of mourners; over what had been.
Was he endeavoring to deceive himself and others into the belief that he was a mourning man? He was but accepting the varied humiliations of death; for they do not all pertain to the surrendering life. He was not thinking at all of his loss through her, nor of his gain by her. He was thinking, as he stood above the grave of fifteen years, how high Disgrace and Misery had heaped the mound. So bitterly he was thinking of the past, it was without desire that he at last arose and faced the future.
When he went to Charlestown—for a man on furlough had no time to lose—and saw his Janet in the Colonel's house,—Miss Ames took Janet home with her after that death and funeral,—when he saw how fair and beautiful a promise of girlhood was budding on the poor neglected branch, he said to his assistant, "Will you keep this child with you until the war is over? I am afraid to touch her, or interfere with her destiny. It has been so easy for me to mar, so hard to mend."
Miss Ames kept the child; the war ended. The surgeon then, like other men, returned home; his regiments were disbanded, and now, one duty, to mankind and the ages, well discharged, another, less conspicuous, but as urgent, claimed him. There was Janet, and Janet's mother,—she who had risen, not from the grave indeed, but from the midst of dangers, sacredly to guard and guide the child.
On his way to them he asked himself this question, "How many times must a man be born before he is fit to live?"
He did not answer that question; neither can I.
He informed his assistant of the court's decision in reference to the plea of "incompatibility," and she said that the justice of the sentence was not to be controverted with success by any counsellor on earth; but the reader may smile, and say that it was not difficult to come to this decision under the circumstances.
We will not argue that point. I had only the story to tell, and have told it.
ON TRANSLATING THE DIVINA COMMEDIA
THIRD SONNET
I lift mine eyes, and all the windows blaze
With forms of Saints and holy men who died,
Here martyred and hereafter glorified;
And the great Rose upon its leaves displays
Christ's Triumph, and the angelic roundelays,
With splendor upon splendor multiplied;
And Beatrice, again at Dante's side,
No more rebukes, but smiles her words of praise.
And then the organ sounds, and unseen choirs
Sing the old Latin hymns of peace and love
And benedictions of the Holy Ghost;
And the melodious bells among the spires
O'er all the house-tops and through heaven above
Proclaim the elevation of the Host!
WOMAN'S WORK IN THE MIDDLE AGES
"King Arthur's sword, Excalibur, Wrought by the lonely maiden of the Lake. Nine years she wrought it, sitting in the deeps Upon the hidden bases of the hills."
Sir Bedivere's heart misgave him twice ere he could obey the dying commands of King Arthur, and fling away so precious a relic. The lonely maiden's industry has been equalled by many of her mortal sisters, sitting, not indeed "upon the hidden bases of the hills," but in all the varied human habitations built above them since the days of King Arthur.
The richness, beauty, and skill displayed in the needle-work of the Middle Ages demonstrate the perfection that art had attained; while church inventories, wills, and costumes represented in the miniatures of illuminated manuscripts and elsewhere, amaze us by the quantity as well as the quality of this department of woman's work. Though regal robes and heavy church vestments were sometimes wrought by monks, yet to woman's taste and skill the greater share of the result must be attributed, the professional hands being those of nuns and their pupils in convents. The life of woman in those days was extremely monotonous. For the mass of the people, there hardly existed any means of locomotion, the swampy state of the land in England and on the Continent allowing few roads to be made, except such as were traversed by pack-horses. Ladies of rank who wished to journey were borne on litters carried upon men's shoulders, and, until the fourteenth and fifteenth centuries, few representations of carriages appear. Such a conveyance is depicted in an illustration of the Romance of the Rose, where Venus, attired in the fashionable costume of the fifteenth century, is seated in a chare, by courtesy a chariot, but in fact a clumsy covered wagon without springs. Six doves are perched upon the shafts, and fastened by mediæval harness. The goddess of course possessed superhuman powers for guiding this extraordinary equipage, but to mere mortals it must have been a slow coach, and a horribly uncomfortable conveyance even when horses were substituted for doves. An ordinance of Philip le Bel, in 1294, forbids any wheel carriages to be used by the wives of citizens, as too great a luxury. As the date of the coach which Venus guides is two hundred years later, it is difficult to imagine what style of equipage belonged to those ladies over whom Philip le Bel tyrannized.
With so little means of going about, our sisters of the Middle Ages were perforce domestic; no wonder they excelled in needle-work. To women of any culture it was almost the only tangible form of creative art they could command, and the love of the beautiful implanted in their souls must find some expression. The great pattern-book of nature, filled with graceful forms, in ever-varied arrangement, and illuminated by delicate tints or gorgeous hues, suggested the beauty they endeavored to represent. Whether religious devotion, human affection, or a taste for dress prompted them, the needle was the instrument to effect their purpose. The monogram of the blessed Mary's name, intertwined with pure white lilies on the deep blue ground, was designed and embroidered with holy reverence, and laid on the altar of the Lady-chapel by the trembling hand of one whose sorrows had there found solace, or by another in token of gratitude for joys which were heightened by a conviction of celestial sympathy. The pennon of the knight—a silken streamer affixed to the top of the lance—bore his crest, or an emblematic allusion to some event in his career, embroidered, it was supposed, by the hand of his lady-love. A yet more sacred gift was the scarf worn across the shoulder, an indispensable appendage to a knight fully equipped. The emotions of the human soul send an electric current through the ages, and women who during four years of war toiled to aid our soldiers in the great struggle of the nineteenth century felt their hearts beat in unison with hers who gave, with tears and prayers, pennon and scarf to the knightly and beloved hero seven hundred years ago.
Not only were the appointments of the warriors adorned by needle-work, but the ladies must have found ample scope for industry and taste in their own toilets. The Anglo-Saxon women as far back as the eighth century excelled in needle-work, although, judging from the representations which have come down to us, their dress was much less ornamented than that of the gentlemen. During the eighth, ninth, and tenth centuries there were few changes in fashion. A purple gown or robe, with long yellow sleeves, and coverchief wrapt round the head and neck, frequently appears, the edges of the long gown and sleeves being slightly ornamented by the needle. How the ladies dressed their hair in those days is more difficult to decide, as the coverchief conceals it. Crisping-needles to curl and plat the hair, and golden hair-cauls, are mentioned in Saxon writings, and give us reason to suppose that the locks of the fair damsels were not neglected. In the eleventh century the embroidery upon the long gowns becomes more elaborate, and other changes of the mode appear.
From the report of an ancient Spanish ballad, the art of needle-work and taste in dress must have attained great perfection in that country while our Anglo-Saxon sisters were wearing their plain long gowns. The fair Sybilla is described as changing her dress seven times in one evening, on the
