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TRIUMPHANT MUSIC. 13 ject, frequently large enough to cover all the sides of a splendid apartment.

The manufacture of the loom woven Tapestry originated in Embroidery with the needle, and presented a precisely similar appearance; being merely an extension of the art by means of machinery.

EMBROIDERY ON MUSLIN.

White Embroidery comprises the art of working flowers, and other ornamental designs, on muslin, for dresses, or their trimmings; capes, collars, handkerchiefs, &c.

There are two sorts of cotton proper for this work; that which is most generally used, because it washes the best, is the dull cotton; sometimes called Trafalgar, or Indian. The other sort is the glazed, or English cotton, and is only proper to be used on thin muslin; although it looks infinitely the more beautiful of the two, previously to its being washed, yet that operation destroys its beauty, and removes all its gloss; nor is it so smooth and pleasant to use as the other. Patterns for working may be purchased at most of the fancy-shops; but ladies possessing a taste for drawing, may design their own subjects, by making sketches on paper, in pencil, and afterwards going over them again with ink. A pattern may be copied, by placing a thin piece of paper over the original, and tracing it through against a window. The outline of a subject already worked, if of a thick, rich description, may be obtained by laying the muslin on a table, placing a piece of white paper over it, and rubbing the paper with a nutmeg, partly grated: this outline may, afterwards, be perfected with a pen.

The paper pattern for a running design of flowers, foliage, &c. should be from twelve to eighteen inches long, in proportion to its breadth, and shifted along the muslin as the work proceeds. As this sort of pattern is liable to be soon damaged, it is advisable to strengthen it by a lining of cambric muslin. The pattern for a cape of a dress is usually of the size of the intended cape; but a sketch of one half of the pattern (Fig. 1) may be made to answer the purpose equally well, by retracing the design on the other side of the paper, against a window, and when half the cape is worked, turning the pattern over to the other side; in this case the half pattern must terminate exactly at the middle, or half of the work. The muslin, cambric muslin, or French cambric, intended to be worked, must be smoothly and evenly tacked on the pattern, so as to prevent its getting out of place; the stems, and external edges of leaves, flowers, or ornaments, must then be traced, by running them round with cotton (Fig. 2): great care should be taken to preserve their shape and form accurately, as a fault in this stage of the work is not easily remedied afterwards. In working the bottom of a dress, flounce, cape, or collar, the edge of the pattern, which is usually a running scallop, a series of scallops, forming larger ones, a vandyke, or a chain, should be done first. The best and strongest way of working this part, is in the stitch used for button hole work.

From Blackwood's Magazine for April.

TRIUMPHANT MUSIC.

BY MRS. HEMANS.

Wherefore and whither bear'st thou up my spirit, On eagle wings, through every plume that thrill? It hath no crown of victory to inherit- Be still, triumphant Harmony! be still!

Thine are no sounds for earth, thus proudly swelling Into rich floods of joy; it is but pain To mount so high, yet find on high no dwelling, To sink so fast, so heavily again!

No sounds for earth? Yes, to young chieftain dying On his own Battle field at set of sun, With his freed country's banner o'er him flying, Well might'st thou speak of Fame's high guerdon won.

No sounds for earth? Yes, for the martyr leading, Unto victorious Death serenely on, For patriot by his rescued altars bleeding, Thou hast a voice in each majestic tone.

But speak not thus to one whose heart is beating Against life's narrow bound, in conflict vain! For power, for joy, high hope, and rapturous greeting, Thou wak'st lone thirst be hushed exulting strain.

Be hushed, or breathe of grief! of exile yearnings Under the willows of the stranger shore; Breathe of the soul's untold and restless burnings, For looks, tones, footsteps that return no more.

Breathe of deep love a lonely vigil keeping Through the night hours o'er wasted health to pine, Rich thoughts and sad, like faded rose leaves heaping, In the shut heart, at once a tomb and shrine.

Or pass as if thy spirit notes came sighing From worlds beneath some blue Elysian sky: Breathe of repose, the pure, the bright, th' undying Of joy no more bewildering Harmony