of white paper, in imitation of flowers, and inside of them is generally a pair of white gloves. They are intended as emblems of the purity of the deceased, and the crown of glory which she has received in heaven.

In some parts of the country, also, the dead are carried to the grave with the singing of psalms and hymns: a kind of triumph, « to show," says Bourne, « that they have finished their course with joy, and are become conquerors." This, I am informed, is observed in some of the northern counties, particularly in Northumberland, and it has a pleasing, though melancholy effect, to hear, of a still evening, in some lonely country scene, the mournful melody of a funeral dirge swelling from a distance, and to see the train slowly moving along the landscape.

Thus, thus, and thus, we compass round
Thy harmlesse and unhaunted ground,

And as we sing thy dirge, we will

The Daffodill,

And other flowers lay upon

The altar of our love, thy stone.— Herrick.

There is also a solemn respect paid by the

traveller to the passing funeral in these sequestered places; for such spectacles, occurring among the quiet abodes of nature, sink deep into the soul. As the mourning train approaches, he pauses, uncovered, to let it go

by;

he then follows silently in the rear; sometimes quite to the grave, at other times for a few hundred yards, and having paid this tribute of respect to the deceased, turns and resumes his journey.

The rich vein of melancholy which runs through the English character, and gives it some of its most touching and ennobling graces, is finely evidenced in these pathetic customs, and in the solicitude shown by the common people for an honoured and a peaceful grave. The humblest peasant, whatever may be his lowly lot while living, is anxious that some little respect may be paid to his remains. Sir Thomas Overbury, describing the << faire and happy milkmaid,» observes, « thus lives she, and all her care is, that she may die in the spring time, to have store of flowers stucke upon her winding sheet." The poets, too, who always breathe the feeling of a na

tion, continually advert to this fond solicitude about the grave. In The Maid's Tragedy," by Beaumont and Fletcher, there is a beautiful instance of the kind, describing the capricious melancholy of a broken-hearted girl:

When she sees a bank

Stuck full of flowers, she, with a sigh, will tell
Her servants, what a pretty place it were
To bury lovers in; and make her maids
Pluck 'em, and strew her over like a corse.

The custom of decorating graves was once universally prevalent: osiers were carefully bent over them to keep the turf uninjured, and about them were planted evergreens and flowers. « We adorn their graves," says Evelyn, in his Sylva, « with flowers and redolent plants, just emblems of the life of man, which has been compared in Holy Scriptures to those fading beauties, whose roots being buried in dishonour, rise again in glory.» This usage has now become extremely rare in England; but it may still be met with in the churchyards of retired villages, among the Welch mountains; and I recollect an instance of it at

the small town of Ruthen, which lies at the head of the beautiful vale of Clewyd. I have been told also by a friend, who was present at the funeral of a young girl in Glamorganshire, that the female attendants had their aprons full of flowers, which, as soon as the body was interred, they stuck about the grave.

He noticed several graves which had been decorated in the same manner. As the flowers had been merely stuck in the ground, and not planted, they had soon withered, and might be seen in various states of decay; some drooping, others quite perished. They were afterwards to be supplanted by holly, rosemary, and other evergreens; which on some graves had grown to great luxuriance, and overshadowed the tombstones.

There was formerly a melancholy fancifulness in the arrangement of these rustic offerings, that had something in it truly poetical. The rose was sometimes blended with the lily, to form a general emblem of frail mortality. This sweet flower,» said Evelyn, «< borne on a branch set with thorns, and accompanied with the lily, are natural hieroglyphics of our

fugitive, umbratile, anxious, and transitory life, which, making so fair a show for a time, is not yet without its thorns and crosses.>> The nature and colour of the flowers, and of the ribands with which they were tied, had often a particular reference to the qualities or story of the deceased, or were expressive of the feelings of the mourner. In an old poem, entitled « Corydon's Doleful Knell,» a lover specifies the decorations he intends to use:

A garland shall be framed

By Art and Nature's skill,
Of sundry-coloured flowers,
In token of good-will.

And sundry-coloured ribands

On it I will bestow;

But chiefly blacke and yellowe
With her to grave shall go.

I'll deck her tomb with flowers,

The rarest ever seen;

And with my tears as showers,

I'll keep them fresh and green.

The white rose, we are told, was planted at the grave of a virgin; her chaplet was tied with white ribands, in token of her spotless