THE mellow year is hasting to its close.
The little birds have almost sung their last;
Their small notes twitter in the dreary blast-
That shrill-piped harbinger of early snows.
The patient beauty of the scentless rose,
Oft with the morn's hoar crystal quaintly
glassed,

Hangs, a pale mourner for the summer past,
And makes a little summer where it
grows.
In the chill sunbeam of the faint, brief day,
The dusky waters shudder as they shine;
The russet leaves obstruct the straggling way
Of oozy brooks, which no deep banks define;
And the gaunt woods, in ragged, scant array,
Wrap their old limbs with sombre ivy twine.
HARTLAY COLERIDGE, 1796-1849.
The Windy Night.

The Death of the Flowers. THE melancholy days are come, the saddest of the year,

Of wailing winds and naked woods, and meadow: brown and sere.

Heaped in the hollows of the grove, the autumn leaves lie dead;

They rustle to the eddying gust, and to the rabbit's tread.

The robin and the wren are flown, and from the shrubs the jay;

And from the wood-top calls the crow through all the gloomy day.

Where are the flowers, the fair young flowers, that lately sprang and stood

In brighter light and softer airs, a beauteon sisterhood?

Alas! they all are in their graves; the gentle race of flowers

Are lying in their lowly beds, with the fair and good of ours.

The rain is falling where they lie; but cold November rain

Calls not from out the gloomy earth the lovely ones again.

The wind-flower and the violet, they perished long ago,

And the brier-rose and the orchis died amid the summer glow;

But on the hill the golden-rod, and the aster in

the wood,

And the yellow sun-flower by the brook in autumn beauty stood,

Till fell the frost from the clear cold heaven, as falls the plague on men,

And the brightness of their smile was gone from upland, glade, and glen.

And now, when comes the calm, mild day, as still such days will come,

To call the squirrel and the bee from out their winter home;

When the sound of dropping nuts is heard, though all the trees are still,

And twinkle in the smoky light the waters of

the rill

Ir cannot be denied that Oriental modes of saluting a monarch are vastly poetic, redundantly metaphorical, and extremely complimentary; but I entertain serious doubts as to whether they betoken the same sincerity in the utterer, or excite the same loyal feelings in the hearers, as our good old English cry of "God save the Queen." Epicures say that trout is never so delicious as when fried immediately on being taken out of its native element; and I think that kind wishes are never so kind as when they come direct from their birthplacethe heart and are communicated without the delay attendant on a search after grammatical refinement and elegance of expression. I wonder which Queen Victoria herself prefersthe sounding periods of the elaborate address presented by the Mayor and Corporation of the important borough of Anywhere, or a hearty British cheer, such as that which rose, in defiance of all routine, from the 20,000 Volunteers in Hyde Park? I am neither a Cabinet Minister nor a Maid of Honour, but, as Cousin Jonathan would say, "I guess I know."

The custom of greeting a sovereign with a cry of "God save the King" is of very ancient origin. It was thus that the people of Israel hailed the Benjamite whom the Lord had chosen to rule over them; and it was with the same shout that the streets of Jerusalem echoed when Zadok the Priest anointed Solomon, and when Jehoiada placed the crown of Judah upon the brow of the youthful Joash. Our little island has ever been remarkable for the lusty cheer with which its inhabitants give expression to their loyalty; and we all know the disastrous effects caused by the misinterpretation of it at the coronation of William the Conqueror. The first record in English history of what may be called our national watchword, is found in the State Papers, where, in the "Orders for the Fiete taken by the Lord Admiral, the 10th day of August, 1515," are the following directions:-"The watch wourde in the night shalbe thus-God save the King,' thother shall answer, And long to raign

over us.'"

A collection of the verses in which would-be poets have landed the ruling power, would be a most interesting addition to British literature, as we may judge from the following specimen of the genus, which was written in Queen Mary's Prayer-Book, and as the author states, "Be me, your humbel and poore creytur, Rafe Pryne, grocer, of London, wishes your Gras prosperus helthe."

"God save the most vertuous and nobull quene Mary's gras

And sende her to enjoy the crowne of Eynglande longe time and space

Her enemies to confounde and utterly to deface And to follo her godly proudynges God give us

gras

As every subyegte us bounde for her gras to praye
That God may preserve her body from all dangers
both night and daye
God save the Quene."

That Mr. Pryne was a "poore creytur," I am

ready to allow, but that the adjective "humbel" at all applies to him, give me leave to doubt. Humility does not ape the Poet-Laureate.

After the escape of James I. from the machinations of Guy Fawkes, the Merchant Taylors gave a grand banquet to the Sovereign, at which the late Mr. Richard Clarke ascertained, by his indefatigable researches-a "God save the King" was performed by the gentlemen of the Chapel Royal, who attended in their surplices for that purpose. The music was probably composed by Dr. John Bull, whose MSS. (which became the property of Dr. Pepusch, and eventually of Mr. Clarke) are said by some to contain the original score of our "National Anthem," while others stoutly maintain that nothing of the kind has been discovered. Who shall decide when doctors disagree?

Perhaps my readers may not be unwilling to have a sample of the praises which somebody has lavished on the first of our Stuart kings. "In wisdom like king Solomon

His grace doth sit in princely seate
With sword of justice in his hand
And maintaines truth for small and great
He doeth succede our Hester shee
Who never will forgotten bee

God save king James and still pull down
All those that would annoy his crowne."

I think no one would wish me to transcribe the remaining five verses.

In a curious volume, called the "Ponasthron," we find the following abundantly italicised passage in re the "National Anthem :""This celebrated air was composed by Anthony Young, organist (a descendant of Alexander Young, Gentleman of the Chamber to James I., and of Sir Peter Young, the King's preceptor), as avowed and affirmed by the composer's five grandchildren, Cecilia Young, Mrs. Ann Isabella Young, Mrs. Lumpe Esther Young, Mrs. Jones, and their two cousins, Thomas Young, of Morden College, Blackheath, and Mary Lucretia Young, his half-sister, to their great-niece and relative, CECILIA MARIA BARTHELEMON HENSLOWE, now living, and mother to the author of this book," who styles himself "The Rev. William Henslowe, M.A.," sometime "Perpetual Curate of Wormegay, Lynn, Norfolk." I scarcely know what to think of these avowals and affirmations. Probably, however, Young's claim is not without foundation, as one of his granddaughters received a pension for his composition, and her granddaughter, in 1789, was made 1007. richer from the proceeds thereof.

In the seven.eenth century a very un- English cry crept into the country, which, from the rhyming facilities afforded by it, has been embodied in many doggrel songs of the period. "Then let us sing, boyes, then let us sing, boyes, Drink a good health and sing 'Vive le Roy!'" But, thanks to the good taste of the nation, it did not continue long; and, in 1745, we find the "National Anthem," as we know it now, in full sway. Five years before, Henry Carey had sung it with great success at a public dinner,

and had claimed the honour of being its composer; but Dr. Gauntlett justly observes that Drs. Arne and Burney would have known this had it really been a fact, "for the one harmonized it for Drury Lane, and the other for Covent Garden, and both declare it of the time of James II.," in which they are supported by Victor, who writes to Garrick, in 1745-"The stage at both houses is the most pious, as well as the most loyal, place in the three kingdoms. Twenty men appear at the end of every play; and one stepping forward from the rest, with uplifted hands and eyes, begins singing to an old anthem tune, the following words:

"O Lord our God arise,

Confound the enemies
Of George the King!
Send him victorious,
Happy and glorious,

Long to reign over us,
God save the King'

which are the very words and music of an old anthem which was sung at St. James's Chapel for James II., when the Prince of Orange landed to deliver us from Popery and slavery: which God Almighty, in his goodness, was pleased not to grant."

I hope my readers are not confused by the conflicting statements I have brought forward, as I have thought it better that they should know "all sides of the question." I could say more on the subject; but, lest I should

THE

become tedious, I will only quote Dr. Gauntlett, who thus sums up our knowledge of the original progress of the "National Anthem:"

"1. The time being in Bull's MSS. is of the time of James I.

"2. That A. Young united it to a 'God save the King,' in the time of James II.

"3. That it slept until George II., 1745. "4. That Young's granddaughter received a pension for its composition.

"5. That her granddaughter, in 1789, received 100%., the proceeds thereof."

As I have said before, the learned doctor sets Carey's claim aside, thinking it plain that he was not the composer, as Arne and Burney, his contemporaries, class the air of the time of James II.

The "National Anthem" well attests how loyalty and metre, "music and her sister song" combined, can nourish in men's breasts the noblest passions of humanity. The "Ranz des Vaches" may have made the Swiss mercenaries sigh for their mountain homes when far from their native land-the Marseillaise may have driven the French to the performance of unparalleled acts of dubious patriotism; but, suggestive as these airs may be, they cannot inspire anything half so holy-half so ennobling -as the solemn strains of the air which every Englishman loves. May our prayer and song be ever, "GOD SAVE THE QUEEN!"

WINTER has, at length, legitimately arrived; and, contrary to that which has taken place all the summer, the temperature of the season accords well with the costume.

PARDESSUS, in cloth and velvet, have replaced mantles, silk jackets, and shawls in lace or Cashmere. The first London and Paris houses are making a great variety of these garments, such as the Shanghai, which is a cloth mantle in two colours, with no seam on the shoulders, or in the sleeves. The Melazzo is a sort of coat, not tightly-fitting at the waist, and having pleats on each side. The Phabus is a long cloak, with a guipure pelerine of a new shape, and a guipure frill forming a large sleeve at the side. The Sultan, a kind of pelisse, trimmed up the skirt with lace and buttons, has a berthe trimmed with lace, and a loose sleeve without a seam at the elbow. The Titiens, in black cloth, is trimmed with two narrow rolls of piqué silk, has no sleeves, and should be carried over the arm. Diplomate, made of a soft and flexible cloth, has a square collar, in seal-skin, and is trimmed all round with the same material; the sleeves are very large at the bottom, and are also trimmed with seal-skin; on the shoulders are flat pleats, fastened down by buttons. Mexican, a black cloth paletôt, with embroidered facings of white silk round the neck and on the sleeves, is corded at the bottom with white silk, and is fastened by black buttons edged with white. The Manteau

The

The

Romain is very large at the bottom, is carried over the arm, and trimmed with lace and medallions. These medallions are placed at the back and on each shoulder, and are finished off by a tassel. Besides, there is the Semiramis, which crosses at the side, is sloped towards the waist, and is fastened there by jet clasps. The sleeves, which are very large, and diminish in size towards the bottom, are slashed on the upper side, and the opening is trimmed with jet, to match that on the cloak.

DRESS TRIMMINGS admit of as much variety as the shape of cloaks, although, at this mo ment, there is little alteration in the make. Gored dresses, with the body and skirt in one, still continue in favour; and plain, short-waisted bodies, worn with sashes, bands, and clasps, and buttoned to the throat, are more general than anything else. For dark woollen materials, and for mourning dresses, the trimming usually adopted is, one deep flounce finished off by a very narrow one, with a puffing and heading, or only the heading. For more elegant wear, dresses are trimmed with several narrOW flounces, which may be cut either on the cross or straightway of the stuff. These flounces are corded at the top and bottoin. We have seen a black and white silk dress chiné with blue; it was trimmed at the bottom with three crosswar flounces, corded with white at the bottom and black at the top, and each flounce was finished off by a black ruche. The sleeves were large with facings, and were trimmed to correspond

with the skirt. Another very elegant dress we noticed had a ground of the colour Marguerite des Alpes, brocaded to represent bows of black velvet fastened with silver buckles. At the bottom of the skirt were four very full flounces, corded with white; and between each of these flounces a piping of white silk was run on the skirt, with a piece of black lace, the same width as the flounces, put on quite plain. The sleeves, which were demi-long, were finished off in the same manner. The body was low, and had a berthe to correspond with the trimming on the skirt. Another dress which pleased us very much was composed of pale grey silk, trimmed with black and white ruches. These black and white ruches were made of pinked silk, and in the middle of each ruche was placed a narrow gold braid; these ruches were put on the skirt in festoons. The short sleeves were composed of the same ruches, with a black lace over a puffing of white tulle; the berthe, to match, was open down the front. Another trimming for dresses consists of a very deep flounce, trimmed at the bottom with a broad row of velvet, and seven narrow rows of the same. The flounce is gathered to form a deep heading, and this heading is trimmed with narrow rows of velvet. The sleeve is composed of one deep frill, trimmed with a row of broad velvet and seven narrow ones; and at the top of this frill is another series of broad and narrow velvet, headed by two puffings. A small pointed pocket, trimmed with velvet, should be placed at the side of the skirt.

A very pretty way to make a black silk dress is with five very full narrow flounces at the bottom of the skirt; each flounce being corded at the top and bottom with white silk, and the flounces graduated. The body should be tight, buttoning high to the throat, with black buttons, edged with white. The waist short and round, and finished off by a broad sash of black silk, corded with white silk; this sash should be fastened on the left-hand side.

The

sleeves should be gathered at the top, large at the bottom, with a deep turned-back cuff; this cuff should be scalloped and corded with white silk, to correspond with the trimming on the skirt.

We may here notice two or three dresses we saw in preparation for a wedding. The bride's consisted of a very rich white satin, covered at the bottom of the skirt with bouillons of white tulle, and a double skirt of the same materials. The body was high, with very large sleeves, also covered with puffings of tulle, with which were worn under-sleeves, buttoning to the wrist, composed of a series of small tulle puffings. A long tulle veil, with a wreath of orange-blossom, was to complete this elegant dress, with a long branch of the same flowers fastened at the waist, and falling over the skirt on the left-hand side. The bridesmaids' dresses were of white tarlatan, with double skirts. The bottom of the under-skirt was trimmed with puffings of tulle, and with a piece of pale green ribbon, covered with blonde, run on between each puff; bows of green ribbon were placed at intervals amongst the puffs. The upper-skirts were pinked, and the bodies were high, with low linings, trimmed with insertion and work. A broad green sash, trimmed with

blonde, was made up in a bow, and worn on the left-hand side-the bow being placed about a quarter of a yard below the waist. With these dresses were worn wreaths of white azaleas, and white tulle lappets.

Dresses with low bodies and pelerines are now very much in vogue. This is a very useful and economical way of making a dress, as it can be worn either for morning or evening toilet. The pelerine should be made of the same inaterial as the dress, for morning wear; and one of black net, trimmed with black velvet, or of white lace, for evening. The sleeves should be made demi-long-that is to say, just coming below the elbow.

One of the novelties in the manufacture or dress materials in silk consists of brocaded patterns on different coloured grounds; there is a great variety of design, and these silks are made in all colours. We noticed one with a myrtle-green silk ground, brocaded with gold stars with black centres; another with bouquets of field-flowers on a white ground, and another with bunches of heartsease brocaded on white satin. These dresses, being so rich and elegant, need no trimming whatever, but are made quite plain, with, perhaps, the addition of a few buttons placed up the front of the skirt. A white satin dress, brocaded with bunches of heartsease and green leaves, was selected by the Empress before the death of the Duchess of Alba, whose decease has, of course, put the French Court in mourning.

Lace is very much used as trimming for the dresses of the present day. The Suissesses, which is a complete trimming for dresses, may be fastened on them or not, at pleasure. These Suissesses are inade in Spanish lace, or in crochet, with a mixture of jet. Trimmings of all kinds are executed in the same manner, for pockets, plastrons, aprons, and the ends of waist-bands. These waist-bands, à la Louis XV., in very broad black ribbon, with fringed ends, have met with great success. Rows of graduated bows, or rosettes, are much used for trimming dresses up the front. A bunch of grapes with velvet leaves, and surrounded by lace embroidered in jet-diminishing in size to the waist, and increasing from the waist to the top of the body-have a charming effect. These grapes are also made in violet colour, with green leaves. We must also notice some new velvet buttons, of an oval form, embroidered with jet; others are covered with crochet, and, when used for the fronts of dresses, should be graduated in size.

BONNETS have now a mixture of plain or fancy velvet; they continue to be very much raised in the front, with a great deal of trimming inside, and with rather long curtains. We will describe one or two charming specimens from one of our first houses. One was of velvet (royal rose), with a pleated foundation; the front of white tulle, turned back with a row of broad white blonde. On the left-hand side was placed a bunch of long grass, and the bandeau inside was composed of ruched blonde, with the grass arranged in bows, like a ribbon. Another was of white terry velvet, with a soft crown of white satin, covered with a gold net; a tuft of black and white feathers was placed at the side, and inside was a flat bandeau of Ma