalted character is also the tenderest and most helpful. That the man who stirs his cup with an icicle both spoils the tea and chills his own finger. That the easiest way to outwit the world is to let it believe that it is smarter than you are. That in diving to the bottom of pleasures we are likely to bring up more gravel than pearls. That promises made in time of affliction require a better memory than people commonly possess. That people seldom improve when they have no better model than themselves to copy after. |