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Bishops of Durham.

71. 1485. John Sherwood.

1505. See vacant two years.

1507. Christopher Bainbridge (tr. to York).
1509. Thomas Ruthal, or Eowthall.

Bishops of My.

72. * John Morton (tr. to Canterbury). 1486. John Alcock.

1501. Richard Redman.

1506. James Stanley.

Bishops of Exeter.

73. * Peter Courtenay (tr. to Winchester). 1486. Richard Fox (tr. to Bath and Wells). 1492. Oliver King (tr. to Bath and Wells).

1495. Richard Redman (tr. to My).

1502. John Arundel.

1504. Hugh Oldham, or Oldman.

Bishops of Hereford.

74. * Thomas Milling.

1492. Edmund Audley (tr. to Salisbury).

1502. Adrian de Castello (tr. to Bath and Well*). 1504. Richard Mayhew, or Mayo.

Bishops af Lichfield and Coventry.

75. * John Halse, or Hales.

1492. William Smith (tr. to London).

1496. John Arundel (tr. to Exeter).

1503. Geoffry Blythe.

Bishops of Lincoln.

76. * JohnRussel.

1495. William Smith.

Bishops ofLlandaff.

77. * John Marshal.

1496. John Ingleby.

1500. Miles Salley, or Sawley.

Bishops of London.

78. * Thomas Kempe. 1489. Richard Hill.

149C. Thomas Savage (tr. to York).

1502. William Warham (tr. to Canterbury).
1504. William Barnes.
1506. Richard Fitz-James.

Bishops of Norwich.

79. * James Goldwell.

1499. Thomas Jane.
1501. Richard Nix.

Bishops of Rochester.

80. * Edmund Audley (tr. to Hereford).

1492. Thomas Savage (tr. to London).

1496. Richard Fitz-James (tr. to Chichester). 1504. John Fisher.

Bishops of Salisbury.

* Lionel Woodville.

1485. Thomas Langton (tr. to Winchester).

1493. JohnBlyth.

1500. Henry Dene (tr. to Canterbury).

1501. Edmund Audley.

Bishops of Winchester.

* William de Waynflete, or Pattyn.
1487. Peter Courtenay.

1493. Thomas Langton (see Canterbury).
1501. Richard Fox.

Bishops of Worcester.

* John Alcock.

1486. Robert Morton.

1497. John Gigles.
1499. Silvester Gigles.

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POINT LACE COLLAR.

Materials:—French white cotton brad, No. 7, and a set of point lace cottons, of Messrs. Walter Evans and Co., of Derby.

This collar is a simple and easy pattern to work, and produces as beautiful an effect as many much more elaborate in execution. The line of braid throughout the pattern is continuous, passing first along the upper line, returning by the inner, and can terminate with the outer edge. The three leaves in the scallop are filled with Cadiz and Seville lace, worked with Evans' Mecklenburgh, No. 160; the half circular pattern is filled with English lace, for which No. 90, Evans' Boars Head, must be used. The ground is worked in Brussels lace, with No. 70, Boars Head. The Raleigh bars, by which the pattern is held together, are worked with No. 120, Mecklenburgh thread.

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CARRIAGE BAG IN WOOL AND BEADS.

Materials :—Chalk-white and black beads, No. 2; crimson and blue wool, Penelope canvas; and, if to be made up at home, a frame, with leather top and handles; also 1| yards blue cord.

The pattern of this bag is worked in beads, and the ground filled in with wool, alternate stripes of blue and crimson; it can easily be worked from the accompanying design, if the squares are considered as representing beads or stitches, as the case may be. Let the black beads appear on the crimson stripe, and the white on the blue. The beads must be sewed on with a very stout thread of their own colour. The wool will cover the canvas most completely by being worked in cross stitch.

The bag will require to be made up neatly, and the edges of the canvas and leather covered by the silk cord trimming.

SELECTIONS FROM OUR SCRAP BOOK.

THE EIGHTS OF WOMAN.

"when was woman first elevated to an equality with her stronger companion? Never, till the Gospel came into the world. It was the slow but certain, and—I thank God—hitherto unshaken, result of Christianity, not considered as a system of dogmas, but as one of social influence, to establish a perfect equality between man and woman, as far as the marriage tie is concerned.— Gladstone {Speech, May 9, 1855).

THE EXPANSION OF THE UNDEESTANDING.

It is preposterous to imagine that the enlargement of our acquaintance with the laws which regulate the universe can dispose to unbelief. It may be a cure for superstition—for intolerance it will be a most certain cure; but a pure and true religion has nothing to fear from the great expansion which the understanding can receive by the study either of matter or mind. The more widely science is diffused, the better will the Author of all things be known, and the less will the people be tossed to and fro by the sleight of men, and cunning craftiness, whereby they lie in wait to deceive.—Lord Brougham.

COEEESPONDENCE.

WAX FLOWERS.

To the Editor of" The Governess."

275, Regent-street, May \2th, 1855. Sir,—My attention having been called to some inquiries in "The Governess" respecting the notion which has obtained publicity as to the deleterious properties of sheet wax used for modelling wax flowers, I beg to offer a few observations on a subject with which I am particularly familiar. I have studied intensely, for the last five or six years, the art of modelling flowers in wax, with a view of bringing it into greater repute (and I have succeeded beyond my most sanguine expectations). In studying thus closely, and for many consecutive hours, I have necessarily used a considerable quantity of wax: it being once a practice with me to destroy every copy except that which was pronounced perfect by competent judges and by comparison with the natural Bowers. In this severe and prolonged occupation, I may positively state my health has never been ill-affected, but, on the contrary, by a pleasing and ever-varying employment of the mind, it has much improved. The absurd idea that wax modelling is poisonous was bruited some few years since. I am personally acquainted with a gentleman connected with scientific pursuits, who a few months since informed me that a paragraph, copied from a Manchester paper, had appeared in the Times and other papers, stating that a Mr. Bally, an artist in wax and a resident in Manchester, had become paralysed by the absorption of the colour into his system. But Mr. Bally was a modeller of heads and casts, and used wax in a state of fusion; the colouring matter employed was orpiment, more commonly known as red arsenic, a most poisonous substance ; beside, said my friend, Mr. Bally has been paralysed some years, but not through the agency of wax or the colour employed.

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