The Girl’s Own Paper

HISTORICAL SKETCHES OF MUSICAL FORMS. — Sketch IV.—Madrigals and Secular Part Music. — Glee. — Part Song.

By MYLES B. FOSTER, Organist of the Foundling Hospital.

n my last sketch I endeavoured to show you, as briefly as I could, the historical aspect of sacred concerted music in some of its vocal forms, with and without instrumental accompaniment. We will now, for a short space, consider vocal concerted music as adapted to secular uses.

Prominent here above its fellows stands the Madrigal, claiming precedence not only for its antiquity, but also for its lofty style, and, in most cases, learned and elaborate development.

Once again the name for our subject is veiled in a certain amount of doubt and speculation. There are at least five different theories in reference to the derivation of “Madrigal,” not one of which seems altogether suitable. All disputants agree on one point, at any rate, that “Madrigal” was originally the term given to poems founded upon a motto or theme, and was afterwards transferred to the music to which such poems were wedded.

From the rarity of MSS. in early times, one is led to believe that the Troubadours extemporised the discant[1] which they added to their secular melodies, and which was as undoubtedly the origin of the madrigal as the combination of plain chant and discant was the fount from which sprang the motett. The connection of the term with a poem of a popular character certainly existed as early as the fourteenth century, and perhaps earlier.

There appear to have been three classes of secular composition, for which madrigal became the general term—viz., madrigals for one voice, with accompaniment; madrigals for several voices, in parts and unaccompanied; and, lastly, madrigals accompanied by many instruments, and sometimes described as “apt for viols and voices.” The English writers preferred the second class, and excelled in it.

In the fifteenth century the madrigal was well known in the Low Countries, being at that time invariably constructed according to the ancient ecclesiastical modes, and sometimes containing great features of elaboration. I complained, when speaking of the history of the mass, that musical subjects originally associated with profane words were introduced as canti fermi, but we find in the case of the madrigal that the reverse happened, and that passages of plain chant were used in connection with some light secular counter-subject.

Petrucci, before mentioned as the inventor of movable music types, was the first to publish these works, composed by such representatives of the early Flemish madrigal school as Okenheim, Tinctor, Josquin des Prés, Agricola, and several others. I should like once again to quote that learned writer on music, Mr. Rockstro, who considers this first period “no less interesting than instructive to the critical student, for it is here that we first find science and popular melody working together for a common end.”

From 1530 to the end of the sixteenth century a great advance was taking place in art generally. Appropriate treatment of words, and, if it were necessary, simplicity itself, restrained that desire to show contrapuntal complexity and other conceits at the selfish expense of truth and honesty.

This advance in the right direction was supported by the last composers of the old Flemish school, Archadelt, De Wert, Waelrant, and that great writer Orlando di Lasso, at whose death the madrigal school of the Netherlands ended; but not so the madrigal itself, which long ere this had been transplanted into other countries, and had commenced to grow most healthily in Italy. In fact, Archadelt’s first collection of madrigals was published in Venice in 1538, and was speedily followed by five other sets, in some of which we find specimens by the first really good Italian madrigal writer, Costanzo Festa. In his work, and until Palestrina, vestiges remain of the Flemish style; but gradually the Roman or Italian element destroyed all foreign character and influence, and alone remained.

Palestrina wrote madrigals with equal facility and merit in all styles; he named two of his volumes “Madrigali Spirituali,” sacred music, but intended rather for the chamber than the church, for which latter the motetts were written. He varies every passage according to the sentiment of the words, and above all his contrapuntal learning, places his noble sincerity and purity of style and expression. Would that our modern work possessed such simple nobility!

Succeeding him, Felice Anerio produced, and in 1585 published, three volumes of Madrigali spirituali, and, soon after the year 1600, two volumes of secular madrigals; there were besides fine madrigals by Giovanelli Nanini, Francesco Anerio, and last but not least, Luca Marenzio. These and others formed the great Roman school, but there existed a school in Venice also, founded by Willaert the Netherlander, from which sprang the works of the two Gabrielis, Leo Hasler, Gastoldi and Croce. In Florence also madrigals were very popular for a short time, until the craving of the Florentines for instrumental accompaniment destroyed their early affection for purely vocal music.

In Naples a lighter form (villanella) existed, but in France and Germany it found no home, where the chanson and volkslied held their respective sway.

In England a national school was formed which took firm root, and developed into fully as healthy a tree as any of the rival foreign growths. First of all Italian madrigals were introduced and printed in England, but by the end of the sixteenth century Byrd and Morley had published original specimens, and the madrigal was fast becoming an English institution, supported by such excellent composers as Weelkes, Edwardes, Kirby, Dowland, Wilbye, Ford, Benet, Michael Este, and others. We may call special attention to Morley’s collection in honour of the virgin Queen Elizabeth, named the “Triumphes of Oriana,” including madrigals by many of the above-named writers. It was published in 1601. Only a few years later Orlando Gibbons brought out a volume of “Madrigals and Motets,” and just a hundred years after the earliest publication in England of such works, appeared a book of madrigals collected by Martin Pierson. Madrigals they undoubtedly were, though he called them “mottects.” Ambros, in his “Geschichte der Musik,” speaks in the highest praise of our great madrigal school, and names it “one of the most pleasing flowers of that Elizabethan soil,” a soil teeming with great scholars, poets, and dramatists.

To conclude, the madrigal is generally interpreted by many voices to each part, and as a rule is the more effective in proportion to the number of singers employed. Whereas the glee, into which the madrigal gradually changed, and of which we are about to speak, is intended to be sung by a single representative of each part. Other differences, more important than this, we shall have occasion to note later on.

At the beginning of the seventeenth century the madrigal, properly so called, disappeared from amongst the compositions of both English and foreign musicians. The word glee is the Anglo-Saxon “gligg”—music, and has no special reference to joyfulness; in fact, it is as common to find the title “serious glee,” as it is to see “cheerful glee.” A glee is unaccompanied, and is written for at least three solo voices, most frequently men. The chief differences between the glee and the older form of madrigal are the natural results of evolution in harmony, and the wedding of words to expressive music, even in defiance of ancient and mechanical rules. The tonality of the former is modern, the subjects are constantly changing, and are seldom developed, leaving an unsatisfactory feeling of restless abundance, inability to make the best use of the rich resources, and a consequently frequent complete cadence, which in many cases gives a detached, hesitating feeling to the work. Continuity seems to be the best test of great ideas; having something to say, and if worth saying, saying that something thoroughly and logically.

Our best glee writers, living from 1740 to the early part of this century, were Samuel Webbe, Dr. Callcott, his son-in-law, William Horsley, Sir H. R. Bishop, and Sir John Goss. If you go back to the commencement of the glee period, by a careful study of the works of Weelkes and Gibbons, you will find in the latter’s compositions many striking novelties in harmonic progression, and in those of the former equally powerful and novel contrasts in movement and expression, and in the masterpieces of both great independence of thought, in which combined advances we trace the transition from the madrigal to the glee, the latter being essentially English.

Later in the seventeenth century, during and after the Commonwealth, meetings for the singing of glees and catches were generally held in inns and taverns, the musicians being forbidden the theatres, previous to the restoration of King Charles II.

Glees were first published in the collection by John Playford, called the “Musical Companion.” Catches, canons, and rounds took the place of the old glee after this: and even these, according to Dr. Greene, were seldom sung about the middle of the eighteenth century. Amongst excellent writers of catches and canons we find Henry Purcell, Dr. Croft, Dr. Blow, and many others. Shortly after Dr. Greene’s lament—that is, in 1760—a catch club was started for the resuscitation of glee and catch singing, and since then unto our own times clubs and societies have flourished for this purpose, and have encouraged English composition in these forms.

It is thought by some writers that Sir Henry Bishop’s glees are not properly so called, because they have independent accompaniments. Their form, however, is generally that of the best glees.

A canon is a species of imitation, the most strict and exact of all imitations, written according to rule (καυώυ), the idea being that one voice shall start a melody and some other voice follow with the same melody a few beats later on, imitating the first voice note for note, and usually interval for interval, either at the unison, the octave, or some other distance. At one period canons were made musical puzzles, by the composer writing only the first part (called the “dux,” or leader), and then, by some sign over one of the bars, indicating at what point the following voice (or “comes”) should come in, the latter singer having to guess the correct interval at which he was expected to enter. However ingenious such riddles may be, they do not help art.

A catch at first greatly resembled the round, where a complete continuous melody was written out, and when one singer had reached a certain point in this melody, another singer had to begin, and catch up his part in time—the difference between catch and canon being that in the former each part imitates at the same pitch; in the latter the imitation may be at any interval from the original voice. Besides, many canons are connected with sacred words, and introduced into our cathedral services, whereas the catch, in the reign of that dissolute monarch, Charles II., degenerated into an improper play upon words, assisted by music. At a later date, in the eighteenth and at the beginning of this century, this idea of the singers “catching at each other’s words,” so as to alter the meaning of those words, was cleverly used by S. Webbe, Dr. Callcott, and others. A well-known example by the latter will best explain the effect produced:—

The result of one voice entering after another is, that the first seems to be shouting, “A house a-fire!” the second excitedly answers, “Go, fetch the engines!” whilst the third excuses himself by saying, “I’m but a lodger!” After all, these could only be considered ingenious trifles, and most of the singing clubs have turned their attention to the more interesting and higher forms of madrigal, glee, and part song, which, as a later development, we will now speak of.

A part song is most likely to prove itself a melody harmonised, in three, four, or more parts—that is to say, there will be but little contrapuntal or imitative writing about it. It is of German origin; but it has been imported into our country, and our native composers have written some very beautiful specimens.

Part songs have been written either for sopranos, altos, tenors, and basses, or for male or female voices only. Many are in the ballad form, in which the same music is repeated to any number of verses; others are more elaborate, and contain portions allotted to solo voices, or to a single voice accompanied by a chorus. Part songs may be set to either secular or sacred poems. Schubert’s, Weber’s, and Mendelssohn’s contributions to this form of music are of great value and of wonderful variety.

Those of the latter helped to revive the taste for part music in England, and assisted in the foundation of the many classes and smaller choral societies which nowadays are in existence all over the country, from Penzance to the north of Scotland, and the formation of which creates the demand in our country for composition of this kind. Amongst modern English writers may be named Henry Smart, Sullivan, Samuel Reay, Barnby, Macfarren, Miss Macirone, Eaton Faning, and last and greatest, J. L. Hatton. I might add to this list many names, for the making of part songs is without end.

Whether in two, three, or more parts, the part song should be sung by a number of voices, the proportion, of course, being carefully balanced. I must tell you before I finish that there are also many duets, trios, and quartets which do not come within the range of the part song, it being intended that they shall be rendered by a single representative of each part, but many of these are extracted from works in which each part is taken by one of the dramatis personæ. Such excerpts we cannot include in our consideration of complete works. In my next sketch I hope to conclude the subject of vocal forms, and to turn your attention to instrumental varieties.

(To be continued.)

VARIETIES.

DRESS: IN SEASON AND IN REASON.

By
A LADY DRESSMAKER.

ON THE MEER.

Just at the present writing we are in the middle of the sales, which now seem to be carried on far into the month of February, at many of the shops, and certainly appear to offer each year more and more benefits to the purchaser of goods. But it must be understood that the said purchaser have her wits about her, and know what she wants. This last is the case with very few women who are not very methodical in their purchases of dress, and very rarely make their plans far ahead. This is explained, first, by their slavish adherence to the ephemeral fashions of the day, and also by their being led so much by the eye, and buying things they fancy, not the things that are really suitable or needful to them. There are few women who dress on any plan of what is most becoming to their individual style, or most lasting, with a view to their particular purses; and the longer I live the more convinced I am that it needs special qualifications to be a “shopper” of any ability; the greatest requisite of all being a cool, calm head; and, if you have children to cater for besides yourself, the power to make a plan and stick to it. It is wonderful how much you find to help you when you once do this, or how easily everything arranges itself.

“But,” says someone, helplessly, “how am I to know what to wear or what my style is? Where am I to find rules to guide me?” In the present day we seem to have two rules, both of which are comparatively easy. The first is that the complexion is to be the guide as to the colours worn, while the second is that the eyes shall perform that office for us. Where there is a poor complexion, the first rule may be followed, but where the eyes are good, I think the last is decidedly the best. For instance, the many women who possess good eyes of a greenish or decidedly green hue will look best in olive, bottle, or very dark Tyrolese green—called sometimes a “hunter’s green,” having much blue in it; and the large army of women with yellowish-brown eyes look best in shades of yellowish-brown. The same may be said of blue eyes, which are changed into a hue like spring violets by a judiciously-chosen blue of a dark shade. Grey eyes which verge on blue may also wear blue; but the blue must be of the shade called “royal,” as a blue with no reflections will not answer.

For very dark women and girls with good clear skins, there is a large amount of choice in colour—red, orange, and yellows, as well as black, grey, and navy blue. But if the skin be sallow and dull, she may use dark and light reds—no blues nor greens. White and primrose-colour are likewise generally becoming to them. Fair-skinned people may wear browns, blues, and pinks, as well as green.

But after all, the great thing, it seems to me, is to be able to choose for one’s self; and thus to avoid either the extreme of fashion or the fear of dowdiness; and the taste of the Englishwoman seems generally to turn to quiet, neat styles. It is to her good taste and sense that we owe most of the best fashions of the day—the tailor-made, neat dress of tweed cheviot or woollen material; the sensible coloured under-petticoat, dark stockings, and the comfortable ulster.

So far as hygienic dress is concerned, the rules of that are fairly fixed now, and most women and girls have decided in favour of the tight-fitting, elastic woollen combinations, either of Dr. Jæger’s make, or of some English firm. Add to that the divided skirt, made of black cashmere or serge, and lined with flannel for winter use, as the sole needful under-garments for the cold weather. As to the stays, they may be the new knitted ones of Jæger’s make; the low riding-corsets, or else a boned bodice made of jean, and modelled like the dress-bodice, to fit without squeezing or tightening in. So long as the divided skirt is used as an under-skirt, no objection can be taken to it, as it does not show at all. The dress above should be made short enough not to require lifting, however muddy the roads and pavements; and it is decidedly the most comfortable garment ever invented in that capacity.

GIRLS’ WINTER DRESSES IN WOOLLEN MATERIALS.

Of course, as the sales are going on, there is little that is novel to chronicle. Indeed, the winter events, where all that is pretty in dress are seen, are the private views of the two great picture galleries—the Royal Academy and the Grosvenor Gallery. At these two places all the élite and the famous in literature, art, and society congregate; and generally wear their prettiest clothes, I think. Of course, some æsthetic ladies are to be seen. One of them had on a pelisse of moss-green velvet, made very short-waisted at the back, with a small round cape, the skirt hanging long, straight, and full; in short, much like a “Kate Greenaway figure,” and very peculiar was the effect. One lady wore a brown cashmere, with pea-green trimmings, and flowing ribbons of pea-green, which, I suppose, must have been an artistic fancy. The great difference between the artistic and æsthetic dressing is in the way the dress is cut at the neck. The artistic portion bares its throat bravely, at any and every age, and cuts its dresses well down on the collar-bone; while the general public wear high neck-bands, and try to reach the tips of their ears; assisted by big beads and ruchings of satin. At present neither class affects collars, unless the falling lace of the æsthetic lady can be mentioned in that category.

There was a great deal of brown worn, relieved by yellow, and also much green in various shades, the most popular being moss-green and a new hue called “jade.” There was also a good deal of heliotrope, and that always in woollen materials; so I should not be surprised if we found this hue in vogue in the spring. It is extremely becoming to many people. Black jackets and mantles are worn with it, and also black bonnets with heliotrope trimmings. Black plush is the most popular material for small or large mantles, and it seems, in any case, to be very much trimmed all over—shoulders especially. Amongst these artistic ladies the bonnet-strings are usually tied very loosely, resting on the throat, while everyone else in the “Philistine” world—as, I believe, it is nick-named—still wears theirs tightly tied under the chin, with short ends, and the bows tied under the chin, and so much pulled out as nearly to touch the ears, one loop being ornamented by a brooch or pin, generally jewelled.

Red in all shades was also much worn. In some cases it was quite a bright scarlet; but I did not think the idea a happy one. I looked very carefully at the numberless so-called tailor-made suits, and, after all, admired the wearers—neat, trim and tidy—the most. They were of all materials—ladies’ cloth, cheviot, homespun, and undyed Shetland cloth. Many of them were suitable for any season of the year, as, indeed, the true tailor-made gown should always be. The newest thing in them that I saw was a skirt put on in three immense box-pleats, so big that one formed the front, and the two others were enough for the back and sides, the skirt itself being quite plain and free from any ornament whatever. The newest muffs seemed to be those made of the material of the dress. The trimming was of fur, plush, or jet passementerie.

Amongst the few changes in fashions I must mention that the basques to bodices for everyday wear seem to be longer, and in some cases they are put on separately to the bodice. Polonaises also are becoming very general, and, no doubt, in the spring we may see a great return to them—certainly the most becoming and useful of any of our dresses. The polonaise that was illustrated in our dress article with the pleated bodice will be much in vogue, and also a smockfrock polonaise that is very pretty and becoming, but, of course, would need the smocking performed in the first style of that difficult art. This makes it rather expensive, and the houses who make a speciality of the work find it far from easy to get good workers, and, consequently, these smocks are expensive.

This winter there has been so much choice in the matter of styles and shapes that nothing can be called “old-fashioned,” and I am looking forward with hope to the long wished-for day when our own individual thought will, in a great measure, rule our fashions, and make us much happier in having less to worry ourselves with, if our gowns prove not exactly like Mrs. A.’s or Mrs. B.’s; and that they bear the mark of last year, or even of the year before. So long as they suit us personally, it really ought not to matter.

PRINCESS DRESSING GOWN.

This year mantles have been either very large or very small, and bonnets have been both remarkably high and almost hoodlike in shape. Hats, too, have been small and close-fitting, or large and spreading. As to our dresses, we have worn polonaises, pointed bodices, and jacket-bodices quite indiscriminately. Norfolk blouses have been also much worn, and they promise also to continue in favour, as they are most useful for young and old. The same may be said of the jersey bodice, and the so-called garibaldi skirts. In regard to out-of-door jackets, I should think the same tight-fitting, jaunty-looking jackets will rule such as we have worn for the last two seasons. They are too useful to be discarded as permanent occupants of our wardrobes.

In our sketch of “girls’ winter dresses in woollen materials,” I have carefully given every method of draping the skirts and making the bodices that has been worn this winter; and I consider most of them will be continued on until the spring, as the “wrapping style” of which the drapery hangs in straight folds, and as if wrapped round us, is very popular with everyone; and people seem to have grown tired of the skirts which were made of pieces of material. The skating picture, too, shows the general effect of out-of-door dresses during the cold weather; and the way in which fur was used by the best dressmakers and tailors. The dresses are more graceful, and less heavy-looking than usual, when trimmed in that manner. We do not often have such a cold winter as the present has been hitherto, and I hope my readers have applied themselves to learn the lessons of sensible and hygienic clothing which I am constantly preaching to them. Armed by it, they would have successfully resisted the cold, and escaped unharmed. I am more and more convinced that most of the illnesses and deaths of our winters arise from want of sensible clothing, and from the fact, too, that we are all accustomed to regard England as a temperate climate, when in reality the cold is more felt here, on account of its dampness, than in severer latitudes.

So many of our girls have begged that a plain and simple shape for a dressing-gown should be added to our paper patterns, that, after looking about me for some time, I have decided to select a princess shape, as one that could be made at home by anyone with little difficulty, either in flannel or any other material selected. The pattern will be quite suitable for a dress, if required, as many servants prefer that shape to any other. Indeed, when made up in a blue and white striped Galatea, I do not know any dress in which a girl looks better or is more becomingly attired for going about her morning duties. I must confess I like my maidens to look their best and happiest while under my roof, and nothing but the most exquisite neatness will content me; and I have found a plain girl grow quite pretty after a few months of care in the ordinary matters of the toilet. The weekly bath is a thing that every mistress can see that her servants have, and also a few hours for attending to and making and mending their own clothes.

The princess dressing-gown, or dress, consists of seven pieces, and may be made of either eight or ten yards of material, according to the width. The half of the back and the half of the fronts are given, and the fronts may be cut in one, if the pattern be intended for a dress. Price of paper pattern, 1s.

All paper patterns are of medium size—viz., 36 inches round the chest—and only one size is prepared for sale. Each of the patterns may be had of “The Lady Dressmaker,” care of Mr. H. G. Davis, 73, Ludgate-hill, E.C., price 1s. each. It is requested that the addresses be clearly given, not omitting the county, and that postal notes crossed only to go through a bank may be sent, as so many losses have recently occurred. The patterns already issued may always be obtained, as “The Lady Dressmaker” only issues patterns likely to be of constant use in home dressmaking and altering; and she is particularly careful to give all the new patterns of hygienic underclothing, both for children and young and old ladies, so that her readers may be aware of the best method of dressing.

The following is a list of those already issued, price 1s. each.

January, 1886, princess under-dress (under-linen, under-bodice and underskirt combined); February, polonaise, with waterfall back; March, new spring bodice; April, divided skirt and Bernhardt mantle, with sling sleeves; May, Early English bodice and yoke bodice for summer dress; June, dressing jacket, princess frock, and Normandy cap for a child of four years; July, Princess of Wales’ jacket-bodice and waistcoat, for tailor-made gown; August, bodice with guimpe; September, mantle with stole ends and hood; October, pyjama, or night-dress combination, with full back; November, new winter bodice; December, patterns of Norfolk blouses, one with a yoke, and one with pleats only; January, 1887, blouse-polonaise, with pleats at back and front; February, princess dressing-gown.

MERLE’S CRUSADE. — CHAPTER XIX.

By ROSA NOUCHETTE CAREY, Author of “Aunt Diana,” “For Lilias,” etc.

A CATASTROPHE.

bout three weeks after my mistress’s visit something very terrible happened. I wish the history of that day would get itself told without the pain of telling it. My life has been a happy one, thank God! I have been “led by paths that I have not known,” but even now I never look back upon that day without a shudder. Oh, Reggie, my darling! But God was good to us, and the danger passed; still, it will be only in heaven that we may bear to look back on past perils without dimness of eyes and failing of heart!

I had never left Rolf alone with the children for a moment since Judson had told me of his mischievous propensities. I had grown fond of Rolf, and he was certainly very much improved; but I always felt he was not to be trusted, and either Hannah or I kept a strict guard over him. He was never permitted to enter the nursery in the morning; if we went out, he joined us, as a matter of course; but more than once when he begged for admittance I had refused it decidedly. Hannah was always busy in the morning, and the children slept for an hour, and if there were time I liked to take Joyce to her lessons, or to set her some baby-task of needlework, and Rolf always made her so rough.

On a rainy afternoon or in the evening she would be allowed to romp with Rolf, and they always played together on the beach. Rolf was more in his element out of doors. Judson had been very unwell for some days; she was a sickly sort of body, and was often ailing; but just then she had a threatening of quinsy, and seemed very feverish and suffering.

Her room was close to the nursery, and it was only sheer humanity for Hannah or myself to go in now and then and see what we could do for her. I had got it into my head that she was somewhat neglected by the other servants. I know Gay thought so, for she asked me to do what I could for her.

She had been ordered some linseed poultices that morning, and Mrs. Markham had come up to the nursery and asked me very civilly if I would apply them, as the upper housemaid was away, and Susan was very clumsy and helpless.

“I will stay with the children,” she said, quite graciously, for her; “and Hannah is here.” And as I knew Rolf was in the garden with his aunt, I could not find a loophole for excuse. I do not think I was wrong now, for how could I have refused such a request? But the fates were against me. That is a foolish and untrue expression, but I will let it stand.

The poultices were far from hot, and poor Judson, who seemed in great pain and very nervous about herself, begged me to go down to the housekeeper’s room and make some more. “It is no use Susan making them, and Mrs. Rumble is always so busy,” she whispered; “do go yourself, Miss Fenton, and then I shall be more sure of hot ones.”

The housekeeper’s room lay at the end of a long passage leading from the hall, shut in with red baize doors. These swing doors deadened sound, and that was why I did not hear Rolf come in from the garden and scamper upstairs.

The front-door bell rang immediately afterwards, and some visitors were asked into the drawing-room. I knew Gay was about the premises, and the idea never crossed my mind that Mrs. Markham would desert her post and leave the three children alone in the nursery; but I heard afterwards that this was the case. An old Indian friend had called, and Mrs. Markham had desired Rolf to summon Hannah from the night nursery; but Rolf, who was seldom obedient to his mother, had simply ignored the order.

I was some little time in the housekeeper’s room. The kettle did not boil, and I was compelled to wait. I was rather impatient at the delay. As I stood talking to Mrs. Rumble, I saw Mr. Hawtry ride up to the front door.

I succeeded at last in making the poultices. Judson was very grateful to me, and thanked me warmly as I put them on. I had just covered her over comfortably and taken from her the red woollen shawl in which she had wrapped herself, when a sudden report, as though from a toy cannon, and then a piercing scream from the nursery, made me start as though I had been shot, for the scream was from Joyce.

The next instant I was in the nursery, but, oh, merciful heavens! the sight that met my eyes. Hannah had just opened the door. Rolf and Joyce were huddled together on the window seat, beside themselves with terror, and there stood Reggie in the middle of the room with his pinafore and white frock in flames! I must have uttered a scream that roused the house, and then it seemed to me as though I knew nothing, and felt nothing except the smarting pains in my arm and shoulder. I had thrown the child on the floor and covered him with my body, and the woollen shawl was between us, and I was crushing the dear life almost out of him with that terrible pressure.

I seemed to know instinctively that nothing else could save him. Happily, I wore a stuff dress, for there was no rug or carpet in the nursery, and, with the open door and windows, another moment would have been too late. I could hear Reggie’s piteous cries, but I dare not release him; I must crush and smother the flames. There was the terrible smell of burning, the singeing of stuff, a sudden uproar round me, confused voices and exclamations. I seemed to hear Gay’s voice crying, “Oh, Merle! you will smother the child!” And then strong arms lifted me off Reggie. I knew it was Mr. Hawtry; no one else could have done it. His grasp gave me intense agony, and I tried to free myself.

“Let me go; I must see if he is hurt.” But Gay had him already in her lap, and I knelt down beside her and examined him carefully.

His frock and pinafore were hanging in blackened shreds around him, but there was only a large hole burnt in his flannel petticoat, and one of his dear little legs was scorched; not a curl of his hair was singed, and only one hand had sustained a slight injury. They said there were bruises on him that I had caused by my violence, but that was all, Mrs. Markham assured me; there were tears in her eyes, and her face was as white as death as she said it.

“The little fellow will soon be all right,” observed Mr. Hawtry, kindly; “he has been frightened and hurt that makes him cry so. But now it is time your wounds should be dressed, Miss Fenton.”

I looked at him as though I failed to comprehend his meaning, but he pointed to my arms with such a pitying expression on his face, that I looked too. My sleeves were hanging in shreds like Reggie’s frock, and there were large burns on each arm; my right shoulder felt painful, too; a faint sickening sensation seemed creeping over me. I must have got my arms under him or I should not have been so badly burnt, and some of my hair was singed. When Gay touched me gently I shuddered with pain, and they all looked at me very gravely.

“We must have Dr. Staples, Roger,” observed Mrs. Markham; “her arms must be properly dressed.”

“I will go for him at once,” returned Mr. Hawtry, “but I advise you to give her a little wine or brandy; she looks faint with pain.” And then he went away, and we could hear him galloping down the avenue and along the road.

I drank what they gave me, but I refused to lie down until Reggie had been undressed. I would not be persuaded without the evidence of my own eyes that he had sustained no serious injury. I suppose his scorched leg pained him, for he still cried incessantly and beat us off in his usual fashion, but when Hannah had dressed him in his nice clean frock, he grew pacified at the sight of his blue ribbons, and only said, ‘Poor, poor,’ as he pointed to me. He wanted to come on my lap, but when I tried to take him I turned so faint, that Gay looked frightened and snatched him away.

I wanted to know what had become of Rolf, but Mrs. Markham said, sternly, and her lips were still very pale, that she had sent him to his room. “Tell me how it happened, Joyce,” she continued, drawing the child to her. “I told Rolf to fetch Hannah; did she not come to you?”

“Rolf didn’t fetch her, Aunt Adda; he said he was a big boy, and would take care of us. Poor Rolf did not mean to be naughty, did he, nurse?”

“Rolf must be severely punished for his disobedience; he has nearly killed your little brother, Joyce. Tell me what Rolf did after that.”

“He asked me if I would not like to see his dear little cannon that went pop when he told it,” went on Joyce, looking extremely frightened. “I did not know cannons were wicked things, and I said yes, and Rolf showed us the cannon, and told us to get out of the way, for it would kill us dead, and I runned, and baby clapped his hands and runned the wrong way, and Rolf had fire in his hand, like Hannah lights the candles with, and baby’s pinafore got on fire, and I screamed as hard as I could for nurse.”

It must have been just as Joyce said, for the toy cannon was on the floor, and a box of matches beside it. Probably Rolf had not seen Reggie beside him, and had thrown the lighted match aside in his excitement. Mrs. Markham sighed deeply as she listened. She had sustained a severe shock; her face looked very dark and rigid as she left the room. I was afraid she meant to punish Rolf severely, and begged Gay to follow her and plead for mercy.

“Rolf has had a fright that will last him for life; his terror has been punishment enough.” But Gay shook her head.

“It is no use interfering with Adelaide; she will take her own way. I am sorry for Rolf; but he deserves any punishment he gets. Reggie would have been burnt to death but for your presence of mind, Merle; none of us could have reached the nursery in time. Mr. Hawtry said so at once.”

Reggie burnt to death! and then my mistress would have died, too; she could not have survived the horror of that shock. I begged Gay faintly not to say such things; the bare mention of it turned me sick. I suppose she was alarmed by my ghastly look, for she kissed me, and said, soothingly, that I must not distress myself so; we could only be thankful that Reggie was safe.

Dr. Staples came soon after that. He was a benevolent-looking old man, and was very kind and gentle. He said one of my arms, the left one, was severely burnt, and that it would be some little time before it was healed. “These things depend a great deal on constitution; but you seem strong and healthy, Miss Fenton, so I hope you will soon be right again; but you must not expect to lose the scars.”

I was sorry to hear that, for I knew the scars would remind me of a terrible hour in my life. The dressing was very painful, and when it was finished I was compelled to follow Dr. Staples’s advice and go to bed. I was suffering from the shock, and I knew my arms would be useless to me for a week to come. I felt shaken and sick, and unable to bear the childish voices.

Gay followed me into the night nursery and gave me all the help she could, and she did not leave me until my head was on the lavender-scented pillow. In spite of pain and dizziness, it was nice to lie there and hear the birds twittering under the eaves and the bees humming about the flowers, and to look out on the sunshine and feel a great mercy had been vouchsafed to me, that I had not been suffered to fail in the hour of peril.

Gay hung up her cage of canaries in the window to divert my mind, and laid a bunch of dark clove carnations, with a late rose or two among them, on the quilt.

“Mr. Hawtry is still here, Merle; he is very anxious to know if you are in less pain, and whether there is anything he can do for you. He seems quite grieved because Dr. Staples says your arm is badly burnt.”

I sent a civil message of thanks to Mr. Hawtry, and then I detained Gay a moment.

“Miss Gay, you must write to Mr. Morton yourself. I have promised your sister to tell her everything; but it will shock her too much, and I think Mr. Morton should know first.”

Gay looked distressed.

“Need we tell them, Merle? Violet is not at all well; Alick said so in his letter this morning. Scotland does not seem to suit her, and he thinks they will soon come home.”

“And they have not been away a month yet,” I observed, regretfully; “not more than three weeks and two days, and Mr. Morton is so fond of Scotland.”

“Alick thinks more of Vi than deer-stalking. If she be not well he will bring her home without a word of grumbling. In some respects Alick is a very good husband. Why need we say anything about the accident, Merle? Reggie is scarcely hurt at all; his scorched leg will soon get right.”

“It is not fair to keep anything from them. I promised I would tell everything, and my mistress must know I am invalided and cannot do my duty.”

“You need not fret about that,” she returned, cheerfully. “Susan shall help Hannah, and I will be here as much as possible. I am a famous nurse. We will make Mrs. Rumble wait on Judson. Very well, Merle, I will write to Alick; but I would much rather not.”

I had forgotten poor Judson, but I did not forget Rolf; I asked several times after him, but Gay had not seen him. Rolf was in disgrace, and a close prisoner to his room. He had had his dinner sent up to him; but Adelaide was lying down in her own room all the afternoon with a bad headache, and, as Rolf’s communicated with hers, no one could visit him unperceived.

I wondered if Mrs. Markham’s eyes were at last opened to the danger of Rolf’s disobedience and her own faulty management. She was to blame as much as the child. She had given me her word to remain in the nursery, and no visitors should have tempted her from her post. It was no surprise to me to hear she was ill with worry; her conscience must have reproached her for her breach of trust. If Reggie had been killed, his death would have been owing to her carelessness. Later on in the evening, just as it was getting dusk, Gay came to me for a minute with a plate of fine fruit in her hand. They had tempted me all day long with delicacies, but I had felt too ill to eat. The fruit just suited me, for I was feverish with pain.

“Adelaide has just come downstairs,” she said, with a droll little laugh. “Mr. Rossiter had heard of the accident, and had dropped in to inquire, so father kept him to dinner. When Adelaide heard that, she came down as soon as possible, and there she sits, looking like a ghost, until Mr. Rossiter takes his departure.”

“And Rolf?”

“Oh, I suppose Rolf is asleep,” she returned, carelessly; and as she was evidently in a hurry to return to the drawing-room, I would not keep her; but as soon as she had closed the door a sudden idea came into my head. I would go and see Rolf myself; I was not easy about him. I knew his mother could be too severe even with her idolised boy on occasions, but I never could bear a child to be long unhappy. I rose very quietly, so as not to disturb the children, and threw on my dressing-gown. I was rather afraid my white face and bandaged arms would frighten Rolf, until I remembered it was dusk, and he could not see me distinctly.

Mrs. Markham’s suite of rooms lay in the west corridor. I knew no one would be about; poor Judson was in bed, so I reached Rolf’s room without interruption. I thought I heard him sobbing softly to himself as I opened the door. When I spoke to him, making my way through the summer twilight to his little bed, he started up and held out his arms.

“Oh, Fenny, is that really you, dear Fenny? Do come close and let me feel you. I have been thinking of such horrid things.”

I told him gently that I was in great pain, and that he must not touch me, but that I would sit down for a little while beside him and talk to him.

“But I may hold your hand,” he pleaded. “Is your hand burnt too, Fenny, or don’t you like to touch me because I am such a wicked boy, as mother says, and very nearly killed poor little Reggie?”

My heart melted at his pitiful tone, and I stooped over him and kissed his hot face.

“You may hold my hand, Rolf, dear, if you like; it is only my arms that are hurt; there, we are comfortable now. Tell me, have you had a very miserable day?”

“Oh, so miserable!” and there were tears in Rolf’s voice. “Mother has been so angry; she shut me up in this room though it was such a fine day, and would not let anyone speak to me, and I could not get her to answer although I said over and over again that I was sorry and would not have hurt Reggie for the world, he is such a dear little fellow, you know. Oh! I am so fond of him. But mother said no, she would not listen; I had disobeyed her, and nearly killed Reggie, and that Aunt Violet would never speak to me again.”

“Oh, yes she will, Rolf.”

“But if Reggie had been really burnt, you know,” and here Rolf shivered; his hand was quite cold though his face was burning. He was a nervous, excitable child, and no doubt this long summer’s day had been a martyrdom to him. He had conjured up all sorts of horrible fancies to haunt his dreams. Yes, he had been sufficiently punished, I was sure of that.

“Tell me how it happened, dear,” I said, quietly.

“I was firing my cannon to please Joyce. I know mother told me never to take it in the nursery, and that she did not like my lighting it unless Judson had the matchbox, but I forgot.”

“Did you really forget, Rolf?”

“Yes, really I did; I never do remember things, you know. I was only thinking how Joyce would scream when the cannon popped. I told them to get out of the way, only Reggie, poor little fellow, ran against me and knocked the match out of my hand—it was alight, you know—and then Joyce did scream, and,” but here Rolf buried his head in the pillow; the recollection was evidently too painful. “You will all hate me,” he sobbed, “because I nearly killed Reggie—you and Aunt Violet, and I do love Aunt Violet, because she is so pretty.”

“No one will hate you, my poor child; we are only sorry that the son of a brave soldier like Colonel Markham should be such a coward as to disobey his mother. Your mother told you to fetch Hannah. Did you forget that too, Rolf?”

“No,” in a conscience-stricken voice, “I did not forget, Fenny, but I thought it would be fun to take care of the children.”

“But it was disobedience, Rolf, just as much as your coming into the nursery at that time you took advantage of my absence first, and then of your mother’s. I think a brave soldier like your father would call that cowardly. Now, I want you to listen to a story about the bravest boy of whom I ever heard.” And as I stroked his rough head I told him the story of Casabianca and the burning ship.

(To be continued.)

— Novello, Ewer and Co. — Stanley Lucas and Co. — J. B. Cramer and Co. — Hutchings and Co. — J. and J. Hopkinson. — Edwin Ashdown. — Marriott and Williams. — F. Pitman. — W. J. Willcocks and Co. — T. H. Barnett.

Concone’s Lessons. Fifty Lessons for the Medium Part of the Voice, and Forty Lessons for Contralto, or for Bass and Baritone.—It is needless for us to recommend sterling works like these, the value of which has been acknowledged for so long a time; but we may call special attention to this admirable new edition, containing, as it does, a completed system of phrasing and expression marks, a correction of the breathing points, and a careful revision at the hands of Mr. Randegger, the well-known professor of singing at the Royal Academy of Music.

The Return of May, a choral trio for female voices, is a very clever piece of three-part writing, with an interesting independent accompaniment. It is by Amy Elise Horrocks, and the words are those of Mrs. Hemans.

Fly, little Song, to my Love.—A most charming ballad by Alfred Cellier, whose writings are always graceful in melody and uncommon in harmony. The constant repetition of the initial phrase becomes a little tiring, beautiful though the phrase undoubtedly is.

Violets.—A sweet, simple song addressed to some flowers plucked to cheer a poor invalid in the “great, dim, smoky city.” Poetry by Ellis Walton. Music by R. B. Addison.

Four Songs for Tenor. Composed by Whewall Bowling.—A good present for tenors who sing something greater and better than the drawing-room ditty of commerce. The accompaniments are beautiful, and need good playing.

(a) Four Sonnets by Shakespeare. The German version by Bodenstedt. (b) English Lyrics. Second set. Words by Shakespeare. Composed by C. Hubert H. Parry.—Of these, the sonnets will be above the comprehension of the average singer. They are very fine and wonderfully thought out and wedded to the sentiment and expression of Shakespeare’s powerfully expressive words. The lyrics from Shakespeare’s plays are more easily grasped, and cannot fail to give enjoyment. In No. 5, “When icicles hang by the wall,” there is a funny introduction of the song “We won’t go home till morning” in the accompaniment!

Characteristic Tunes of the British Isles. (Books 1, 2.) Selected and arranged for four hands by C. Hubert H. Parry.—Very original duet arrangements of our well-known national songs. “Three Blind Mice” is treated in a very droll manner. For perfect beauty we think you will agree that “The Pearl of the White Breast,” an Irish air, bears the palm. The Scotch tune, “The Flowers of the Forest,” is not the form of that song best known to modern singers.

Larghetto and Allegro. For violin and piano. By John Christian Mantel, who in 1730 was organist of South Benfleet, in Essex, and who appears by his writing to be an admirer of Handel’s.—The edition is by Otto Peiniger, at whose recitals these old English violin pieces have been played.

The Silent City, by Cotsford Dick, may be recommended as a Sunday song. Effective and easy, and of moderate compass.

O Loved and Lost. Song. Written and composed by Lord Henry Somerset. Published in F and A. The former key suitable for basses and contraltos, and the latter key for sopranos and tenors.—Full of delicate sentiment and graceful treatment of what are sometimes rather trite expressions in melody.

At the Concert. Humorous song. By Henry Pontet.—Will amuse, if it does not point an obvious moral to concert-goers, who attend those entertainments in the body, but in spirit (and conversation, alas!) are far, far away.

A June Song, by Mary Carmichael, is, what it should be, suggestive of the “odour of hay:” “full of the scent and the glow and the passion of June,” as the pretty words tell us.

The Wreck of the Hesperus is set by C. H. Lewis as a cantata for female voices, and merits the attention of ladies’ choirs.

The Long White Seam. Song by Jean Ingelow. Set to music by Wilfred Bendall.—A song of more than average excellence by this rising composer.

The Evening Farewell. A four-part song. Composed by Sir G. A. Macfarren, to words by his father.—Presenting nothing uncommon about it, this little part-song runs smoothly, and may be easily performed. Singers will enjoy the soft effect of the minor common chord on B flat, immediately following and, as it were, qualifying the major chord upon the same root. If proof were needed as to which should be in reality the relative minor to any major scale, the scale possessing the same signature to start with, but contradicting that signature in practice, or the scale having the same dominant and the same leading note, this little passage alone would decide us in favour of the latter.

Broken Heart, An Old Tale, and May Song.—Piano pieces, good in their form, songs without words, but very suggestive of their titles, and carefully written, by John Urich.

Alla Tarantella. Caprice for piano. By Joseph L. Roeckel.—Characteristic and well worked up to the necessary pitch of mad fury.

Danses Sclave. Pianoforte duets. By J. C. Bridge, M.A., Mus.Doc.—Rather a mild notion of the impetuous Slavonic dance, with its strange accents and brusque uncouthness, combined with its many charming and sad quaintnesses. You should learn these duets, though; for even if they prove that a man writes best in accordance with his environment, they will also prove themselves interesting, pleasant tasks for young pianists.

In Elementary Music, Book I. of a complete school, by Alfred Gilbert, M.R.A.M., it seems to us that the arrangement made is likely to prove rather confusing than otherwise. Too much is said. One of the statements, at least, will be a source of trouble, viz., that “the white keys of the pianoforte are called naturals.” What will the little student do about E♯, F×, G×, C♭, B♯, E♭♭, etc., etc.? The contradiction of the above statement occurs naturally enough in the music provided later on, but only in the music. [Transcriber’s note—the multiplication sign, x, has been used in the paragraph above in place of the double sharp symbol and two flat symbols in place of the double flat symbol.]

In Dreamland City. By Theo. Bonheur.—A pretty song, with a graceful, taking refrain.

Bonnie Face. Words by the late Hugh Conway. Music by A. H. Behrend.—Another sad invitation from either a grannie, or an auntie, or an unclie to a little childie to keep its spirits up, and, if possible, remain a little child for ever, as the opportunities for enjoyment, or, at any rate, for laughter, become limited when we learn to read and write. Enough to damp the ardour of any healthy, growing child.

La Zingara, for piano, by Michael Watson, is named by him “Morceau alla Tarantella.”—The bite of the tarantula seems in this case to be rather pleasant than otherwise; it would be better styled “A Gipsy Dance.”

Mirage.—An expressive, powerfully-written song, by Edith Marriott, who shows great progress in her various compositions.

There’s a Bower of Roses.—A charmingly simple setting of these lovely words of Thomas Moore.

The Christmas double number of the Violin Soloist is a marvellous twopennyworth, containing twelve well-known pieces. They are fingered and bowed thoroughly, and the whole number is well printed and got up.

Verviers is the name of a bright, sparkling air de ballet, written for the piano by Ivan Caryll.

Three Sketches, by Edward L. Hopkins, are quiet Sunday scenes expressed on the pianoforte.

Saltarello in A minor. By R. J. Thompson.—A bright little movement for players of moderate capacity and ready fingers.

A DAUGHTER OF SORROWS. — CHAPTER IV.

LAST DAYS.

t might have seemed now that Marie Thérèse of France had endured enough of sorrow, and that her days might be allowed to flow on evenly—not, indeed, joyfully, but in a calm content. For a year or two it seemed as if this would be the case, but there were still other storms to be encountered before the life history was to be complete.

Five years after the second Restoration the Duc de Berri was assassinated at the Opéra. The Duchess of Angoulême was one of those immediately summoned to the ante-room of the Opera House, where her brother-in-law lay dying. Her husband, fearing some danger, would have restrained her from accompanying him, but she felt her place was there. “What,” exclaims Châteaubriand, “were dangers to her, who was accustomed to look revolution in the face!” Herself overcome with grief, she paid a noble tribute to the fortitude of the Duchesse de Berri. “She is sublime,” she said more than once; and, bending over the dying man, she said, “Courage, brother; and if God calls you hence, ask my father there to pray for France and for us.”

When, six months after his father’s death, the only son of the Duc and Duchesse de Berri was born, it was the Duchess of Angoulême, to whom the blessing of children had been denied, who showed the infant to the people assembled before the palace windows with every sign of joy and delight.

The death of Louis XVIII. in 1824 made the Duchess of Angoulême Dauphine of France. But her life continued as retired as ever, and she spent much of her time in watching over the early years of her little nephew, the Duc de Bordeaux. After six comparatively uneventful years the storm broke which doomed her to a final exile. The duchess was at Dijon when a hostile reception at the theatre announced to her that there was once more a revolution. Travelling all night with one or two attendants to Versailles, she made her way in the disguise of a peasant to St. Cloud, only to find that the King was at Rambouillet. “Can you forgive me?” cried Charles X. as he met his niece. Her answer was an embrace. “I trust,” she said, “we are now united for ever.” The King abdicated, and the Duc d’Angoulême surrendered his claims in favour of the little Duc de Bordeaux, while Louis Philippe of Orleans was to be Lieutenant-General during the prince’s minority. But the Chamber of Deputies declared for Louis Philippe. After some little hesitation, he consented to become “King of the French,” and there was nothing left for Charles X. but to depart. Escorted by the commissioners sent by the new king for the purpose, the royal family passed with slow stateliness on their way to the sea coast, taking a fortnight in reaching Cherbourg. The last pageant of the departing dynasty was witnessed for the most part with silent respect. The little Duc de Bordeaux and his sister, ignorant of the meaning of it all, stood at the carriage windows, bowing and kissing their hands in their childish way to the people, and the sight of the children made the tears start to many eyes. The Duchess of Angoulême sat in one of the carriages, silent and alone, save for a lady-in-waiting. It seemed a hard fate that condemned her once more to exile. It was the 16th of August, 1830, when they embarked for England, and it was characteristic of the duchess that she lingered longest on the deck, watching the shores of France as they receded for the last time from her sight.

The exiles landed at Weymouth, and spent two months under the hospitable roof of Cardinal Weld at Lulworth Castle. Thence they repaired to Edinburgh, where they occupied the palace of Holyrood. Thence, in the end of the year 1832, they returned to the Continent, and took up their residence in the old Hradschin palace at Prague. From Prague they removed to Goritz, and here, in the winter of 1836, Charles X. died. Eight years later the Duchess of Angoulême was left a widow.

The last years of her life were spent at Frohsdorf, a plain, somewhat uninteresting house near Neustadt, commanding a prospect over the plain which extends to the borders of Styria, which had been purchased for her from Caroline Murat, the ex-Queen of Naples, and to which she retired after her husband’s death. The Duc de Bordeaux (better known to modern readers as the Comte de Chambord) and his sister, afterwards Duchess of Parma, resided with her, and old and faithful courtiers and servants—all of whom were French—formed her household. Distinguished Frenchmen often visited Frohsdorf, and were always received graciously and kindly. In 1848 the news was brought to the duchess of the fall of Louis Philippe. “It is enough,” she said, as the story brought vividly before her the memory of another fall eighteen years before, “I dare not listen any more; we are too completely avenged.”

It was a sorrow to her that her nephew seemed content to let opportunities slip past him, and she had at last to acknowledge that he was unlikely to regain the throne of his ancestors. His training had been of a narrowing character, and he lacked the energy and the decision which, if exercised at the right time, might have led to great results.

The end came to the Duchess of Angoulême at Frohsdorf, in the autumn of 1851. Her illness lasted only two days, and she died on the 16th of October, the fifty-eighth anniversary of her mother’s execution. We may not doubt that the happiest day of her long, eventful life was that which marked its close, and re-united her at last to all those she loved. “I do not fear death,” she wrote, in her last will, “and, lacking merit of my own, I place all my trust in the mercy of God.... After the example of my parents, I pardon with my entire soul, and without exception, all those who have injured or offended me; sincerely praying God to extend to them His mercy, and to me also for the pardon of my sins. I pray God to shower down His blessings upon France—France, that I have never ceased to love under my bitterest affliction.”

She was buried, in accordance with her expressed wish, in the vault of the Franciscan Convent at Goritz, between her husband and the King, her father-in-law. In the same vault there now rest the two children over whose early years she had watched with tender care—Henri Duc de Bordeaux and Comte de Chambord, and Louise Marie Thérèse Duchess of Parma.

A few words which form the close of an article on the Duchess of Angoulême, which appeared in the Gentleman’s Magazine at the time of her death, sum up her life history so concisely, that I append them here by way of conclusion:—

“Of the seventy-three years of her life, she passed eight (the best of her youth) in restraint or in a dungeon, and thirty-eight in exile, and yet she died acknowledging the mercies and the glory of God. Let us who have not known affliction, or who have been but lightly visited, derive wisdom from the instruction offered us by the pious daughter of Louis Seize and Marie Antoinette.”

R. W. R.

[THE END.]

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A GERMAN NUPTIAL EVE.

By ONE WHO WAS PRESENT.

It is an old custom in Germany, and one which we may hope will never die out, to have a gathering of friends on the nuptial eve, either at the house of the bride elect, or, when this is too small, in a hotel. Most of the guests are expected to appear in some character, and give a recitation or song, if possible, composed for the occasion, and referring in some way to the bride and bridegroom. It is a cheerful, pleasant custom, and helps to make the last evening in the old home a happy and joyous one, by surrounding the bride with the friends of her youth who come to wish her God speed in the new life about to open up. It seems in many ways much better than having a party after the wedding, when the bride and bridegroom are no longer among the guests, and it is pleasanter to remember that the last festivities in the old home were brightened by their company.

Let me give a sketch of a nuptial eve, or, as our German cousins call it, a “Polter Abend” gathering, at which I was present, held at the house of the bride, and for that reason more homelike than if it had been held in a hotel. In former times it was common among all classes, but now chiefly among the poorer, for the guests to bring old crockery and smash it before the door of the house, so that next morning, if it had been a large party, the unfortunate father had to employ a man and cart to carry away the fragments. I was unable to discover the origin of this, but it seems like our throwing an old shoe after the bride as she leaves home. Has it anything to do with the German custom of giving the baby a shilling when he breaks his first plate? Most people appear to be not altogether sorry that this marriage custom is dying out.

Without any crockery, but with a little inward fear and trembling, owing to my slender knowledge of the language, I stood, one evening last September, at the house of my friend, waiting for the door to open to introduce me into the midst of the excitement. Glad I was to find several who could speak English, and I was tempted to talk more English than German.

The programme of the evening commenced by Fräulein and a young medical student singing a very humorous duet together, containing some warnings to the bride and bridegroom, who, however, seemed to enjoy it as much as anyone. In accordance with a time-honoured custom, which is also observed when moving into a new house, a little girl went up to the bride, and, after reciting a poem, gave her a stand containing salt and a bread-basket, in order that the newly married couple, on commencing housekeeping, might have something with which to begin and keep them from starvation. Perhaps the salt may also be meant for a warning against ever letting any bitter words pass between the two who are now so loving to each other, and the bread may also signify contentment with the simpler things of life, coupled with the rich delicacy of love.

After the bride had received this present, a dwarf with a long white beard, described by Scheffer, the German poet, as Perkeo, dwarf of Heidelberg Castle, came forth, and sang a song of his own composition. It narrated several events in the lives of the bride and bridegroom in a very amusing manner. The dwarf was personated by the medical student, a younger brother of the bridegroom, and he told how, in the earlier days of courtship, they used to send him away to play with other boys, in order to be alone together, and how, having wisely learnt English, they would tease him by speaking in that language, which he, poor fellow! did not understand. But now that is all forgotten, and he is quite ready to forgive them for all their misdeeds in the past, ending by wishing them a very happy and joyous future.

While we were having some refreshments, a peasant girl from Southern Germany appeared, dressed in the pretty costume peculiar to the district, and with a basket upon her back such as is seen in all pictures of German market-women. It contained crockery. Addressing the bride, and after praising up her wares, and saying how impossible they were to break, she carelessly let fall an already broken cup, but in such a manner as to make it appear as if it broke in falling. She quickly atoned for her stupidity by presenting the bride with a beautiful china tea and coffee set painted by her mother, and which she was very careful not to break. Very heartily she was received, and continued to receive the congratulations of her friends until no less a person than the self-appointed ambassador of her most gracious Majesty Queen Victoria and of the President of the United States is announced. He came as a joint ambassador of the two nations, partly because he had himself lived some years in England, and partly because the bride had lived in America, so that it was fitting that someone should represent these nations. The manner in which he was received showed the cordial relationship existing between Germany and these countries. He finished, after mentioning the recent marriage of the President, by conveying united congratulations to the bride, who was delighted with the voice from the old country, and who, by the way, had placed a small American flag above a large German one.

The young Englishman having finished, a lady decorated the bride with the bridal wreath, reciting a poem composed by herself. A pretty custom usually takes place at this moment. All the young people present form a circle round the bride, who stands blindfolded in the centre and places the wreath upon someone’s head, showing who will be the next to be married. Unfortunately, it was omitted on this evening, so we did not know on whom the lot would fall, much as we should have liked to, and the question remains unanswered.

When the bride had received the wreath, the bridegroom’s father recited a poem, and gave the bride a box containing the rare meerschaum powder, brought from Ruhla, a great seat of the meerschaum pipe trade in the Thuringer Wald. The German wives are noted for being good hausfraus (housekeepers), and frequently a girl will go into a pension to learn housekeeping before she is married. This powder is for cleaning purposes, and serves as a reminder of what is expected from the bride.

The evening finished by one more very clever speech from the student, who made some capital jokes about the partnership of the two names, which were, both in German and in English, names of very common businesses, without which we could not live, and certainly, if they did not go hand in hand with each other, a general failure would be the result. And with everyone in good humour, we bid adieu at half-past eleven, we English almost thinking that we might take a lesson from the Germans, and very much increase the pleasures of a wedding by instituting a “Polter Abend” in England.

W. A. H. Legg.

Arnstadt, Nov., 1886.

ANSWERS TO CORRESPONDENTS. — EDUCATIONAL. — ART. — WORK. — MISCELLANEOUS.

Beattie.—You do not say where you reside. You should write for all such information to the special college under whose training you will find it the most convenient to place yourself. Address the secretary.

G. M. H. should read all our answers to correspondents under the above heading, as her questions have been answered over and over again in our volumes. In one of the early volumes there was an article entitled “How to Earn One’s Living.”

A. Mc.—You should write to the secretary of the Holloway College for Women direct, and obtain their prospectus, stating your wishes and all the particulars of the case.

E. T. G.—The Latin motto, Virtus semper viridis, is that of three families—i.e., Corry, Green, and Lowry, and means, “Virtue is always flourishing.”

C. M. should write direct to the secretary of the College of Preceptors, 42, Queen-square, Bloomsbury, W.C. 2. We give you the same advice; you had better read and judge for yourself.

Pollie.—Write to the secretary of the Civil Service Commissioners, Cannon-row, S.W., and obtain the printed prospectus of rules respecting the clerkships of the telegraph department. If you look through our answers under the above heading, you will see scores of replies to this question.

C. Kershaw.—There is a training home for domestic servants, The Guild of Aid, at Zeals, near Bath, Somerset, and one at 19, Romney-place, Maidstone; matron, Miss Kemp. Also St. John’s Training School for Girls, Westbourne-park, W.; matron, Miss McEwen.

Zillah.—If the medium known as Florentine is used when painting upon silk, it is not necessary to prepare the foundation.

Mars.—In mirror painting it is necessary to use one of the many mediums advertised, or the oil paints are easily removable with turpentine or a penknife.

The Lady of Aroostock.—It is extremely difficult to sell original drawings, and much more so to sell mere copies. So we fear that we could not help you. Shew’s mounting medium for photographs is the best to employ.

Ivy.—The safest manner of cleaning photographs is to immerse them in pure clean tepid water, and then wipe them dry with a soft silk rag.

A Mother is thanked for the recipe she kindly gives for a description of embroidery, especially her own:—For the foundation, prepare as proposed for crazy work in our part for November, 1886. Get artificial flowers of velvet, old or new, the brighter the better, and of all varieties. Tack them on the sprays, large or small, or grouped; then use buttonhole-stitch to fasten down every flower in coarse crewel silk, of the respective colours required by the flowers, finishing round the larger flowers and leaves with gold tinsel cord, and using small yellow beads for flower seeds. The stems should be made in shaded greens with crewel-stitch, and the whole effect is very brilliant.

Teetee.—With reference to your helping to support your mother and yourselves by dressmaking, no friends worth keeping would cast you off on that account. No disgrace is attached to honest work, but you would show consideration for the feelings of others by working under Christian names, a common practice amongst dressmakers and milliners; and this little act of delicacy for your relatives’ sake will be appreciated by them, supposing the family name be one of any distinction—a common one would not matter. We advise you to get some lessons in fitting from a good tailor, as women dressmakers fail signally on this point, as a general and almost universal rule.

SPRING

“MARCH WINDS,

APRIL SHOWERS,

BRING FORTH

MAY FLOWERS.”

Lover of the G.O.P.—On no account take any notice of such a note. It was a most intrusive and impertinent act on the part of a strange man to drop it into your lap in the railway carriage. It showed that he mistook you for a girl lacking grievously in self-respect and in any knowledge of propriety.

Fidelis.—We have advised our correspondents very many times against such advertisements, which are almost all catchpennies, and intended to delude and swindle the foolish and unwary. We have no knowledge of each separate advertisement, and we speak only as a general rule, of course.

E. H. E. K.—The best cotton to use for knitting a quilt is No. 6, with No. 12 needles. In asking how much cotton you would require, you never mention the size of the quilt which you mean to make, but after knitting one of the diamonds you will know how much you have used, and also the number of diamonds you will require, and you can calculate from that. If you keep to one maker you can always match the cotton exactly.

An Irish Doctor’s Wife.—To make a stitch, put the thread before the needle. A slipped stitch means one that is passed from one needle to the other without knitting it. We think you would find it easier to induce some experienced knitter to give you a few instructions.

Kascheu.—1. The cracker nightdress case may be made in plush. This case resembles a cracker in shape, the two ends being secured with drawstrings about four inches from the edge, and this frilled part is lined with satin. The nightdress is placed in the centre, where the bonbon of a real cracker is secured. 2. For plush embroidery, coarse silks are used, and the patterns are worked in outlines. The material presents such difficulties that the embroidery is never very elaborate. The watch pockets to match the cracker nightdress case are shaped like half a cracker, and are placed upon the foundation upright. The watch pockets are hung up by a ribbon, and are gathered at the top.

Vida.—It is only in convents that women take vows of celebacy. Remember also that there is a Divine rule for guidance in reference to sacred vows, which must include every description outside the simple and imperative obligation to serve God humbly and faithfully in your ordinary daily life and conversation, and in the inner sanctuary of your own heart, for which Divine rule see Numbers xxx. 3, 4, 5.

Srixo.—In no case should a hostess go in first to her own dining-room; every guest should precede her, excepting the guest that escorts herself, or vice versa. If a cake be presented to a girl on her birthday (which is by no means de rigueur, and like the ever-provided wedding cake) it may be placed either at the top, bottom, or side of the table, as the mistress of the house may please.

Constant Reader.—We are very glad that you see your past errors, and are endeavouring to act as shall be pleasing to your Heavenly Master in your daily life, and as ever in His sight. Ask for the help of the Holy Spirit so to do. The Odd Minutes Society might meet your wishes in trying to do some little extra work for Him in His poor. Write to Miss J. Powel, Luctons, Buckhurst-hill, Essex, for her prospectus. You might get some fingering wool, and crochet or knit for them in odd minutes.

Lichen.—You should pay a visit to a florist’s, and ask for the species you name and examine for yourself. If anything be worth knowing it is worth taking a little trouble to obtain information. Our girls are too lazy and continually ask us to hunt through the indexes supplied for their own use. When you have made a full inspection of the flowers for yourself, you can get direct special information from the florist.

Duchess.—The verse you quote is not taken from any of the canonical books. It is apocryphal.

Inquirer does not appear to be at all acquainted with the Holy Gospel according to St. John, or she would know where to find the text quoted. She ought to feel ashamed of such ignorance, and we recommend her to read that Gospel through, and commit some of our Lord’s discourses to memory. We also advise her and all our girls to obtain a concordance of the Holy Bible at our office, as soon as they can afford to buy one.

Nil Desperandum should obtain medical advice. We can only make general statements, which may or may not be correctly applied to individual cases.

Batty.—If the glaze be produced by the wearing-away of the nap of the cloth, there is no cure for it. Perhaps you could turn it with advantage.

Ape and Donkey (New South Wales).—Lads of nineteen are certainly too young to choose partners for life, and no girl would be wise in binding herself to marry a young fellow who could not know his own mind. A man should be at least twenty-five before he asks any girl to risk her happiness in giving him a promise of marriage. If an escort from church on a Sunday evening be desirable, you should make due arrangement for it before venturing to go. Impromptu accidental offers of escort are very inexpedient. In such cases you should have another girl with you likewise.

Sphinx.—Accept our thanks for your kind letter. We cannot decipher it all, but see no question to be answered.

Business Woman.—We have given a long series of articles on the subject of Good Breeding, and also of Etiquette, of an exhaustive character. Some are entitled “Duties,” etc. Look for them in the indexes, and you will learn all you require to know under any circumstance in which you may be placed.

Browny.—To become talkative would be most objectionable. Read our two articles on “The Art of Conversing Agreeably.” We thank you for your prescription against sea sickness, viz.—2 grains of bromide of sodium taken three times a day, two days before going on board, and night and morning while on board. But we have not tried it, and so must advise anyone wishing to experiment on the dose, to consult her own doctor before so doing.

A Dublin Lassie.—The 18th December, 1871, was a Monday. In reply to your second question, see our answer to “Browny.”

Susie M.—Our blessed Lord was tempted in all points, like as we all are. Read the other passages in connection with this distinct and positive statement.

A Parlour-maid writes, “What will remove black spots from silver?” and she goes on in the next sentence to say, “when the plate is cleaned they go away.” What more does she wish to know? Clean, the plate, and do so frequently and regularly.

Popsey.—September 5th, 1856, fell on a Friday. Conversion to God may be sudden, but is more generally a gradual and growing conviction of sin and apprehension of the way of salvation, a gentle process of drawing to Christ by feelings of gratitude for mercies received, and through hearing and reading of His love. This appears to be a more reliable and satisfactory process than sudden convictions with an assurance of faith. Still, such conversions as the latter do occur. There are many godly people, also, who have never known any change since their early childhood, but who always feared God and trusted in His atonement.

A. Payne.—You are doing a very rash thing in trying to thin yourself by taking carbonate of soda in daily doses. You will thus thin your blood, and thinness of blood often results in dropsy, spots, and boils, etc. Your being stout is a great advantage, if not excessive. You have some substance to waste safely in case of illness. Do you wish to look like the poor scarecrows with pipe-stopper waists? Your hand is scarcely formed, and you should use a softer pen.

Heliotrope (New Zealand).—1. We read your letter with interest, although the answer to it be so late. You are very right in the views you express about marriage. Young girls are too apt to take its responsibilities upon themselves without counting the cost, or their own suitability. 2. Changing the key of a song seldom improves it. But, at all events, if the key were unsuitable for your voice, your singing would be more agreeable than it would have been in the original key. Accept our thanks and best wishes.

M. Wright (New South Wales).—We thank you for so kind a letter, and assure you, as we did “Heliotrope,” that such as you have both written, have encouraged us in our work. We may also add that, if you have not had the benefit of a good education, you have profited by what you had far better than many girls who had that advantage. We wish you God-speed.

The Vicar’s Daughter (Victoria).—We cannot answer your question exactly in the form you wish, but may, at least, say that you might procure what you want through the Messrs Trübner, Ludgate-hill, London, E.C. Accept our best thanks and good wishes.

Minnehaha.—Dr. Samuel Johnson died on the 13th of December, 1784. The name Helena ought to be pronounced with the accent on the first syllable, i.e., Hel-e-na, although the island of that name is pronounced otherwise, the accent being placed on the second syllable, and divided thus, St. He-le-na.

Perplexity.—We recommend any unbeliever to read the Rev. Joseph Cook’s “Monday Lectures,” first and second series, “God and the Conscience,” and “Life and the Soul,” sold by Messrs. Ward and Lock, Dorset Buildings, Salisbury-square, London, E.C.

Well-wisher Elsie.—Your hand is rather a poor one, but it is legible, and is at any rate preferable to the coarse Stonehenge type affected by so many girls. We suppose the phrenologist meant to say that you could if you tried so to do, pass a good examination in the science and art of music.

Evelyn B.—The papers written by Miss Caulfeild on etiquette, good manners, and duties have extended through most of our volumes, beginning with vol. i. and ii., and one and all are valuable authority on all such points.

Ever Hopeful.—The best way to get the information would be to write to the vicar, enclosing a stamped envelope, and ask whether he can supply it from the registers of his church, and if so, what the fees will be. Then, on his answer, you can remit the fees asked.

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FOOTNOTES:

[1] Discant—Counter-melody.