he should yet meet her, and tell her he had In less than a year the wretched Giulia was obeyed her last desire! "You are right, mother," he said to the old sibyl, who had waited, keenly watching him with her glittering eyes. "Give me wine-give me food! I will try and steel myself to bear this blow like a man! There is plenty of work for me to do, and I will not shirk it! Carmina was laid in a grave not far from the cliffs, under the shadow of a lonely and picturesque little church where the murmurs of the sea forever blend with the prayers continually chanted for the dead. Paolo placed a white marble slab over her grave on which a broken lily,-the white lily of the Annunciation, sacred to the Madonna-was sculptured; and beneath was graven CARMINA. As the wise Olympia had prophesied, Paolo lived to enter Naples in triumph with Garibaldi, and to see Rome once more the capital of Italy. He is a prosperous and successful man, and a rising statesman; but his private life is lonely and desolate. He has never married, and his heart lies buried in the grave near the cliffs on the island of Ischia. on Paolo's conspiracy against the Neapolitan Government had been so clearly proved, that he was condemned to death unheard : a sentence which, as far as he was concerned, his escape rendered a dead letter. But the petition of the Contessa Giulia, His Holiness the Pope was pleased to declare that she was as legally entitled to marry as if the sentence had been actually executed on her husband, and accordingly sent her a formal declaration of divorce. In spite of the Holy Father's gracious permission, however, it was not without much hesitation and many doubts that the Marchese Raffaello brought himself to the point of marriage; and as might have been expected, it was a miserable union, made intolerable to both by mutual jealousy, suspicion, and every evil passion. found one morning dead in her dressingroom-poisoned. Some people hinted that she had been murdered by the Marchese. but no public accusation was ever brought against him, and it was generally supposed that she had died by her own hand. As she left no child, her wealth went to endow churches and convents, according to the provisions of the Comte Deslandes' will. The villa was sold to an Italian prince, and received another name. And Jacopo, the faithful Jacopo- never forgot, or ceased to mourn for Carmina. His grief had at first seemed less than Paolo's. partly because his nature was not so passionate and enthusiastic, partly because his I sorrow was unmixed with remorse; but though it was silent and undemonstrative it was deep and lasting. Paolo had given him Carmina's dying request that he should take care of Ninetta, and he had received it with grateful joy, as a proof that she had remembered and trusted him to the last. Paolo would gladly have given him a yearly sum for Ninetta's support, but nothing could induce him to accept it. Carmina had left her to his care, he said, and he could not divide the trust with any one. He took a little cottage not far from Carmina's grave, and placed Ninetta in it, with a kind elderly woman to take care of her. He spends all his holidays there, and his greatest pleasures seem to be giving some amusement or gratification to Ninetta, or sitting by Carmina's quiet resting place, and spelling out the let ters carved on the stone. He makes so much money with his felucca that he is able to lay by no small sum every year, and he says that when he gets a little older he will give up the sea, buy some land near the cottage, and cultivate a vineyard. Sometimes Paolo comes to the island in Jacopo's felucca, and visits Carmina's grave. They are fast friends, these men so different in rank, in cultivation, in habits, in everything except one-their love for Carmina A moment's pause, and then she raised her head, In charge for him, two jewels rich and fair, To keep, till he should claim them from my care. And I have looked upon them, till I deemed THE HE twenty-third of February of last year, and the month of March of this year, are dates to be remembered in the social history of our Continent. On both occasions, at exhibitions of deaf and dumb children, which took place in the City of Montreal, the audience was startled to hear some twenty of these unfortunate creatures speak out loudly, distinctly, without apparent effort, and quite intelligibly in both English and French. The other exercises, as announced on the programme, consisted of reading, writing on the black-board, elocutionary and dramatic pantomime. These results were of a nature to provoke inquiry. Unable to learn anything from the city press, we referred directly to the Superintendent of the exhibition. This gentleman is Rev. J. A. Bélanger, President of the Mile-End Institute for the Deaf and Dum. Montreal. It seems that last spring, on his return from Rome, Canon Fabre, of the Montreal Roman Catholic Cathedral, passed through Belgium, and in the cities of Brussels and Ghent, witnessed the system of articulation for deaf mutes, in full and successful operation. He was so much struck by the excellence of the method, that immediately on his return home, he prevailed upon Mr Bélanger to cross forthwith to Europe, for the purpose of mastering its practical details. The latter gentleman repaired to Aixla-Chapelle, where for several months he devoted himself to the study, in both French and German. The outbreak of the war interrupted his labours, but he was sufficiently initiated to make his voyage profitable, and he sailed for home with the glory of being the first to introduce the new system into America. He set to work at once to form his pupils, and with such marvellous success, that at the end of only four months, he was able to give the public exhibition just referred to. In order to appreciate the full nature of the change here wrought in the education of deaf mutes, it is necessary to call to mind the two great systems which have hitherto prevailed, and of which the present is both a combination and a perfection. These have hitherto gone by the generic names of the French and the German systems. Up to the middle of the eighteenth century, none but isolated efforts had been made to better the fate of the deaf and the dumb, though it is singularly worthy of remark that in these partial attempts, all the methods of instruction which modern science has developed were more or less in vogue. In 1760, the Royal Institution for the Deaf and Dumb was founded in Paris, the first of its class. It was endowed by the munificence of the Abbé Charles Michael de L'Epée, and the course of instruction followed in it was due to his inventive genius. This celebrated system consists mainly of two elements-writing exercises and methodic signs. The former are principal; the latter, auxiliary. the idea of the verb to carry, L'Epée carried a book in different ways and manners, at the same time that he wrote out: I carry on the black board. Here the written word was illustrated by a methodic sign. The verb believe, in its theological sense, is said to be one of the most difficult to explain. As, indeed, it cannot be expressed by a single sign, L'Epée wrote out its different significations in metaphysical sequence, and then, by means of radiating lines, made them all centre on the personal verb I believe, thus: I BELIEVE I say YES by my mind. I say YES by my heart. I say YES by my mouth. I do not see with my eyes. His way of explaining the diagram was this: he began by making the sign proper to the pronoun I. Then, placing his right fore-finger on his forehead, the concave portion of which is thought to contain the mind, he made the sign corresponding to YES. Next, placing his finger on his heart, he made the sign of YES. Next, he made the sign YES on the mouth, moving the lips. Finally, he placed his hand on his eyes, making the sign No, to express that he did not see. There remained only the sign proper to the present tense, and then he wrote out on the board: I believe. This mode of explanation is still in use, less the grammatical signs. The METHODIC SIGNS are grounded on reason, and derived, directly or indirectly, Besides writing and methodic signs, from nature. This is so much the case, that L'Epée had recourse to reading. "Our if one of these signs does not appear, at first deaf and dumb," says he, "write under dicsight, to have a natural origin; that is, if it tation of methodic signs, and they themdoes not convey a miniature or condensed selves dictate in this manner, ad aperturam image of the object intended with sufficient | libri, when any one desires to make the exclearness, the natural relation will neverthe- periment." less soon be discovered by analysis and reflection. The sign, once understood, fixes itself in the memory, along with the thing which it represents. Two brief examples, one drawn from the material, the other from the metaphysical order, will elucidate these signs. To convey He also made use of dactylology or fingerspeech, as a secondary means of instruction for beginners, for the enunciation of proper names, which cannot be expressed by any natural sign. He employed the common one-hand alphabet. Articulation was not unknown to the Abbé L'Epée. He practised it at intervals, or in exceptional cases, and turned out some very distinguished subjects, but he did not make it the essential element of his system for reasons which will better appear further on. This great man, who must ever rank among the most illustrious reformers of our era, died in 1789, after seeing his system adopted in the greater part of Europe, and leaving such disciples as Sicard, Storch, Keller, Dilo, Silvestri, Pfinsten, Guyot, D'Arca and Ulrich, to propagate and perfect his teachings. Equally eminent is Samuel Heinicke, the Contemporary and rival of L'Epée. He Founded the celebrated Institution of Leipsic, in 1778. His system is based on artificial articulation. The German reformer held that speech is the natural instrument of human thought, and writing only the representation of articulation. According to him, man thinks not in written, but in sounding words. He cannot think in written words without, at the same time, pronouncing them, when he has not these words before his eyes. Hence, writing cannot develop the ideas of the born deaf-mute, and articulation is indispensable. senses culation, when the exercise is repeated a certain number of times. Thus for the vowel a, Heinicke employed pure water; for the vowel e, wormwood; for the vowel i, vinegar; for the vowel o, sweetened water; for the vowel u, olive oil. He also made use of an artificial tongue and throat, by which he attempted to give mechanical illustrations of the formation of different sounds. It need scarcely be said that these contrivances have long since been discarded. Lip-reading is the correlative of articulation, and constitutes with it what is called Phonomimia. The teacher forms sounds and letters by the movement of his lips, which the deaf and dumb pupil observes and repeats aloud. To facilitate this reading, Schibel, of Zurich, uses a mirror, in which both teacher and pupil look during recitation, the latter comparing the motions of his mouth with that of the former. This intelligent preceptor had remarked that generally when deaf-mutes begin lip-reading, they fix their attention rather on the eyes than on the mouth of the teacher, an inconvenience obviated by the mirror. From the above, it appears that the French and German systems have much in common, inasmuch as all the devices invented for the instruction of the deaf and dumb, are practised in both, yet the specific difference between them is broadly marked by the language of signs which is characteristic of the former, and articulate speech which is the groundwork of the latter. Unfortunately, too, national rivalry, which should never be allowed in science, had, until lately, still further separated the two systems. The Germans rejected the French system almost with contempt; while in France, the German method, though never really excluded, had been thought less generally useful than that of the Abbé L'Epée. Heinicke was conscious of the practical difficulties besetting his theory, and he consecrated the best years of his life towards overcoming them. To soften, for instance, the articulation of deaf-mutes, and render the impression of the vowels lasting in their memory, he imagined a scale of gustatory Scala des Geschmacksinnes by which he intended to endow the sense of taste-which in man is very keen-with the acoustic qualities of the voice. He argued that by placing on the tongue of deaf-mutes a bitter, a sweet, or a sour substance, before and after the articulation of one or the other vowel, they would attach the particular movement of the vocal organ to the simultaneous sensation which they experience. The coincidence and the fusion of the two impressions must necessarily give fixity to arti-institutions of the deaf and dumb is to be One of the reasons why artificial articulation was partially neglected in the French |