Let thy love follow; do not with the clay
Bury thy heart. Soar higher. Wherefore bow?
Yesterday's mortal is immortal now.

If thy life's labour meet with scant return,
Thou who hast wrought it should'st be last to mourn.
Nay more, rejoice. Each unpaid debt of love
Is so much treasure garnered up above.

Let cold ingratitude bring no dismay,
But rather aid thee on thy heavenward way.
Work on, love on, aye to increase the debt;
Thy God is not unrighteous to forget.

DRESS: IN SEASON AND IN REASON.

BY A LADY DRESSMAKER.

The extreme warmth of September has naturally postponed ideas of winter,
and our preparations are generally very backward. In fact, at the end of
September many people would have said that they knew nothing whatever
about new things, and that they did not want them either, and the secret
of this indifference would have been attributable to the weather. It is
to be hoped that we shall have a seasonable winter, less cold and
disagreeable than the last.

During my visit to Paris I found but little to chronicle in the way of
winter novelties. The chief changes seemed to be in materials and their
designs. Checks are in high favour, and it is said they will supersede
stripes; and last year, when I was there at this season, they said much
the same thing, but this year they seemed more determined to vote
stripes old-fashioned. To tell the truth, I think the Parisians, and the
women in France generally, are great admirers of plaids, and do not find
stripes becoming, simply because they are usually very short and stout.
Englishwomen, who are tall and stout, like them because they decrease
their apparent size, and give an effect of length while decreasing
breadth. On tall people plaids have a bad effect.

[Illustration: AUTUMN CLOAKS, ULSTERS, AND GOWNS.]

Rough-faced materials constitute the majority of those prepared, and
plain stuffs are still united with plaided and striped ones in the same
dress; but this is not an absolute rule this year, for some dresses are
entirely of either plaids or stripes, or else are of plain material
only. Many of the materials are plain, with a bordering at one edge of
plaid. For instance, a grey of rough-faced stuff had a bordering of a
large check in lines of a paler grey, a little relief being given by
pale lines of a clear Naples-yellow. The effect was quiet and subdued by
the roughness of the surface of the cloth. With