OUR MONTHLY GOSSIP.

A SWEDISH PROVINCIAL THEATRE.

It is not so magnificent as the Scala and San Carlo, and still, after seeing both those famous theatres, I must confess I preferred that of Carlstad to either. It is small and different in form from the generality: it reminded me, in fact, of a hall in a certain New England town where I used to go to the panorama as a child. There was a gallery like that in which the men and boys sat who tramped the loudest and kissed their hands, to the confusion of their neighbors, when the lights were turned down to enhance the effect of the burning of Moscow; only, at my panorama the gallery was unfashionable on account of the noisy male element, whereas at Carlstad it was the dress-circle. We—a party of Americans, the only foreigners in the house that night—occupied orchestra-stalls, as I presume the two or three front benches in the parquet may be called. There was a white cape in our vicinity, as well as one in the balcony; so our seats were probably as fashionable as those in the first and only circle; but behind us, stretching out to the doors and in under the gallery, was a dense mass unrelieved by opera-cloaks of any description; and that was the region of the unpretending—-of those who came simply to enjoy, to see and not to be seen.

As we spent a good part of a day at Carlstad, I should, perhaps, relate something more of the place than merely how we went to the theatre there; but that delightful evening effaced all other impressions, and after the interval that has since elapsed Fleur de Thé and our commissioner are the only things that have retained somewhat of their original savor.

The railway from Stockholm to Christiania ceased at Carlstad on Lake Wener, which gave us a day's drive to Arvika to strike the track again; and while we stood consulting where we were to get carriages, and whether we should go directly on, there came up a flourishing specimen of the genus valet de place, who took possession of us and laid out a plan that he had apparently prepared over night for our especial benefit. It is a way those persons have, and one that gives them a tremendous advantage over travelers weakened by a long journey, that they act as if they were there by appointment to meet you, or as if you had telegraphed precisely what you wished to do, and they were merely carrying out your intentions. "You want to go to the Black Eagle Hotel: I take you there. You would like to dine: you can have dinner at the hotel, or I shall show you a nice restaurant." We had not expected to find a member of the great European brotherhood just there in a little town in the heart of Sweden, and, taken unawares, fell an easy prey. However, they do not invariably succeed in that way: sometimes, if their officiousness is excessive, their English very exasperating and the traveler a little fractious as well as tired, they get the tables turned on them. A lady just arrived at Genoa, when halfway to the hotel with one of these persuasive personages snatched her bag out of his hand and walked into the rival albergo because he said with an aggravating accent, "I sall get you a ticket for de steam-er." "No you sha'n't, either: I have got it myself," she said; and so they parted company, to his infinite amazement. My friend—it was a friend of mine—turned back, on second thoughts, to offer the man something for having carried her belongings, but he put on offended dignity and declared that he didn't want her money. She was rather sorry afterward that he didn't do violence to his feelings and take it; and so, no doubt, was he.

Our Carlstad commissioner beguiled the length of the way to the inn, at which we were a little inclined to grumble, by pointing out everything of note in our walk through the town. We had been reading up in the train, and knew that Carlstad was the capital of a district, had five thousand inhabitants, and was nearly destroyed by fire in 1865; but he, a son of the place, and seeing in his mind's eye its rising glory when the railroad should be completed, did not let us off with that. We had to look and admire just where he told us. "Wide streets," he would say in his finely-chopped English. "Houses all very high—new since the fire. See here! there's the telegraph-office."

At which, to answer in the style he understood best, we must have responded, "Oh, I say! Well. Very good! All right!"

"You shall go to the theatre if you want to," he remarked at last, in that sweet, protecting way peculiar to his class from the habitual confounding of can, shall and will, and that put us into good humor directly. To go to the theatre would be just the thing.

"Oh yes, everybody goes," he said. It was a Danish company—very good actors—very pretty piece; but we rather expected to care more for the everybody than either the piece or the actors; and so it proved.

We went early, and established ourselves in the orchestra-stalls, as already stated, while our guardian accepted an unpretending seat for himself, where he remained in readiness to tow us home after the performance. And then the spectators began to come in, and positively some of the very people who used to be at the panorama. I know there was a lady in front of me, in Mechanic Hall, who wore her hair in just such a little knot—pug is, I think, the classic name for that coiffure—and her dress cut as low in the throat and adorned with precisely such a self-embroidered collar as the lady rejoiced in who occupied the seat before me at the theatre. That she was one of the fashionables of Carlstad could be seen in the lofty pose of that pug, and in the curious structure of ribbon and lace that sat astride of it and hung down at each side. Her husband, a small, rather dried-up gentleman, had the look of a town oracle who was oppressed at home, and her daughter was one of the prettiest girls in the house. The overgrown boy, the son and heir, was not pretty: he sat beside his sister and kept nudging her. I could not exactly understand what he said in Swedish, but I know it must have been of this nature: "There's Jim Davis over there. Look, sister, look!"

Sister only glanced at him with a reproving air of "Don't push me so," and then gazed steadfastly in the other direction; but she was not left long in peace. Tom's elbow began again in a minute: "He's looking right at you, all the time. You'd better turn round and bow to him." And the color would creep up in her cheeks, do all she could to prevent it, so that she had to lean across mamma and say something to her father, just so as not to bow to Mr. Davis, which would have been such a simple thing to do, after all.

Everybody who came in nodded and spoke to everybody else, and then shook hands across the seats; and we felt quite out of our element under the inquiring but superior glances that fell to our lot. It was all very well for us to make our little observations and smile at each other on the sly: we had the consciousness all the while of not belonging to the first society in Carlstad, and of being viewed as intruders in that select circle.

We had been studying one family party after another as the seats filled around us, for the audience collected by families, when, with a little rustle and stir attending her progress, and a whispering behind her as she advanced, the Bride appeared, for she had arrived from Stockholm by our train. It was the first time any one had seen her since she started on the wedding-tour, and the bows and smiles she dealt out on every side were not to be numbered. Our pretty girl got one—they were school-friends—and the horrid boy another, which he barely answered with a solemn nod of his head, being as shy of her, apparently, in her blue silk and white cape, as his sister was of Mr. Davis. It was really a very pretty dress of the Bride's, and one that made our traveling costumes look uncommonly shabby: it was taken up behind in the approved style, and only needed a bustle to have been truly effective. Doubtless she had seen plenty of those articles in Stockholm, only her husband said, "I hope, dear, you will never put on one of those horrid things;" and she told him certainly not if he did not like them; but I think she found afterward she needed one for that blue dress, and sent for it at the first opportunity. The young husband was not got up for show, knowing very well that no one would mind him, but he looked beamingly happy; and if he was not in a dress-coat with a flower in his buttonhole, like the habitués of the Comédie Française or the Italiens, he understood how they use an opera-glass there. The glass was a new acquisition that he had brought home with him, and after practicing with it at the Royal Theatre in the capital, he was fully prepared to stand up between the acts, with his arm behind him in a negligently graceful attitude, and study the balcony. His acquaintances there must have found it rather embarrassing, for it was not a usual thing in Carlstad to look at one's friends through an opera-glass: he was the only person who did it, and they probably all talked about it when they went home.

We were so occupied with our surroundings that we hardly thought of the piece, though it was given with considerable spirit, if I remember rightly. The sailors were fine, jolly tars, and the Chinese ladies and gentlemen toddled about in flowered dressing-gowns and talked with their thumbs, as it would appear the inhabitants of the Celestial Empire usually do; but the house did not allow itself to be betrayed into unseemly enthusiasm. There was an involuntary laugh now and then, and once somebody said bravo, but as a general thing a discreet reticence prevailed, and the actors might have gone through the piece on their heads in an extravagant desire to elicit signs of approval: they would only have received a cool little round of applause when the curtain fell.

We, at all events, had no hesitation in telling the commissioner that we had enjoyed ourselves immensely; and so, it appeared, had he. He was even bold enough to call it a very fine company, and as we walked back to the hotel at half-past nine in broad daylight, he told us what they were going to play the next evening, possibly in the hope that we should stay for it and he should get another seat. That was out of the question, however, sorry as we were to disappoint him. He had to tuck us into the carriage the following day, and let us drive away and leave him bereft of his charges. "You shall have a good ride," were his parting words, kind and fatherly as he was to the last; and so we had. But we found no one again to care for us so tenderly as our old friend, nor did any one take us to the theatre throughout the remainder of the journey. G.H.

VENETIAN CAFFÈS.

It is years since so lovely an autumn as that of 1874 has been seen in Europe: people say not since the last great comet year, and they credit the erratic visitor of last summer with the exceptional beauty of the weather. As in the case of other marked comet years, the vintages of which still bring extraordinary prices, Italy has had exceptionally fine harvests of all kinds this year. The grain has been abundant, the vintage has been superb, the olives have escaped the danger of unseasonable frosts, and the still more important crop of foreigners seems to be pretty well assured. The charming weather in October and November made the interesting blossoms sprout plentifully; and boat-loads and train-loads came in with an abundance promising an unusually fine winter for la bella Italia. Venice, indeed, may be said to have pretty well housed her crop in this kind already. It has been a magnificent one, and the Queen of the Adriatic admits that due homage has been done to her. The forestieri season sets in earlier in her case than in her sister cities. The real "Carnival de Venice" is in August, September and October now-a-days, let the calendar say what it may. Some flaunting of gaudy-colored calico, some dancing on the Piazza of St. Mark, there may be on the eve of Lent in obedience to old usages, but the dancing that really glads the Italian heart is the dancing for which the forestiere pays the piper, and the true Lenten time is that when his beneficent presence is wanting.

Venice, then, has already brought her Carnival to a conclusion; and it has been a splendid one. English, Americans, Germans, all came in shoals—all thronged the galleries, the churches and the palaces in the morning, sauntered or bathed on the outer shore of the Lido in the afternoon, and met at Florian's in the evening. "What is Florian's?" will be asked by those who have never been at Venice—by some such, at least. For probably the fame of the celebrated caffè may have traveled across the Atlantic, just as many who have never crossed it westward are no strangers to the name of Delmonico. Florian's, however, in any case, deserves a word of recognition. It is the principal, largest and most fashionable caffè on the Piazza di San Marco. But the singular and curious specialty of the place is that it has never been closed—no, not for five minutes—day or night, for a period of more than a hundred and thirty years! Probably it is the only human habitation of any sort on the face of the globe of which that could be said.

But the caffè in itself is in many respects a specialty of Venetian life, and has been so since the days of Goldoni. The readers of his comedies, so abundantly rich in local coloring, will not have failed to observe that the caffè plays a larger part in the life of Venice than is the case in any other city. Probably no Venetian passes a single day without visiting once at least, if not oftener, his accustomed caffè. Men of business write their letters and arrange their meetings there. Men of pleasure know that they shall find their peers there. Mere loafers take their seats there, and gaze at the stream of life, as it flows past them, for hours together. And, most marked specialty of all, Venice is the only city in Italy where the native female aristocracy frequents the caffè. Indeed, I know no place in all the Peninsula where so large an amount of Italian beauty may be seen as among the fashionable crowd at Florian's on a brilliant midsummer moonlight night.

Venice is of all the cities in the world the one which those who have never seen it know best. The peculiarities of it are so marked and so unlike anything else in the world, and the graphic representations of every part of the city are so numerous and so admirably accurate, that every traveler finds it to be exactly what he was prepared to see, and can hardly fancy that he sees the Queen of the Adriatic for the first time. I may therefore assume, perhaps, that my readers are acquainted with the appearance of that most matchless of city spaces, the Piazza di San Marco. They will readily call to mind the long series of arcades that form the two long sides of the parallellogram which has the gorgeous front of St. Mark's church occupying the entirety of one of the shorter sides. Well, about halfway up the length of the piazza six of the arches on the right hand of one facing St. Mark's church are occupied by the celebrated caffè. The six never-closed rooms, corresponding each with one of the arches of the arcade, are very small, and would not suffice to accommodate a twentieth part of the throng which finds itself at Florian's quite as a matter of course every fine summer's night. But nobody thinks of entering these smartly-furnished little cabinets save for breakfast or during the hours of the day. Some take their evening ice or coffee on the seats under the arcade, either immediately in front of the cabinets or around the pillars which support the arches, and thus have an opportunity of observing the never-ceasing and ever-varying stream of life that flows by them under the arcade. But the vast majority of the crowd place themselves on chairs arranged around little tables set out on the flags of the piazza. A hundred or so of these little tables are placed in long rows extending far out into the piazza, and far on either side beyond the extent of the six arches which are occupied by the caffè itself. A London or New York policeman would have his very soul revolted, and conclude that there must be something very rotten indeed in the state of a city in which the public way could be thus encumbered and no cry of "move on" ever heard. Assuredly, it is public ground which Florian, in the person of his nineteenth-century representative, thus occupies with his tables and chairs. Probably, if a Venetian were asked by what right he does so, the question would seem to him much as if one asked by what right the tide covers the shallows of the lagoon. It always has been so. It is in the natural order of things. And how could Venice live without Florian's?

But it is not Florian's alone which is thus a trespasser on the domain of the public. The other less celebrated caffès do the same thing. One immediately opposite to Florian's, on the other side of the piazza—Quadri's—has almost as large a spread of chairs and tables as Florian himself. But it is a curious instance of the permanence of habits at Venice, that though at Quadri's the articles supplied are quite as good, and the prices exactly the same, the fashionable world never deserts Florian's. The only difference between the two establishments, except this one of their customers, that is perceptible to the naked eye, is that at Quadri's beer is served, while Florian ignores the existence of that plebeian beverage, which assuredly was never heard of in Venice in the days when he began his career and formed his habitudes.

I am tempted to endeavor to give the reader some picture of the scene on the piazza on a night when (as is the case almost every other evening) a military band is playing in the middle of the open space, and the cosmopolitan crowd is assembled in force—to describe the wonderful surroundings of the scene, the charm of the quietude broken by no sound of hoof or of wheel, the soft and tempered light, the gay clatter, athwart which comes every fifteen minutes the solemn mellow tone of the great clock of St. Mark with importunate warning that another pleasant quarter of an hour has drifted away down the stream of time. It is a scene that tempts the pen. But the well-dressed portion of mankind is very similar in all countries and under all circumstances, and perhaps my readers may be more interested in a few traits of the popular life of Venice, which the magnificent Piazza of St. Mark is not the best place for studying, for some of the most characteristic phases of it are absolutely banished thence. The strolling musician or singer, who may be heard every night in other parts of the city, never plies his trade on the piazza. Mendicancy, which is more rife at Venice, I am sorry to say, than in any other Italian city, except perhaps Naples, is not tolerated on the piazza.

But if we wish for a good specimen of the truly popular life of Venice, it will not be necessary to wander far from the great centre of the piazza. Coming down the Piazzetta, or Little Piazza, which opens out of the great square at one end, and abuts on the open lagoon opposite the island of St. George at the other, and turning round the corner of the ducal palace, we cross the bridge over the canal, which above our heads is bridged by the "Bridge of Sighs," with its "palace and a prison on each hand," as Byron sings, and find ourselves on the "Riva dei Schiavoni"—the quay at which the Slavonic vessels arrived, and arrive still. The quay is a very broad one, by far the broadest in Venice, paved with flagstones, and teeming with every characteristic form of Venetian life from early morning till late into the night. There are two or three hotels frequented by foreigners on the Riva, for the situation facing the open lagoon is an exceptionally good one; and there are three or four caffès at which the cosmopolitan and not too aristocratic visitor may get an excellent cup of coffee (for the Venetians, thanks to their long connection with the East, know what coffee is, and will not take chiccory or other such detestable substitutes in lieu of it) for the modest charge of thirteen centimes—just over two cents—and study as he drinks it the moving and ever-amusing scenes enacted before his eyes. His neighbor perhaps will be an old gentleman, the very type of the old "pantaloon" whose mask was in the old comedy supposed to be the impersonation of Venice. There are the long, slender and rather delicately-cut features terminating in a long, narrow and somewhat protruding chin; the high cheek-bones, the lank and sombre cheeks, the high nose, the dark bright eye under its bushy brow. He is very thin, very seedy, and evidently very poor. But he salutes you, as you take your seat beside him, with the air of an ex-member of "The Ten;" his ancient hat and napless coat are carefully brushed; his outrageously high shirt-collar and voluminous unstarched neckcloth, after the fashion of a former generation, though as yellow as saffron, are clean; and his poor old boots as irreproachable as blacking—which can do much, but, alas! not all things—can make them. His expenditure of a penny will entitle him not only to a cup of coffee, as aforesaid, but also to a glass of fresh water, which has been turned to an opaline color by the shaking into it of a few drops of something which the waiter drops from a bottle with some contrivance at its mouth, the effect of which is to cause only a drop or two of the liquor, whatever it may be, to come out at each shake. Our old friend is also entitled, in virtue of his expenditure, to occupy the chair he sits on for as many hours as he shall see fit to remain in it. And after the coffee, which must be drunk while hot, has been despatched, the sippings of the opaline mixture aforesaid may be protracted indefinitely while he enjoys the cool evening-breezes from the lagoon, the perfection of dolce far niente, and the amusement the life of the Riva never fails to afford him. An itinerant vender of little models of gondolas and bracelets and toys made out of shells comes by, seeking a customer among the folk assembled at the caffè. He does not address Pantaloon, for of course he knows that there is nothing to be done in that line with him. But spying with a hawk's glance a forestiere among the crowd, he strolls up to him, holding up one of his gimcrack bracelets daintily—and he thinks temptingly, poor fellow!—between his finger and thumb. "Un franco! Un sol franco! è una beleza per una contesa!" ("One franc! only one franc! It would be beautiful on the arm of a countess!") he murmurs in his soft lisping Venetian, which abolishes all double consonants, and supplies their place by prolonging the soft liquid sound of the preceding vowel. One franc! It is wonderful how the thing, worthless as it is, can be made even by the most starving fingers for such a price. Yet after dangling his toy for a minute, and gazing, oh, so wistfully! the while out of his big haggard eyes, he says, "Seventy-five centimes! half a franc!" and still lingers ere he turns away with a sigh, a weary movement of his emaciated figure and a longing look on his poor hollow face that make one feel that the drama we are witnessing is not all comedy. But it is all supremely interesting to our neighbor, Si'or Pantaleone. He has been keenly watching the attempted deal, and no doubt wished that his countryman might succeed. But there was no element of tragedy in the matter for him, a condition of semi-starvation is too much an ordinary, every-day and normal spectacle. He looked on more as a retired merchant might look on at the progress of a bargain for the delivery of a shipload of grain. Presently, a middle-aged woman and a girl of some fourteen years station themselves in front of the audience seated outside the caffè. The elder woman has a guitar, and the girl a violin and some sheets of music in her hand. The woman has her wonderful wealth of black hair grandly dressed and as shining as oil can make it. She has large gilt earrings in her ears, a heavy coral necklace, and a gaudy-colored shawl in good condition. Whatever might be beneath and below this is in dark shadow—"et sic melius situm." She is not starved, however, for, as she prepares to finger her guitar, she shows a well-nourished and not ill-formed arm. The young girl has one of those pale, delicate, oval faces so common in Venice: she also has a good shawl—an amber-colored one—which so sets off the olive-colored complexion of her face as to make her a perfect picture. This couple do not in any degree assume an attitude of appealing ad misericordiam. They pose themselves en artistes. The girl sets about arranging her music in a business-like way, and then they play the well-known air of "La Stella Confidente," the little violinist really playing remarkably well. Then the elder woman comes round with a little tin saucer for our contributions. No slightest word or look of disappointment or displeasure follows the refusal of those who give nothing. The saucer is presented to each in turn. I supposed that the application to Si'or Pantaleone was an empty form. But no. That retired gentleman could still find wherewithal to patronize the fine arts, and dropped a centime—the fifth part of a cent—into the dish with the air of a prince bestowing the grand cross of the Golden Fleece. Then comes a dealer in ready-made trousers, which Pantaloon examines curiously and cheapens. Then a body of men singing part-songs, not badly, but to some disadvantage, as they utterly ignore the braying of half a dozen trumpets which are coming along the Riva in advance of a body of soldiers returning to some neighboring barracks. Then there are fruit-sellers and fish-sellers and hot-chestnut dealers, and, most vociferous of all, the cryers of "Acqua! acqua! acqua fresca!" There, making its way among the numerous small vessels from Dalmatia, Greece, etc. moored to the quay of the Schiavoni, comes a boat from the Peninsular and Oriental steamer, which arrived this morning from Alexandria, with four or five Orientals on board. They come on shore, and proceed to saunter along the Riva toward the Grand Piazza, while their dark faces and brightly-colored garments add an element to the motley scene which is perfectly in keeping with old Venetian reminiscences.

T.A.T.

A NEW MEXICAN CHRISTMAS EVE.

It is Christmas Eve in Albuquerque. Blazing fagots of mesquite-roots placed on the surrounding adobe walls illuminate the old church on the plaza. There is a grand baile at the fonda, to which we and our "family are most respectfully invited." The sounds of music already invite us to the ball-room. We enter. The floor is full; a hundred couples are gliding through the graceful "Spanish dance," or "slow waltz," as it is termed here. Not a few blue-and-gold United States uniforms are to be seen in the throng. A full-uniformed major-general of volunteers adds the éclat of his epaulettes to the occasion. The ranchos have poured in their señoras and señoritas, and three rows of the dark-eyed creatures sit ranged around the room.

The Mexican women look their best in a ball-room. Their black eyes, black hair and white teeth glisten in the light; they are dressed in the gayest of gay colors; ponderous ornaments of gold, strongly relieved by their dusk complexions, shed around them a rich barbaric lustre. Not that they eschew adventitious means to blanch their sun-shadowed tints. For days some of the señoras and señoritas have worn a mask of a white clayey mixture to give them an ephemeral whiteness for this occasion. Those who could procure nothing else have worn a pasty vizard kneaded of common clay, to effect in some degree a like result by protecting their faces from the sun and wind. Should you visit New Mexico, and as you ride along slowly in the heat of midday meet a señorita who gazes at you with a pair of jet black eyes through a hideous, ghastly mask of mud or mortar, do not be frightened from your accustomed propriety. The señorita is preparing her toilette de bal.

The New Mexican women cannot be considered pretty, generally speaking. In artistic symmetry of feature, in purity of complexion, they are not to be compared with our countrywomen. These can bear the searching light of day, when delicacy of detail can be distinguished and appreciated. Those look their best in the artificial light of the ball-room. There the blue-black hair, the brilliant black eyes, the well-traced eyebrows, the magnificently white and regular teeth, the richly-developed forms, produce a general effect before which our blond and delicate beauties seem pale and fades. But the Mexican's coarser skin—her teint basané—is too plainly visible in the light of the sun: you should see her only by the lamps. It is doubtless rather from an instinct of coquetry than from any other feeling that in the day-time the Mexican women shroud their dusky traits in the folds of their rebosas, leaving only one pilot eye to look upon the outer world.

No introductions are necessary at the public bailes. Saunter around the room, inspect the show of expectant partners, and when you see one who suits your fancy ask her to dance, without more ado. If she be not engaged she will at once accept your proffered arm. She will not say anything. Ten to one she will not breathe a syllable during your evolutions. Conversation is not the forte of the señoritas. But she will smile and smile, and you will have no reason to complain of her waltzing. The Mexican caballero, when he seeks a partner, will not put himself out so far as to have any words about it. He merely beckons the chosen one, as the sultan might throw the handkerchief, and she comes to him at once.

Each dance concluded, you lead your partner to a sort of bar where refreshments are furnished, and ask her whether she will take vino or dulces—wine or candies? She will take dulces—"Gracias, señor!" This is de rigueur. You pay for them of course, and conduct her to her seat. She pours the dulces into the awaiting pocket-handkerchiefs of the old people, her comadres, and of her younger brothers and sisters.

In a little room adjoining the ball-room, with door invitingly open, is the shrine of monte. The revelry of the ball-room is unheeded by the preoccupied votaries of the changeful deity as they sit around the green table watching the dealer as he turns the cards, and nervously fingering their little piles of red or white "chips." We have no business and no pleasure here. Let us merely look in and pass on.

Waltzes, "round" and "slow," are the pièces de résistance of a Mexican baile: quadrilles are not relished by the dusky danseuses. There are some New Mexican dances which do not lack prettiness. Of these, the Cuna is the most popular. It commences with a see-saw movement suggestive of its name—cuna- or cradle-dance. For the rest, the waltz enters much into its composition.

The orchestra generally consists of one or more violins and a guitar or two. The New Mexican guitar is strung conversely: the base-string is where we put the treble, and vice versâ. The strings are generally struck with the thumb-nail or with a piece of horn or wood like the ancient plectrum. This produces a harsh metallic sound, without any rotundity. Few New Mexican fiddlers or guitar-players are capable of playing in any time except dancing time, and the character of the baile, funeral and sacred music is the same. The only distinction is the addition of a continuous tremolo to the latter two, which produces the same unpleasant effect on the nerves as a comic song chanted by the shaky, cracked, piping and quavering voice of senility. As the fiddles invariably play their parts in funerals as well as on festive processions, it requires some familiarity with the customs of the country to distinguish one from the other. The music to-night is much better than the ordinary baile music. A native harpist adds the music of his many strings; and not bad music either, though he does not know a quaver from a semibreve, and his harp is of his own manufacture. The sameness, however, caused by playing always and everything in the same key is perceptible. But dancing critics are not disposed to be very severe.

The enjoyment of the evening is at high pressure. The dancers are swinging, surging, spinning through the Spanish dance. Everybody who can find a partner and a place on the floor—there are many who cannot find the latter—is dancing. It is a gay, a brilliant scene. All is going as merrily as a whole chime of marriage-bells when a deep and solemn peal from the church close by breaks in over the music, the laughter and the dancing. It is midnight! It is the Noche Buena, and the bell summons the faithful to the midnight mass. The effect is electric. The last twirl of the waltz is suspended, half executed. The dancers stop as suddenly as if they were puppets moved and stilled by the cunning of some wire-pulling hand. A general rush is made for the church: in a moment the ball-room is empty. The church is filled as instantaneously, and the wildly gay dancers of a moment ago are now kneeling, hushed and down-bent, in devotional attitudes.

The scene is impressive: the bright ball-toilettes contrasted in a "dim religious light," the sudden change of place and mood, from gay to grave, from ball-room to sanctuary, strikes a stranger's eye with thrilling effect. At the conclusion of the service the dancers return to the ball-room, to change from grave to gay, and dance ad libitum till daylight.

J.T.

ENGLISH BIBLE TRANSLATIONS.

The first complete translation of the Bible into our language was made about the year 1380 by John de Wycliffe, or Wickliffe. There are several manuscript copies of it in the Bodleian and other European libraries. This great work unlocked the Scriptures to the multitude, or, as one of his antagonists, bewailing such an enterprise, worded it, "the gospel pearl was cast abroad and trodden under foot." Long before the appearance of this translation various versions of portions of the Bible had appeared, specimens of which, of every century from the reign of Alfred to Chaucer's time, are preserved in the British Museum and elsewhere. Sir Thomas More says: "The Holy Byble was longe before Wycliffis daies by virtuose and well-learned men translated into the English tongue, and by good and godly people with devotion and soberness well and reverently read." This statement is further corroborated by Foxe, the martyrologist, who remarks: "If histories be well examined, we shall find both before and after the Conquest, as well before John Wickliffe was borne as since, the whole body of the Scriptures by sundry men translated into this our country tongue." Wycliffe's Bible was first printed at Oxford in 1850, previous to which the New Testament appeared in 1721 and was reprinted in 1810.

In 1526, William Tyndale completed and published in English his translation of the New Testament. He also translated and printed the Pentateuch and the book of Jonah, and was preparing them for publication when he was put to death in Flanders, being strangled and burnt for heresy. Tyndale's translation, with his latest revisions (1534), was republished in the English Hexapla in 1841. A copy of his translation of the Pentateuch which had belonged to Bishop Heber was sold in 1854 for $795. Four years later another copy sold for within twenty dollars of that amount.

The first English translation of the entire Bible was made by Miles Coverdale, who afterward became bishop of Exeter, and was printed in folio in the year 1535. In 1538 a second edition of Coverdale's Bible was printed at Paris, but the Inquisition interfered and committed the whole edition of twenty-five hundred copies to the flames. No perfect copy of Coverdale's version is known to exist, but one lacking the original title-page and first leaf was sold in 1854 for $1725. Another, at the Perkins' sale, in June, 1873, brought $2000.

Two years after the appearance of the first edition of Coverdale's Bible, John Rogers, the first martyr in Queen Mary's reign, published his version of the Scriptures. He made some emendations, but the text is chiefly that of Tyndale and Coverdale. It was printed by Grafton and Whitchurch in 1537, and the title runs: "The Byble, which is all the holy Scripture: in which are contayned the Olde and Newe Testament truely and purely translated into Englysh by Thomas Matthew." For safety, Rogers assumed the name of Matthew, whence it is known as Matthew's Bible. Seven hundred and fifty dollars have been paid for a copy.

The third version of the Bible, known as Taverner's, was published in 1539. Richard Taverner was a learned man who published many translations during the sixteenth century. Horne says of his translation, "This is neither a bare revisal of Cranmer's Bible nor a new version, but a kind of intermediate work, being a correction of what is called 'Matthew's Bible.'"

The first edition of Cranmer's Bible, the printing of which was begun in Paris in 1538 and completed in London in 1540—the Inquisition having interposed by imprisoning the printers and burning the greater part of the impression—is excessively rare. Cranmer's Bible—or the Great Bible, as it was called—is Tyndale's, Coverdale's and Rogers's translations most carefully revised throughout. This was the first sound and authorized English version; and as soon as it was perfected a proclamation was issued ordering it to be provided for every parish church, under a penalty of forty shillings a month. A second edition of Cranmer's Bible appeared in 1560, a copy of which brought, at a recent sale in England, the sum of $610.

The Genevan version of the Bible was made by several English exiles at Geneva in Queen Mary's reign—viz., Cole, Coverdale, Gilby, Knox, Sampson, Whittingham and Woodman—and was first printed in 1560. It went through fifty editions in the course of thirty years. This translation was very popular with the Puritan party. In this version the first division into verses was made. It is commonly known as the "Breeches Bible," from the peculiar rendering of Genesis iii. 7—" breeches of fig-leaves." To the Geneva Bible we owe the beautiful phraseology of the admired passage in Jeremiah viii. 22. Coverdale, Matthew and Taverner render it, "For there is no more treacle at Gilead?" Cranmer, "Is there no treason at Gilead?" The Genevan first gave the poetic rendering, "Is there no balm in Gilead?"

In the year 1568 another translation appeared, which is indiscriminately known as "Matthew Parker's Bible," the "Bishops' Bible" and the "Great English Bible." This version was undertaken and carried on under the inspection of Matthew Parker, second Protestant archbishop of Canterbury. Of the fifteen translators, six were bishops, hence this edition is often called the Bishops' Bible, though it is sometimes designated the Great English Bible, from its being a huge folio volume. In 1569 it was published in octavo form. There is a well-preserved copy of the first edition of Matthew Parker's Bible in the possession of a gentleman residing in New York City. This was the authorized version of the Scriptures for forty years, when it was superseded by our present English Bible.

The English Roman Catholic College at Rheims issued in the year 1582 a translation of the New Testament, known as the "Rhemish New Testament." It was condemned by the queen of England, and copies imported into that country were seized and destroyed. In 1609 the first volume of the Old Testament, and in the following year the second volume, were published at Douay, hence ever since known as the Douay Bible. Some years since Cardinal Wiseman remarked that the names Rhemish and Douay, as applied to the current editions, are absolute misnomers. The publishers of the edition chiefly used in this country state that it is translated from the Latin Vulgate, "being the edition published by the English College at Rheims A.D. 1582, and at Douay in 1609, as revised and corrected in 1750, according to the Clementine edition of the Scriptures, by the Rt. Rev. Richard Challoner, bishop of Debra, with his annotations for clearing up the principal difficulties of Holy Writ."

Theodore Beza translated the New Testament out of the Greek into the Latin. This was first published in England in 1574, and afterward frequently. In 1576 it was "Engelished" by Leonard Tomson, under-secretary to Sir Francis Walsingham, and was afterward frequently annexed to the Genevan Old Testament. The following is a copy of the title-page of the New Testament, verbatim et literatim: "The New Testament of our Lord Jesus Christ, translated out of Greeke by Theod Beza: with brief summaries and expositions upon the hard places by the said authour, Ioach Amer and P Loseler Vallerius. Engelished by L Tomson. Together with the Annotations of Fr Junius upon the Revelation of S. John. Imprinted at London by the Deputies of Christopher Barker, Printer to the Queene's Most Excellent Majestie—1599." The volume opens with a primitive version of the Psalms in verse, then follow the Old Testament, the Apocrypha and the New Testament, as in Bibles of the present day.

The version of the Scriptures now in use among Protestants was translated by the authority of King James I., and published in 1611. Fifty-four learned men were appointed to accomplish the work of revision, but from death or other causes seven of the number failed to enter upon it. The remaining forty-seven were ranged under six divisions, different portions of the Bible being assigned to each division. They entered upon their task in 1607, and after three years of diligent labor the work was completed. This version was generally adopted, and the former translations soon fell into disuse. The authors of King James's version of the Bible included the most learned divines of the day; one of whom was master of Latin, Greek, Hebrew, Chaldee, Syriac and fifteen modern languages.

Among other rare and highly-coveted editions of the Bible is one printed in England in the seventeenth century, in which the important word not was omitted in the seventh commandment, from which circumstance it has ever since been known as "The Adulterer's Bible." Another edition, known as the Pearl Bible, appeared about the same time, filled with errata, a single specimen of which will suffice: "Know ye not the ungodly shall inherit the kingdom of God?" Bibles were once printed which affirmed that "all Scripture was profitable for destruction;" while still another edition of the sacred volume is known as the "Vinegar Bible," from the erratum in the title to the twentieth chapter of St. Luke, in which "Parable of the Vineyard" is printed "Parable of the Vinegar."

J.G.W.

LITERATURE OF THE DAY.

Life and Labours of Mr. Brassey, 1805-1870. By Sir Arthur Helps, K.C.B. Boston: Roberts Brothers.

The "captains of industry," who constitute in our day so distinct and notable a class of worthies, are doubtless as well entitled to have their achievements recorded and their fame sounded throughout the lands as were the doughty men of war who of old were deemed the only fitting heroes of chronicle and epic. Few of them, however, can hope to have their deeds commemorated by a "veray parfit, gentle knight"—of the quill, not of the sword, albeit the letters which he writes after his name would once have indicated the possession of military rank and distinction. Sir Arthur Helps is not a man of few words or of a very stern or passionate temperament. It is the graces of chivalry, not its fiery ardor, that he cultivates and reflects, and though "arms and the man" have often been his theme, the soft and delicate strain was ever more suggestive of the pastoral pipe than of the bardic lyre. Essayist, historian, biographer, novelist, he is always intent to smooth away the asperities of his subject, and, like some stately grandame enthroned in high-backed chair, he remembers that his simple auditors are to be not merely entertained by the matter of his discourse, but impressed by the suave tones and high-bred prolixity of the speaker. With a dignified courtesy unknown in these latter times—when biographers and historians do not scruple to take liberties with their heroes to the extent even of designating them by nicknames—the subject of the present memoir is introduced to us as Mr. Brassey, a form not only adopted on the title-page, but preserved in the body of the work, where we read that "Mr. Brassey was born November 7, 1805," that "Mr. Brassey, at twelve years of age, went to a school at Chester," and that, being afterward articled to a surveyor, "Mr. Brassey was permitted by his master" to assist in making certain surveys. It is only from a side whisper to the American public, which is honored with a preface all to itself, that we are permitted to learn that the great contractor owned to the Christian name of Thomas. Besides the two prefaces there is a dedication to the queen, an introduction telling how Sir Arthur Helps made the acquaintance of Mr. Brassey and what impressions he received from the interview, and a preliminary chapter containing a brief outline of Mr. Brassey's character as "a man of business;" so that we get at the substance of the book by a process like that which in a well-conducted household precedes the carving and distribution of a Christmas cake, any eagerness we might feel to "put in a thumb and pull out a plum" being kept in check by a proper amount of ceremony and tissue-paper.

Plums, however, there are, though not perhaps in full proportion to the frosted coating, or of just the kind that are best agglutinated by the biographical dough. Of anecdote or gossip, glimpses of "life and manners" or personal details, there is nothing. Nor can we justly take exception to this. On the contrary, it gives a unity to the subject by excluding whatever had no relation to the enterprises with which Mr. Brassey's name is connected, and which absorbed his time and thoughts to a degree that can have left him but little opportunity for intercourse with mankind except in a business capacity. It is these enterprises—not in their entirety or with reference to the objects with which they were designed, but as evidences and illustrations of the working force, mental and physical, demanded for their execution—that form the real subject of the book, the matter of which has been chiefly furnished by the various agents entrusted with the immediate supervision of the labor and outlay of the capital employed. The details thus brought together afford perhaps a more vivid idea of the industrial energy and activity of the nineteenth century, and of the resources they have called into play, than could have been obtained from a survey of any other field in which the like qualities have been displayed. It was chiefly with railway enterprises, and this almost from their inception, and to an extent far beyond the rivalry of any other constructor, that Mr. Brassey was engaged; and the railway system, not only by its own immense demands on capital, labor and inventive skill, but still more by the stimulus and aid it has given to industrial enterprises of every kind, must be regarded as the main lever of a material progress that has outstripped the conceptions and possibilities of all previous ages. With the development of a system so different in its nature from the great undertakings of any former period came the need of the contractor, entrusted with the direction and laden with the full responsibility of works which no government "boards" or similar machinery would have been competent to carry through under the conditions imposed by the novel circumstances of the movement and the exacting spirit by which it was impelled. To attain the foremost place in the new career thus created demanded, obviously, no ordinary powers—special knowledge of various kinds, equal facility in mastering details and grasping a general plan, tact in the choice and management of subordinates, courage and promptness in encountering unforeseen obstacles and disasters, and skill and clearheadedness in the general control of enormous and intricate financial interests. To these qualities must be added in the present case what is not so invariably associated with the names of succesful contractors—a faithfulness and integrity which merited and received the fullest confidence. Whether working at a gain or at a loss, Mr. Brassey was ever resolute to execute his engagements to the letter, and he declined to make demands for extra compensation when his contracts proved unprofitable, though it was customary with him to make good the losses of his sub-contractors. He amassed a colossal fortune, not through excessive gains, but by a small profit—"as nearly as possible three per cent."—which accrued to him from all his enterprises taken as a whole, and the accumulations consequent on an inexpensive mode of life.

The railways constructed by Mr. Brassey, generally in partnership with some other contractor, between the years 1834 and 1870, comprised between six and seven thousand miles in all parts of the globe, including Australia and in almost every civilized country except Russia and the United States. "There were periods in his career during which he and his partners were giving employment to 80,000 persons, upon works requiring £ 17,000,000 of capital for their completion." Yet a large part of his time and of the time of his agents was spent in the investigation of schemes which he either decided not to undertake or for which he tendered unsuccessfully. It was necessary at times to transport materials, a large staff of employés and an army of laborers from one country to another. In some cases works were prosecuted in regions occupied or threatened by hostile armies, in others under all the embarrassments and gloom of a great financial revulsion. In countries where commercial transactions were usually very limited the great difficulty was to obtain coin for the payment of wages, while in others there was the danger of the supply of labor failing through the enticements of superabundant capital or the more dazzling temptations of gold-digging. It is needless to mention the usual accidents and impediments to which all such undertakings are liable, and which the skill and ingenuity of the modern engineer never fail to overcome; but it is certainly not a little remarkable, when the multiplicity of Mr. Brassey's contracts is remembered, as well as the early period from which they date, to find that they were invariably completed within the specified time.

Personal Reminiscences of Barham, Harness and Hodder. (Bric-à-Brac Series, edited by Richard Henry Stoddard.) New York: Scribner, Armstrong & Co.

Why we should love so dearly a fresh anecdote of a literary celebrity, a new quip by Talleyrand, a new stutter of Lamb's, a new impertinence of Sheridan's, may be not hard to understand, but it is rather hard to defend, any regard being paid to our dignity. The best stories about that particular line of authors who have possessed bonhomie and become classic for it are long since told. What remains is the dregs. Yet the other day we found ourselves smiling with real delight over a new "bit" of Cowper. It was merely that his barber, being late with the poet's wig, said, "Twill soon be here, it is upon the road;" and that Cowper had smiled, with a "Very well, William," or a "Very fair, Thomas." The mot, like most of the stories that crop up now, was not good; it did not exhibit the author of "John Gilpin" in a brilliant light; it was not even uttered by the poet—he had merely smiled at it; yet it had the effect of rekindling the vapid embers about the dear old hearthstone of Olney, and the shy, gentle creatures that used to disport there among the hares when nobody was looking became for a moment more real from the citation. Now, the question is, What is the superiority of a new piece of gossip like this, which involves no witticism and confers no wisdom, over the next bit of history that will be exchanged between the heroines of the alley-gate? When Mrs. Jones tells Mrs. Baker that Mrs. Briggs has delivered a daughter, and that Mr. Briggs said he had rather she had given him a wooden leg, the epigram is quite as good as a Bric-à-Brac anecdote, the people are quite as worthy as Cowper's barber, and the effect upon the history of letters quite as close and important. With this demurrer, we will apply ourselves for a moment to Mr. Stoddard's last collection, which of course we relish as much as anybody. We could wish that, after discharging his very well-executed duty of writing the preface, he could find some further time for elucidating the text. The present book being about three people, whose memoirs are taken from three volumes, it is confusing to the reader to find on a page headed "Rogers" or "Scott" a foot-note about what "my father" said or what "my friend" remembered, without anything to point out that the authority is other than Mr. Stoddard's father or friend. Other peculiarities, too, suggest that the pretty little volume is clipped instead of edited: on page 134 we find that "William, who had lived many years with Hook, grew rich and saucy. The latter used to assert of him that for the first three years he was as good a servant as ever came into a house; for the next two a kind and considerate friend; and afterward an abominably bad master." And on page 240, that when Rogers was condoled with about the death of an old servant, he exclaimed, "Well, I don't know that I feel his loss so much, after all. For the first seven years he was an obliging servant; for the second seven years an agreeable companion; but for the last seven years he was a tyrannical master." This duality of epigrams seems to show a discrepancy somewhere; or are we to believe that the wits of the Regency used to drive their jokes as hired hacks, like the livery carriages employed by faded dowagers in Hampton Court? The rest of the little book is perhaps free from duplicates. It is a good one to turn over for an hour in the cars, which is perhaps all it claims to be. The anecdotes are good old familiar anecdotes, but it is pleasant to have them strung on a thread. We are reminded that the original Bride of Lammermoor was a Miss Dalrymple; that the "laughing Tom" of Thackeray's "Ballad of Bouillabaise" was Thomas Frazer, Paris correspondent of the Morning Chronicle; that the dramatist of Nicholas Nickleby, so savagely assaulted by Dickens in the course of the work, was a Mr. Moncrief, who would never have prepared the story for the stage if Dickens had intimated his objection.

Books Received.

The American Educational Annual: A Reference Book for all matters pertaining to Education. Vol. I., 1875. New York: J.W. Schermerhorn & Co.

The Song-Fountain: A Vocal Music-book. By Wm. Tillinghast & D.P. Horton. New York: J.W. Schermerhorn & Co.

My. Sister Jennie: A Novel. By George Sand. Translated by T.S. Crocker. Boston: Roberts Brothers.

Democracy and Monarchy in France. By Charles Kendall Adams. New York: Henry Holt & Co.

Egypt and Iceland in the year 1874. By Bayard Taylor. New York: G.P. Putnam's Sons.

Elements of Geometry. By W.H.H. Phillips, Ph. D. New York: J.W. Schermerhorn & Co.

The Old Woman who Lived in a Shoe. By Amanda M. Duglas. Boston: William F. Gill & Co.

The Lily and the Cross: A Tale of Acadia. By Prof. James De Mille. Boston: Lee & Shepard.

Alleged Discrepancies of the Bible. By John W. Haley, M.A. Andover: Warren F. Draper.

History of the United States. By George Bancroft. Vol. X. Boston: Little, Brown & Co.

Roddy's Romance. By Helen Kendrick Johnson. New York: G.P. Putnam's Sons.

My Life on the Plains. By Gen. G.A. Custer, U.S.A. New York: Sheldon & Co.

American Wild-Fowl Shooting. By Joseph W. Long. New York: J.B. Ford & Co.

Hazel-Blossoms. By John Greenleaf Whittier. Boston: James R. Osgood & Co.

Losing to Win: A Novel. By Theodore Davies. New York: Sheldon & Co.

Linley Rochford: A Novel. By Justin McCarthy. New York: Sheldon & Co.

A First Book in German. By Dr. Emil Otto. New York: Henry Holt & Co.

What of the Churches and Clergy? Springfield, Mass: D.E. Fisk & Co.