you grant me one favour." "A favour!-I-Justin !-alas! what can I do for you." "Allow me to watch this night near you; to remain there, on that chair! You are ill, and if I knew you were alone, without help, I should not be able to taste repose! Here I shall be more easy! I am responsible for you to your husband! Madame, you will not refuse me!" Leonie remains some moments without answering, and then she murmered, in a voice, in which there was something of solemnity, Very well! Yes, this night—remain near me !"

"Leonie seemed overcome, she closed her eyes. Justin, pleased at being allowed to remain near her, went to seat himself on a chair a few steps from the bed. He placed the light so as not to inconvenience Leonie, and abandoned himself to his reflections, lifting his head occasionally to hear if she slept, and striving to hear her breathing. It is three o'clock in the morning. The quiet which till now has reigned in the chamber is broken by some hollow sighs which escape from Leonie. Justin approached her, and asked her what was the matter. "I feel very ill," said the young woman, in a faint voice; "the event of this night has killed me. I had not strength to bear it!" "Ah, Madame, you are ill; I will go and seek for help-a doctor!" "Do not go, Justin—it would come too late. Remain near me -that I may speak to you still-while I have the strength." "Oh, Madame, you will not die! do not think so! Oh, do not say so!" "Justin, a doctor would be useless-and every other help! My life is gone, I feel it." "Madame, for pity-Oh, stay—I shall be able to help you myself to give you what you want. This is nothing-a weakness-but not to die-you-can

it be !"—And Justin ran like a madman about the room seeking Leonie's customary medicines; then he came back, and throwing himself on his knees by the bed-side, bathed her hands with his tears.

"Justin,-do you weep for me? and my child she sleeps. Ab! she must not be waked. Laura! Felix! you will never abandon them, Justin !" "But, Madame, you are not going to die!-Oh! tell me that you will not die !"—"Charles will return too late! Justin I thank you for all that you have done for me! I should like very much to have seen my child! my poor Felix! He is no longer ill, you told me so! But 1 would yet pray to God for him!"

Leonie's voice failed-it soon became unintelligible; at last its sound ceased altogether, and the hand that Justin held grew motionless and cold.

Charles returns and finds Justin still kneeling by the bed. A brother of Leonie, who had gone to sea when very young, returns to hear that his sister is dead. He adopts her daughter, and offers to get Charles a situation in America. Mongérand persuades him to remain with him.

Eight years after this period Charles and Mongérand return to Paris. They have exhausted all their resources. Charles is pale and haggard-Mongérand is untameable even by misfortune. Charles visits Pere La Chaise, he perceives an elegant, though plain, monument. It contains the remains of his wife and son. A fresh garland adorns it. The appearance of Justin accounts for this care; and he offers assistance to Charles. Charles only wants to know where his remaining child lives. As he quits the cemetery he meets Mongérand issuing from a public house. Mongérand accosts him, but he flies his old companion in disgust. He seeks his brother-in-law's house. He sees his daughter at a window. Charles has not enough eyes to look at his daughter with; or rather he looks at her with his soul as well, his heart; for a father looks at his child with all the faculties of his being. Presently Laura dropped her eyes upon him she perceiving a man in the road who has his eyes fixed upon her. At first she regards him with a sort of fright, but very soon her fear gives way to compassion. She thinks she sees tears in the eyes of the stranger, and his hands are joined and stretched towards her. Laura concluded that it must be an unfortunate who asks her charity.

:

Laura quits the window for an instant; but presently returns and throws out a large bit of bread and a small piece of money, saying "Here! I wish I could give you more.'

Charles felt struck to the heart at receiving alms from his daughter. He covered the bread and money with kisses and tears, exclaiming, "Thanks, thanks, dear child!" "Mon Dieu! why do you weep so, poor man ?" Said Laura, much moved, "You should not despair. One is not always unhappy. You give me pain. Adieu, I will pray heaven for you.

Charles walked slowly away, when he heard himself called. He trembled, for he knew the voice of Mongérand. The quondam soldier was leaning with his back against a tree, and as Charles came up, he looked at him, sneering. "Well!" said he, “You did not expect to see me here; 1 followed you because you told me not.. -I am in the habit of doing that which is forbidden me." "Will you not leave me to my grief?" said Charles. "Ah I have too often met you on my path!" "I have taken it into my head to keep you company.” “And I can no longer bear it!-It adds to my despair! You are the cause of all my misfortunes; you led me on from folly to folly!" "Ah, ah! that is good! I was the cause that my gentleman loved pleasure, women, the table." "Without your bad counsel I should have listened to my wife!-I should not have been the cause of her death!" "Do you know, you grow very tiresome?" "And do you know what I feel?-My daughter has thrown me bread-she took me for a beggar, and I could not declare myself! I shall never more be able to press her in my arms and call her my child. Ah, that thought makes me desperate-it kills me! -Once again, leave me! Sir, I go this way, go you the other!" "I say, Charles, you have long assumed a tone, which in another I should have chastized!" As he said this, Mongérand placed himself before Charles, so as to bar his passage. Charles pushed him rudely away, and continued his walk.

"Insolent!" exclaimed Mongérand, "if I did not pity you-" "Pity," cried Charles, turning back quickly, and throwing a furious look upon Mongérand,-" You pity me, miserable-this odious wrong alone was wanting! Take care that I do not avenge the death of my wife and son! Give me your pistols!" -"Charles go-I will not detain you,-go; I will not follow you.”—“What! coward! you can no longer lead me to acts of baseness!" "Coward!" cried Mongérand, his eyes sparkling; "Ha! you force me to it. Well, let us fight, if you will."

Mongérand took two pistols from his pocket, assured himself they were charged, and gave one to Charles, saying, "Draw back ten paces and fire!” “Fire you the first,” answered Charles, having drawn back a few paces.” "Come, damnation! Let us fire together, and have done!" Charles made signs that he consented. The two scarcely took aim; the two reports sounded together; Mongérand heard the ball whistle past his ear. Charles received that of his adversary in his heart, fell, and expired faltering out the name of Laura.

Mongérand approached Charles, meaning at first to give him assistance, but he found that he was dead. He put his pistols in his pocket, and departed, saying, "It is a pity-be was a good fellow." "UN BON ENFANT."

Your starry bosoms? Is there sleepy power
In the sweet notes of plumy choristers ?
Or are ye wearied with the ruddy pomp
Of radiant skies-tired of your handmaidens,
The many-figured herbage, that ye thus
Decline, (like children with enjoyment tired),
Your bright and spotless heads ?-

Close and more close

The languid florets fold themselves; and now, Strewn here and there, dew heavy, like a chamber Of slumbering sultanesses,-lie till dawn.

HABITS OF THE ROMAN LADIES.

It has been remarked that "a fondness for adorning the person for the sake of obtaining admiration from men is natural to all women." Now allowing this to be true, surely no one can condemn so laudable a desire of pleasing on the part of the fair sex, whatever may be its ulterior object. The female mind, for the most part, has so few important considerations wherewith to occupy itself, and so few opportunities of publicly displaying its judgement and taste, except in matters of dress, that we cannot wonder at seeing so much attention paid to it by women of every class; besides, when it is remembered that the amount expended by ladies in articles of dress and bijouterie by far exceeds that spent by the "lords of the creation" for the same purpose, a female fondness for fashion must always be considered as a national blessing, and one of the many advantages derived from a splendid court. We would, however, by no means be understood as advocating that excessive love of dress which is indulged in by some, reckless of all consequences, and which would almost induce them, Tarpeia-like to sacrifice their country for a bracelet. The opening remark was made on the Roman ladies some two thousand years ago, and it is of their different dresses that we now propose to treat; these, in splendour, richness, and gracefulness, were not surpassed even by those of the present day, if we may judge from the little insight afforded by old Latin writers into the mysteries of the Roman lady's toilet.

The ladies of ancient Rome rose early, and immediately enjoyed the luxury of the bath, which was sometimes of perfumed water; they then underwent a process of polishing with pumicestone for the purpose of smoothing the skin, and after being annointed with rich perfumes they threw around them a loose robe and retired to their dressing rooms, where they received morning visits from their friends, and discussed the merits of the last eloquent speech delivered in the senate, or the probable conqueror in the next gladiatorial combat. After the departure of their visiters commenced the business of the toilet, which occupied a considerable portion of time; the maids were summoned, to each of whom a different duty was assigned: some formed a kind of council, and only looked on to direct and assist the others by their advice and experience; one held the mirror before her mistress; while others there were to whom it was a -constant care

The bodkin, comb, and essence to prepare." With the exception of the looking-glass, the articles of the toilet were much the same as those in use at present. The glass, or more properly speaking, mirror, was composed of a highly polished plate of metal, generally silver, richly chased around the edges, and adorned with precious stones; this was not fixed in a frame like the modern glass, but held by a slave. The combs were formed of ivory and rosewood. Curling-tongs, bodkins, and hair pins were also known; the former was a simple bar of iron heated in the fire, around which the hair was turned in order to produce a curl; the two latter were made of gold and silver, and ornamented with pearls; it was probably with one of these bodkins that Cleopatra gave herself a death wound, and not as is commonly supposed, with an adder.

8

The use of perfumes, cosmestics, and depilatories, prevailed to a great extent amongst the Romans; the first were obtained at a considerable expense from India, Greece, and Persia; there are still in existence a few receipts for making the cosmetics used two thousand years ago, and which will be found to have many ingredients in common with similar preparations of our own time. Ovid gives the following, and adds that those who use it will possess a complexion smoother then the surface of their polished mirrors:-"Take two pounds of Lybian barley, free from straw and chaff, and an equal quantity of the pea of the wild vetch, mix these with ten eggs, let it harden and pound it, add two ounces of hartshorn, and a dozen roots of the narcissus bruised in a mortar, two ounces of gum, and two ounces of meal; reduce the whole to a powder, sift it, and add nine times the quantity of honey." Some used poppy juice and water, and others a pap or poultice of bread and milk, with which they completely covered the face, and kept on in their own houses; this when removed left the skin smooth and fair. Depilatories were used to form and adorn the eyebrows, which it was considered elegant to have joined across the nose.

On one part of a Roman lady's dressing table might be seen her small silver tooth brush, which, with the assistance of a little pure water and occasionally a powder of mastic wood, formed her only dentifrice; near it stood a paper containing a black powder, which when ignited sent up a volume of thick smoke, and had the valuable property of restoring the eyes to their former brilliancy if weakened by the gaiety of the preceding evening, or by a sleepless night occasioned by the constant serenades of her lover beneath her window. Here was a bottle of the perfume of Pæstum, and there a box of rouge, and another of hair dye, on another part lay a large coil or braid of false hair, made up by a male hairdresser, and near it were the bodkins, the chains, the rings, and hard by the richly-studded bands of white and purple which adorned the head; this braid was worn on the crown of the head, the hair from the nape of the neck being all pulled out by the roots. Continual changes were taking place in the fashion of wearing the hair; at first it was cut off as a votive offering to the gods, but the Roman ladies soon discovered that "a luxuriant head of hair was a powerful auxiliary of female beauty," and allowed it to grow; at one time it was worn high in bows with a range of curls in front; at another à-la-Grecque ; then allowed to float in the air in a dishevelled state; and again à-la-militaire in the form of a helmet. Light hair was sometimes worn over that of a naturally dark shade, auburn being the colour most esteemed and admired by both sexes; those who had white or dark hair used saffron as a dye to give it an auburn tinge. Some ladies used gold dust as a hair powder, "which shed such a ray of glory around them as dazzled all beholders, and gave their heads an appearance of being on fire." When the ladies did not "wear their hair," they wore a kind of veil and a turban or bonnet, called mitra; this was like a bishop's mitre in shape but not so high, and with a lappet hanging over each cheek, something, in short, like a modern mob cap, which elegant headdress, owes its origin, no doubt, to the classical mitra; thus has the Roman female head-dress descended to our times, not only as one of the insignia of the members of the Right Reverend Bench, but also in the shape of a covering for our domestic matrons.

After having performed their ablutions, and gone through all the little delicate offices of making the complexion, perfuming the person, and endeavouring by art to excel nature, the Roman ladies were prepared to put on their costly garments, which were duly produced by the mistress of the robes.

The Roman stocking was of silk, generally pink or fleshcoloured, over which was worn a shoe or rather, boot reaching above the ankle, turned up at the point like a Chinese shoe, and laced up from the instep tight to the leg. This boot was made of white leather or the papyrus bark, ornamented with gold, silver, and jewels. Sandals were also in use; they consisted of a simple sole, with ribband attached to it, and was laced up like

a modern sandal, at the same time supplying the place of a garter by keeping the stocking up. We are informed that coquettes used cork soles and false insteps of cork, but never disfigured their persons, by the barbarian ornaments of necklace, ring or ear-ring.

After the Roman lady had completed her toilet she sallied out, followed by a slave, for a promenade beneath the porticoes of the Forum, where she could not only cheapen goods, but also hear what was going on in the law courts; after continuing her walk up the gentle ascent of the gay and crowded Suburra Street, she returned to her own house, the threshold of which (if she happened to be unmarried) was adorned with garlands of flowers, placed there by her young patrician admirers; some of these flowers her attendants collected to fill the splendid vase which stood in her chamber, and preceded her to draw aside the curtain which supplied the place of a door into the tapestried and perfumed apartment; here she enters, and sinking softly down into an ivory and gold adorned chair, she is welcomed by the chirping notes of her favourite bird which hangs near in a gilded cage. By her side stands a beautiful page, who gently wafts a plume of peacocks' feathers around her head, while a slave presents a small stick wrapped around with, apparently, a roll of straw-colored ribband, but in reality it is a letter from the young Emilius, who adopts this mode of writing in preference to the usual waxen tablet, not only because it is a fashion introduced from Greece, but because it preserves most inviolably those secrets which are only meant to meet the eye of his lovely mistress; far be it from us to pry into these secrets, so let us now bid adieu to the fair Lucretia, who already begins anxiously to unrol the folds of her papyrian epistle. E. L. L.

English Annual.

LONDON AND PARISIAN FASHIONS.

DRESSES,-With certain styles of the negligé the manchette puritain is worn ornamented with a single row of piqures.

With full dress, the manchette Louis Quartorze is admired. This is adorned with a bracelet of ribbon passing through a bouillon of tulle, with rosace of ribbon and rich lace falling on to the glove.

On some we have observed a lace ornament ascending and one descending, but for the most part one extending to the hand is preferred.

An ensemble de toilette of extreme elegance was thus composed: it was made in the redingote style, of Indian muslin open over a blue gros de Naples slip, the former was embellished with valenciennes lace, arranged in narrow frillings on the corsage, and in deep volans on the skirt. A camail, also in muslin, and lined with blue, similarly ornamented with valenciennes was added. A capote of the same tint but shaded, had a white drooping feather.

Some others equally striking and adapted for the varied necessities of the toilette are well worth enumerating. For morning costume we have seen a very pretty ama joue in Balzarine jonquille. The underneath dress was in gros de Naples. Bonnet in paille d'Italie, with a bouquet jardinière, ribbon coques beneath the brim. Brides of the same ribbon. A Barège scarf was added. The shoes of patent French leather, gaiters in satin Turc.

At noon an Italian taffety dress was worn with little cheques. The corsage was flat without gusset: the sleeve in the Amadis style-manchettes puritaines. Capote à caulisses in African velvet, lilac coloured, with tulle biais of the same color. Lilac and green ribbons under the brim, brides the same. Tarlataine scarf.

For promenade costume, a clear muslin dress had the corsage à la Grecque. The lower skirt was in gros de tour, and a sous jupe was added in crinalive. Rice straw bonnet, decorated with

roses.

An elegant evening dress was composed of gros de Naples, lilac, and glaçe de paille, the corsage was low and busqué, ornamented with a double biais forming a berthe, carinna sleeves, and two volans in lace to the skirt. A camail of India muslin surrounded with a double volan of English point lace completed this costume.

These descriptions have not been so detailed as to include all that is embraced in the externals of the toilette: some room has been left for the display of individual taste for which they are excellently adapted

BONNETS, CAPS, &c,-Examples of the highest taste have at length given a sanction to the simple style of ornament, which we may therefore now remark as predominant with the elegant little caps and some capotes; excess was the chief drawback in some instances, where otherwise the ornamental part would have been in the highest degree becoming.

One of the tasteful introductions of a recent date is undoubtedly the cap à la vieunoise; it is made in clear musin, of the finest and most transparent, the foundation is made in a single piece with bavolet, the papillon which reaches very low, is cut straight and turned back over the forehead, there it enlarges, is fulled and forms a rosaces at the side of the face, it is in addition delicately ornamented with malines lace and fancy ribbon. The manner of managing the decorative part of the cap is not one of the least important parts, although the body of it should be formed with nice discrimination, with reference to the disposal of the lace or ribbons. None but the lightest description of embellishment is suitable.

MATERIALS AND COLORS.-The same fabrics as we last named, more especially the bariges, the tarlatanes and muslins are still in the highest vogue; lilac, green and white principally prevail among the colors.

The decided colors are however not now so frequently displayed as those of a more neutral or mixed kind.

Nothing can exceed the taste displayed in the blending of tints exhibited in the bariges, foulards, and the gros. In the chusans too, though so very general as to be almost hacknied, the higher sorts are so admirably got up as to preserve their vogue in the select circles.

VARIETIES.-Collars, cannezous, fiches, &c. vary infinitely in form, material, and decoration. To the the pelerine have been added the cardinaile and camail, and these confer additional grace on the ordinary costume. Plain batiste collars are frequently used, otherwise those of plumetis of a light description are much admired for fichus.

Among the cannezous most admired are those in folds and à entre deux.

The Fichu-menteur has been spoken of as a highly recherché article of costume, composed of a biais piece, a considerable portion of the effect consisting of the mode of wearing it.

Nothing exceeds the vogue of some of the more beautifully and fashionably made camails. Deep and striking colors are preferred as most effective for the lining, which then contrasts beautifully with the more sober and subdued exterior: a little square collar forming but a single piece with the revers of the front part is an admired style. The revers are often cut into Bavaroises.

A great variety of fancy is frequently displayed in the embroidery of these revers, the scrolls of the Moysu age, the modern or arabesque are by turns employed to give effect.

DESCRIPTION OF THE PLATES.

PLATE 1.

FIGURE 1.-Promenade dress. Gros d'Afrique dress. The corsage made to fit closely to the waist, and having the addition of a small frilling extending from the sides to the ceinture in the V form. A similar style of ornament is adopted on the skirt. The sleeves are long and made to fit tightly to the arms, and are terminated by a ruffle. A camail with ruche edging in two rows is also a part of the costume. The capote in paille de rix has a simple garland of flowers.

FIGURE 2.-Morning dress. Organdi dress. The corsage is made close and but slightly sloped at the ceinture. The sleeve is short and finished in the epaulette style, a prolongation is made in fine muslin thence to the wrist, this latter is full, and the arm is readily seen through it, notwithstanding a series of scolloped lace edgings. The skirt is laid in three broad full flounces, headed by passementerie. Cap ornamented with a tulle rosette.

FIGURE 3.-Dinner dress. Poult de soie dress. The corsage is made moderately high, sloped down in the bosom with a rosette in the middle. The sleeves short and terminating in bouffans; others of black net are added, which are embroidered at the sides. The rosette style is preserved as ornamental to the skirt; the cap also, which is in tulle, has similar embellish

ments.

FIGURE 4. Promenade dress. The corsage is made quite high and close fitting, and has the addition of a camail cape, which with the broad border enhances greatly the appearance of the dress; the buttons are likewise added, which assist the general effect; the sleeves are long and quite close; three deep flounces extend over by far the greater portion of the skirt, reaching nearly to the ceinture. The bonnet is in paille d Italié.

The First Half Figure is in Balzarine, with sleeves full to the lower part of the arm, where a nœud terminates it.

The Second Half Figure is in Tarlatane, the sleeves are short, ornamented with a series of small ribbon bows with ends. A fall of the same material completes the body.

Two capotes are formed much after the same fashion, the ornaments differ, the one being composed partly of flat ribbons and nœuds, the other almost entirely of noeuds. A drawn bonnet is embellished with rosettes.

Tulle caps, with satin lappets and muslin brides.

FIGURE 4.-Walking dress.-Tulle dress. The corsage made in the stomacher style with frillings in an oblique direction, sleeves long and rather full, the skirt particularly full and long; the cardinal with double cape and aperture for the arms, with the same description of ornament as the rest, capote with flowers.

The First Half Figure is in muslin, and is altogether a caulisses; the bonnet has a lace ornament which extends a little below the side of the brim.

The Second Half Figure is in Scotch batiste, quite tight to the bust, waist and arms. The capote with bows laid down flat to the crown, and a nœud behind with ends.

The capotes are tulle, crape and poult de soie, lace, satin ribbon ornaments and small flowers or foilage predominate.

The lace caps have nœuds of the same, and foliage in addition with elegant blond bordering.

PLATE 3.

FIGURE 1.-Promenade dress.-Foulard dress. The corsage is crossed in front and is made with bands in a horizontal direction throughout the lower part; the sleeves long and lying close to the arm without fitting tightly; the skirt has two rows of flounces. The drawn bonnet has a feather and ribbon

ornaments.

FIGURE 2.- Reception dress.-Poult de soie dress.—Made open in the front of the corsage with a border of lace; sleeves composed of lace frillings; the skirt ornamented with three large flounces. Tulle cap with bouquets.

FIGURE 3.-Walking dress. The corsage à caulisses and peaked; sleeves short; the front of the skirt ornamented with two rows of puffs, with bands of satin at regular intervals.

FIGURE 4.-Bridal dress.-Tulle dress and lappet. The corsage ribbed and en pointe; the sleeves short and tight fitting; the skirt is embellished to a considerable distance with tucks, between several rows of which are intervals in which embroidery appears. The hair is ornamented with a garland.

The First Half Figure is in crape, with cape and close long sleeve.

The Second Half Figure is in Levantine with pelerine ; a tablier ornament with lace edging is added. The bonnet has a bouquet ornament and lace harbe.

The Bonnets have lace and ribbon ornaments with occasional bouquets, they are in Moire, Gros de Tour and Poult. The Caps muslin with ribbon nœuds, and barbes edged with lace.

PLATE 2.

FIGURE 1.-Walking dress.-Foulard dress. The corsage together with the sleeves is made tight, they are both ornamented with a narrow fringe; the skirt in addition has another description of ornament scattered lavishly over its entire extent, a deep biais is also added. The paille d'Italié bonnet is principally ornamented with bouquets.

FIGURE 2-Carriage dress. The upper part of the dress comprising the corsage displays no great peculiarity, it is closer and not peaked, and has a double fringe extending in the V form to the ceinture where it is rounded at the termination. The sleeve is fitted to the arm, having an ornament similar to the above. The skirt is lavishly decorated with chenille flounces similar to the above, but larger in width. The bonnet is ornamented with the same material edged with lace.

FIGURE 3.-Promenade dress. The corsage in this is made close-fitting, moderate in height and plain, the sleeves are close, tulle with the addition of bouffans in the upper part.

The skirt is made full and is decorated with a slight scroll in parallel lines across; the camail cape with collar sets of the dress very much. The capotes in crape with feathers and ribbon

noeuds.

PLATE 4.

FIGURE 1.-Walking dress.-Chusan dress. The corsage as well as the skirt made plain, the sleeve long and following the shape of the arm the whole length without being tight. Fichu elegantly and not thickly embroidered, and having the addition of a long fringe, The capote has a large rosette with ends of a moderate length.

FIGURE 2.-Dinner dress.-Poult de soie dress. The corsage demi montant with an ornament extending entirely round, and a few inches from the top, the short sleeve at top similarly embellished; from these are extended sleeves in black net, with double width frilling throughout the whole extent.

The skirt is simliarly decorated with volans half way to the ceinture, coiffeur with ornamental comb.

FIGURE 3.-Afternoon dress.-Muslin dress. The corsage á caulisses as well as sleeves, which reach a little below the elbow. The skirt is made in the tunic style with double borders bouillonne, coiffeur having an ornamental comb. Capotes in poult de soie, moire and crape, with drooping feathers, garland and ribbons. Ornaments also of the same material.