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Follett – himself having been not very long before a worshipper in the church – was being borne within its walls, preceded by the surpliced choir, chanting the service, in tones which still echo in the ears of those who heard them. All rose silently, with moistened eyes, and beating hearts, as they beheld, slowly borne through the aisle, the coffin which contained the prematurely dead – him whose figure, erect and graceful in forensic robes, and dignified in gesture, had so recently stood among them, their cheerful and gifted associate in the anxious business of life – from whose lips, now closed for ever, had but lately issued that rich, harmonious voice, whose tones had scarce, even then, died away! They were bearing him to his long home, with all the solemn pomp and circumstance which testify the reverence paid to departed eminence: and when the coffin was placed beside the altar, at the mouth of the vault, no language can adequately describe the affecting and imposing scene which presented itself. The pall had been borne by the Prime Minister, (Sir Robert Peel,) the Lord Chancellor, one of the Secretaries of State, (Sir James Graham,) and the Vice-Chancellor of England; and amongst those who followed, were Lord Brougham, Lord Langdale, the Chief-Justice of the Common Pleas, and many of the judges, (almost all the courts, both of law and equity, having suspended their sittings on account of the funeral;) while in the body of the church were to be seen nearly all the distinguished members of the bar, who had been, up to a very recent period, opposed to, or associated with, him whose dust was now on the point of being committed to its kindred dust. Nearest to the body sat the three great ministers of the Crown, who had come to pay their tribute of respect to the remains of their gifted and confidential adviser; and their solemn countenances told the deep impression which the scene was making upon them, so illustrative of the fleeting shadowiness of earthly greatness! and their reflections must have been akin to those which – as may have occurred to them – their own obsequies might, at some future period, excite in the spectators – reflections such as those with which a great one, departed,6 closed his grandest labours.

      "Oh, eloquent, just, and mighty death! whom none could advise, thou hast persuaded; what none hath dared, thou hast done: and whom all the world hath flattered, thou only hast cast out of the world and despised. Thou hast drawn together all the far-stretched greatness, all the pride, cruelty, and ambition of man, and covered it all over with these two narrow words – Hic Jacet!"

      LET NEVER CRUELTY DISHONOUR BEAUTY

      The words chosen as the subject of the following verses, form the first line of an antiquated song, of which the remainder seems not to have been preserved. – See Mr Dauney's "Ancient Scotish Melodies," p. 227.

      "Let never Cruelty dishonour Beauty" —

      Be no such war between thy face and mind.

      Heaven with each blessing sends an answering duty:

      It made thee fair, and meant thee to be kind.

      Resemble not the panther's treacherous seeming,

      That looks so lovely to beguile its prey;

      Seek not to match the basilisk's false gleaming,

      That charms the fancy only to betray.

      See the great Sun! God's best and brightest creature —

      Alike on good and ill his gifts he showers:

      Look at the Earth, whose large and liberal nature

      To all who court her offers fruits or flowers.

      Then, lady, lay aside that haughty scorning —

      A robe unmeet to deck a mortal frame;

      Mild be thy light, and innocent as morning,

      And shine on high and humble still the same.

      Bid thy good-will, in bright abundance flowing,

      To all around its kindly stream impart;

      Thy love the while on One alone bestowing,

      The fittest found, the husband of thy heart!

      THE LAST HOURS OF A REIGN

A Tale in Two Parts. – Part II

      Chapter III

      "A deep and mighty shadow

      Across my heart is thrown,

      Like a cloud on a summer meadow,

      Where the thunder wind hath blown!"

Barry Cornwall.

      At this period of French history, and even up to a period much later, the bridges which crossed the Seine, and connected the two separate parts of the city of Paris, were built over with houses, and formed narrow streets across the stream. These houses, constructed almost entirely of wood, the beams of which were disposed in various directions, so as to form a sort of pattern, and ornamented with carved window-sills and main-beams, were jammed together like figs in a cask, and presented one gable to the confined gangway, the other to the water, which, in many cases, their upper story overhung with a seemingly hazardous spring outward. Towards the river, also, many were adorned with wooden balconies, sheltered by the far-advancing angles of the roofs; whilst beneath, upon the water, the piles of the bridge were encumbered by many water-mills, to the incessant noise of which, habit probably reconciled the inhabitants of the houses above.

      In an upper room in one of the houses which, after this fashion, lined the Pont au Change, sat, on the evening of the day on which Philip de la Mole had escaped from the Louvre, three persons, the listlessness of whose attitudes showed that they were all more or less pre-occupied by painful reflections.

      The principal personage of this group – a woman between fifty and sixty years of age – lay back on a large wooden chair, her eyes fixed on vacancy. Her dress was of simple dark stuff, very full upon the sleeves and below the waist, and relieved by a small white standing collar; a dark coif, of the fashion of the period, covered the grizzled hair, which was drawn back from the forehead and temples, leaving fully exposed a face, the rude features and heavy eyebrows of which gave it a stern character. But in spite of this severity of aspect, there naturally lurked an expression of goodness about the mouth and eyes, which spoke of a kindliness of disposition and tenderness of heart, combined with firmness and almost obstinacy of character. Those eyes, however, were now vacant and haggard in expression; and that mouth was contracted as if by some painful thought.

      By her side, upon a low stool, was seated a fair girl, whose attire was as plain as that of the more aged woman; but that lovely form needed no aids of the toilet to enhance its beauty. The fair brown hair brushed off from the white brow, in the graceless mode of the day, hid nothing of a face which had all the purity of some beautiful Madonna; although the cheek was pale, and the lines of the physiognomy were already more sharpened than is usual at years so young. Her head, however, was now bent down over a large book which lay upon her knees, and from which she appeared to have been reading aloud to the elder woman; and, as she sat, a tear dropped into its pages, which she hastily brushed away with her fair hand.

      The third person, who completed the group, was a young man scarcely beyond the years of boyhood. His good-looking round face was bronzed and ruddy with fresh colour, and his dark eyes and full mouth were expressive of natural gaiety and vivacity. But he, too, sat leaning his elbows upon his knees, and gazing intently, and with a look of anxiety, upon the fair girl before him; until, as he saw the tear fall from her eye, he turned impatiently upon his stool, and proceeded to polish, with an animation which was not that of industry, the barrel of a gun which lay between his knees.

      The room which formed the groundwork to the picture composed of these three personages, was dark and gloomy, as was generally the interior of the houses of the time; a large wardrobe of black carved wood filled a great space of one of the walls; presses and chests of the same dark and heavy workmanship occupied considerable portions of the rest of the room. The low casement window, left open to admit the air of a bright May evening, looked out upon the course of the rapid Seine, and gave a cheering relief to the dark scene. The hazy rays from the setting sun streamed into the room; and from below rose up the sound of the rushing waters, and the wheels of the mills, mixed with occasional cries

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