Eugene drove away the thoughts which crowded on his mind, and rushed up stairs. He began to playhe lost-he continued to lose; and, to the very last note of the money he had brought with him, all fled from him as if by magic. His ruin stared him in the face.

It is needless to dwell upon the agonies of remorse which the wretched youth now experienced. He knew that he was utterly undone. He had not even so much money left as would purchase the means of his destruction, and he was obliged to pawn the trifling ornaments which he wore to obtain a pistol, and the materials for loading it. He was determined on self-destruction; and, before he left this world for ever, he felt an overwhelming desire to see his mother.

He hastened home; but at this hour of the morning all the inmates of her quiet household were sleeping the calin sleep of innocence. Eugene soon, however, gained admittance, and, with the fire of despair gleaming in his eye, he rushed into his mother's bed room.

A few hurried words sufficed to avow his crime. The poor woman, without meaning to overwhelm him with reproaches, but seeking to make him perceive the enormity of his fault, pointed out to him the ruin to which he had brought them, in touching terms. This was alone wanting to excite him to the utmost pitch of frenzy. He rushed from her presence to the Bois de Boulogne, that scene of suicide, of duels, and assassinations, and the echoes of the quiet wood soon told of his crime and his fate.

There is a tomb in the cemetery of Pére la Chaise; humble, obscure, and without inscription. It would be passed by, and no one would inquire the name of the quiet inhabitant who moulders beneath, but for the profusion of roses, and other flowering shrubs, which are carefully trained about.—It is the tomb of Eugene Daligny-the flowers were planted and are trained by the hand of Clementina!

TRAVELS IN SICILY AND THE LIPARI ISLANDS. BY A NAVAL OFFICER.

THE Wood cut which precedes this article has been copied from some of the engravings which illustrate a very amusing volume recently published under the above title. The author, although evidently unaccustomed to the task of composition, has related in a lively and striking manner the events of his journey through a district which is little touched upon, and still less described, by modern travellers. He appears also to have a higher claim to notice than this; for he carried with him very extensive and accurate acquaintance with the works of the classical authors, that relates to a place which forms so important a feature in the history of the old world. Such a qualification, although extremely rare among the numerous race of tourists, who favour the public with elaborate recitals of the 'moving accidents by flood and field' which have befallen them, is a very valuable one, and upon the present occasion would be almost indispensable. Modern Sicily is a place wholly unimportant but for the few cities which it contains; and yet the VOL. I. Feb. 1828.

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ruins which strew its classic but neglected land, the relics and the testimonials of departed greatness, the voices of years which have passed away, are the most touching and interesting of the objects which it presents to the traveller. To appreciate these properly, and indeed to understand them, a competent knowledge not only of the histories of Rome and Greece, but of the less familiar, though not less curious, records of the Gothic and Saracenic tribes, by which Sicily was for a long time held, is necessary. The author of the volume before us possesses all these advantages; and, without being tedious, or making any needless display of his learning, he throws an agreeable and satisfactory light en passant upon the objects of his tour. Possessing, besides, that art so useful to travellers, he has enriched his volume with sketches of costumes and places, the former of which are so striking that we have thought it expedient to copy some of them.

The male figure on the reader's left hand in the above cut is a shepherd of the mountainous district between Palermo and Trapani. The race, of which he is a specimen, are hardy and bold, uncultivated as the rude rocks on which they are born, but honest and laborious, while their aspect seems to partake of the savage nature of their country.

The other male figure is also a shepherd, but one of a very different region. He is a Bagarian herdsman, and the district he inhabits is thus described

'At one o'clock we quitted Altavilla, and soon after passed through Bagaria, a town of about six thousand inhabitants, situated on a river of the same name, and in the midst of a spacious smiling plain, which, gifted by nature with fertility, and aided by skilful cultivation, exhibits a scene of exuberant riches almost the whole way up to the gates of Palermo.

" Like the celebrated vale of the Golden Shell, to the east of the city, it presents to the eye of the traveller a more gratifying specimen of the profitable effects of human industry and exertion than any other part of Sicily. It is thickly interspersed with the villas and casinos of

the Palermitan nobles, which diffuses an air of animation through the neighbourhood, very much in contrast with the desolate uninhabited tracts of country the whole interior of the island displays. It abounds in corn lands and pasture, divided by hedge rows of the cactus and the aloe; on every side are seen gardens, teeming with a profusion of vegetables of every description; sometimes girt with orchards, like the gardens of Hesperides, glittering with the golden fruit of the lemon and the orange; sometimes with fig trees and vineyards.

This romantic scene of beauty did not fail to excite our most unqualified admiration, which was considerably heightened by the peculiar effect of wildness the weather had contributed to the sky; the sea, ruffled by the temporary blast, heaved up its angry billows to our right, whilst a chain of rugged mountains bordered the plain to the left, overspread with a lurid glare of evening light, that would have admirably suited the imagination of a Salvator Rosa.'

The costumes of the women of Sicily are remarkably picturesque, beautiful, and various. The author says

The festive costume of the lower orders is remarkably picturesque, particularly that of the women, which differs almost in every district of the island in some parts, like that of the Calabrian, it partakes of all the fanciful varieties of Grecian dress which have been handed down through a long series of centuries from their Grecian ancestors-the full sleeve, the apron fantastically adorned with figures and terminated with fringe or lace, the square flat head-dress with long pendant ear-rings and plaited tresses, the whole of which is sometimes surmounted by the graceful folds of a long mantle. In other places the prevalence of the basquina and mantilla betray the remains of Spanish preponderance. The former is a sort of holiday petticoat, of mixed colours, neatly trimmed with flounces, and when thrown over the delicate form of a female is peculiarly elegant, particularly when combined with

the latter as worn by the Spanish women; it is a long veil falling from the top of the head down to the waist, which in Sicily is most frequently substituted by a cotton or linen handkerchief. The costume of the men more generally resembles that of Spain, with a broad belt round the waist, and a white cotton cap instead of a hat, which is protected from the wet by the pointed capuche of a large cloak they usually carry in case of rain.'

Of this examples were given in the two female figures in the cut. That which is next to the mountain shepherd is a woman of Messina, and was sketched during a religious procession, which is thus described:

The Messinese are very devout, and being fond of religious ceremonies, the church festivals are productive of innumerable sacred processions, full of pageantry and pagan-like pomp. The most popular is the festival of the assumption, the celebration of which has been for some years remitted from its usual period to the month of August, and it is now called the Festa del Barra, from the gorgeous machine of that name, which, like the car of Sta. Rosalia, at Palermo, constitutes the most attractive part of the puppet-show. It stands between forty and fifty feet high, embellished with angels, clouds, cherubims, and a variety of other objects, grouped up to typify the assumption of the Virgin; all of which is surmounted by a blasphemous incorporation of the Almighty, in the human form, holding forth a tawdrily decorated female figure, intended to represent the soul of the Virgin. The parts which form the centre, namely, a bright radiated sun, and blue globe, studded with golden stars, are kept in motion, by revolving machinery, as the procession moves along the streets; whilst, on the platform of the base, the apostles are personated by twelve Messinese children, surrounded by a choir chaunting hymns over the tomb of the Virgin. A band of music, with religious as well as military banners, precedes this holy pageant, accompanied by all the constituted authorities of the city in full costume, followed by nearly the