intelligent deliberation, so that the device of Prince Boleslas of Pomerania, was always present to them: "First weigh it; then dare:" Erst wieg's: dann wag's! Such deliberation imparted a kind of stately pride to their movements, while it left them in possession of an ease and freedom of spirit accessible to the lightest cares of tenderness, to the most trivial interests of the passing hour, to the most transient feelings of the heart. As it made part of their code of honor to make those who interfered with them, in their more tender interests, pay dearly for it; so they knew how to beautify life, and, better still, they knew how to love those who embellished it; to revere those who rendered it precious to them.

Their chivalric heroism was sanctioned by their grave and haughty dignity; an intelligent and premeditated conviction added the force of reason to the energy of impulsive virtue; thus they have succeeded in winning the admiration of all ages, of all minds, even that of their most determined adversaries. They were characterized by qualities rarely found together, the description of which would appear almost paradoxical: reckless wisdom, daring prudence, and fanatic fatalism. The most marked and celebrated historic manifestation of these properties is to be found in the expedition of Sobieski when he saved Vienna, and gave a mortal blow to the Ottoman Empire, which was at last conquered in the long struggle, sustained on both sides with so much prowess and glory, with so much mutual deference between opponents as magnanimous in their truces as irreconcilable in their combats.

While listening to some of the POLONAISES of Chopin, we can almost catch the firm, nay, the more than firm, the heavy, resolute tread of men bravely facing all the bitter injustice which the most cruel and relentless destiny can offer, with the manly pride of unblenching courage. The progress of the music suggests to our imagination such magnificent groups as were designed by Paul Veronese, robed in the rich costume of days long past: we see passing at intervals before us, brocades of gold, velvets, damasked satins, silvery soft and flexile sables, hanging sleeves gracefully thrown back upon the shoulders, embossed sabres, boots yellow as gold or red with trampled blood, sashes with long and undulating fringes, close chemisettes, rustling trains, stomachers embroidered with pearls, head dresses glittering with rubies or leafy with emeralds, light slippers rich with amber, gloves perfumed with the luxurious attar from the harems. Prom the faded background of times long passed these vivid groups start forth; gorgeous carpets from Persia lie at their feet, filigreed furniture from Constantinople stands around; all is marked by the sumptuous prodigality of the Magnates who drew, in ruby goblets embossed with medallions, wine from the fountains of Tokay, and shoed their fleet Arabian steeds with silver, who surmounted all their escutcheons with the same crown which the fate of an election might render a royal one, and which, causing them to despise all other titles, was alone worn as INSIGNE of their glorious equality.

Those who have seen the Polonaise danced even as late as the beginning of the present century, declare that its style has changed so much, that it is now almost impossible to divine its primitive character. As very few national dances have succeeded in preserving their racy originality, we may imagine, when we take into consideration the changes which have occurred, to what a degree this has degenerated. The Polonaise is without rapid movements, without any true steps in the artistic sense of the word, intended rather for display than for the exhibition of seductive grace; so we may readily conceive it must lose all its haughty importance, its pompous self-sufficiency, when the dancers are deprived of the accessories necessary to enable them to animate its simple form by dignified, yet vivid gestures, by appropriate and expressive pantomime, and when the costume peculiarly fitted for it is no longer worn. It has indeed become decidedly monotonous, a mere circulating promenade, exciting but little interest. Unless we could see it danced by some of the old regime who still wear the ancient costume, or listen to their animated descriptions of it, we can form no conception of the numerous incidents, the scenic pantomime, which once rendered it so effective. By a rare exception this dance was designed to exhibit the men, to display manly beauty, to set off noble and dignified deportment, martial yet courtly bearing. "Martial yet courtly:" do not these two epithets almost define the Polish character? In the original the very name of the dance is masculine; it is only in consequence of a misconception that it has been translated in other tongues into the feminine gender.

Those who have never seen the KONTUSZ worn, (it is a kind of Occidental kaftan, as it is the robe of the Orientals, modified to suit the customs of an active life, unfettered by the stagnant resignation taught by fatalism,) a sort of FEREDGI, often trimmed with fur, forcing the wearer to make frequent movements susceptible of grace and coquetry, by which the flowing sleeves are thrown backward, can scarcely imagine the bearing, the slow bending, the quick rising, the finesse of the delicate pantomime displayed by the Ancients, as they defiled in a Polonaise, as though in a military parade, not suffering their fingers to remain idle, but sometimes occupying them in playing with the long moustache, sometimes with the handle of the sword. Both moustache and sword were essential parts of the costume, and were indeed objects of vanity with all ages. Diamonds and sapphires frequently sparkled upon the arms, worn suspended from belts of cashmere, or from sashes of silk embroidered with gold, displaying to advantage forms always slightly corpulent; the moustache often veiled, without quite hiding, some scar, far more effective than the most brilliant array of jewels. The dress of the men rivaled that of the women in the luxury of the material worn, in the value of the precious stones, and in the variety of vivid colors. This love of adornment is also found among the Hungarians, [Footnote: The Hungarian costume worn by Prince Nicholas Esterhazy at the coronation of George the Fourth, is still remembered in England. It was valued at several millions of florins.] as may be seen in their buttons made of jewels, the rings forming a necessary part of their dress, the wrought clasps for the neck, the aigrettes and plumes adorning the cap made of velvet of some brilliant hue. To know how to take off, to put on, to manoeuvre the cap with all possible grace, constituted almost an art. During the progress of a Polonaise, this became an object of especial remark, because the cavalier of the leading pair, as commandant of the file, gave the mute word of command, which was immediately obeyed and imitated by the rest of the train.

The master of the house in which the ball was given, always opened it himself by leading off in this dance. His partner was selected neither for her beauty, nor youth; the most highly honored lady present was always chosen. This phalanx, by whose evolutions every fete was commenced, was not formed only of the young: it was composed of the most distinguished, as well as of the most beautiful. A grand review, a dazzling exhibition of all the distinction present, was offered as the highest pleasure of the festival. After the host, came next in order the guests of the greatest consideration, who, choosing their partners, some from friendship, some from policy or from desire of advancement, some from love,—followed closely his steps. His task was a far more complicated one than it is at present. He was expected to conduct the files under his guidance through a thousand capricious meanderings, through long suites of apartments lined by guests, who were to take a later part in this brilliant cortege. They liked to be conducted through distant galleries, through the parterres of illuminated gardens, through the groves of shrubbery, where distant echoes of