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Programming iOS 6 3rd Edition Fundamentals of iPhone
iPad and iPod touch Development Matt Neuburg Digital
Instant Download
Author(s): Matt Neuburg
ISBN(s): 9781449365769, 1449365760
File Details: PDF, 20.44 MB
Year: 2013
Language: english
www.it-ebooks.info
www.it-ebooks.info
 THIRD EDITION

Programming iOS 6

Matt Neuburg

www.it-ebooks.info
Programming iOS 6, Third Edition
by Matt Neuburg
Copyright © 2013 Matt Neuburg. All rights reserved.
Printed in the United States of America.
Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472.
O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions are
also available for most titles (http://my.safaribooksonline.com). For more information, contact our corporate/
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Editor: Rachel Roumeliotis Cover Designer: Randy Comer
Production Editor: Kristen Borg Interior Designer: David Futato
Proofreader: O’Reilly Production Services Illustrator: Matt Neuburg
Indexer: Matt Neuburg

March 2013: Third Edition

Revision History for the Third Edition:

2013-02-27: First release

See http://oreilly.com/catalog/errata.csp?isbn=9781449365769 for release details.

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While every precaution has been taken in the preparation of this book, the publisher and author assume no
responsibility for errors or omissions, or for damages resulting from the use of the information contained
herein.

ISBN: 978-1-449-36576-9
[LSI]

www.it-ebooks.info
 Table of Contents

Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii

Part I. Language
1. Just Enough C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Compilation, Statements, and Comments 5
Variable Declaration, Initialization, and Data Types 6
Structs 9
Pointers 11
Arrays 14
Operators 15
Flow Control and Conditions 17
Functions 21
Pointer Parameters and the Address Operator 24
Files 26
The Standard Library 30
More Preprocessor Directives 30
Data Type Qualifiers 31

2. Object-Based Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Objects 35
Messages and Methods 36
Classes and Instances 37
Class Methods 40
Instance Variables 41
The Object-Based Philosophy 42

3. Objective-C Objects and Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

An Instance Reference Is a Pointer 47

iii

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 Instance References, Initialization, and nil 49
Instance References and Assignment 51
Instance References and Memory Management 52
Messages and Methods 54
Sending a Message 54
Declaring a Method 55
Nesting Method Calls 56
No Overloading 57
Parameter Lists 58
Unrecognized Selectors 59
Typecasting and the id Type 61
Messages as Data Type 65
C Functions 66
CFTypeRefs 67
Blocks 68

4. Objective-C Classes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Class and Superclass 75
Interface and Implementation 77
Header File and Implementation File 79
Class Methods 82
The Secret Life of Classes 83

5. Objective-C Instances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
How Instances Are Created 85
Ready-Made Instances 85
Instantiation from Scratch 87
Nib-Based Instantiation 90
Polymorphism 91
The Keyword self 93
The Keyword super 97
Instance Variables and Accessors 98
Key–Value Coding 100
Properties 102
How to Write an Initializer 104

Part II. IDE

6. Anatomy of an Xcode Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
New Project 110
The Project Window 112

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 The Navigator Pane 113
The Utilities Pane 118
The Editor 119
The Project File and Its Dependents 122
The Target 125
Build Phases 125
Build Settings 126
Configurations 128
Schemes and Destinations 129
From Project to App 131
Build Settings 133
Property List Settings 133
Nib Files and Storyboard Files 134
Other Resources 135
Code 137
Frameworks and SDKs 139

7. Nib Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

A Tour of the Nib-Editing Interface 146
The Dock 147
Canvas 148
Inspectors and Libraries 151
Nib Loading and File’s Owner 153
Making and Loading a Nib 154
Outlet Connections 156
More Ways to Create Outlets 161
More About Outlets 164
Action Connections 165
Additional Initialization of Nib-Based Instances 168

8. Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
The Documentation Window 172
Class Documentation Pages 174
Sample Code 177
Other Resources 178
Quick Help 178
Symbols 179
Header Files 180
Internet Resources 180

9. Life Cycle of a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Device Architecture and Conditional Code 183

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 Localization 188
Editing Your Code 192
Autocompletion 193
Snippets 195
Fix-it and Live Syntax Checking 195
Navigating Your Code 196
Debugging 199
Caveman Debugging 199
The Xcode Debugger 202
Unit Testing 208
Static Analyzer 208
Clean 209
Running in the Simulator 210
Running on a Device 212
Profile and Device Management 215
Version Control 216
Instruments 219
Distribution 223
Ad Hoc Distribution 225
Final App Preparations 226
Icons in the App 226
Other Icons 227
Launch Images 228
Screenshots 230
Property List Settings 231
Submission to the App Store 233

Part III. Cocoa

10. Cocoa Classes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Subclassing 239
Categories 242
Splitting a Class 243
Class Extensions 244
Protocols 245
Optional Methods 250
Some Foundation Classes 252
Useful Structs and Constants 252
NSString and Friends 253
NSDate and Friends 255
NSNumber 256

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 NSValue 257
NSData 257
Equality and Comparison 258
NSIndexSet 258
NSArray and NSMutableArray 259
NSSet and Friends 261
NSDictionary and NSMutableDictionary 262
NSNull 264
Immutable and Mutable 264
Property Lists 265
The Secret Life of NSObject 266

11. Cocoa Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Reasons for Events 270
Subclassing 270
Notifications 272
Receiving a Built-In Notification 273
Unregistering 275
NSTimer 276
Delegation 277
Data Sources 280
Actions 281
The Responder Chain 283
Deferring Responsibility 284
Nil-Targeted Actions 285
Swamped by Events 286
Delayed Performance 289
Application Lifetime Events 292

12. Accessors and Memory Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Key–Value Coding 298
KVC and Outlets 300
Key Paths and Array Accessors 301
Memory Management 303
Principles of Cocoa Memory Management 303
The Golden Rules of Memory Management 305
What ARC Is and What It Does 307
How Cocoa Objects Manage Memory 310
Autorelease 312
Memory Management of Instance Variables (Non-ARC) 316
Memory Management of Instance Variables (ARC) 320
Retain Cycles and Weak References 321

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 Unusual Memory Management Situations 324
Nib Loading and Memory Management 329
Memory Management of Global Variables 330
Memory Management of Pointer-to-Void Context Info 331
Memory Management of CFTypeRefs 332
Properties 335
Property Memory Management Policies 336
Property Declaration Syntax 338
Property Accessor Synthesis 340
Dynamic Accessors 342

13. Data Communication. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Model–View–Controller 347
Instance Visibility 349
Visibility by Instantiation 350
Visibility by Relationship 351
Global Visibility 352
Notifications 353
Key–Value Observing 354

Part IV. Views

14. Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
The Window 364
Subview and Superview 367
Visibility and Opacity 369
Frame 370
Bounds and Center 371
Transform 375
Layout 380
Autoresizing 381
Autolayout 383
Constraints in the Nib 393
Order of Layout Events 398
Autolayout and View Transforms 399

15. Drawing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

UIImage and UIImageView 403
Graphics Contexts 409
UIImage Drawing 412
CGImage Drawing 414

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 CIFilter and CIImage 418
Drawing a UIView 421
Graphics Context Settings 423
Paths and Drawing 425
Clipping 429
Gradients 430
Colors and Patterns 432
Graphics Context Transforms 434
Shadows 436
Points and Pixels 437
Content Mode 438

16. Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

View and Layer 442
Layers and Sublayers 444
Manipulating the Layer Hierarchy 446
Positioning a Sublayer 446
CAScrollLayer 447
Layout of Sublayers 448
Drawing in a Layer 449
Content Resizing and Positioning 452
Layers that Draw Themselves 455
Transforms 456
Depth 460
Shadows, Borders, and More 463
Layer Efficiency 464
Layers and Key–Value Coding 466

17. Animation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Drawing, Animation, and Threading 470
UIImageView and UIImage Animation 472
View Animation 475
Animation Blocks 475
Modifying an Animation Block 476
Transition Animations 480
Block-Based View Animation 481
Implicit Layer Animation 487
Animation Transactions 488
Media Timing Functions 489
Core Animation 491
CABasicAnimation and Its Inheritance 491
Using a CABasicAnimation 493

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 Keyframe Animation 497
Making a Property Animatable 498
Grouped Animations 499
Transitions 503
The Animations List 505
Animation and Autolayout 507
Actions 511
What an Action Is 511
The Action Search 511
Hooking Into the Action Search 513
Nonproperty Actions 516
Emitter Layers 517
CIFilter Transitions 523

18. Touches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Touch Events and Views 528
Receiving Touches 530
Restricting Touches 531
Interpreting Touches 532
Gesture Recognizers 537
Gesture Recognizer Classes 538
Multiple Gesture Recognizers 543
Subclassing Gesture Recognizers 544
Gesture Recognizer Delegate 546
Gesture Recognizers in the Nib 549
Touch Delivery 550
Hit-Testing 551
Initial Touch Event Delivery 556
Gesture Recognizer and View 556
Touch Exclusion Logic 558
Recognition 558
Touches and the Responder Chain 560

Part V. Interface
19. View Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
The View Controller Hierarchy 568
View Controller and View Creation 572
Manual View 575
Generic Automatic View 578
View in a Separate Nib 579

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 Nib-Instantiated View Controller 583
Storyboard-Instantiated View Controller 585
Rotation 588
Rotation and Layout Events 592
Initial Orientation 595
Presented View Controller 599
Presented View Animation 604
Presentation Styles 605
Rotation of a Presented View 608
Presenting a View in Response to Rotation 609
Tab Bar Controllers 610
Tab Bar Items 611
Configuring a Tab Bar Controller 612
Navigation Controllers 614
Bar Button Items 617
Navigation Items 619
Toolbar Items 622
Configuring a Navigation Controller 622
Page View Controller 625
Container View Controllers 630
Storyboards 633
Segues 635
Unwind Segues 637
Storyboards and Custom Container View Controllers 642
View Controller Lifetime Events 642
View Controller Memory Management 646
State Restoration 649
Participating in State Restoration 651
Restoration ID and Restoration Class 653
Restoring View Controller State 661

20. Scroll Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667

Creating a Scroll View 667
Scrolling 673
Paging 676
Tiling 677
Zooming 679
Zooming Programmatically 682
Zooming with Detail 682
Scroll View Delegate 685
Scroll View Touches 687

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 Scroll View Performance 692

21. Table Views and Collection Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 695

Table View Cells 698
Built-In Cell Styles 699
Registering a Cell Class 705
Custom Cells 708
Table View Data 715
The Three Big Questions 716
Table View Sections 719
Refreshing Table View Data 726
Variable Row Heights 729
Table View Selection 732
Table View Scrolling and Layout 737
Table View State Restoration 738
Table View Searching 739
Table View Editing 745
Deleting Table Items 749
Editable Content in Table Items 750
Inserting Table Items 752
Rearranging Table Items 754
Dynamic Table Content 755
Table View Menus 756
Collection Views 758

22. Popovers and Split Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767

Configuring and Displaying a Popover 769
Managing a Popover 774
Dismissing a Popover 774
Popovers and Presented Views 778
Popover Segues 778
Automatic Popovers 780
Split Views 782

23. Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 787

Attributed Strings 788
UILabel 797
UITextField 800
Summoning and Dismissing the Keyboard 803
Keyboard Covers Text Field 804
Configuring the Keyboard 808
Text Field Delegate and Control Event Messages 809

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 The Text Field Menu 812
UITextView 814
Core Text 817

24. Web Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 825

Loading Web View Content 826
Web View State Restoration 833
Communicating with a Web View 834

25. Controls and Other Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837

UIActivityIndicatorView 837
UIProgressView 839
UIPickerView 841
UISearchBar 843
UIControl 847
UISwitch 852
UIStepper 853
UIPageControl 854
UIDatePicker 855
UISlider 858
UISegmentedControl 861
UIButton 865
Custom Controls 870
Bars 873
UINavigationBar 873
UIToolbar 878
UITabBar 879
Appearance Proxy 883

26. Modal Dialogs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887

Alert View 888
Action Sheet 891
Dialog Alternatives 896
Local Notifications 897
Activity View 900

Part VI. Some Frameworks

27. Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909
System Sounds 909
Audio Session 910

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remitted his subscription in full up to 1860. We fancy that there are
few other publications can give such instances as these.

SOMETHING ABOUT COOKS.—We heard an anecdote about "the new

cook" that is worth telling. "Betty," says the mistress, "I want those
shells warmed for dinner"—meaning the pastry shells. "Yis, ma'am."
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ma'am; and they are quite hot." "Shells!" exclaimed the indignant
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I thought it was these you wanted warmed."

WE extract the following from Mrs. Partington's "Carpet Bag of Fun":

—

A STRING OF EPITAPHS.
 "WEEP, stranger, for a father spilled
From a stage-coach, and thereby killed:
His name was John Sykes, a maker of sassengers,
Slain with three other outside passengers."

"Here lies the body of James Monk,

Suddenly drowned when he was drunk;
He paid his score, and cheated no man—
De mortius nil nisi bonum."

"His jacet, Tom and Titus Tressel,

Lost by the swamping of their vessel.
A leak she sprung and settled fast;
Payment of Nature's debt was asked,
And it was paid—the debtors failing
To give security by bailing.
Full many a storm they nobly braved,
And tho' they're lost, we hope they're saved."

MRS. PARTINGTON ON FUNNY-GRAPHY.—And Ike read, "Mr. Wightman

submitted a detailed report on the subject of introducing phonotopy,
as a study, into the primary schools." "Stop, Isaac," said Mrs.
Partington, threateningly holding up her finger, and slightly frowning,
"don't make light of anything serious that you are reading—it isn't
pretty." "But it's so in the paper, aunt," said Ike; and he again read
the sentence, emphasizing the word "phonotopy" prodigiously. Mrs.
Partington adjusted her specs, and looked at it, letter by letter, to be
assured. "Well, if ever!" said she, holding up her hands; "I declare I
don't know what they're gwine to do next. They're always organizing
or piano-fortin the schools, and now this funny topy comes along to
make 'em laugh, I s'pose, when they ought to be getting their
lessons. Sich levity is offal. They do have sich queer notions,
nowadays! I can't make head nor tail of 'em, I'm shore."
CONCERT HALL, PHILADELPHIA.—We beg leave to recommend this
splendid room to all who wish to occupy it for exhibitions of any
kind, concerts, balls, lectures, &c. Mr. Andrews, the lessee, is very
attentive, and he is ably seconded by his right-hand man, Mr. Hood.
In fact, politeness to visitors by all concerned seems to be the ruling
feature.

THE EYELASHES AND EYEBROWS.—In Circassia, Georgia, Persia, and India,

one of the mother's earliest cares is to promote the growth of her
children's eyelashes by tipping and removing the fine gossamer-like
points with a pair of scissors, when they are asleep. By repeating
this every month or six weeks, they become, in time, long, close,
finely curved, and of a silky gloss. The practice never fails to produce
the desired effect, and it is particularly useful when, owing to
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'Inquirer,' we should deem it to surpass, in finish and in splendor of
furnishment, the regal glory of a palace. Hear how it describes one
of the suite of rooms: 'It consists of a parlor and chamber, is
extremely beautiful, and furnished in the very richest possible
manner, yet with a quietness and repose of taste that are very
pleasing and striking. The rooms are separated by a rose-colored
and white brocatelle curtain, intertwined with a graceful drapery of
lace, suspended from a golden arch. The bedstead is of the richest
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somewhat doubt that it ever occurred there:—
On Thursday, a beautiful equipage was seen in the Champs Elysées,
containing an elderly gentleman and a lady; the latter, though her
face was covered with a thick veil, appeared to be young and
handsome. The gentleman, an Englishman, Sir Edward ——, is said
to be one of the oddest and most eccentric fellows ever produced by
prolific Albion. A talented pianist was lately summoned to his house.
His services were required for an evening party, and a generous
recompense was promised. The musician came early, and he was
introduced into a spacious drawing-room, where many persons were
already assembled. This apartment, which was magnificently
furnished, was but dimly lighted by two lamps, and scarcely heated
at all—the splendid fireplace, adorned with costly bronzes,
containing only a wretched fire, which cast a sepulchral glare over
the rich furniture. The host went to meet the musician as soon as
the footman had announced him, and received him in a most
flattering manner. A lady, most sumptuously and elegantly dressed,
was seated on a sofa. "Allow me to introduce you to Lady ——, my
wife!" said Sir Edward. The musician made a profound obeisance,
which the lady, nevertheless, took no notice of; she sat straight and
immovable, and fixed an unearthly gaze on the new-comer. There
was another lady in an arm-chair, leaning with her elbow on a round
table, and apparently reading a book with the greatest attention.
"My sister, Miss Emily," said Sir Edward. "Mademoiselle," said the
pianist, with a bow; but in vain did he repeat the word and the
salutation to call the attention of the young lady; she neither moved
nor raised her eyes from the book. "She has always loved reading
very much," said Sir Edward. "Rather more than politeness would
warrant!" thought the artiste to himself. The remainder of the
company consisted of five or six gentlemen. The artiste observed,
with astonishment, that all these persons affected a strange
immobility, just like the lady and sister of Sir Edward. "Will you take
a seat at the piano?" said Sir Edward. "What do you wish me to
play?" asked the musician. "Shall I select the pieces, or will madam
have the kindness to point out some favorite morceau?" Miladi did
not reply, and Sir Edward, answering for her, said, "My wife and I
have the same taste in music, so play a piece of Mozart or Listz, and
one of your own compositions." "I will begin my own, therefore; for
after those masters mine would not be acceptable!" modestly replied
the artiste. The sofa on which Miladi was seated was very near the
piano, and placed in such a manner that the artiste had the lady
opposite him. He looked at her while he was playing, in order to
read in her countenance the impression which the music might
produce on her. The handkerchief which Miladi held in her hand,
having, after a while, fallen to the ground, the musician rushed
forward to pick it up: and, in doing so, could not refrain from
uttering an exclamation of surprise. "What is the matter with you?"
said Sir Edward. "Oh, sir, the lady—the pretended lady!" "Alas!"
interrupted Sir Edward, "I only possess the image of an adored
wife!" And it was then explained that the worthy baronet, being
inconsolable for the loss of certain friends, always travelled about
with their image in wax! A party of living friends afterwards
assembled, and the evening was spent very agreeably.

HOUSEKEEPERS, look at this; and, before you engage a cook, inquire if

she has a husband. This is an illustration of that that said husband
going to the paternal abode, with something to feed the young
ravens, after having paid a visit to his wife. It is simply "the husband
of your cook leaving your house."
SOUND REASONING—and, as such, will be recognized by those who
have been humbugged by the Brown and other lecturers who have
honored us with visits from abroad:—
Lectures vs. Books.—Why a man should put on his overcoat and
comforter, and a woman wrap herself in furs, mufflers, cloaks, and
shawls, and the children bundle up, to face a strong nor'-wester, and
go out to hear a lecture of dubious excellence, or a concert that,
after all, is little better than a bore, while at home a goodly array of
philosophers and poets, story-tellers and grand advisers, stand
waiting to offer their services; yet not one of which looks sad if his
neighbor is preferred before him—this we would wonder at, if it
were not everybody's habit. If a man has weak eyes, or his thoughts
find no anchorage, and if he cannot afford the luxury of a private
reader, let him visit the public lecture-room, and he can get much
good from it. Or if, for his sins, he has lost his home, let him go to
the concert and mortify himself. But we who have homes cannot
afford, first, the sacrifice of our home comforts, second, the loss of
precious winter evening hours, and third, the price of tickets, unless
we know of a surety that they will admit us to choice performances.

SINGULAR INSCRIPTIONS ON TOMBSTONES.

On the Duke of Marlborough:—

Here lies John, Duke of Marlborough

Who run the French through and through;
He married Sarah Jennings, spinster,
Died at Windsor, and was buried at Westminster.

In St. Bennet's, Paul's Wharf, London:—

Here lies one More, and no more than he:

One More and no More! how can that be?
Why one More, and no more, may well lie here alone,
But here lies one More, and that is more than one!

From Broom Churchyard, England:—

God be praised!
Here is Mr. Dudley, senior,
And Jane, his wife, also,
Who, while living, was his superior;
But see what death can do.
Two of his sons also lie here,
One Walter, t'other Joe;
They all of them went in the year 1510 below.
In St. Michael's Churchyard, Aberystwith, is another, to the memory
of David Davies, blacksmith:—

My sledge and hammer lay reclined,

My bellows, too, have lost their wind,
My fire's extinct, my forge decayed,
And in the dust my vice is laid;
My coal is spent, my iron gone,
My nails are driven—my work is done.

The following epitaph is transcribed from one of the local histories of

Cornwall:—

Father and mother and I,

Lies buried here as under,
Father and mother lies buried here,
And I lies buried yonder.

From Cunwallow Churchyard, Cornwall. [It may be read either

backwards or forwards.]

Shall we all die?

We shall die all,
All die shall we—
Die all we shall.

In St. Germain's, in the Isle of Man, the following very singular

epitaph is yet to be seen, in Latin, over the tomb of Dr. Samuel
Rutter, formerly prebendary of Litchfield, and afterwards Bishop of
Sodor and Man:—
 In this house,
Which I have borrowed from
My brethren, the worms,
lie I,
SAMUEL, by Divine permission,
Bishop of this island.
Stop, reader;
Behold and smile at
THE PALACE OF A BISHOP!
who died May 30,
in the year
1653.

SOME FEW INSTRUCTIONS IN CROCHET-WORK, which may be of use to

some of our lady readers.
In the first instance, the crochet-hook should be very smooth, made
of fine steel, and fixed in handles. The stitches used are chain, slip,
single, double, treble, and long treble crochet.
Chain Stitch (ch) is made by forming a loop on the thread, then
inserting the hook, and drawing the thread through the loop already
made. Continue this, forming a succession of stitches.
Slip Stitch is made by drawing a thread at once through any given
stitch and the loop on the needle.
Single Crochet (sc). Having a loop on the needle, insert the hook in
a stitch and draw the thread through in a loop. You have then two
on the hook; draw the thread through both at once.
Double Crochet (dc). Twist the thread round the hook before
inserting it in the stitch, through which you draw the thread in a
loop. There will then be three loops on the hook; draw the thread
through two, and then through the one just formed and the
remaining one.
Treble Crochet (tc), and Long Treble (long tc), are worked in the
same way; in treble the thread is put twice, in long treble three
times, before inserting it into the stitch.
Square Crochet is also sometimes used. The squares are either open
or close. An open square consists of one dc, two ch, missing two on
the line beneath before making the next stitch. A close square has
three successive dc. Thus any given number of close squares,
followed by an open, will have so many times three dc, and one
over; therefore any foundation for square crochet must have a
number that can be divided by three, having one over.
To contract an Edge. This may be done in dc, tc, or long tc. Twist the
thread round the hook as often as required, insert it in the work, and
half do a stitch. Instead of finishing it, twist the thread round again,
until the same number of loops are on, and work a stitch entirely; so
that, for two stitches, there is only one head.
To join on a Thread. In joining, finish the stitch by drawing the new
thread through, leaving two inches for both ends, which must be
held in.
To use several Colors. This is done in single crochet. Hold the
threads not in use on the edge of the work, and work them in.
Change the color by beginning the stitch in the old color and
finishing it with the new, continuing the work with the latter holding
in the old. If only one stitch is wanted in the new color, finish one
stitch and begin the next with it; then change.
To "Purl" in Netting. Bring your thread forward, and take up the
inner side of the stitch, putting your needle downwards in the stitch
instead of upwards, as you do in plain knitting.

PHILADELPHIA AGENCY.
"W. J. M."—Cannot send the "Lady's Book" previous to January,
1851. Wish we had the eight years to send you.
"Clara S."—Will find explanations of the abbreviations of crochet
terms in this number; also March number, page 279; and in our May
number we will give further directions.
"L. M. H."—Sent you patterns by mail on 18th.
"Miss A. R."—Sent your hair bracelet on the 18th.
"Miss P. S."—Sent your ring and thimble on the 19th.
"O. V. H."—Sent your gold pen on 19th.
"B. A. C."—Sent the cap patterns by mail on 19th.
"M. P. R." commits the common error of not dating letter nor giving
place of residence. The postmark, like every other postmark, is
illegible. One-half the letters we receive have the same omissions,
giving us a great deal of trouble. We can supply the numbers; but
how can we tell what the postage will be when we don't know their
destination? The price of the numbers will be 25 cents. The
communication was received too late for March number.
"Miss E. P."—Sent your patterns on 20th.
"Graduate" is informed that he had better advertise in the papers
here for the situation he wants. There is no other way of procuring
it. We have used the masculine in answering this, as "Graduate"
omits letting us know whether we are addressed by a male or
female. If a female, why not write the first name in full, or prefix
Mrs. or Miss?
"T. G. B."—Sent Rigolet by Adams's Express on 28th.
"C. C. D."—Sent Odd Fellows' Regalia by Adams & Co.
"Miss E. C. G."—Sent cotton on the 30th.
"J. W. K."—Sent jet cross on 30th.
"Miss C. R. L."—Sent apron pattern on the 2d.
"M. R. E. P."—Sent jacquette pattern 4th.
One of our subscribers wrote us upon the subject of cutting dresses
by our patterns. We have mislaid the letter. Will she please write
again?
"Miss T."—Sent cotton by mail. The postage will be expensive; but
cheaper than express.
"A. S. C."—Sent dress on the 7th by mail.
"Miss D. H."—Sent patterns by mail on 7th.
"Helen."—Boots to button at the side for winter wear are very
fashionable here. Bronze or blue gaiter boots $3, French kid slippers
$1 50. Never heard of such a mono-mania; make him wear girl's
clothing until he reforms.
"S. S. S."—Sent goods by mail (the cheapest way) on the 7th.
"T. S. H."—Sent Rapp's pen by mail on the 14th.
"Miss M. F."—Sent breastpin by mail on 14th.
"Mrs. J. A. C."—Wrote and sent you circular of prices of Boardman &
Gray's pianos.
"M. S. L."—Sent jewelry by mail on 18th.
"Bed Quilts."—Marseilles are almost invariably used now. Of course,
they are fashionable.
"J. S. B."—Too late for March number. Cannot furnish "Lady's Book"
from the commencement. We have only as far back as 1851.
"Mrs. A. V. Du B."—Sent patterns by mail on 18th.
No orders attended to unless the cash accompanies them.
All persons requiring answers by mail must send a post-office stamp.
"The wicked borroweth and payeth not again."
THE "Pennsylvania Trojan" says: "The present is decidedly the best
number, in point of illustrations, reading matter, paper, and
typography, ever issued, and every way worthy of the wide-spread
reputation of L. A. Godey. We cannot lend this number, to show it to
our friends, for Mrs. M. has taken charge of it, and is copying some
very pretty patterns of embroidery from it. However, she will take
pleasure in displaying its beauties to you."
Sent you a duplicate of that prospectus sheet, friend "Trojan."

GOOD.—A letter from a Ky. editor: "I have about one dozen
BORROWING subscribers, who all like your 'Book' remarkably well, I
presume, from their eagerness to get hold of it. I have lost one or
two of these, however, as they have sent on and subscribed for
themselves."
Don't lend, and we shall have the remainder of them soon.

A letter from a lady in New York State:—

"SIR: I have endeavored to be as punctual as possible in making up
my club for 1854. The 'Lady's Book,' with its many charms, has
become very necessary to our happiness. I am gratified that there
are a few ladies among us who are sufficiently endowed with a
sense of the beautiful and interesting to appreciate its worth. One of
its admirable traits is that it bears acquaintance well. That race of
beings who borrow everything they read is not extinct in this vicinity.
But that habit, like that of drinking ardent spirits, is growing less, as
decent people are ashamed to practise it."
"No loss but what falls on my head." The "Advocate," Stamford,
says: "By the way, if the individual who so unceremoniously
borrowed the August number will be kind enough to return it, we
shall be saved the necessity of troubling Mr. Godey for a duplicate."
Of course, we had to send it.

ONE of our lady subscribers takes two copies of the "Lady's Book," so
that she can have one to lend. Hard case; but it is the only way, she
says, that she can secure a copy for her own perusal. We would
suggest to her to slip in the copy proposals for a club of six. The
price to each one would only be $1 67 for a year's subscription.

ANSWERS TO ENIGMAS IN MARCH NUMBER.

9. Mist.
10. The letter G.
11. A windmill.
12. Faith, Hope, Charity.

ENIGMAS.

13.
THE treasure that I render you
Surpasses any mine of gold;
'Tis clear my sterling value, too,
Is far too precious to be sold.

My current stock your wants supplies,

Your draughts on me I liquidate,
Relieving your necessities,
And keeping solvent your estate.

In my transactions, though I'm deep,

Still truth is e'er ascribed to me;
And well continually I keep
With folks who use me prudently.

In banks, I never do intend

My "floating capital" to trust;
On firmer footing I depend,
And what I am would you be—just.

14.

I'M able, by the aid of tea,

A banquet to support;
And when I'm following the sea,
Retain my ship in port:
But when effaced, then must I be
Fictitious in report.

15.
 I'M good for nothing, save when kept,
As many a soul can tell;
And should exist conceal'd, except
'Gainst honor I rebel.

The happiness of many a heart

Will oft depend on me;
Its ease, alas! will oft depart,
Whene'er I cease to be.

CHEAP CONTRIVANCE FOR FILTERING.—A very cheap and good contrivance

for filtering is to take a large garden flower-pot, and lay in the
bottom a piece of sponge, so as to cover the hole. Upon this put a
few smooth, clean pebbles, to keep the sponge in its place, and fill
up the pot, to within two or three inches of the brim, with a mixture
of one part of powdered charcoal to two parts of fine sharp sand.
Then cover the top of the pot with a piece of clean white flannel,
tied tightly round the rim with a twine, but so as to sink or sway
down in the centre. Set the flower-pot in a pan or tub, and pour the
water into the flannel, letting it filter through the charcoal, &c.; and,
by the time it has passed through the sponge, and come out at the
bottom, it will be clear.

TO CLEANSE A TEAKETTLE FROM FUR.—Heat the kettle rapidly over a fire

of shavings, having previously made it quite dry. The expansion will
separate the fur from the metal, and it may then be easily removed.

TO REMOVE STAINS OF ACIDS, &C.—Stains caused by acids may be

removed by tying some pearlash up in the stained part; scrape some
soap in soft cold water, and boil the linen till the stain is gone. Many
stains may be removed by dipping the linen in some sour buttermilk,
and drying it in a hot sun, washing it afterwards in cold water. It
may be found necessary to repeat this once or twice.

TO TAKE OUT IRONMOULD.—Wet the ironmould with water, and then lay
the linen on a hot water-plate and put on the part a little essential
salt of lemons. When it becomes dry, wet it again, and renew the
process, being particular that the plate is boiling hot. Dip the linen
into a good deal of water, and wash it as soon as the stain is
removed, to prevent any damage from the acid.

TO PRESERVE STEEL PENS.—Metallic pens may be preserved from

rusting by throwing into the bottle containing the ink a few nails, or
broken pieces of steel pens, if not varnished. The corrosive action of
the acid which the ink contains is expended on the iron so
introduced, and will not therefore affect the pen.

FRENCH POLISH.—To one pint of spirits of wine add a quarter of an

ounce of gum copal, a quarter of an ounce of gum arabic, and one
ounce of shellac. Let your gums be well bruised, and sifted through
a piece of muslin. Put the spirits and the gums together in a vessel
that can be safely corked; place them near a warm stove, and
frequently shake them. In two or three days they will be dissolved;
strain it through a piece of muslin, and keep it tightly corked for use.

DOMESTIC RECEIPTS.

CUSTARDS, CREAMS, JELLIES, AND BLANC

MANGE.
 [Fourth article.]
CHARLOTTE RUSSE.—Line the bottom of a plain round mould with Savoy
biscuits, placing them close together in a star or some device; line
the sides, placing the biscuits edgewise, to make them form a
compact wall; put the mould upon ice; have ready a Crême au
Marasquin, adding a glass of brandy. Fill the mould as it stands on
the ice, and leave it till the time of serving, when turn it over upon
the dish and take off the mould.

CHARLOTTE RUSSE. An easy way.—Mix with the yolks of four eggs a

quarter of a pound of sugar pounded fine, and add to this half a pint
of new milk. Put it over the fire till it begins to thicken like custard,
but do not let it boil; then add half a pint of very stiff calves-foot
jelly. Strain it through a napkin; put in a pan placed on ice, a pint of
very rich cream, flavored or not, as you like, and whip it until it looks
like float; pour the cream into another dish, and put the custard in
the pan on the ice; stir it on the ice with a paddle until it becomes
thick like jelly; then add the cream very lightly. The mixture should
look like light sponge-cake before it is baked. A round tin pan must
be prepared with sponge-cake, called ladies' fingers, placed around
and at the bottom very evenly and closely; pour the charlotte in it,
and place it on the ice till wanted. When wanted, put a round dish or
plate on it, and turn it out. The bottom will then be at the top—and
no cake at the bottom.

CREAM HASTY.—Take a gallon of milk from the cow, set it on the fire,
and when it begins to rise take it off the fire, skim off all the cream
and put it on a plate, then set the skillet on the fire again and repeat
the skimming till your plate is full of cream; put to it some orange
flower and sugar, and serve it.

CREAM "AU NATUREL."—Take some thin cream, mind and let it be fresh,
and put it in a bowl on ice to cool; add to it powdered sugar, and
serve it.

CREAM, TO KEEP.—Cream already skimmed may be kept twenty-four

hours, if scalded without sugar; and, by adding to it as much
powdered lump sugar as will make it sweet, it will keep good two
days in a cool place.

CURDS AND CREAM.—With about half a tablespoonful of rennet, turn

two quarts of milk just from the cow; drain off the whey, and fill a
mould with the curd; when it has stood an hour or two, turn it out.
Strew colored comfits over it, sweeten some cream, mix grated
nutmeg with it, and pour it round the curd.

CURDS AND CREAM, AS IN SCOTLAND.—Put two quarts of new milk into the
dish in which it is to be served, and turn it with a teaspoonful of
rennet; when the curd has come, serve it with the cream in a
separate dish.

NAPLES CURD.—Put into a quart of new milk a stick of cinnamon, boil it

a few minutes, take out the cinnamon, and stir in eight well-beaten
eggs and a tablespoonful of white wine; when it boils again, strain it
through a sieve; beat the curd in a basin, together with about half
an ounce of butter, two tablespoonfuls of orange-flower water, and
pounded sugar sufficient to sweeten it. Put it into a mould for two
hours before it is sent to table. White wine, sugar, and cream may
be mixed together and poured round the curd, or it may be served
in a sauce tureen.

THE SICK ROOM AND NURSERY.

CURE FOR SQUINTING.—Squinting frequently arises from the unequal
strength of the eyes, the weaker eye being turned away from the
object, to avoid the fatigue of exertion. Cases of squinting of long
standing have often been cured by covering the stronger eye, and
thereby compelling the weaker one to exertion.

SCRATCHES.—Trifling as scratches often seem, they ought never to be

neglected, but should be covered and protected, and kept clean and
dry until they have completely healed. If there is the least
appearance of inflammation, no time should be lost in applying a
large bread and water poultice, or hot flannels repeatedly applied, or
even leeches in good numbers may be put on at some distance from
each other.

THE HOUSEHOLD.
IT is a long time ago since we rejoiced in the possession of a new
spelling-book, with a bright blue board cover (so liable to get the
corners chipped off), and learned from its fascinating pages that
ever-to-be-remembered lesson for the household—

"Whatever brawls disturb the street,

There should be peace at home."

What else of profit we gleaned from its double-columned pages, our

readers, or perhaps our printers, are the best judges; but the poetic
bit of family government, though faded with years, comes out now
and then feebly in remembrance, as sympathetic inks brighten by
firelight. It is at present recalled by a subject suggestive for this
month's chat, "the duties of an elder daughter at home," or, as we
would have it read, of "daughters at home." The mother of a large
family has had demands on her time, health, and spirits in their
infancy, which they cannot understand until they come to be
situated in like manner, but certain it is, and as the daughters grew
up around her, she naturally looks to them to aid her in the cares
and responsibilities of the home.
Of course, to all well-ordered governments there must be one head,
the centre of all action; but inferior officers can ofttimes take the
whole burden of petty detail. The silver, the mending, the wash,
must be seen to, and here it might be a daughter's pleasant duty to
see her mother's instructions faithfully obeyed. How much better
this, than adding to the general discomfort and disorderly careless
habits, and inconsideration or rudeness to the servants.
Then as regards her brothers—the daughter of the household has
much to think of: to be considerate for their comfort, to respect their
feelings, to care for their amusement, to enter into their plans and
pursuits. How many a brother is driven to seek idle, expensive, and
too often vicious company from the lack of such sympathy at home!
And yet one so often hears—"brothers are so troublesome"—or, "we
can't practice just to play for a brother"—or, "the boys have their
company, and I have mine." The taste may not always be congenial,
but good feeling and gentle manners will accomplish far more than a
sarcastic repulse.
Thus, in course of time, the stepping-stones safely passed, the girl
becomes the young wife—housekeeper—mother—fitted for the
duties of her station, and therefore contented with it, finding nothing
harsh or irksome in domestic routine, and satisfied with the
pleasures and enjoyments of home. Far more likely to do so than
she who leads a careless, idle life as a girl—to become a fretful,
discontented wife, or neglectful mother.
 Our Daily Paths! with thorns or flow'rs
We can at will bestrew them;
What bliss would gild the passing hours,
If we but rightly knew them!
The way of life is rough at best,
But briers yield the roses,
So that which leads to joy and rest
The hardest path discloses.

The weeds that oft we cast away,

Their simple beauty scorning,
Would form a wreath of purest ray
And prove the best adorning.
So in our daily paths, 'twere well
To call each gift a treasure,
However slight, where love can dwell
With life-renewing pleasure!

LACES AND EMBROIDERIES.

WE promised, in speaking of new caps, a paragraph in our fashion
chat on laces; but, as that has its own material, in discussing the
merits of shapes and styles, we lay our laces upon the centre-table
instead.
We have now in preparation some very new and tasteful designs for
chemisettes, to be worn in mourning, every one understanding that
embroideries are laid aside with a black dress. For the strictest
styles, plain linen, cambric, and Swiss muslin are worn; but when
silks or fringed dresses are put on, fluted ruffles, edged with plain
narrow lace, on collars and open sleeves, are not out of taste, or
edges of needle-work in scallops and points.
Laces, or very thin muslin embroidery, will be worn this summer;
cambric, whether plain or embroidered, being seen only in morning-
dress. We speak to those who "dress for dinner." There is a new
style of lace, the Maltese, which is very heavy and apparently
durable, somewhat resembling Honiton, at about half its cost. It is
very pretty for caps, as seen in our design for the month. Heavy
laces are still in vogue; Valenciennes and the still more delicate and
lady-like Mechlin have given place to them. There is an Irish point
occasionally to be met with, the most durable of all, being of the
purest linen thread. Collars, or chemisettes, and undersleeves are
worn to match. Nothing is more untidy—save soiled muslins—than to
see cambric sleeves and a rich lace collar, or muslin sleeves and
English flouncing for a chemisette. Better to have both of plain
cambric or linen.

WASHING MADE EASY.

THE truthfulness of the "Washing-Day" song, with its disagreeable
effects on the spirits and temper, has never been questioned or
doubted. For ourselves, our spirits fall with the first rising of steam
from the kitchen, and only reach a natural temperature when the
clothes are neatly folded in the ironing-basket. If any of our club
sympathize with us, they will rejoice that a better day is at hand,
and consider the invention described below as full of the deepest
interest to our sex as housekeepers. The one thus commented on is
in use in the St. Nicholas Hotel, New York:—
"A strong wooden cylinder, four feet diameter, and four and a half
feet long, is mounted on a frame, so as to be driven by a band on
one end of the shaft. This shaft is hollow, with pipes so connected
with it that hot or cold water, or steam, can be introduced at the
option of the person in charge. The cylinder being half full of water,
a door at one end is opened, and 300 to 500 pieces of clothing are
thrown in, with a suitable quantity of soap, and an alkaline fluid
which assists in dissolving the dirt and bleaching the fabric, so that
clothes, after being washed in this manner, increase in whiteness
without having the texture injured.
"When the cylinder is changed, it is put in motion by a small steam-
engine, and made to revolve slowly, first one way a few revolutions,
and then the other, by which the clothes are thrown from side to
side, in and out, and through the water. During this operation the
steam is let in through a double-mouthed pipe—somewhat of this
shape, X—which has one mouth in and one mouth out of water; the
steam entering the water through the immersed end, and escaping
through the other, by which means it is made to pass through the
clothes, completely cleansing them in fifteen or twenty minutes. The
steam is now cut off, and the hot water drawn through the waste
pipe, and then cold water introduced, which rinses the articles in a
few more turns of the cylinder. They are now suffered to drain until
the operator is ready to take them out, when they are put into the
drying-machine, which runs like a millstone, and its operation may
be understood by supposing that millstone to be a shallow tub, with
wire network sides, against which the clothes being placed, it is put
in rapid motion; the air, passing in a strong current into the top and
bottom of the tub, and out of the sides, carries all the moisture with
it into the outside case, from whence it runs away. The length of
time requisite to dry the clothes depends upon the rapidity of the
revolving tub. If it should run 3,000 revolutions a minute, five to
seven minutes would be quite sufficient. When there is not sufficient
steam to run the dryer with that speed, it requires double that. In
washing and drying, there is nothing to injure the fabric. Ladies'
caps and laces are put up in netting bags, and are not rubbed by
hand or machine to chafe or tear them in the least, but are cleansed
most perfectly.
"It can readily be imagined what a long line of wash-tubs would be
required to wash 5,000 pieces a day, and what a big clothes-yard to
dry them in; while here the work is done by four persons, who only
occupy part of a basement-room, the other part being occupied by
the mangle, and ironing and folding-tables. Adjoining are the airing-
frames, which are hung with clothes, and then shoved into a room
steam-pipe heated, when they are completely dried in a few
minutes.
"Small Family Machines.—Almost the first thought, after witnessing
the operation of this machine, was, can washing be done upon the
same principle in small families? To our inquiries upon this point, we
have received the following satisfactory information:—
"For common family use, hand-machines are made to cost from $40
to $50, with which a woman can wash fifty pieces at a time, and
complete 500 in a day without laboring severely. For the purpose of
washing, without driving the machinery by steam, a very small boiler
will be sufficient. It is not necessary to have a head of water, as that
can be found in the cylinder, which can be turned by horse or any
other convenient power. The plan of cleansing clothes by steam is
not a new one; but it is contended by the inventor that his process is
an improvement upon all heretofore applied to that purpose."

APPLETONS'.
APPLETONS' is the very conspicuous gilt-lettered name of a large
brown-stone building just opened on Broadway, New York, for the
business purposes of this well-known firm. It was built originally for
a public library, but was bought last spring by the present owners,
and the lower story has since been fitted up for them. Henceforth,
"Appletons'" will be one of the lions of Broadway.
It may not be a very flattering comparison, but one at least easily
understood—what "Stewart's" is to the woman of fashion, or
"Taylor's" to the gourmand, "Appletons'" is now to the student or the
book fancier. The design and decorations are in perfect keeping with
the business, the very windows, deep set as they are, suggesting
the alcoves, with which it is lined, as in a public library. The ceiling
walls are ornamented in fresco, of quiet, yet cheerful tints; fourteen
Corinthian columns are the central support, and these have the
effect of Sienna marble. The book-cases and shelving are of plain
oak. The proportions and whole interior effect are admirable; and
here are to be found everything that is bindable or readable, from
superb London editions of the classics to the last new school-book,
in its plain cloth cover.
A good hour's lounge would scarcely give a just idea of the united
elegance and utility of the new establishment; for the curious visitor
should not neglect to glance at the wholesale ware-room, occupying
the warm, well-lighted basement, which has its own "exits and
entrances," its own salesmen, attendants, and purchasers, and gives
perhaps a more just estimate of the immense business of the firm.
There is certainly nothing approaching to it in this country or in
England.

TO CORRESPONDENTS.
WE must enforce upon our correspondents the necessity of being
explicit in forwarding their addresses; for we agree with them in
thinking it rather awkward for a young lady to be addressed as M. S.
Jones, Esq., or a married lady to find herself suddenly divorced, and
written to as Miss. But how are we to help it? How is the editor,
especially in the haste and confusion of a correspondence the
uninitiated cannot imagine or comprehend, to discover from internal
evidence whether the said M. S. Jones is a noun masculine or
feminine, or, being feminine, to decide upon her state and condition
regarding the holy bonds of matrimony? Let the letter read thus, and
all doubt and misdirection are at an end:—
"DEAR SIR: Inclosed is $10 for the following subscription to the Lady's
Book. MISS M. S. JONES, Dalton, Ohio"—
or Mrs., as the prefix may be. That agreeable young lady will not, in
this case, have her feelings hurt by being addressed as Esq., and so
supposed to belong to the Woman's Right party, at least; nor we be
obliged to waste, to us, very valuable time, in reading letters of
explanation or writing notes of apology. Not to mention the two
postage stamps saved—a consideration; since, by Poor Richard's rule
of compound interest—
"A penny saved is two pence got."
"MRS. BARNARD."—Let your children wear aprons, by all means. They
are not out of fashion; but, on the contrary, new patterns are
constantly being designed. See our fashion article for the present
month.
"A NEW MAMMA" will find several editions of "Mother Goose" in the
market. One is contained in "Harry's Ladder to Learning," published
by Evans & Brittan, one of the best juveniles we know, as there are
many excellent things inclosed in its covers. It can also be had
separate, postage and all, for less than a quarter of a dollar. A more
elaborate edition, as full of clever designs as the Christmas-pie of
little Jack Horner was supposed to be of plums, is published by John
Rund Smith, London, under the title of the "Nursery Rhymes of
England." Also imported by Evans & Brittan.
"MISS A. B. L." can safely have her white and muslin dresses for the
ensuing season made with infants' waists. If her figure is small and
light, they cannot fail to be becoming; and, for quite young ladies,
the style never is out of date.
"MRS. P. L.," of Darien, Geo., can have her books by package or mail.
We add to our list for reading aloud, "An Attic Philosopher in Paris:
being the Journal of a Happy Man," published by the Appletons. Its
tone is most genial and pure, entirely free from the French
sentimentality that borders on frivolity, and, at the same time, full of
pathetic truths. For the children, we would particularly commend
"Our Little Comfort" and "Love's Lessons," both of which are
admirable.
"MRS. H."—An infant's skirt should not be over a yard in length. Of
course, the petticoats should be a hem shorter, the flannel shortest
of all.
"MISS LIZZIE N."—See fashion article.
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