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importance to the bride-maid as well as to the bride, is the toilet to be worn on the day of the wedding.
    Siegfrid, a pretty blonde of eighteen summers, was firmly resolved to appear to the best possible advantage on the occasion. Warned by a short note from her friend Hulda—Joel had kindly made himself responsible for its safe delivery—she immediately proceeded to devote her closest attention to this important work.
    In the first place, an elaborately embroidered bodice must be made to incase Siegfrid's charming figure as if in a coat of enamel. There was also much talk about a skirt composed of a series of jupons which should correspond in number with the wearer's fortune, but in no way detract from her charms of person. As for jewelry, it was no easy matter to select the design of the collar of silver filigree, set with pearls, the heart-shaped ear-rings, the double buttons to fasten the neck of the chemisette, the belt of red silk or woolen stuff from which depend four rows of small chains, the finger-rings studded with tiny bangles that tinkle musically, the bracelets of fretted silver—in short, all the wealth of country finery in which gold appears only in the shape of the thinnest plating, silver in the guise of tin and pearls, and diamonds in the shape of wax and crystal beads. But what does that matter so long as the tout ensemble is pleasing to the eye? Besides, if necessary, Siegfrid would not hesitate to go to the elegant stores of M. Benett, in Christiania, to make her purchases. Her father would not object—far from it! The kind-hearted man allowed his daughter full liberty in such matters; besides, Siegfrid was sensible enough not to draw too heavily upon her father's purse, though everything else was of secondary importance provided Joel would see her at her very best on that particular day.

    As for Hulda, her anxiety on the subject was no less serious, for fashions are pitiless, and give, besides, not a little trouble in the selection of their wedding-toilet.
    Hulda would now be obliged to abandon the long plaits tied with bright ribbons, which had heretofore hung from under her coquettish cap, the broad belt with fancy buckles that kept her apron in place upon her scarlet skirt, the girdle to which were appended several small embroidered leather cases containing a silver tea-spoon, knife, fork, needle-case and scissors—articles which a woman makes constant use of in the household.
    No, on the fast approaching day of the nuptials, Hulda's hair would be allowed to float down upon her shoulders, and it was so abundant that it would not be necessary for her to have recourse to the jute switches used by Norwegian girls less favored by nature. Indeed, for her clothing, as well as for her ornaments, Hulda would only be obliged to resort to her mother's big chest. In fact, these articles of clothing are transmitted from marriage to marriage through all the different generations of the same family. So one sees reappearing again and again upon the scene the bodice embroidered in gold, the velvet sash, the skirt of striped silk, the gold chain for the neck, and the crown—the famous Scandinavian crown—carefully preserved in the most secure of all the chests, and made of pasteboard covered with embossed gilt paper, and studded with stars, or garlanded with leaves—that takes the place of the wreath of orange-blossoms worn by brides in other European countries.
    In this case the crowned betrothed, as the bride is styled, would certainly do honor to her husband; and he would be worthy of her in his gay wedding suit: a short jacket trimmed with silver buttons, silk-embroidered waistcoat, tight breeches fastened at the knee with a bunch of bright ribbons, a soft felt hat, yellow top-boots, and in his belt theScandinavian knife—the dolknife—with which the true Norwegian is always provided.
    Consequently, there was plenty to occupy the attention of the young ladies for some time to come. Two or three weeks