French Minister at London, but she has altered and remodelled it
to such an extent that nothing remains of the original fabric
except the foundation and the outer walls. The exterior presents
nothing remarkable; four windows on a floor in front, first floor
over an _entresol_, and servants' rooms over that. Entrance by a
_porte-cochère_, like almost all French town-houses, but the gate is
oak, and the carriage-way floored with wood to deaden the sound of
wheels. Square court-yard with fountain, and ivy round the sides.
Gothic staircase elaborately carved in stone, and mysteriously lighted
from above by a dome of colored glass. On the _entresol_ an antechamber
in oak; dining-room to the left in Etruscan style, containing a
splendid collection of antique vases. Between the dining-room and
kitchen is a butler's pantry, where a richly carved oaken closet holds
a magnificent service of plate, made partly in Paris and partly in
London, and valued at $20,000, or more. All this story is laid down
with Turkey carpeting, a rare thing in France, where the dining-rooms
and antechambers of even the finest houses have seldom anything to
show but the polished floor. On the right is a parlor opening on
the court by three windows, and commanding a fine lookout over the
neighboring gardens. The ceiling of this room is white, the walls hung
with chintz of a Chinese pattern, large crimson flowers on a sea-green
ground. Curtains, sofas, &c., to match; the rest of the furniture
buhl-work, except some fancy arm-chairs of different stuffs, silk,
velvet, and brocatel. Here is an endless collection of nicknacks,
Dresden and Sevres China, Louis XIV. enamels, ivories, bronzes; among
other curiosities a strange collection of Asiatic weapons. There are
also several valuable paintings by Boucher, Isabey, Tony-Johannot, and
other native artists of different periods. Chinese and Japanese vases
(for which clumsy objects all the French have a weakness) complete
the picture. This parlor opens into the library in a wing of the main
building. The furniture of this room is carved oak, the walls and
ceiling draped in myrtle-green cachemire. The tragedian's desk, richly
carved and covered with green velvet, stands on the left of the door,
with a Venetian mirror just behind it. The whole length of the wall
opposite the three windows, as well as the spaces between the windows,
is occupied by bookcases. Rachel's library comprises about four
thousand volumes, all in very quiet bindings.
The second story, or the first floor over the _entresol_, is in
white wood and gilding (a usual French drawing-room style), carpeted
with purple flowers on a white ground. A large crimson sofa in the
antechamber is flanked by two busts of Clesinger's on pedestals,
_Tragedy_ and _Comedy_. On the right is the grand drawing-room, running
the whole width of the house. The panels of its walls are adorned with
groups of children and cupids, by the celebrated painter, Charles
Muller. The white marble mantel-piece is carved with arabesque and
allegorical masques. The sofas and chairs are purple brocatel with
carved gilt frames, the rest of the furniture rosewood with bronze
medallions. The clocks, candelabras, and bracelets are or-molu of the
most costly workmanship. It is hardly necessary to say that there is
great abundance of looking-glasses; they all bear their owner's cypher
on their gilt frames. Among other objects of art in this room is a bust
of Napoleon as First Consul, by Canova. On the right of the antechamber
is the _show_ bedroom (Rachel, like many other Frenchwomen, has a
quieter one for use in the third story). The bed has purple velvet
curtains, a Turkish carpet of silk and gold embroidery for a quilt, and
a lion-skin for a foot-rug. The furniture is rosewood, with medallions
of Sevres china. A likeness of Adrienne Lecouvreur, in _tapestry_, and
a marble bust of Taglioni, are the most conspicuous of the works of
art in which this room abounds. A secret door near the bed leads into
a little boudoir on the Chinese style, all lacquer, vermilion, and
porcelain. The dressing-room is hung with chintz, garlands of flowers
on a blue striped ground. The walls of the bath-room are sea-green
stucco.
* * * * *
THERE is no trifling with nature; it is always true, grave, and severe;
it is always in the right, and the faults and errors fall to our share.
It defies incompetency, but reveals its secrets to the competent, the
truthful, and the pure.
* * * * *
THE following we extract from the "Journal of Health":
PALPITATION OF THE HEART CURED BY SODA-WATER.--A lady, about forty years
of age, had suffered for twelve years from periodical attacks of
palpitation of the heart, so violent as to shake the bed on which the
patient lay. During one attack, feeling thirsty, she expressed a desire
for some soda-water. No sooner had she swallowed the first draught than
her palpitation left her, and recurred no more until the period of the
next attack. As soon as it commenced, she sent for her medical
attendant, and told him what had occurred a month previously, and
requested to be allowed to try the same remedy a second time. He
consented, but, wishing to ascertain which of the ingredients of the
soda-water had relieved the complaint, he gave her a dose of citric acid
by itself. This had no effect. He then gave her a dose of carbonate of
soda, which also failed. He then mixed the powders, and gave her some
ordinary soda-water, placing his hand at the same time on her heart. The
moment she swallowed the first mouthful, the palpitation ceased, and
recurred no more for that time. From that period, whenever the
palpitation came on, she could always stop it by this simple remedy. It
appears, from the experiments made by medical men, that the carbonic
acid was the active element in relieving the complaint, because, until
the gas was liberated by the mixture of citric acid and the carbonate of
soda, no benefit accrued.
* * * * *
A FRENCH surgeon has written a discourse to prove that the more a
patient cries and groans during a surgical operation, the more likely he
is to survive it.
* * * * *
THE LAST PARIS ITEM ABOUT FASHIONS.--Dresses are more costly than ever;
gold, silver, and ornaments of velvet are still adopted for full dress.
For instance, a pink crape dress, with five flounces, each flounce
having an elegant and delicate wreath formed of black velvet. These
flounces, made to diminish in width as well as in the size of the wreath
as they ascend towards the waist, are also vandyked, the festoons being
edged with a black velvet stripe. The body has a bertha forming a point
in front and behind, trimmed with a narrow wreath, and surrounded with
deep frills in the same style as the flounces on the skirt. For sleeves,
a small puff, with a row of small velvet flowers, terminated with two
deep frills, the same as the bertha. Another style, which is quite
different, but equally pretty, is a dress made of white _taffetas_, with
three flounces, each one trimmed with five rows of green curly plush,
woven in the material, and separated by a velvet stripe. This plush and
velvet diminish in width and change in shade as they ascend, so that the
plush and velvet are of quite a delicate green towards the waist. The
body has a bertha forming a _rever_, and coming down as low as the
waist, in a point, both behind and in front.
* * * * *
STEAMBOATS ON THE DELAWARE.--The numerous steamboats on our beautiful
river were put in motion early in the spring. They are now running, not,
indeed, in fearful and dangerous opposition, but each in its
"appropriate sphere," and competing only in the excellency of their
accommodations, and in the safe conveyance of travellers and
pleasure-parties to and from the various points which line the shores of
the Delaware from the Capes to the city of Trenton. Among the number
thus employed are the large and handsome boats of the Camden and Amboy
Company, the John Stevens, Captain Kester, and the Trenton, Captain
Hinkle. These boats, as well as their gentlemanly commanders, are old
and established favorites of the travelling and pleasure-seeking public.
It may be said with great truth that there is not on any route in the
entire range of the United States more safe, quiet, and punctual
conveyances, or better accommodations, than are afforded by these boats,
or officers more attentive to their duties, or more anxious to infuse
feelings of confidence and comfort among their passengers, than are
their commanders. We must not forget, however, to do justice to the
unwearied exertions of W. H. Gatzmer, Esq., the principal agent of the
company in this city. To his zeal and watchfulness, in the discharge of
his arduous duties, the public are indebted for many of the facilities
afforded for quick and speedy travel, as well on board the company's
steamboats as on their railroads.
Neither should we forget our old friend, Captain M'Makin, of the
steamer Edwin Forrest, who continues his exertions to accommodate the
public with the most commendable spirit of "competition," and who, we
hope, is reaping a just reward for his labors.
* * * * *
THE "FLORIST AND HORTICULTURAL JOURNAL."--We have received the last
number of this beautiful and interesting work, containing a splendid
colored engraving.
* * * * *
EARLE'S GALLERY, 216 CHESTNUT STREET.--A free admission gallery, and
where quite as many good paintings can be found as at any pay
exhibition. The walls are lined with beautiful pictures; but among them
we must particularize a school scene: The master is about castigating a
boy, when a new scholar with his father enters. The look of astonishment
of both of them is admirably painted; but the picture is full of
incidents, and ought to be seen by all. There are two other pictures,
"Sheep in the Fold and in the Field"--admirable productions. A new
painting has just been added by an American artist, George C. Bingham;
it is called "An Appeal to Buncombe." The principal figure is, of
course, the speaker, who appears to be stating his "platform" to the
gaping auditory grouped in varied postures about him. The chairman is a
man of prodigious size, and is probably a portrait. The newspaper
reporter is taking down the speech, as delivered, on the top of his hat.
We believe it is to be engraved as a companion to a former picture by
the same artist.
* * * * *
"NEW YORK PICAYUNE."--There is great merit in the humorous engravings in
this paper; they are well designed and well engraved. The reading matter
is also excellent. The Lectures by Cesar Augustus Hannibal contain many
satirical hits, though made in the negro dialect. They deserve to be
republished separately.
* * * * *
"THE BIZARRE," of this city, which, by the way, is an excellent
publication, says: "A better selection could not be made than 'Letters
left at the Pastry Cook's.' It is one of the most amusing and lifelike
descriptions of a girl's boarding-school ever written."
* * * * *
SUMMER BEVERAGES.--Now is the time for our subscribers to provide
themselves with these excellent and temperance receipts. See
advertisement on cover.
* * * * *
LA PIERRE HOUSE, BROAD STREET.--We are happy to find that our prophecy
about this splendid establishment has been verified. It is now the most
fashionable and best conducted house in the city.
* * * * *
WE beg leave to differ with our friend of the "Western Pioneer." We have
not placed the "cap-stone" yet, and he will see that it is not
impossible to excel it. "There is no impossibility to him who wills." We
will not differ with him on this point: "_It is the best specimen of
artistic and mechanical skill we have ever seen_." We may thank Messrs.
Collins & McLeester, who made the type, and Messrs. T. K. & P. G.
Collins, who printed the "Book," for that. Thank you for your very kind
notice.
* * * * *
WHAT LETTERS SHOULD BE.--Many people, and well-informed people too, sit
down to write a letter as if they were about to construct a legal
document or government dispatch. Precision, formality, and carefully
worded and rounded periods are considered all-essential, even though the
epistle be intended for a familiar friend. Others appear to be writing
for publication, or for posterity instead of making epistolary
communication a simple converse between friends. Away with such labored
productions! A letter on business should be brief; to a friend, familiar
and easy. We like Hannah More's ideas upon the subject. She used to say:
"If I want wisdom, sentiment, or information, I can find them better in
books. What I want in a letter is the picture of my friend's mind, and
the common sense of his life. I want to know what he is saying and
doing; I want him to turn out the inside of his heart to me, without
disguise, without appearing better than he is, without writing for a
character. I have the same feeling in writing to him. My letter is
therefore worth nothing to an indifferent person, but it is of value to
the friend who cares for me."
* * * * *
RURAL FELICITY.
When at eve thou sitt'st reclining
By thy quiet cottage door,
And the sun's last rays are shining
On the smooth and polished floor,
Then thy thoughts are blissward tending,
And warm emotions like a flood,
When an urchin softly whispers,
"_Daddy, Bill won't saw that wood!_"
* * * * *
WE do not hear much of the mothers of great men. What their
fathers were--what their reputation, qualities, and history--is
related to us with great particularity; but their mothers are usually
passed over in comparative silence. Yet it is abundantly proved, from
experience, that the mother's influence upon the development of the
child's nature and character is vastly greater than that of a father
can be. "The mother only," says Richter, "educates humanly. Man may
direct the intellect, but woman cultivates the heart."
* * * * *
A PARENT would rush, in the greatest alarm, after a child that was
indiscriminately eating wild fruit and berries, for fear it should lay
hold of a poison. How much greater care ought to be exerted in
preventing an indiscriminate use of books, lest the morals should imbibe
a poison that will stamp the future character with irretrievable
dishonor.
* * * * *
HOUSE PLANTS.
_From Mrs. Hale's New Household Receipt-Book._
PLANTS require much light and fresh air; a light garret is an excellent
place for them; even those which will not bear the outer air must have
the air of the room frequently freshened by ventilation, to preserve
them in health. They should not stand in a draught of air. In frosty
weather, the windows should be kept close, and at night the shutters. In
sharp frost, instead of stirring out the fire, leave a little on
retiring to rest, with a guard before it for security.
As a general rule, never water plants while the sun shines. The time
should be in the evening, or early in the morning, unless it be
confined to watering the roots, in which case, transplanted plants, and
others in a growing state, may be watered at any time; and, if they are
shaded from the sun, they may also be watered over the tops.
The water, if taken from a well or cold spring, should be exposed one
day to the sun, otherwise it will chill the plants. A small quantity
only should be applied at a time, that it may have the effect of
refreshing rain.
Rain water is the best for plants; next river water; hard spring water
is the worst.
* * * * *
TO AIR PLANTS, AND VENTILATE ROOMS WHEREIN THEY ARE CONTAINED.--Plants
should have air every day in the year to make them grow well; but this
matter, in sitting-rooms, will not, of course, be regulated for their
sakes, especially in the colder seasons. Wherever placed, however, some
attention should be paid to airing and ventilating the rooms regularly,
by opening the windows, and occasionally the doors, in order to excite a
free circulation of air. This should be done to a certain extent every
day, according to the state of the weather, except in the time of severe
frost, when it would not be advisable to admit external air. But at such
times, if bad weather be of long continuance, the rooms may be
ventilated by means of the doors, and by exciting a current of air in
the passages or other parts of the house.
In very severe frost, or in a continuation of damp weather, moderate
fires should be made for the sake of the plants, if placed in rooms not
occupied. The window shutters should also be closed at night.
* * * * *
HINTS TO LOVERS OF FLOWERS.--A most beautiful and easily-attained show
of evergreens may be had by a very simple plan, which has been found to
answer remarkably well on a small scale. If geranium branches taken from
luxuriant and healthy trees, just before the winter sets in, be cut as
for slips, and immersed in soap-water, they will, after drooping for a
few days, shed their leaves, put forth fresh ones, and continue in the
finest vigor all the winter. By placing a number of bottles thus filled
in a flower-basket, with moss to conceal the bottles, a show of
evergreens is easily insured for the whole season. They require no fresh
water.
* * * * *
INSTRUCTIONS IN KNITTING.
THERE is not one art practised by ladies which is more deservedly
popular than knitting. It is so easy, requires so little eyesight, and
is susceptible of so much ornament, that it merits the attention of
every lady.
The first process in knitting is known by the term _casting on_. There
are two ways of doing this; with one needle and with two. Take the
thread between the second and third fingers of the left hand, leaving
an end of about a yard for every hundred stitches; pass it round the
thumb of that hand, giving it a twist, so as to form a loop. Take a
knitting-needle in the right hand, insert the point in the loop and
pass the thread from the ball round the needle; then bend the point
of the needle through the loop, which tighten, and one stitch will be
complete. Continuing to make loops over the thumb, with the end of
thread, and knit them with that from the ball until the proper number
is cast on.
_To cast on with two needles_ (generally called the Spanish method),
begin by making a loop on the end of the thread, into which slip the
point of one needle, holding it in the left hand. Take the other needle
in the right hand, and slip its point into the same loop; bring the
thread round the point of this needle, and bend the needle towards
you, so that the thread forms a loop on it. Slip that also on the left
needle, without withdrawing it from the right. Put the thread round the
right again, and repeat the process.
_Plain Knitting._--After all the stitches are cast on, hold the needle
containing them in the left hand. Pass the thread round the little
finger of the right hand, _under_ the second and third, and above the
point of the first. Then take the other needle in the right hand, slip
the point in the first stitch, and put the thread round it; bring
forward the point of the right hand needle, so that the thread forms a
loop on it. Slip the end of the left hand needle out of the stitch, and
a new stitch is knitted.
_German Manner._--The thread, instead of being held by the fingers of
the right hand, is passed over and under those of the left. The process
is exactly the same.
_Purling._--Begin by bringing the thread in front of the right hand
needle, which slip into a stitch pointing towards you; that is, in
the reverse of the usual mode. Put the thread round the point of the
needle, still bringing it towards you, bend the needle backwards to
form a loop, and withdraw the stitch from the point of the left hand
needle.
When knitted and purled stitches occur in the same row, the thread must
be brought forward before a purled stitch, and taken back before a
knitted one.
_To make a stitch._--Bring the thread in front, as if for a purled
stitch, so that when you knit one the thread will pass over the needle,
and will make a hole in the following row. The thread is put twice
entirely round the needle, and then brought forward, so that the next
knitted stitch will take it over a third time. In doing the next row,
knit one, purl one, knit one of these stitches; however many are made,
they must be alternately knitted and purled in the next row. When the
stitch following the made stitches is to be purled, the thread must be
entirely passed round the needle, once for every stitch to be made, and
brought forward also.
_Slip stitch._--Pass a stitch from the left needle to the right,
without knitting it. There are two ways of decreasing; first, by
knitting two, three, or more stitches as one, marked in knitting, as k
2 t, k 3 t, &c. Secondly, in the following way: slip one stitch, knit
one, pass the slip stitch over; this decreases one stitch. To decrease
two; slip one, knit two together, pass the slip stitch over.
A reverse stitch is taken off the left hand needle, in the reverse
way to knitting and purling. In both these, the right hand needle is
inserted in the middle of the stitch, and the point brought out towards
you or otherwise. But to make a reverse stitch, you insert the point
of the needle in the stitch _at the back of the work_, and bring it
forward through the opening in which it generally is inserted. The
thread is to be placed round it, as for a purled stitch.
To reverse two, three, or more stitches together, insert the needle in
them all at once, _from the last to the first_.
_To take up stitches._--Insert the needle in the loop, pass the thread
round, and knit it in the usual manner. Do not draw out any loop more
than can be avoided, while knitting it.
_To knit two pieces together._--To do this, there must be an equal
number of stitches on both. Hold the needles together in the right
hand, and knit as usual, inserting the left-hand needle in a loop of
each at the same time, and treating the two as one.
_To form a round._--The French manner of performing this process
is by casting the whole number of stitches on one needle, and then
distributing them on three, or perhaps four. But the English mode is
to divide the number of stitches, and cast so many on each needle, not
withdrawing the last stitch of each needle from the point of the next
needle. When all are cast on, the round is made by knitting the _two
first_ stitches on to the last needle. Four needles are employed for
stockings, five for doyleys and other round articles.
_To cast off._--Knit two stitches, insert the point of the left hand
needle in the first stitch, and draw it on the other. Knit another
stitch, and treat these two in the same way.
* * * * *
THE EMPRESS OF FRANCE.--A correspondent of the "Morning Post,"
describing the appearance of the Empress of France at a ball, says: "The
grace and beauty of the Empress were observed to the fullest advantage.
Her faultless delicacy of feature, and the elegance of her figure, were
well displayed by a very chaste costume of white lace, ornamented with
ribbons of violet color, falling half way down the skirt. The headdress
was exquisitely beautiful. Her Majesty's hair is of a beautiful light
brown tint, and it was disposed last evening in tasteful rolls over the
forehead, leaving disclosed the ears, from which diamonds were pendant.
Her Majesty wore a diamond necklace of marvellous brilliancy, every
stone of which reflected its myriad hues, and a pair of somewhat small
bracelets _en suite_."
* * * * *
Another writer says:--
"From some statistics of the Legion of Honor just published, it
appears that this body numbers about 52,000, or little more than a
two-hundredth part of the male population of France. It was usually
supposed to be larger; the English used to say that every third
Frenchman in a respectable position was a 'Knight' of the Legion.
In Louis Philippe's time it was conferred on some odd subjects, old
Galignani among others, whose chief merits were, keeping a circulating
library, printing English books (before the late international
legislation on that subject), and publishing a newspaper of selections
which put in all it can find in disparagement of the Americans.
"By the time a man has lived two or three years in Paris, he generally
fancies himself pretty well posted up in French cookery; but I came
across something the other day which knocked me, and will probably
astonish you too, as it is founded on what we are accustomed to regard
as a peculiarly national comestible. Every American is acquainted
with pumpkin pie, and a good many of us like it. But what do you say
to _pumpkin soup?_ Till you have tried it, you don't know of what the
vegetable is capable. _Purée de Poturons;_ it is made just like _Purée
de Pois_, or any other purée (and consequently is improved by the
addition of _croutons_), pleasant to the eye (a rich golden yellow),
and delicious to the taste."
* * * * *
THE MANNER OF DOING GOOD.--When your endeavors are directed towards
doing good to an individual, in other words, doing him service, if there
be any option as to the mode or way, consider and observe what mode is
most to his taste. If you serve him as you think and say, in a way which
is yours, and not his, the value of any service may, by an indefinite
amount, be thus reduced. If the action of serving a man not in the way
he wishes to be served be carried to a certain length, it becomes
tyranny, not beneficence; an exercise of power for the satisfaction of
the self-regarding affections, not an act of beneficence for the
gratification of the sympathetic or social affections.
* * * * *
YANKEE DOODLE, WITH VARIATIONS.--Who is there among our readers who has
not heard several of his favorite tunes played with variations? And who
is there that could, when the musician got pretty deep in said
variations, ever recognize the original tune? It should be with
alterations, instead of variations. A recent writer, in the following,
justly ridicules this "variation" business:--
A few evenings since, I had the satisfaction of being present at
Signor Sivori's farewell concert. I was exceedingly diverted by the
performances of that clever violinist, which also reminded me of an
idea that had occasionally occurred to me before on hearing Ole Bull,
Liszt, and other professors of musical gymnastics.