these ample sleeves are named en beret; their fulness round the arm is gathered in by a tight band. Dresses of Navarinblue crape, with sleeves of the above description, are favorite costumes at a public concert; they are bordered by a broad bias fold, surmounted by three rouleaux of satin. A young married lady appeared at one of these concerts with pantaloons of muslin, richly embroidered, which were discovered under a very short dress of silver-grey poplin. Cherry-colored and rose-colored satin are very much admired for gowns in halfdress; they are made high, with a ruff of blond round the throat. Several dresses of rose-colored crape have been seen, over which was worn a mantelet in blond; but among the most elegant dresses are those of Indian reps, or velvet of Ispahan the color celestial-blue: wide sleeves of white blond are worn with these dresses, and a pelerine, trimmed round with blond. Many ladies, when the weather is chill, wear cloaks of fine cloth, chequered with black on scarlet; pelisses, however, are most fashionable, and these are of satin, or velvet, with the sleeves immensely wide at the top; they are a la Marie, and are confined at the elbow, and at the wrist, by two bands, set very near together, the fulness between forming a bouffont. Short mantles, named cloaks, a la Witzchoura, are thrown over dresses on quitting a ball room; they are lined throughont with fur. Many black hats are seen lined with rose-color; and colored silk hats, with velvet of a different hue: for the public walks, they have one long willow feather, and two esprits. Violet-colored hats are lined with white or yellow; and a satin hat, the color of Camels' hair, is lined and trimmed with ponceau, with two white esprit feathers, curled. On black velvet hats are often seen willow feathers of blue and black, mixed together, with the hat lined with Navarin-blue; the feather is of a prodigious length, and is one side blue, one black, bearing the appellation of une plume boiteuse. The bonnets reckoned most elegant are of Bird-of-Paradise-yellow, embroidered at the edge of the brim and round the band with ponçeau silk: a broad white blond finishes these tasteful bonnets at the edge. The colors most in request are blue, rose-color, ponçeau, green, brown, yellow, and royal-purple. We present our readers with a view of the cathedral church of York, and much regret would it have saved us, had the interior of this noble pile remained a subject for illustration. The magnificent choir, the production of years of laborious and skilful application, and the boast of ages, has, however, fallen a prey to the destructive brand of an incendiary. We may be allowed to say a few words on the subject of this national calamity. The public buildings of a country present a faithful record of its arts, developing in perspicuous type the "form and pressure" of the times. A lively interest necessarily attaches itself to them, whatever may be the uses to which they are appropriated. Those, however, of an ecclesiastical character, and in our own country especially, from a combination of causes, produce this effect in the highest degree. The style in which they are erected, (with the single exception of St. Paul's,) if not of English origin, has been practised here with such success, as to give them a marked ascendancy, as works of art, over the similar buildings of every other L. 29. 1. L country; and who cannot testify how well the clustered monuments of piety with which the area of a cathedral is studded, and the sublimity which reigns throughout, are calculated to awe the soul, and direct our thoughts towards that Being to whose service it is consecrated. Such, then, is the civil and religious importance of our cathedrals; and the subject of our present sketch yields, perhaps, to none, for grandeur of effect, skill in execution, or affinity with hoary antiquity. We find notices of a building on its site, devoted to the purposes of Christianity, in the beginning of the seventh century. Edwin, King of Northumbria, being converted to the Christian faith, a small chapel was formed of wood, in which that prince received the rites of baptism. Around this fragile temple was raised a church of stone, which was destroyed by fire, in 741: it was rebuilt, and for upwards of three hundred years seems to have undergone no material change. In the year 1069, the Northumbrians, anxious to throw off the Norman yoke, called to their assistance the Danes, and besieged the Norman garrison: these setting fire to some houses around them, the flames spread to the cathedral, which was again laid in ruins, and its valuable library wholly consumed. A few years produced a new and more elegant structure, which scarce survived the beings who raised it; a distressing fire breaking out in 1137, destroyed several churches, and the cathedral sank beneath its overwhelming flames. The rebuilding of the church was commenced shortly after, and the choir was completed; but, on the erection of the present nave, its beauty so eclipsed the former part, that the choir was pulled down, and re-erected in a corresponding style of elegance. Thus was produced one of the proudest fabrics that adorn the country. The several portions preserve, individually, the style which prevailed at the time of their erection; thus, the transepts are of the early lancet character; the nave, in the manner which succeeded it; and the choir presents features corresponding with its subsequent date, and its superior destination. The great tower, or lantern, (which was not completed till the commencement of the fifteenth century,) partakes of this style. Under the choir is a beautiful crypt of Norman architecture; we may, therefore conclude that this part was left undisturbed, when the superstructure was taken down. On the north side of the nave there are indications of cloisters having been attached to it. The smaller works of the interior have been deservedly held in high estimation, especially the altar and organ screens, from their peculiar lightness and beauty. Around the choir stood a series of stalls, highly wrought in oak, with singularly elaborate canopies. Having thus endeavoured to give (for our limits) a comprehensive view of the subject, we resume our painful notice of the misfortune which has recently occurred to it. Early on the morning of Monday, February 2, the building was found to be on fire, and the choir was soon after enveloped in flames; (the effect of which on the stained glass was most august and impressive;) before they could be subdued, the roof had fallen in, and the melted lead streamed upon the ground. The woodwork of the choir is entirely consumed, together with the noble organ; but, what is not a little singular, the screen immediately under it, remains almost uninjured, and the great east window, on which are represented nearly two hundred historical subjects, has also escaped. Much is mutilated by the falling of the roof, and much will, we fear, Le wholly irreparable: we trust, however, that effective measures will be adopted for its restoration, as far as the existing data will admit. THE BATTLE FIELD. A SKETCH OF A NIGHT AT WATERLOO. BY HENRY JAMES MELLER. 'Twas midnight! all hushed was the sound of the battle; The clarion's shrill blast, and the cannon's death rattle, Through fast scudding clouds, the moon shed her wild lustre, Dim lighting their faces so palely that cluster, The wounded, and dead, on the red battle plain. In youth, and in beauty, the gay and light hearted, They came!-while the tears of affection behind them, They came!-and they found them, though cold in the grave. Peace! peace! to the brave, sound and sweet be their slumbers! The morning beheld them prepared for the strife; Yet round the bright brows of surviving gay heroes, THE MAIDEN'S LAMPLIGHTER. Young Love's a Maiden's Lamplighter, And his wings are ladders that ascend To fan the flame created there, In the dark clime of passion kept, And every night I'm sure to err, P. |