astringent and penetrating quality, and requires great skill in the
use of it, to avoid doing considerable mischief. As the eye-brows are
plastered with it, as well as the rest of the hair, and as it softens
by the heat of the room and of the body, it frequently steals into the
eyes, and produces great pain.

"When all is finished, and the visiter leaves the inner bath, he is
furnished with two cloths only, one for the waist, and the other to
throw loosely over the head and shoulders: he then goes into the outer
room into a colder air, thus thinly clad, and without slippers or
pattens; no bed is prepared for him, nor is he again attended to by
any one, unless he demands a nargeel to smoke; but, most generally, he
dresses himself in haste, and departs."


ORIGIN OF PSALMODY.


In D'Israeli's _Curiosities of Literature_, there is an amusing and
instructive account of the _Origin of Psalm-Singing_. It appears
that Psalms in verse were first written by that elegant French poet,
Clement Marot, the favoured court bard of Francis I., who was termed
by his _un-envious_ brother poets, "the poet of princes." They were
published at Paris, and the volume contained fifty Psalms, written in
various measures, and, which, from the beauty of their composition,
(some specimens of which we have seen,) appear to be worthy of the
muse of Marot. This "Holy Song Book," as he entitled it, was "humbly
dedicated to the powerful King of France," and being considered by the
volatile French people as an amusing novelty, it sold faster than
any book of that period. In fact, the printers could not supply