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,