to be consumed.  An embroidered collar, thirty-five years ago, was an article of luxury only attainable by the rich, while the far greater part either dispensed with it altogether, or contented themselves with one of plain muslin or cheap net.  Soon after that period, the rudiments of the manufacture began to be established at Glasgow, where for some time it made but moderate progress, and was confined to the production of a very low class of goods, leaving still to the French all the finer and more tasteful departments of the trade.  During the last ten years, however, the progress has been very rapid; and now it supplies abundantly, with cheap and good embroidery, the whole British and American demand, to the almost total exclusion of both French and Swiss work.

The process by which a perfect piece of embroidery, delicately worked in a graceful pattern, and as white as snow, is produced, is far more complicated than might be imagined.  The simple plan by which industrious ladies work a single collar on a traced pattern, with clean hands in a pure atmosphere, will not do when hundreds of thousands of collars are to be made, at the lowest rate, by poor children, in smoky hovels.  In order to understand the matter clearly, it may be as well to transport ourselves to one of the large establishments in Glasgow, in whose extensive, well-lighted lofts the whole mechanism of the manufacture may be seen at work.

In the highest room, where the best light is obtained, we find a number of men, seated at small tables at the windows, engaged in drawing patterns.  These are the designers, whose business it is to produce a constant and rapid succession of new patterns, either original or adapted from the French designs, which lie scattered on their tables.  They are a very intelligent class, possessing considerable originality, and, what is even more important, thoroughly understanding the art of practical adaptation of costly designs to the necessities of the manufacture, without which the ingenious sketches of the French would be valueless.  It is proper to add, that their powers of invention are steadily increasing year after year, and that the time is probably not remote when they will be independent of the Parisian designers.

The patterns sketched by them are transferred by the ordinary process to lithographic stones; and on entering the adjoining room, we find a large number of lithographic presses at work, some of great size.  The unbleached muslin here receives the impression of the outline pattern, as paper is printed in the ordinary press; and the substitution of stones for the wooden blocks formerly used, has greatly cheapened and facilitated this process.  The carved blocks were expensive to cut, and useless when the pattern was finished:  the pattern is now put on the stone with great economy, and, the requisite number being struck off, is erased to make room for another.