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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:44:14 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:44:14 -0700 |
| commit | 51bcdba7aa1c5799c27c88908eca31c075ff36c0 (patch) | |
| tree | 1928227428bf168d83089d5fa49524a57ef42d18 /14319-h | |
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diff --git a/14319-h/14319-h.htm b/14319-h/14319-h.htm new file mode 100644 index 0000000..604e2f5 --- /dev/null +++ b/14319-h/14319-h.htm @@ -0,0 +1,6847 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> + <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> + +<title>The Project Gutenberg eBook of McClure's Magazine, Vol. VI, No. 4, March, 1896.</title> + + <style type="text/css"> + <!-- + body {margin-left: 10%; margin-right: 10%;} + p {text-align: justify;} + blockquote {text-align: justify;} + h1,h2,h3,h4,h5,h6 {text-align: center; } + h1, h3 {margin-top: 2em; margin-bottom: 2em} + h2 {margin-top: 4em; margin-bottom: 2em} + h1, h4 {font-variant: small-caps;} + + pre {font-size: 0.7em;} + pre.note {font-size: 0.9em;} + + hr {text-align: center; width: 50%; clear: both;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.short {text-align: center; width: 20%;} + html>body hr.short {margin-right: 40%; margin-left: 40%; width: 20%;} + + .note, .noteBox + {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .noteBox {border-style: dashed; + border-width: thin; + padding-left: 1em; + padding-right: 1em} + + span.pagenum + {position: absolute; left: 1%; right: 91%; font-size: 8pt;} + + .poem {margin-left:10%; + margin-right:10%; + margin-bottom: 1em; + text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + .poem p.i4 {margin-left: 2em;} + .poem p.i6 {margin-left: 3em;} + .poem p.i8 {margin-left: 4em;} + .poem p.i10 {margin-left: 5em;} + + .figure, .figcenter, .figright, .figleft, .figletter + {padding: 1em; + margin: 0; + text-align: center; + font-size: 0.8em;} + .figure img, .figcenter img, .figright img, .figleft img, .figletter img + {border: none;} + .figure p, .figcenter p, .figright p, .figleft p + {margin: 0; text-indent: 1em;} + .figcenter {margin: auto; clear: both} + .figright {float: right;} + .figleft {float: left;} + .figletter {float: left; + margin-top: -.1in; + margin-bottom: -.1in; + margin-left: -.1in;} + + .inline {border: none; vertical-align: middle;} + + .footnote {font-size: 0.9em; + margin-right: 10%; + margin-left: 10%;} + + .side { float:right; + font-size: 75%; + width: 25%; + padding-left:10px; + border-left: dashed thin; + margin-left: 10px; + text-align: left; + text-indent: 0; + font-weight: bold; + font-style: italic;} + + div.trans-note {border-style: solid; + border-width: 1px; + margin: 3em 15%; + padding: 1em; + text-align: center;} + + .illustrations {margin : 0.5em 10%; + font-size : 0.9em;} + + .toc {margin : 0 10%; + text-align : left; + font-size : 0.9em;} + .toc p {margin : 0.5em 0; } + .toc p.i4 {margin-left : 2em;} + + p.author {text-align: right; margin-top: -1.0em; margin-right: 5%;} + p.right {text-align: right; margin-right: 5%;} + p.close {margin-top: -1.0em; } + p.center {text-align: center;} + p.hang {text-indent: -.6em; } + p.cap:first-letter {font-size: 200%;} + + a:link {color: blue; text-decoration: none} + link {color: blue; text-decoration: none} + a:visited {color: blue; text-decoration: none} + a:hover {color: red} + + table { /* style all < table> elements */ + margin-top: 1em; /* space above the table */ + caption-side: top; /* or bottom! */ + empty-cells: show; /* usual default is hide */ + } + + thead td, tfoot td { /* center & bold */ + text-align: center; + font-weight: bold; + } + table .shade { /* tr or td class="shade" */ + background-color: #ddd; + } + td, td > p { + margin-top: -0.50em; + font-size: 90%; + text-align: left; + vertical-align: top; + line-height: 1.1em; + } + --> + +</style> +</head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 14319 ***</div> + + <div class="trans-note"> + Transcriber's Note: The Table of Contents and the list of + illustrations were added by the transcriber. + </div> +<hr class="full" /> + + <h1>McClure's Magazine</h1> + <hr class="short" /> + <h4>March, 1896.</h4> + <h4>Vol. VI. No. 4</h4> + <hr class="short" /> + + + <h3>TABLE OF CONTENTS</h3> + +<div class="toc"> +<p><a href="#illustrations">ILLUSTRATIONS</a></p> +<p>ABRAHAM LINCOLN. By Ida M. Tarbell. <a href="#page307">307</a></p> +<p class="i4">Lincoln Is Admitted to the Bar. <a href="#page310">310</a></p> +<p class="i4">Lincoln in the Tenth Assembly of Illinois. <a href="#page312">312</a></p> +<p class="i4">The Removal of the Capital to Springfield. <a href="#page315">315</a></p> +<p class="i4">Lincoln's First Reported Speech. <a href="#page317">317</a></p> +<p class="i4">Abraham Lincoln's First Protest Against Slavery. <a href="#page320">320</a></p> +<p class="i4">Social Life in Vandalia in 1836 and 1837. <a href="#page321">321</a></p> +<p class="i4">Lincoln Moves to Springfield. <a href="#page322">322</a></p> +<p class="i4">Lincoln's Position in Springfield. <a href="#page325">325</a></p> +<p>THE SHIP THAT FOUND HERSELF. By Rudyard Kipling. <a href="#page328">328</a></p> +<p>A CENTURY OF PAINTING. By Will H. Low.<a href="#page337">337</a></p> +<p>CY AND I. By Eugene Field. <a href="#page353">353</a></p> +<p>A YOUNG HERO. By John Hay. <a href="#page354">354</a></p> +<p>CHAPTERS FROM A LIFE. By Elizabeth Stuart Phelps. <a href="#page361">361</a></p> +<p>LOST YOUTH. By R.L. Steveson. <a href="#page369">369</a></p> +<p>THE DIVIDED HOUSE. By Julia D. Whiting. <a href="#page370">370</a></p> +<p>SCIENTIFIC KITE-FLYING. By Cleveland Moffett. <a href="#page379">379</a></p> +<p class="i4">How to Make a Scientific Kite. <a href="#page380">380</a></p> +<p class="i4">How to Send Up a Kite. <a href="#page382">382</a></p> +<p class="i4">Runaway Tandems. <a href="#page383">383</a></p> +<p class="i4">The Lifting Power of Kites. <a href="#page384">384</a></p> +<p class="i4">The Meteorological Use of Kites. <a href="#page386">386</a></p> +<p class="i4">The Highest Flight Ever Made by a Kite. <a href="#page387">387</a></p> +<p class="i4">Drawing Down Electricity by a Kite-string. <a href="#page390">390</a></p> +<p class="i4">The Use of Kites in Photography. <a href="#page390">390</a></p> +<p class="i4">Possible Use of Kites in War. <a href="#page391">391</a></p> +<p>A DRAMATIC POINT. By Robert Barr. <a href="#page393">393</a></p> +<p>EDITORIAL NOTES. <a href="#page399">399</a></p> +<p class="i4">"Justice, Where Art Thou?" <a href="#page399">399</a></p> +<p class="i4">"A Disgrace to Civilization." <a href="#page399">399</a></p> +<p class="i4">The Real Lincoln. <a href="#page400">400</a></p> +<p class="i4">Lincoln in 1860--J. Henry Brown's Journal. <a href="#page400">400</a></p> + + <hr /> + <h4>ILLUSTRATIONS</h4> + <a name="illustrations" id="illustrations"></a> +<p class="illustrations"><a href="#fig306">LINCOLN IN 1860.--HITHERTO UNPUBLISHED.</a></p> +<p class="illustrations"><a href="#fig309">LINCOLN IN 1860.--HITHERTO UNPUBLISHED.</a></p> +<p class="illustrations"><a href="#fig310">EBENEZER PECK.</a></p> +<p class="illustrations"><a href="#fig311-1">NINIAN W. EDWARDS.</a></p> +<p class="illustrations"><a href="#fig311-2">JOB FLETCHER, SR.</a></p> +<p class="illustrations"><a href="#fig311-3">WILLIAM F. ELKINS.</a></p> +<p class="illustrations"><a href="#fig311-4">ROBERT L. WILSON.</a></p> +<p class="illustrations"><a href="#fig311-5">JOHN DAWSON.</a></p> +<p class="illustrations"><a href="#fig312">ELIJAH PARISH LOVEJOY.</a></p> +<p class="illustrations"><a href="#fig313">LINCOLN IN 1863 OR 1864.</a></p> +<p class="illustrations"><a href="#fig314">FRONTISPIECE OF "ALTON TRIALS."</a></p> +<p class="illustrations"><a href="#fig315-1">STUART AND LINCOLN'S PROFESSIONAL CARD.</a></p> +<p class="illustrations"><a href="#fig315-2">OFFICE CHAIR FROM STUART AND LINCOLN'S LAW OFFICE.</a></p> +<p class="illustrations"><a href="#fig316">STUART AND LINCOLN'S LAW OFFICE.</a></p> +<p class="illustrations"><a href="#fig317-1">A STAGE-COACH ADVERTISEMENT, 1834.</a></p> +<p class="illustrations"><a href="#fig317-2">MARY L. OWENS.</a></p> +<p class="illustrations"><a href="#fig318">LINCOLN AND HIS SON THOMAS, FAMILIARLY KNOWN AS "TAD."</a></p> +<p class="illustrations"><a href="#fig319">PAGE FROM STUART AND LINCOLN'S FEE BOOK.</a></p> +<p class="illustrations"><a href="#fig320">OLD SECOND PRESBYTERIAN CHURCH, SPRINGFIELD, ILLINOIS.</a></p> +<p class="illustrations"><a href="#fig322">INVITATION TO A SPRINGFIELD COTILLION PARTY OF WHICH</a></p> +<p class="illustrations"><a href="#fig324">MAP OF ILLINOIS.</a></p> +<p class="illustrations"><a href="#fig328">THE WAVE "WENT OUT IN THREE SURGES, MAKING A CLEAN SWEEP OF A BOAT."</a></p> +<p class="illustrations"><a href="#fig330">THE "DIMBULA" TAKING CARGO FOR HER FIRST VOYAGE.</a></p> +<p class="illustrations"><a href="#fig333">"AN UNUSUALLY SEVERE PITCH ... HAD LIFTED THE BIG THROBBING SCREW</a></p> +<p class="illustrations"><a href="#fig338-1">THE GARROTED MAN. FROM AN ETCHING BY GOYA.</a></p> +<p class="illustrations"><a href="#fig338-2">DEATH ON THE BATTLE-FIELD. FROM AN ETCHING BY GOYA.</a></p> +<p class="illustrations"><a href="#fig339">GOYA. FROM A PORTRAIT ETCHED BY HIMSELF.</a></p> +<p class="illustrations"><a href="#fig340">ST. JUSTINA AND ST. RUFINA. FROM A PAINTING BY GOYA IN</a></p> +<p class="illustrations"><a href="#fig341">THE BLIND FIDDLER. FROM A PAINTING BY SIR DAVID WILKIE.</a></p> +<p class="illustrations"><a href="#fig342">CHOOSING THE WEDDING GOWN. FROM A PAINTING BY WILLIAM MULREADY IN THE SOUTH KENSINGTON MUSEUM, LONDON.</a></p> +<p class="illustrations"><a href="#fig343">CONTRARY WINDS. FROM A PAINTING BY THOMAS WEBSTER.</a></p> +<p class="illustrations"><a href="#fig344">SANCHO PANZA IN THE APARTMENT OF THE DUCHESS. FROM A PAINTING BY</a></p> +<p class="illustrations"><a href="#fig345">THE RAFT OF THE "MEDUSA." FROM A PAINTING BY GÉRICAULT IN THE</a></p> +<p class="illustrations"><a href="#fig346">INGRES. FROM A PORTRAIT PAINTED BY HIMSELF.</a></p> +<p class="illustrations"><a href="#fig347">DELACROIX. FROM A PORTRAIT PAINTED BY HIMSELF IN 1837.</a></p> +<p class="illustrations"><a href="#fig348">A PORTRAIT OF INGRES, DRAWN IN ROME IN 1816.</a></p> +<p class="illustrations"><a href="#fig349">APOTHEOSIS OF HOMER. FROM A PAINTING BY INGRES.</a></p> +<p class="illustrations"><a href="#fig350">THE SEIZURE OF CONSTANTINOPLE BY THE CRUSADERS. FROM A PAINTING</a></p> +<p class="illustrations"><a href="#fig351">DANTE AND VIRGIL CROSSING THE LAKE WHICH SURROUNDS THE INFERNAL</a></p> +<p class="illustrations"><a href="#fig354">HENRY H. MILLER,</a></p> +<p class="illustrations"><a href="#fig355">ELLSWORTH IN THE SPRING OF 1861, WHEN HE</a></p> +<p class="illustrations"><a href="#fig356">ELLSWORTH IN 1860, WHEN HE WAS CAPTAIN OF THE CHICAGO COMPANY.</a></p> +<p class="illustrations"><a href="#fig357">FRANK E. BROWNELL, WHO KILLED THE ASSASSIN</a></p> +<p class="illustrations"><a href="#fig358">THE DEATH OF COLONEL ELLSWORTH.</a></p> +<p class="illustrations"><a href="#fig359">THE MARSHALL HOUSE, ALEXANDRIA, VIRGINIA, IN WHICH COLONEL</a></p> +<p class="illustrations"><a href="#fig360">COLONEL ELLSWORTH AND A GROUP OF MILITIA OFFICERS.</a></p> +<p class="illustrations"><a href="#fig362">"THE OLD BRICK ACADEMY," PHILLIPS ACADEMY, ANDOVER,</a></p> +<p class="illustrations"><a href="#fig364">ABBOT ACADEMY, ANDOVER, MASSACHUSETTS.</a></p> +<p class="illustrations"><a href="#fig365-1">"THE STONE BUILDING," PHILLIPS ACADEMY, ANDOVER, MASSACHUSETTS.</a></p> +<p class="illustrations"><a href="#fig365-2">THE HOUSE IN ANDOVER, MASSACHUSETTS, WHERE THE SCHOOL CALLED "THE</a></p> +<p class="illustrations"><a href="#fig367">HENRY MILLS ALDEN, EDITOR OF "HARPER'S MAGAZINE."</a></p> +<p class="illustrations"><a href="#fig369">ROBERT LOUIS STEVENSON AT THE AGE OF FOURTEEN.</a></p> +<p class="illustrations"><a href="#fig367">"'WALL, ARMIDY, WALL, LUCAS, THE DOCTOR DON'T SEEM TO THINK I</a></p> +<p class="illustrations"><a href="#fig372">THE DIVIDED HOUSE.--"ARMIDA'S SIDE OF THE HOUSE FELL MORE AND</a></p> +<p class="illustrations"><a href="#fig373">AS ARMIDA SAT ON THE BENCH UNDER THE OLD RUSSET APPLE-TREE, ...</a></p> +<p class="illustrations"><a href="#fig375">EVENING IN THE DIVIDED KITCHEN.</a></p> +<p class="illustrations"><a href="#fig377">"LOOKING BEFORE THEM THEY</a></p> +<p class="illustrations"><a href="#fig379">HARGRAVE LIFTED SIXTEEN FEET FROM THE GROUND</a></p> +<p class="illustrations"><a href="#fig380">Frankfort Street. PHOTOGRAPHIC VIEW FROM A KITE.</a></p> +<p class="illustrations"><a href="#fig381">Frankfort Street. PHOTOGRAPHIC VIEW FROM A KITE.</a></p> +<p class="illustrations"><a href="#fig382">THE EDDY TAILLESS KITE.</a></p> +<p class="illustrations"><a href="#fig383">THE HARGRAVE BOX-KITE.</a></p> +<p class="illustrations"><a href="#fig384">NEW YORK, EAST RIVER, BROOKLYN, AND NEW YORK BAY, FROM A KITE.</a></p> +<p class="illustrations"><a href="#fig385">PHOTOGRAPHING FROM A KITE-LINE.</a></p> +<p class="illustrations"><a href="#fig386">CITY HALL PARK AND BROADWAY FROM A KITE.</a></p> +<p class="illustrations"><a href="#fig387">Murray Street. Warren Street.</a></p> +<p class="illustrations"><a href="#fig388-1">KITE-DRAWN BUOY.</a></p> +<p class="illustrations"><a href="#fig388-2">DIRIGIBLE KITE-DRAWN BUOY.</a></p> +<p class="illustrations"><a href="#fig389">THE KITE-BUOY IN SERVICE.</a></p> +<p class="illustrations"><a href="#fig395">MY GOD!--YOU WERE RIGHT--AFTER ALL."</a></p> +</div> + + +<hr class="full" /> + +<div class="figcenter" style="width:80%;"> +<a href="images/306.jpg" name="fig306" id="fig306"> +<img src="images/306.jpg" alt="LINCOLN IN 1860.—HITHERTO UNPUBLISHED." /></a> +<h5>LINCOLN IN 1860.—HITHERTO UNPUBLISHED.</h5> + +<p>From an ambrotype taken in Springfield, Illinois, on August 13, +1860, and now owned by Mr. William H. Lambert of Philadelphia, +through whose courtesy we are allowed to reproduce it here. This +ambrotype was bought by Mr. Lambert from Mr. W.P. Brown of +Philadelphia. Mr. Brown writes of the portrait: "This picture, along +with another one of the same kind, was presented by President +Lincoln to my father, J. Henry Brown, deceased (miniature artist), +after he had finished painting Lincoln's picture on ivory, at +Springfield, Illinois. The commission was given my father by Judge +Read (John M. Read of the Supreme Court of Pennsylvania), +immediately after Lincoln's nomination for the Presidency. One of +the ambrotypes I sold to the Historical Society of Boston, +Massachusetts, and it is now in their possession." The miniature +referred to is now owned by Mr. Robert T. Lincoln. It was engraved +by Samuel Sartain, and circulated widely before the inauguration. +After Mr. Lincoln grew a beard, Sartain put a beard on his plate, +and the engraving continued to sell extensively. While Mr. Brown was +in Springfield painting the miniature he kept a journal, which Mr. +Lambert also owns and which he has generously put at our disposal. +It will be found on page 400.</p> +</div> + + +<span class="pagenum"><a name="page307" id="page307"></a>[pg 307]</span> + + +<h2>ABRAHAM LINCOLN.</h2> + +<h4>By Ida M. Tarbell.</h4> + +<h3>LINCOLN'S ELECTION TO THE TENTH ASSEMBLY.—ADMISSION TO THE BAR.— +REMOVAL TO SPRINGFIELD.</h3> + +<div class="figletter"><a href="images/LetterT.jpg" name="fig307-1" id="fig307-1"><img src="images/LetterT.jpg" alt="Letter T" /></a></div> + +<p class="hang">HE first twenty-six years of Abraham Lincoln's life have been +traced in the preceding chapters. We have seen him struggling to +escape from the lot of a common farm laborer, to which he seemed to +be born; becoming a flatboatman, a grocery clerk, a store-keeper, a +postmaster, and finally a surveyor. We have traced his efforts to +rise above the intellectual apathy and the indifference to culture +which characterized the people among whom he was reared, by studying +with eagerness every subject on which he could find +books,—biography, state history, mathematics, grammar, +surveying, and finally law. We have followed his growth in ambition +and in popularity from the day when, on a keg in an Indiana grocery, +he debated the contents of the Louisville "Journal" with a company +of admiring elders, to the time when, purely because he was liked, +he was elected to the State Assembly of Illinois by the people of +Sangamon County. His joys and sorrows have been reviewed from his +childhood in Kentucky to the day of the death of the woman he loved +and had hoped to make his wife. These twenty-six years form the +first period of Lincoln's life. It was a period of makeshifts and +experiments, ending in a tragic sorrow; but at its close he had +definite aims, and preparation and experience enough to convince him +that he dared follow them. Law and politics were the fields he had +chosen, and in the first year of the second period of his life, +1836, he entered them definitely.</p> + +<p>The Ninth General Assembly of Illinois, in which Lincoln had done +his preparatory work as a legislator, was dissolved, and in June, +1836, he announced himself as a candidate for the Tenth Assembly. A +few days later the "Sangamon Journal" published his simple +platform:</p> + +<blockquote class="note"> +<p class="right">NEW SALEM, <i>June 13, 1836</i>.</p> +<p class="close">"TO THE EDITOR OF THE 'JOURNAL':</p> + +<p>"In your paper of last Saturday I see a communication over the +signature of 'Many Voters,' in which the candidates who are +announced in the 'Journal' are called upon to 'show their hands.' +Agreed. Here's mine:</p> + +<p>I go for all sharing the privileges of the government who assist +in bearing its burdens. Consequently, I go for admitting all whites +to the right of suffrage who pay taxes or bear arms (by no means +excluding females).</p> + +<p>If elected, I shall consider the whole people of Sangamon my +constituents, as well those that oppose as those that support +me.</p> + +<p>While acting as their representative, I shall be governed by +their will on all subjects upon which I have the means of knowing +what their will is; and upon all others, I shall do what my own +judgment teaches me will best advance their interests. Whether +elected or not, I go for distributing the proceeds of the sales of +public lands to the several States, to enable our State, in common +with others, <span class="pagenum"><a name="page308" +id="page308"></a>[pg 308]</span> to dig canals and construct +railroads without borrowing money and paying the interest on it.</p> + +<p>"If alive on the first Monday in November, I shall vote for Hugh +L. White for President.</p> + +<p >"Very respectfully,</p> +<p class="author">"A. LINCOLN."</p> +</blockquote> + +<p>The campaign which Lincoln began with this letter was in every +way more exciting for him than those of 1832 and 1834. Since the +last election a census had been taken in Illinois which showed so +large an increase in the population that the legislative districts +had been reapportioned and the General Assembly increased by fifty +members. In this reapportionment Sangamon County's delegation had +been enlarged to seven representatives and two senators. This gave +large new opportunity to political ambition, and doubled the +enthusiasm of political meetings.</p> + +<p>But the increase of the representation was not all that made the +campaign exciting. Party lines had never before been so clearly +drawn, nor personal abuse quite so intense. One of Lincoln's first +acts was to answer a personal attack. He did it in a letter marked +by candor, good-humor, and shrewdness.</p> + +<blockquote class="note"> +<p class="right">"NEW SALEM, <i>June 21, 1836</i>.</p> +<p class="close">"DEAR COLONEL:</p> + +<p>"I am told that during my absence last week you passed through the +place and stated publicly that you were in possession of a fact or +facts which, if known to the public, would entirely destroy the +prospects of N.W. Edwards and myself at the ensuing election; but +that through favor to us you would forbear to divulge them. No one +has needed favors more than I, and generally few have been less +unwilling to accept them; but in this case favor to me would be +injustice to the public, and therefore I must beg your pardon for +declining it. That I once had the confidence of the people of +Sangamon County is sufficiently evident; and if I have done +anything, either by design or misadventure, which if known would +subject me to a forfeiture of that confidence, he that knows of that +thing and conceals it is a traitor to his country's interest.</p> + +<p>"I find myself wholly unable to form any conjecture of what fact +or facts, real or supposed, you spoke; but my opinion of your +veracity will not permit me for a moment to doubt that you at least +believed what you said. I am flattered with the personal regard you +manifested for me; but I do hope that on mature reflection you will +view the public interest as a paramount consideration and therefore +let the worst come.</p> + +<p>"I assure you that the candid statement of facts on your part, +however low it may sink me, shall never break the ties of personal +friendship between us.</p> + +<p>"I wish an answer to this, and you are at liberty to publish both +if you choose.</p> + +<p>"Very respectfully,</p> +<p class="author">"A. LINCOLN."</p> +<p>"COLONEL ROBERT ALLEN."</p> +</blockquote> + +<p>Usually during the campaign Lincoln was obliged to meet personal +attacks, not by letter, but on the platform. Joshua Speed, who later +became the most intimate friend that Lincoln probably ever had, +tells of one occasion when he was obliged to meet such an attack on +the very spur of the moment. A great mass-meeting was in progress at +Springfield, and Lincoln had made a speech which had produced a deep +impression. "I was then fresh from Kentucky," says Mr. Speed, "and +had heard many of her great orators. It seemed to me then, as it +seems to me now, that I never heard a more effective speaker. He +carried the crowd with him, and swayed them as he pleased. So deep +an impression did he make that George Forquer, a man of much +celebrity as a sarcastic speaker and with a great reputation +throughout the State as an orator, rose and asked the people to hear +<i>him</i>. He began his speech by saying that this young man would have +to be taken down, and he was sorry that the task devolved upon him. +He made what was called one of his 'slasher-gaff' speeches, dealing +much in ridicule and sarcasm. Lincoln stood near him, with his arms +folded, never interrupting him. When Forquer was done, Lincoln +walked to the stand, and replied so fully and completely that his +friends bore him from the court-house on their shoulders.</p> + +<p>"So deep an impression did this first speech make upon me that I +remember its conclusion now, after a lapse of thirty-eight years. +Said he:</p> + +<p>"'The gentleman commenced his speech by saying that this young +man would have to be taken down, and he was sorry the task devolved +upon him. I am not so young in years as I am in the tricks and trade +of a politician; but live long or die young, I would rather die now +than, like the gentleman, change my politics and simultaneous with +the change receive an office worth three thousand dollars a year, +and then have to erect a lightning-rod over my house to protect a +guilty conscience from an offended God.'</p> + +<p>"To understand the point of this it must be explained that +Forquer had been a Whig, but had changed his politics, and had been +appointed Register of the Land Office; and over his house was the +only lightning-rod in the town or country. Lincoln had seen the +lightning-rod for the first time on the day before."</p> + +<span class="pagenum"><a name="page309" id="page309"></a>[pg 309]</span> + +<div class="figcenter"> +<a href="images/309.jpg" name="fig309" id="fig309"> +<img src="images/309.jpg" alt="LINCOLN IN 1860.—HITHERTO UNPUBLISHED." /></a> +<h5>LINCOLN IN 1860.—HITHERTO UNPUBLISHED.</h5> + +<p>From a carbon enlargement, made by Sherman and McHugh of New York +City, of an ambrotype owned by Mr. A. Montgomery of Columbus, Ohio, +to whose generosity we owe the right of reproduction. This portrait +of Lincoln was made in June, 1860, by Butler, a Springfield +(Illinois) photographer. On July 4th of that year, Mr. Lincoln +delivered an address at Atlanta, Illinois, where he was the guest of +Mr. Vester Strong. Before leaving town he handed Mr. Strong the +ambrotype which we copy here. Mr. Strong valued the picture highly, +but as he had no children to whom to leave it, and as he wished it +to be in the care of one who would appreciate its value, he gave it +a few years ago to Mr. Montgomery.</p> +</div> + +<span class="pagenum"><a name="page310" id="page310"></a>[pg 310]</span> + +<p>This speech has never been forgotten in Springfield, and on my +visits there I have repeatedly had the site of the house on which +this particular lightning-rod was placed pointed out, and one or +another of the many versions which the story has been given, related +to me.</p> + +<p>It was the practice at that date in Illinois for two rival +candidates to travel over the district together. The custom led to +much good-natured raillery between them; and in such contests +Lincoln was rarely, if ever, worsted. He could even turn the +generosity of his rival to account by his whimsical treatment, as +the following shows: He had driven out from Springfield in company +with a political opponent to engage in joint debate. The carriage, +it seems, belonged to his opponent. In addressing the gathering of +farmers that met them, Lincoln was lavish in praise of the +generosity of his friend. "I am too poor to own a carriage," he +said, "but my friend has generously invited me to ride with him. I +want you to vote for me if you will; but if not, then vote for my +opponent, for he is a fine man." His extravagant and persistent +praise of his opponent appealed to the sense of humor in his farmer +audience, to whom Lincoln's inability to own a carriage was by no +means a disqualification.<a id="footnotetag1" name="footnotetag1"></a> +<a href="#footnote1"><sup>1</sup></a></p> + +<p>The election came off in August, and resulted in the choice of a +delegation from Sangamon County famous in the annals of Illinois. +The nine successful candidates were Abraham Lincoln, John Dawson, +Daniel Stone, Ninian W. Edwards, William F. Elkins, R.L. Wilson, +Andrew McCormick, Job Fletcher, and Arthur Herndon. Each one of +these men was over six feet in height, their combined stature being, +it is said, fifty-five feet. The "Long Nine" was the name Sangamon +County gave them.</p> + +<div class="figcenter" style="width:80%"> +<a href="images/310.jpg" name="fig310" id="fig310"> +<img src="images/310.jpg" alt="EBENEZER PECK." /></a> +<h5>EBENEZER PECK.</h5> + +<p>Ebenezer Peck, who was chiefly instrumental in introducing the +convention system into Illinois politics, was born in Portland, +Maine, May 22, 1805. He lived for some time in Peacham, Vermont, +where he was educated. While yet a boy, removed with his parents to +Canada. He studied law at Montreal, and practised there; became +King's Counsel for Canada East, and was finally elected to the +provincial parliament on the Reform ticket. In the summer of 1835 he +removed to Chicago, and there, as a lawyer and a politician, he at +once made his mark. He was a delegate to the first Democratic State +convention in Illinois, held at Vandalia, December 7, 1835, and was +the chief advocate of the general adoption of the convention +system—a system which was at first opposed and ridiculed by +the Whigs, but which very soon they were forced to adopt. In 1837 +Mr. Peck was made one of the Internal Improvement Commissioners. In +1838 he was elected to the State Senate, and in 1840 to the House. +He was clerk of the Supreme Court from 1841 to 1848, and reporter of +that court from 1849 to 1863. His anti-slavery sentiments led him to +abandon the Democratic party in 1853, and in 1856 he helped +establish the Republican party in the State. He was again elected to +the legislature in 1858. In 1863 President Lincoln appointed him a +judge of the Court of Claims, and he held this position until 1875. +He died May 25, 1881.—<i>J. McCan Davis.</i></p> +</div> + + +<h4>LINCOLN IS ADMITTED TO THE BAR.</h4> + +<p>As soon as the election was over Lincoln occupied himself in +settling another matter, of much greater moment, in his own +judgment. He went to Springfield to seek admission to the bar. The +"roll of attorneys and counsellors at law," on file in the office of +the clerk of the Supreme Court at Springfield, Illinois, shows that +his license was dated September 9, 1836, and that the date of the +enrollment of his name upon the official list was March 1, 1837. The +first case in which he was concerned, as far as we know, was that of +Hawthorn against Woolridge. He made his first appearance in court in +October, 1836.</p> + +<p>Although he had given much time during this year to politics and +the law, he had by no means abandoned surveying. Indeed he never had +more calls. Surveying was particularly brisk at the moment, and he +frequently was obliged to be away for three and four weeks at a +time, laying out towns or locating roads. "When he got a job," says +the Hon. J.M. Ruggles, a friend and political supporter of Mr. +Lincoln, "there was a picnic and jolly time in the neighborhood. Men +and boys would gather around, ready to carry chain, drive stakes, +and blaze trees, but mainly to hear Lincoln's odd stories and jokes. +The fun was interspersed with foot races and wrestling matches. To +this day the old settlers around Bath repeat the incidents of +Lincoln's sojourns in their neighborhood while surveying that +town."</p> + +<span class="pagenum"><a name="page311" id="page311"></a>[pg 311]</span> + +<div class="figcenter" style="width:80%"> +<div class="figleft" style="width:27%"> +<a href="images/311-1.jpg" name="fig311-1" id="fig311-1"> +<img src="images/311-1.jpg" alt="NINIAN W. EDWARDS." /></a> +<h5>NINIAN W. EDWARDS.</h5> +</div> + +<div class="figright" style="width:32%"> +<a href="images/311-3.jpg" name="fig311-3" id="fig311-3"> +<img src="images/311-3.jpg" alt="WILLIAM F. ELKINS." /></a> +<h5>WILLIAM F. ELKINS.</h5> +</div> + +<div class="figright" style="width:27%"> +<a href="images/311-2.jpg" name="fig311-2" id="fig311-2"> +<img src="images/311-2.jpg" alt="JOB FLETCHER, SR." /></a> +<h5>JOB FLETCHER, SR.</h5> +</div> + +<div class="figleft" style="width:45%"> +<a href="images/311-4.jpg" name="fig311-4" id="fig311-4"> +<img src="images/311-4.jpg" alt="ROBERT L. WILSON." /></a> +<h5>ROBERT L. WILSON.</h5> +</div> + +<div class="figright" style="width:45%"> +<a href="images/311-5.jpg" name="fig311-5" id="fig311-5"> +<img src="images/311-5.jpg" alt="JOHN DAWSON." /></a> +<h5>JOHN DAWSON.</h5> +</div> + +<br clear="all" /> +<h5>MEMBERS OF THE SANGAMON COUNTY DELEGATION IN THE TENTH ILLINOIS +ASSEMBLY—THE DELEGATION KNOWN AS THE "LONG NINE."</h5> + +<p>NINIAN W. EDWARDS was born in Kentucky in 1809, a son of Ninian +Edwards, who in the same year was appointed Governor of the new +Territory of Illinois. Mr. Edwards was appointed Attorney-General of +Illinois in 1834; in 1836 was elected to the legislature; was +reëlected in 1838; served in the State Senate from 1844 to 1848, and +again in the House from 1848 to 1852. He was a member of the +constitutional convention of 1847. He died at Springfield, September +2, 1889.</p> + +<p>JOB FLETCHER, SR., was born in Virginia in 1793; removed to +Sangamon County, Illinois, in 1819. In 1826 he was elected to the +Illinois House of Representatives, and in 1834 to the State Senate, +where he served six years. He died in Sangamon County in 1872.</p> + +<p>WILLIAM F. ELKINS was born in Kentucky in 1792. He went to +Sangamon County, Illinois, in 1825. In 1828, 1836, and 1838 he was +elected to the legislature. In 1831 he raised a company for the +Black Hawk War, and was its captain. In 1861 President Lincoln +appointed him Register of the United States Land Office at +Springfield, an office which he held until 1872, when he resigned. +He died at Decatur, Illinois, 1880.</p> + +<p>ROBERT LANG WILSON was born in Pennsylvania in 1805. In 1831 he +went to Kentucky; in 1833 removed to Sangamon County, Illinois; in +1836 was elected to the Illinois House. He removed to Sterling, +Illinois, in 1840, and died there in 1880. For some years he was +paymaster in the United States Army.</p> + +<p>JOHN DAWSON was born in Virginia in 1791; he removed to Sangamon +County, Illinois, in 1827. He was elected to the lower house of the +legislature in 1830, 1834, 1836, 1838, and 1846. He was a member of +the constitutional convention of 1847. He died November 12, +1850.</p> + +<p>The other members of the "Long Nine" were Abraham Lincoln, Daniel +Stone, Andrew McCormick, and Arthur Herndon.</p> +</div> + +<span class="pagenum"><a name="page312" id="page312"></a>[pg 312]</span> + + +<h4>LINCOLN IN THE TENTH ASSEMBLY OF +ILLINOIS</h4> + +<p>In December Lincoln put away his surveying instruments to go to +Vandalia for the opening session of the Tenth Assembly. Larger by +fifty members than its predecessor, this body was as much superior +in intellect as in numbers. It included among its members a future +President of the United States, a future candidate for the same high +office, six future United States Senators, eight future members of +the National House of Representatives, a future Secretary of the +Interior, and three future Judges of the State Supreme Court. Here +sat side by side Abraham Lincoln and Stephen A. Douglas; Edward +Dickinson Baker, who represented at different times the States of +Illinois and Oregon in the national councils; O.H. Browning, a +prospective senator and future cabinet officer, and William L.D. +Ewing, who had just served in the senate; John Logan, father of the +late General John A. Logan; Robert M. Cullom, father of Senator +Shelby M. Cullom; John A. McClernand, afterward member of Congress +for many years, and a distinguished general in the late Civil War; +and many others of national repute.<a id="footnotetag2" +name="footnotetag2"></a><a href="#footnote2"><sup>2</sup></a></p> + +<div class="figcenter" style="width:80%"> +<a href="images/312.jpg" name="fig312" id="fig312"> +<img src="images/312.jpg" alt="ELIJAH PARISH LOVEJOY." /></a> +<h5>ELIJAH PARISH LOVEJOY.</h5> + +<p>From a silhouette loaned by Mr. Owen Lovejoy of Princeton, +Illinois. Elijah Lovejoy was born in Maine in 1802. When twenty-five +years old he emigrated to St. Louis, where he at first did +journalistic work on a Whig newspaper. In 1833 he entered the +ministry, and was soon after made editor of a religious newspaper, +the "St. Louis Observer." Mr. Lovejoy began, in 1835, to turn his +paper against slavery, but the opposition he found in Missouri was +so strong that in the summer of 1836 he decided to move his paper to +Alton, Illinois. Before he could get his plant out of St. Louis a +mob destroyed the greater part. The remainder he succeeded in +getting to Alton, but a mob met it there and threw it into the +river. The citizens of Alton, ashamed of this act, gave Mr. Lovejoy +money to buy a new press. At first the tone of the paper was +moderate, but gradually it grew more emphatic in its utterances +against slavery. The pro-slavery element of the town protested, +indignation meetings were held, and in August, 1837, his press was +thrown into the river. Another was immediately bought, which, in +September, followed its predecessor to the bottom of the +Mississippi. When it was known in Alton that Mr. Lovejoy had ordered +a fourth press, and had resolved to fight the opposition to the end, +a public meeting was called, at which many speeches were made on +both sides, and he was urged to leave Alton. This he refused to do, +and his fourth press was landed on November 6, 1837. The next night +a mob attacked the warehouse where it was placed, and in the riot +one of the assailants, Lyman Bishop, and Elijah Lovejoy himself were +killed.</p> +</div> + +<p>The members came to Vandalia full of hope and exultation. In +their judgment it needed only a few months of legislation to put +their State by the side of New York; and from the opening of the +session they were overflowing with excitement and schemes. In the +general ebullition of spirits which characterized the Assembly, +Lincoln had little share. Only a week after the opening of the +session he wrote to a friend, Mary Owens, at New Salem, that he had +been ill, though he believed himself to be about well then; and he +added: "But that, with other things I cannot account for, have +conspired, and have gotten my spirits so low that I feel I would +rather be any place in the world than here. I really cannot endure +the thought of staying here ten weeks."</p> + +<p>Though depressed, he was far from being inactive. The Sangamon +delegation, in fact, had their hands full, and to no one of the nine +had more been entrusted than to Lincoln. In common with almost every +delegation, they had been instructed by their constituents to adopt +a scheme of internal improvements complete enough to give every +budding town in Illinois easy communication with the world. This for +the State in general; for Sangamon County in particular, they had +been directed to secure the capital. The change in the State's +centre of population made it advisable to move the seat of +government northward from Vandalia, and Springfield was anxious to +secure it. To Lincoln was entrusted the work of putting through the +bill to remove the capital. In the same letter quoted from above he +tells Miss Owens, "Our chance to take the seat of government to +Springfield is better than I expected." Regarding the internal +improvements scheme he feels less confident: "Some of the +legislature are for it, and some against; which has the majority, I +cannot tell."</p> <span class="pagenum"><a name="page313" +id="page313"></a>[pg 313]</span> + +<div class="figcenter" style="80%"> +<a href="images/313.jpg" name="fig313" id="fig313"> +<img src="images/313.jpg" alt="LINCOLN IN 1863 OR 1864." /></a> +<h5>LINCOLN IN 1863 OR 1864.</h5> + +<p>From a photograph by Brady, and kindly loaned by Mr. Noah Brooks for this +reproduction.</p> +</div> +<span class="pagenum"><a name="page314" id="page314"></a>[pg 314]</span> + +<div class="figcenter" style="width:80%"> +<a href="images/314.jpg" name="fig314" id="fig314"> +<img src="images/314.jpg" alt="Frontispiece of "Alton Trials."" /></a> +<h5>Frontispiece of "Alton Trials."</h5> +<p>Frontispiece of "Alton Trials," a small volume published in 1838, +containing full notes taken at the time of the trial of the persons +engaged in what is called the "Alton riot." Twelve persons were +indicted "for the crime of riot committed on the night of the 7th of +November, 1837, while engaged in defending a Printing Press from an +attack made on it at that time by an Armed Mob;" eleven others were +indicted "for a riot committed in Alton on the night of the 7th of +November, 1837, in unlawfully and forcibly entering the warehouse of +Godfrey Gilman and Company, and breaking up and destroying a +printing press." In both cases the juries returned a verdict of "not +guilty." (See note on Elijah Lovejoy.)</p> + +</div> + +<p>It was not long, however, before all uncertainty about internal +improvements was over. The people were determined to have them, and +the Assembly responded to their demands by passing an act which +provided, at State expense, for railroads, canals, or river +improvements in almost every county in Illinois. To compensate those +counties to which they could not give anything else, they voted them +a sum of money for roads and bridges. No finer bit of imaginative +work was ever done, in fact, by a legislative body, than the map of +internal improvements made by the Tenth Assembly of Illinois.</p> + +<p>There was no time to estimate exactly the cost of these fine +plans. Nor did they feel any need of estimates; that was a mere +matter of detail. They would vote a fund, and when that was +exhausted they would vote more; and so they appropriated sum after +sum: one hundred thousand dollars to improve the Rock River; one +million eight hundred thousand dollars to build a road from Quincy +to Danville; four million dollars to complete the Illinois and +Michigan Canal; two hundred and fifty thousand for the Western Mail +Route—in all, some twelve million dollars. To carry out the +elaborate scheme, they provided a commission, one of the first +duties of which was to sell the bonds of the State to raise the +money for the enterprise. The majority of the Assembly seem not to +have entertained for a moment an idea that there would be any +difficulty in selling at a premium the bonds of Illinois. "On the +contrary," as General Linder says in his "Reminiscences," "the +enthusiastic friends of the measure maintained that, instead of +there being any difficulty in obtaining a loan of the fifteen or +twenty millions authorized to be borrowed, our bonds would go like +hot cakes, and be sought for by the Rothschilds, and Baring +Brothers, and others of that stamp; and that the premiums which we +would obtain upon them would range from fifty to one hundred per +cent., and that the premium itself would be sufficient to construct +most of the important works, leaving the principal sum to go into +our treasury, and leave the people free from taxation for years to +come."</p> <span class="pagenum"><a name="page315" +id="page315"></a>[pg 315]</span> + +<div class="figleft" style="width:42%"> +<a href="images/315-1.jpg" name="fig315-1" id="fig315-1"> +<img src="images/315-1.jpg" alt="STUART AND LINCOLN'S PROFESSIONAL CARD." /></a> +<h5>STUART AND LINCOLN'S PROFESSIONAL CARD.</h5> + +<p>The professional card of Stuart and Lincoln shows that the +copartnership began April 12, 1837. The card appeared in the next +issue of the "Sangamo Journal," and was continued until Lincoln +became the partner of Judge Logan, in 1841.</p> + +</div> + + +<h4>THE REMOVAL OF THE CAPITAL TO SPRINGFIELD.</h4> + +<p>Although Lincoln favored and aided in every way the plan for +internal improvements, his real work was in securing the removal of +the capital to Springfield. The task was by no means an easy one to +direct; for outside of the "Long Nine" there was, of course, nobody +particularly interested in Springfield, and there were delegations +from a dozen other counties hot to secure the capital for their own +constituencies. It took patient and clever manipulation to put the +bill through. Certain votes Lincoln, no doubt, gained for his cause +by force of his personal qualities. Thus Jesse K. Dubois says that +he and his colleagues voted for the bill because they liked Lincoln, +and wanted to oblige him. But probably the majority were won by +skilful log-rolling. Not that Lincoln ever sanctioned "trading" to +the sacrifice of his own convictions. General T.H. Henderson, of +Illinois, says in some interesting reminiscences of Lincoln, +prepared for this Life and hitherto unpublished: "Before I had ever +seen Abraham Lincoln I heard my father, who served with him in the +legislature of 1838-39 and of 1840-41, relate an incident in Mr. +Lincoln's life which illustrates his character for integrity and his +firmness in maintaining what he regarded as right in his public +acts, in a marked manner.</p> + +<p>"I do not remember whether this incident occurred during the +session of the legislature in 1836-37 or 1838-39. But I think it was +in that of 1836-37, when it was said that there was a great deal of +log-rolling going on among the members. But, however that may be, +according to the story related by my father, an effort was made to +unite the friends of capital removal with the friends of some +measure which Mr. Lincoln, for some reason, did not approve. What +that measure was to which he objected, I am not now able to recall. +But those who desired the removal of the capital to Springfield were +very anxious to effect the proposed combination, and a meeting was +held to see if it could be accomplished. The meeting continued in +session nearly all night, when it adjourned without accomplishing +anything, Mr. Lincoln refusing to yield his objections and to +support the obnoxious measure.</p> + +<div class="figright" style="width:30%;"> +<a href="images/315-2.jpg" name="fig315-2" id="fig315-2"> +<img src="images/315-2.jpg" alt="OFFICE CHAIR FROM STUART AND LINCOLN'S LAW OFFICE." /></a> +<h5>OFFICE CHAIR FROM STUART AND LINCOLN'S LAW OFFICE.</h5> + +<p>The chair is now in the Oldroyd Collection in Washington, D.C.</p> +</div> + +<p>"Another meeting was called, and at this second meeting a number +of citizens, not members of the legislature, from the central and +northern parts of the State, among them my father, were present by +invitation. The meeting was long protracted, and earnest in its +deliberations. Every argument that could be thought of was used to +induce Mr. Lincoln to yield his objections and unite with his +friends, and thus secure the removal of the capital to his own city; +but without effect. Finally, after midnight, when everybody seemed +exhausted with the discussion, and when the candles were burning low +in the room, Mr. Lincoln rose amid the silence and solemnity which +prevailed, and, my father said, made one of the most eloquent and +powerful speeches to which he had ever listened. And he concluded +his remarks by saying, 'You may <span class="pagenum"><a +name="page316" id="page316"></a>[pg 316]</span> burn my body to +ashes, and scatter them to the winds of heaven; you may drag my soul +down to the regions of darkness and despair to be tormented forever; +but you will never get me to support a measure which I believe to be +wrong, although by doing so I may accomplish that which I believe to +be right.' And the meeting adjourned."</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/316.jpg" name="fig316" id="fig316"> +<img src="images/316.jpg" alt="STUART AND LINCOLN'S LAW OFFICE." /></a> +<h5>STUART AND LINCOLN'S LAW OFFICE.</h5> + +<p>From a photograph loaned by Jesse W. Weik. The law office of +Stuart and Lincoln was in the second story of the building occupied +at the time the photograph was made by "Tom Dupleaux's Furniture +Store." Hoffman's Row, as this group of buildings was called, was +used as a court-house at that date, 1837. The court-room was in the +lower story of the two central buildings.</p> + +</div> + +<p>If Lincoln did not support measures +which he considered doubtful, he did, now +and then, "tack a provision" on a bill to +please a friend, as the following letter, +hitherto unpublished, shows:<a id="footnotetag3" name="footnotetag3"></a><a href="#footnote3"><sup>3</sup></a></p> + +<blockquote class="note"> +<p class="right"> "SPRINGFIELD, ILLINOIS, <i>August 5, 1837</i>.</p> +<p class="close">"DEAR SIR:</p> + +<p>"Mr. Edwards tells me you wish to know whether the act to which +your town incorporation provision was attached passed into a law. It +did. You can organize under the general incorporation law as soon as +you choose.</p> + +<p>"I also tacked a provision on to a fellow's bill, to authorize +the relocation of the road from Salem down to your town, but I am +not certain whether or not the bill passed. Neither do I suppose I +can ascertain before the law will be published—if it is a law. +Bowling Green, Bennett Abell, and yourself are appointed to make the +change.</p> + +<p>"No news. No excitement, except a little about the election of +Monday next. I suppose, of course, our friend Dr. Henry stands no +chance in your 'diggings.'</p> + +<p>"Your friend and honorable servant,</p> + +<p class="author">"A. LINCOLN."</p> + +<p>"JOHN BENNETT, ESQ. +</p></blockquote> + +<p>As was to be expected, the Democrats charged that the Whigs of +Sangamon had won their victory by "bargain and corruption." These +charges became so serious that, in an extra session called in the +summer of 1837, a few months after the bill passed, Lincoln had a +bitter fight over them with General L.D. Ewing, who wanted to keep +Vandalia as the capital. "The arrogance of Springfield," said +General Ewing, "its presumption in claiming the seat of government, +is not to be endured; the law has been passed by chicanery and +trickery; the Springfield delegation has sold out to the internal +improvement men, and has promised its support to every measure that +would gain a vote to the law removing the seat of government."</p> + +<p>Lincoln answered in a speech of such severity and keenness that +the House believed he was "digging his own grave;" for Ewing was a +high-spirited man who would not hesitate to answer by a challenge. +It was, in fact, only the interference <span class="pagenum"><a +name="page317" id="page317"></a>[pg 317]</span> of their friends +which prevented a duel at this time between Ewing and Lincoln. This +speech, to many of Lincoln's colleagues, was a revelation of his +ability and character. "This was the first time," said General +Linder, "that I began to conceive a very high opinion of the talents +and personal courage of Abraham Lincoln."</p> + +<div class="figleft" style="width:35%;"> +<a href="images/317-1.jpg" name="fig317-1" id="fig317-1"> +<img src="images/317-1t.jpg" alt="A STAGE-COACH ADVERTISEMENT, 1834." /></a> +<h5>A STAGE-COACH ADVERTISEMENT, 1834.</h5> + +<p>This advertisement appeared in the "Sangamo Journal" in April, +1834, and held a place in the paper through the next three years. As +the "Four Horse Coach" ran through Sangamon town and New Salem, it +doubtless had Lincoln as a passenger now and then, but not often, +probably, for the fare from New Salem to Springfield was one dollar +and twenty-five cents, and walking, or riding upon a borrowed horse, +must generally have been preferred by Lincoln to so costly a mode of +travelling.</p> +</div> + +<p>A few months later the "Long Nine" were again attacked, Lincoln +specially being abused. The assailant this time was a prominent +Democrat, Mr. J.B. Thomas. When he had ended, Lincoln replied in a +speech which was long known in local political circles as the +"skinning of Thomas."</p> + + +<h4>LINCOLN'S FIRST REPORTED SPEECH.</h4> + +<p>No one doubted after this that Lincoln could defend himself. He +became doubly respected as an opponent, for his reputation for +good-humored raillery had been established in his campaigns. In a +speech made in January he gave another evidence of his skill in the +use of ridicule. A resolution had been offered by Mr. Linder to +institute an inquiry into the management of the affairs of the State +bank. Lincoln's remarks on the resolution form his first reported +speech. This speech has been unnoticed by his biographers hitherto; +and it appears in none of the editions of his speeches and letters. +It was discovered in the "Sangamo Journal" for January 28, 1837, by +Mr. J. McCan Davis, in the course of a search through the files +instituted by this Magazine.</p> + +<div class="figright" style="width:30%;"> +<a href="images/317-2.jpg" name="fig317-2" id="fig317-2"> +<img src="images/317-2.jpg" alt="MARY L. OWENS." /></a> +<h5>MARY L. OWENS.</h5> + +<p>Born in Kentucky in 1808. Lincoln first met Miss Owens in 1833 at +New Salem, where she made a short visit. In 1836 she came back to +New Salem, and a warm friendship sprang up between them. The +question of marriage was discussed in a disinterested way. Miss +Owens left Illinois in 1838, and in 1841 she married a Mr. Jesse +Vineyard. The letters written to her by Mr. Lincoln she herself gave +to Mr. Herndon for publication.</p> +</div> + +<p>Lincoln began these remarks by good-humored but nettling chaffing +of his opponent.</p> + +<blockquote class="note"> +<p>"Mr. Chairman," he said: "Lest I should fall into the too common +error of being mistaken in regard to which side I design to be upon, +I shall make it my first care to remove all doubt on that point, by +declaring that I am opposed to the resolution under consideration, +<i>in toto</i>. Before I proceed to the body of the subject, I will +further remark, that it is not without a considerable degree of +apprehension that I venture to cross the track of the gentleman from +Coles [Mr. Linder]. Indeed, I do not believe I could muster a +sufficiency of courage to come in contact with that gentleman, were +it not for the fact that he, some days since, most graciously +condescended to assure us that he would never be found wasting +ammunition on <i>small game</i>. On the same fortunate occasion he +further gave us to understand that he regarded <i>himself</i> as being +decidedly the <i>superior</i> of our common friend from Randolph [Mr. +Shields]; and feeling, as I really do, that I, to say the most of +myself, am nothing more than the peer of our friend from Randolph, I +shall regard the gentleman from Coles as decidedly my superior also; +and consequently, in the course of what I shall have to say, +whenever I shall have occasion to allude to that gentleman I shall +endeavor to adopt that kind of court language which I understand to +be due to decided superiority. In one faculty, at least, there can +be no dispute of the gentleman's superiority over me, and most other +men; and that is, the faculty of entangling a subject so that +neither himself, or any other man, can find head or tail to it." +</p> +</blockquote> +<span class="pagenum"><a name="page318" id="page318"></a>[pg 318]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/318.jpg" name="fig318" id="fig318"> +<img src="images/318.jpg" alt="LINCOLN AND HIS SON THOMAS, FAMILIARLY KNOWN AS quot;TAD."" /></a> +<h5>LINCOLN AND HIS SON THOMAS, FAMILIARLY KNOWN AS "TAD.""</h5> + +<p>From a photograph made by Brady early in Mr. Lincoln's first term.</p> +</div> + +<span class="pagenum"><a name="page319" id="page319"></a>[pg 319]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/319.jpg" name="fig319" id="fig319"> +<img src="images/319t.jpg" alt="PAGE FROM STUART AND LINCOLN'S FEE BOOK." /></a> +<h5>PAGE FROM STUART AND LINCOLN'S FEE BOOK.</h5> + +<p>From the original, owned by Jesse W. Weik, by permission.</p> +</div> + +<p>Taking up the resolution on the bank, +he declared its meaning:</p> + +<blockquote class="note"> +<p> "Some gentlemen have their stock in their hands, while others, who +have more money than they know what to do with, want it; and this, +and this alone, is the question, to settle which we are called on to +squander thousands of the people's money. What interest, let me ask, +have the people in the settlement of this question? What difference +is it to them whether the stock is owned by Judge Smith or Sam +Wiggins? If any gentleman be entitled to stock in the bank, which he +is kept out of possession of by others, let him assert his right in +the Supreme Court, and let him or his antagonist, whichever may be +found in the wrong, pay the costs of suit. It is an old maxim, and a +very sound one, that he that dances should always pay the fiddler. +Now, sir, in the present case, if any gentlemen whose money is a +burden to them, choose to lead off a dance, I am decidedly opposed +to the people's money being used to pay the fiddler. No one can +doubt that the examination proposed by this resolution must cost the +State some ten or twelve thousand dollars; and all this to settle a +question in which the people have no interest, and about which they +care nothing. These capitalists generally act harmoniously and in +concert to fleece the people; and now that they have got into a +quarrel with themselves, we are called upon to appropriate the +people's money to settle the quarrel." +</p></blockquote> + +<p>The resolution had declared that the bank practised various +methods which were "to the great injury of the people." Lincoln took +the occasion to announce his ideas of the people and the +politicians.</p> + +<blockquote class="note"><p> +"If the bank really be a grievance, why is it that no one of the +real people is found to ask redress of it? The truth is, no such +oppression exists. If it did, our people would groan with memorials +and petitions, and we would not be permitted to rest day or night +till we had put it down. The people know their rights, and they are +never slow to assert and maintain them when they are invaded. Let +them call for an investigation, and I shall ever stand ready to +respond to the call. But they have made no such call. I make the +assertion boldly, and without fear of contradiction, that no man who +does not hold an office, or does not aspire to one, has ever found +any fault of the bank. It has doubled the prices of the products of +their farms, and filled their pockets with a sound circulating +medium; and they are all well pleased with its operations. No, sir, +it is the politician who is the first to sound the alarm (which, by +the way, is a false one). It is he who, by these unholy means, is +endeavoring to blow up a storm that he may ride upon and direct. It +is he, and he alone, that here proposes to spend thousands of the +people's public treasure, for no other advantage to them than to +make valueless in their pockets the reward of their <span +class="pagenum"><a name="page320" id="page320"></a>[pg 320]</span> +industry. Mr. Chairman, this work is exclusively the work, of +politicians—a set of men who have interests aside from the +interests of the people, and who, to say the most of them, are, +taken as a mass, at least one long step removed from honest men. I +say this with the greater freedom, because, being a politician +myself, none can regard it as personal." + +</p></blockquote> + +<p>The speech was published in full in the "Sangamo Journal" and the +editor commented:</p> + +<blockquote class="note"><p> +"Mr. Lincoln's remarks on Mr. Linder's bank resolution in the paper +are quite to the point. Our friend carries the true Kentucky rifle, +and when he fires he seldom fails of sending the shot home." + +</p></blockquote> + +<div class="figcenter" style="width:80%;"> +<a href="images/320.jpg" name="fig320" id="fig320"> +<img src="images/320.jpg" alt="OLD SECOND PRESBYTERIAN CHURCH, SPRINGFIELD, ILLINOIS." /></a> +<h5>OLD SECOND PRESBYTERIAN CHURCH, SPRINGFIELD, ILLINOIS.</h5> + +<p>During the special session of the legislature convened in the +fall of 1839 (the first one held at Springfield), the House of +Representatives occupied this church, the State House being +unfinished. At the short special session which opened November 23, +1840, the House first went into the Methodist church, but on the +second day Representative John Logan (father of General John A. +Logan) offered a resolution "that the Senate be respectfully +requested to exchange places of convening with this House for a +short time on account of the impossibility of the House discharging +its business in so small a place as the Methodist church." This was +adopted, and the House moved over to the Second Presbyterian church. +At this special session the Whigs were interested in preventing a +<i>sine die</i> adjournment (because they desired to protect the State +bank, which had been authorized in 1838 to suspend specie payment +until after the adjournment of the next session of the General +Assembly), and to this end they sought to break the quorum. All the +Whigs walked out, except Lincoln and Joseph Gillespie, who were left +behind to demand a roll-call when deemed expedient. A few were +brought in by the sergeant-at-arms. Lincoln and Gillespie, +perceiving that there would be a quorum if they remained, started to +leave; and finding the doors locked, Lincoln raised a window, and +both men jumped out—an incident, as Mr. Herndon says, which +Lincoln "always seemed willing to forget." It was in this church, +too, that Lincoln delivered an address before the Washingtonian +Temperance Society, on Washington's birthday, in 1842. The church +was erected in 1839, and stood until torn down, some thirty years +later, to make room for a new edifice.—<i>J. McCan Davis.</i></p> + +</div> + + + +<h4>ABRAHAM LINCOLN'S FIRST PROTEST +AGAINST SLAVERY.</h4> + +<p>One other act of his in this session cannot be ignored. It is a +sinister note in the hopeful chorus of the Tenth Assembly. For +months there had come from the Southern States violent protests +against the growth of abolition agitation in the North. Garrison's +paper, the "infernal Liberator," as it was called in the pro-slavery +part of the country, had been gradually extending its circulation +and its influence; and it already had imitators even on the banks of +the Mississippi. The American Anti-slavery Society was now over +three years old. A deep, unconquerable conviction of the iniquity of +slavery was spreading through the North. The South felt it and +protested, and the statesmen of the North joined them in their +protest. Slavery could not be crushed, said the conservatives. It +was sanctioned by the Constitution. The South must be <span +class="pagenum"><a name="page321" id="page321"></a>[pg 321]</span> +supported in its claims, and agitation stopped. But the agitation +went on, and riots, violence, and hatred pursued the agitators. In +Illinois, in this very year, 1837, we have a printing-office raided +and an anti-slavery editor, Elijah Lovejoy, killed by the citizens +of Alton, who were determined that it should not be said among them +that slavery was an iniquity.</p> + +<p>To silence the storm, mass-meetings of citizens, the United +States Congress, the State legislatures, took up the question and +voted, again and again, resolutions assuring the South that the +Abolitionists were not supported; that the country recognized their +right to their "peculiar institution," and that in no case should +they be interfered with. At Springfield, this same year (1837) the +citizens convened and passed a resolution declaring that "the +efforts of Abolitionists in this community are neither necessary nor +useful." When the riot occurred in Alton, the Springfield papers +uttered no word of condemnation, giving the affair only a laconic +mention.</p> + +<p>The Illinois Assembly joined in the general disapproval, and on +March 3d passed the following resolutions:</p> + +<blockquote class="note"><p> +"Resolved by the General Assembly of the State of Illinois:</p> + +<p>"That we highly disapprove of the formation of Abolition +societies, and of the doctrines promulgated by them.</p> + +<p>"That the right of property in slaves is sacred to the +slave-holding States by the Federal Constitution, and that they +cannot be deprived of that right without their consent.</p> + +<p>"That the General Government cannot abolish slavery in the +District of Columbia against the consent of the citizens of said +District, without a manifest breach of good faith.</p> + +<p>"That the Governor be requested to transmit to the States of +Virginia, Alabama, Mississippi, New York, and Connecticut a copy of +the foregoing report and resolutions." + +</p></blockquote> + +<p>Lincoln refused to vote for these resolutions. In his judgment no +expression on the slavery question should go unaccompanied by the +statement that it was an evil, and he had the boldness to protest +immediately against the action of the House. He found only one man +in the Assembly willing to join him in his action. These two names +are joined to the document they presented:</p> + +<blockquote class="note"><p> +"Resolutions upon the subject of domestic slavery having passed both +branches of the General Assembly at its present session, the +undersigned hereby protest against the passage of the same.</p> + +<p>"They believe that the institution of slavery is founded on both +injustice and bad policy, but that the promulgation of abolition +doctrines tends rather to increase than abate its evils.</p> + +<p>"They believe that the Congress of the United States has no power +under the Constitution to interfere with the institution of slavery +in the different States.</p> + +<p>"They believe that the Congress of the United States has power +under the Constitution to abolish slavery in the District of +Columbia, but that the power ought not to be exercised unless at the +request of the people of the District.</p> + +<p>"The difference between these opinions and those contained in the +above resolutions, is their reason for entering this protest.</p> + +<p class="author">"DAN STONE,</p> +<p class="right" style="margin-top: -1em">"A. LINCOLN,</p> + +<p class="close">"Representatives from the County of Sangamon." + +</p></blockquote> + +<div class="figcenter" style="width:80%;"> +<a href="images/321.jpg" name="fig321" id="fig321"> +<img src="images/321.jpg" alt="" /></a> +<h5>WILLIAM BUTLER.</h5> + +<p>From a photograph owned by his grandson, Hon. William J. Butler, +Springfield, Illinois. William Butler was a native of Kentucky, +being born in Adair County, that State, December 15, 1797. In the +war of 1812, he carried important despatches from the Governor of +Kentucky to General Harrison in the field, travelling on horseback. +He went to Sangamon County, Illinois, in 1828. In 1836 he was +appointed clerk of the Circuit Court by Judge Logan, whom he had +known in Kentucky. In 1859 he was appointed by Governor Bissell +State treasurer of Illinois, to fill a vacancy, and in 1860 was +elected to that office. He was married to Elizabeth Rickard, +December 18, 1863. He died in Springfield, January 11, 1876. Soon +after becoming a resident of Springfield, Lincoln went to William +Butler's house to board. There he was like a member of the family. +He lived with Mr. Butler until his marriage in 1842. The two men +were ever the warmest personal and political friends.</p> + +</div> + + +<h4>SOCIAL LIFE IN VANDALIA IN 1836 AND 1837.</h4> + +<p>The Tenth Assembly was important to Lincoln not only in its +legislation; it greatly increased his circle of acquaintances. The +character of the work of the <span class="pagenum"><a name="page322" +id="page322"></a>[pg 322]</span> session called to Vandalia numbers +of persons of influence from almost every county in the State. They +were invariably there to secure something for their town or county, +and naturally made a point of getting acquainted. Game suppers seem +to have been the means usually employed by visitors for bringing +people together. The lobbyists were not the only ones in Vandalia +who gave suppers, however. Not a bill was passed nor an election +decided that a banquet did not follow. Mr. John Bryant, the brother +of William Cullen, was in Vandalia that winter in the interest of +his county, and he attended one of these banquets, given by the +successful candidate for the United States Senate. Lincoln was +present, of course, and so were all the prominent politicians of the +State.</p> + +<p>"After the company had gotten pretty noisy and mellow from their +imbibitions of Yellow Seal and 'corn juice,'" says Mr. Bryant, "Mr. +Douglas and General Shields, to the consternation of the host and +intense merriment of the guests, climbed up on the table, at one +end, encircled each other's waists, and to the tune of a rollicking +song, pirouetted down the whole length of the table, shouting, +singing, and kicking dishes, glasses, and everything right and left, +helter skelter. For this night of entertainment to his constituents, +the successful candidate was presented with a bill, in the morning, +for supper, wines, liquors, and damages, which amounted to six +hundred dollars."</p> + +<p>But boisterous suppers were not by any means the important +feature of Lincoln's social life that winter in Vandalia. There was +another and quieter side in which he showed his rare +companionableness and endeared himself to many people. In the midst +of the log-rolling and jubilations of the session he would often +slip away to some acquaintance's room and spend hours in talk and +stories. Mr. John Bryant tells of his coming frequently to his room +at the hotel, and sitting "with his knees up to his chin, telling +his inimitable stories and his triumphs in the House in +circumventing the Democrats."</p> + +<p>Major Newton Walker, of Lewiston, was in Vandalia at the time; +and still talks with pleasure not only of the Assembly's energetic +legislation, but of the way Lincoln endeared himself to him and to +his colleague. "We both loved him," says Major Walker, "but I little +thought then that he would become the greatest man that this country +ever produced, or perhaps ever will. Many a night I have sat up +listening to Lincoln's wonderful stories. That was a long time +ago—nearly sixty years. I shall be ninety-two years old in a +few days. I was six years older than Lincoln."</p> + +<div class="figright" style="width:30%;"> +<a href="images/322.jpg" name="fig322" id="fig322"> +<img src="images/322t.jpg" alt="INVITATION TO A SPRINGFIELD COTILLION PARTY OF WHICH" /></a> +<h5>INVITATION TO A SPRINGFIELD COTILLION PARTY OF WHICH LINCOLN +WAS ONE OF THE MANAGERS.</h5> + +<p>The invitation is in the collection of Mr. C.F. Gunther of +Chicago, through whose courtesy it is here reproduced.</p> +</div> + +<p>"I used to play the fiddle a great deal, and have played for +Lincoln a number of times. He used to come over to where I was +boarding and ask me to play the fiddle for him; and I would take it +with me when I went over to visit him, and when he grew weary of +telling stories he would ask me to give him a tune, which I never +refused to do."</p> + +<h4>LINCOLN MOVES TO SPRINGFIELD.</h4> + +<p>As soon as the Assembly closed, Lincoln returned to New Salem; +but it was not to stay. He had determined to go to Springfield. +Major John Stuart, the friend who had advised him to study law and +who <span class="pagenum"><a name="page323" id="page323"></a>[pg +323]</span> had lent him books and with whom he had been associated +closely in politics, had offered to take him as a partner. It was a +good opening, for Stuart was one of the leading lawyers and +politicians of the State, and his influence would place Lincoln at +once in command of more or less business. From every point of view +the change seems to have been wise; yet Lincoln made it with +foreboding.</p> + +<p>To practise law he must abandon his business as surveyor, which +was bringing him a fair income; he must for a time, at least, go +without any certain income. If he failed, what then? The uncertainty +weighed on him heavily, the more so because he was burdened by the +debts left from his store and because he was constantly called upon +to aid his father's family. Thomas Lincoln had remained in Coles +County, but he had not, in these six years in which his son had +risen so rapidly, been able to get anything more than a poor +livelihood from his farm. The sense of responsibility Lincoln had +towards his father's family made it the more difficult for him to +undertake a new profession. His decision was made, however, and as +soon as the session of the Tenth Assembly was over he started for +Springfield. His first appearance there is as pathetic as +amusing.</p> + +<p>"He had ridden into town," says Joshua Speed, "on a borrowed +horse, with no earthly property save a pair of saddle-bags +containing a few clothes. I was a merchant at Springfield, and kept +a large country store, embracing dry-goods, groceries, hardware, +books, medicines, bed-clothes, mattresses—in fact, everything +that the country needed. Lincoln came into the store with his +saddle-bags on his arm. He said he wanted to buy the furniture for a +single bed. The mattress, blankets, sheets, coverlid, and pillow, +according to the figures made by me, would cost seventeen dollars. +He said that perhaps was cheap enough; but small as the price was, +he was unable to pay it. But if I would credit him till Christmas, +and his experiment as a lawyer was a success, he would pay then; +saying in the saddest tone, 'If I fail in this I do not know that I +can ever pay you.' As I looked up at him I thought then, and I think +now, that I never saw a sadder face.</p> + +<p>"I said to him: 'You seem to be so much pained at contracting so +small a debt, I think I can suggest a plan by which you can avoid +the debt, and at the same time attain your end. I have a large room +with a double bed upstairs, which you are very welcome to share with +me.'</p> + +<p>"'Where is your room?' said he.</p> + +<p>"'Upstairs,' said I, pointing to a pair of winding stairs which +led from the store to my room.</p> + +<p>"He took his saddle-bags on his arm, went upstairs, set them on +the floor, and came down with the most changed expression of +countenance. Beaming with pleasure, he exclaimed:</p> + +<p>"'Well, Speed, I am moved.'"</p> + +<p>Another friend, William Butler, with whom Lincoln had become +intimate at Vandalia, took him to board; life at Springfield thus +began under as favorable auspices as he could hope for.</p> + +<p>After Chicago, Springfield was at that day the most promising +city in Illinois. It had some fifteen hundred inhabitants, and the +removal of the capital was certain to bring many more. Already, in +fact, the town felt the effect. Houses and blocks were started; +lawyers, politicians, tradesmen, laborers, were pouring in. Hitherto +most of the dwellings had been of log or frame; now, however, there +was an increase in brick buildings.</p> + +<p>The effect was apparent too, in society. "We used to eat all +together," said an old man who in the early thirties came to +Springfield as a hostler; "but about this time some one came along +and told the people they oughtn't to do so, and then the hired folks +ate in the kitchen." This differentiation was apparent to Lincoln +and a little discouraging. He was thinking vaguely, at the time of +this removal to Springfield, that perhaps he best marry a Miss Mary +Owens, with whom he had become intimately acquainted in 1836 in New +Salem; but Springfield society, and the impossibility of his +supporting a wife in it, discouraged him.</p> + +<blockquote class="note"> +<p>"I am often thinking of what we said about your +coming to live at Springfield," he wrote her in May.</p> + +<p>"I am afraid you would not be satisfied. There +is a great deal of flourishing about in carriages here, +which it would be your doom to see without sharing +it. You would have to be poor, without the means of +hiding your poverty. Do you believe you could bear +that patiently? Whatever woman may cast her lot +with mine, should any ever do so, it is my intention +to do all in my power to make her happy and contented; +and there is nothing I can imagine that +would make me more unhappy than to fail in the +effort. I know I should be much happier with you +than the way I am, provided I saw no signs of discontent +in you. What you have said to me may have +been in the way of jest, or I may have misunderstood +it. If so, then let it be forgotten; if otherwise, +I much wish you would think seriously before +you decide. What I have said I will most positively +abide by, provided you wish it. My opinion is that +you had better not do it. You have not been accustomed +to hardship, and it may be more severe than +you now imagine. I know you are capable of thinking +correctly on any subject, and if you deliberate +maturely upon this before you decide, then I am willing +to abide your decision." +</p> +</blockquote> +<span class="pagenum"><a name="page324" id="page324"></a>[pg 324]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/324.jpg" name="fig324" id="fig324"> +<img src="images/324t.jpg" alt="MAP OF ILLINOIS" /></a> +<h5>MAP OF ILLINOIS. ILLUSTRATING "<i>An Act to establish and maintain a +General System of Internal Improvements, in force 27th Feb. 1837</i>"</h5> + +<p>When the Illinois legislature adopted the above plan of internal +improvement in 1837, there was in the whole United States only about +eleven hundred miles of railroad. The above scheme provided for +thirteen hundred and fifty. The basis of the outlines used by the +committee in developing the plan was contained in a series of +resolutions offered in the beginning of the session by Stephen A. +Douglas. In the house the vote on the bill stood sixty-one in favor +to twenty-five against.</p> + +</div> + +<span class="pagenum"><a name="page325" id="page325"></a>[pg 325]</span> + +<p>This decidedly dispassionate view of their relation seems not to +have brought any decision from Miss Owens; for three months later +Mr. Lincoln wrote her an equally judicial letter, telling her that +he could not think of her "with entire indifference," that he in all +cases wanted to do right and "most particularly so in all cases with +women," and summing up his position as follows:</p> + +<blockquote class="note"> +<p>"What I do wish is that our further acquaintance shall depend +upon yourself. If such further acquaintance would contribute nothing +to your happiness, I am sure it would not to mine. If you feel +yourself in any degree bound to me, I am now willing to release you, +provided you wish it; while, on the other hand, I am willing and +even anxious to bind you faster, if I can be convinced that it will +in any considerable degree add to your happiness. This, indeed, is +the whole question with me. Nothing would make me more miserable +than to believe you miserable—nothing more happy than to know +you were so." </p> + +</blockquote> + +<p>Miss Owens had enough discernment to recognize the +disinterestedness of this love-making, and she refused Mr. Lincoln's +offer. She found him "deficient in those little links which make up +the chain of a woman's happiness," she said. The affair seems to +have been a rather vigorous flirtation on her part, which had +interested and perhaps flattered Mr. Lincoln. In the sincerity of +his nature he feared he had awakened a genuine attachment, and his +notions of honor compelled him to find out. When finally refused, he +wrote a description of the affair to a friend, in which he ridiculed +himself unmercifully:</p> + +<blockquote class="note"> +<p>"I was mortified, it seemed to me, in a hundred different ways. +My vanity was deeply wounded by the reflection that I had so long +been too stupid to discover her intentions, and at the same time +never doubting that I understood them perfectly; and also that she, +whom I had taught myself to believe nobody else would have, had +actually rejected me with all my fancied greatness. And, to cap the +whole, I then for the first time began to suspect that I was really +a little in love with her. But let it all go! I'll try and outlive +it. Others have been made fools of by the girls, but this can never +with truth be said of me. I most emphatically, in this instance, +made a fool of myself. I have now come to the conclusion never again +to think of marrying; and for this reason—I can never be +satisfied with any one who would be blockhead enough to have me." +</p> +</blockquote> + +<h4>LINCOLN'S POSITION IN SPRINGFIELD.</h4> + +<p>It was not long before Lincoln became a favorite figure in +Springfield. The skill, the courage, and the good-will he had shown +in his management of the bill for the removal of the capital gave +him at once, of course, special prominence. The entire "Long Nine," +indeed, were regarded by the county as its benefactors, and +throughout the summer there were barbecues and fireworks, dinners +and speeches in their honor. "The service rendered Old Sangamon by +the present delegation" was a continually recurring toast at every +gathering. At one "sumptuous dinner" the internal improvement scheme +in all its phases was toasted again and again by the banqueters, +"'The Long Nine' of Old Sangamon—well done, good and faithful +servants," drew forth long applause. Among those who offered +volunteer toasts at this dinner were "A. Lincoln, Esq.," and "S.A. +Douglas, Esq."</p> + +<p>At a dinner at Athens, given to the delegation, eight formal +toasts and twenty-five volunteers are quoted in the report of the +affair in the "Sangamo Journal." Among them were the following:</p> + +<blockquote class="note"> +<p>A. Lincoln. He has fulfilled the expectations of his friends and +disappointed the hopes of his enemies.</p> + +<p>A. Lincoln. One of nature's noblemen.</p> + +<p>By A. Lincoln. Sangamon County will ever be true to her best +interests, and never more so than in reciprocating the good feelings +of the citizens of Athens and neighborhood. </p> +</blockquote> + +<p>Lincoln had not been long in Springfield before he soon was able +to support himself, a result due, no doubt, very largely to his +personal qualities and to his reputation as a shrewd politician. Not +that he made money. The fee-book of Lincoln and Stuart shows that +the returns were modest enough, and that sometimes they even "traded +out" their account. Nevertheless it was a satisfaction to earn a +livelihood so soon. Of his peculiar methods as a lawyer at this date +we know very little. Most of his cases are utterly uninteresting. +The very first year he was in Springfield, however, he had one case +which created a great sensation, and which, so far as we know, has +been overlooked entirely by his biographers. It is an admirable +example of the way Lincoln could combine business and politics as +well as of his merciless persistency in pursuing a man whom he +believed unjust.</p> + +<p>It seems that among the offices to be filled at the August +election of 1837 was that of probate justice of the peace. One of +the candidates was General James Adams, a man who had come on from +the East in the early twenties, and who had at first claimed to be a +lawyer. He had been an aspirant for various offices, among them that +of governor of the State, but with little <span class="pagenum"><a +name="page326" id="page326"></a>[pg 326]</span> success. A few days +before the August election of 1837 an anonymous hand-bill was +scattered about the streets. It was an attack on General Adams, +charging him with having acquired the title to a ten-acre lot of +ground near the town by the deliberate forgery of the name of Joseph +Anderson, of Fulton County, Illinois, to an assignment of a +judgment. Anderson had died, and the widow, upon going to +Springfield to dispose of the land, was surprised to find that it +was claimed by General Adams, and she employed Stuart and Lincoln to +look into the matter. The hand-bill, which went into all of the +details at great length, concluded as follows: "I have only made +these statements because I am known by many to be one of the +individuals against whom the charge of forging the assignment and +slipping it into the general's papers has been made; and because our +silence might be construed into a confession of the truth. I shall +not subscribe my name; but hereby authorize the editor of the +'Journal' to give it up to any one who may call for it.".</p> + +<p>After the election, at which General Adams had been elected, the +hand-bill was reproduced in the "Sangamo Journal," with a card +signed by the editor, in which he said: "To save any further remarks +on this subject, I now state that A. Lincoln, Esq., is the author of +the hand-bill in question." The same issue of the paper contained a +lengthy communication from General Adams, denying the charge of +fraud.</p> + +<p>The controversy was continued for several weeks. General Adams +used, mostly, the columns of the "Springfield Republican," filling +six columns of a single issue. He charged that the assault upon him +was the result of a conspiracy between "a knot of lawyers, doctors, +and others," who wished to ruin his reputation. Lincoln's answers to +Adams are most emphatic. In one case, quoting several of his +assertions, he pronounced them "all as false as hell, as all this +community must know." Adams's replies were always voluminous. "Such +is the turn which things have lately taken," wrote Lincoln, "that +when General Adams writes a book I am expected to write a commentary +on it." Replying to Adams's denunciation of the lawyers, he said: +"He attempted to impose himself upon the community as a lawyer, and +he actually carried the attempt so far as to induce a man who was +under the charge of murder to entrust the defence of his life to his +hands, and finally took his money and got him hanged. Is this the +man that is to raise a breeze in his favor by abusing lawyers? ... +If he is not a lawyer, he <i>is</i> a liar; for he proclaimed himself a +lawyer, and got a man hanged by depending on him." Lincoln +concluded: "Farewell, General. I will see you again at court, if not +before—when and where we will settle the question whether you +or the widow shall have the land." The widow did get the land, but +this was not the worst thing that happened to Adams. The climax was +reached when the "Sangamo Journal" published a long editorial +(written by Lincoln, no doubt) on the controversy, and followed it +with a copy of an indictment found against Adams in Oswego County, +New York, in 1818. The offence charged in this indictment was the +forgery of a deed by Adams—"a person of evil name and fame and +of a wicked disposition."</p> + +<p>Lincoln's victory in this controversy undoubtedly did much to +impress the community, not necessarily that he was a good lawyer, +but rather that he was a clever strategist and a fearless enemy. It +was not, in fact, as a lawyer that he was prominent in the first +years after he came to Springfield. Reëlected to the Assembly in +1838, and again in 1840, his real impress on the community was made +as a politician. The qualities which he had already shown in public +life were only strengthened as he gained experience and +self-confidence. He was the terror of the pretentious and insincere, +and had a way of exposing their shams by clever tricks which, to +voters, were unanswerable arguments. A case in point happened in +1840. It was considered necessary, at that day, by a candidate to +prove to the farmers that he was poor and, like themselves, +horny-handed. Those politicians who wore good clothes and dined +sumptuously were careful to conceal their regard for the elegancies +of life from their constituents. One of the Democrats who in this +campaign took particular pains to decry the Whigs for their wealth +and aristocratic principles was Colonel Dick Taylor, generally known +in Illinois as "ruffled-shirt Taylor." He was a vain and handsome +man, who habitually arrayed himself as gorgeously as the fashion +allowed. One day when he and Lincoln had met in debate at a +countryside gathering, Colonel Dick became particularly bitter in +his condemnation of Whig elegance. Lincoln listened for a time, and +then, slipping near the speaker, suddenly caught his coat, which was +buttoned up close, and tore it open. A mass of ruffled shirt, a +gorgeous velvet vest, and a great gold chain from which dangled +numerous rings and seals, were uncovered to the crowd. Lincoln +needed <span class="pagenum"><a name="page327" id="page327"></a>[pg +327]</span> to make no further reply that day to the charge of being +a "rag baron."</p> + +<p>Lincoln loved fair play as he hated shams; and throughout these +early years in Springfield are examples of his boldness in insisting +that friend and enemy have the chance due them. A most dramatic case +of this kind occurred at a political meeting held one evening in the +Springfield court-room, which at that date was temporarily in a hall +under Stuart and Lincoln's law office. Directly over the platform +was a trap-door. Lincoln frequently would lie by this opening during +a meeting, listening to the speeches. One evening one of his +friends, E.D. Baker, in speaking angered the crowd, and an attempt +was made to "pull him down." Before the assailants could reach the +platform, however, a pair of long legs dangled from the trap-door, +and in an instant Lincoln dropped down beside Baker, crying out, +"Hold on, gentlemen, this is a land of free speech." His appearance +was so unexpected, and his attitude so determined, that the crowd +soon was quiet, and Baker went on with his speech.</p> + +<p>In all the intellectual life of the town he took a place. With a +few of the leading young men he formed a young men's lyceum. One of +his speeches before this body has been preserved in full. Its +subject is "The Perpetuation of our Political Institutions."<a +id="footnotetag4" name="footnotetag4"></a><a +href="#footnote4"><sup>4</sup></a> The speech has not, however, any +of the peculiarly original style which usually characterized his +efforts.</p> + +<p>He came immediately to be a favorite figure in all sorts of local +affairs. What he said and did on these occasions is still +recollected by those interested in them. "When the seat of +government was removed from Vandalia to Springfield in 1836," says +the Rev. Peter Wallace of Chicago "I obtained the contract of taking +down the court-house to make a place for the State House. Lincoln, +with others, was present to receive the job. 'Peter,' he said to me, +'if you succeed as well in building houses as you have in tearing +this one down, you will make your mark as a builder.'" Mr. Wallace +tells, too, of hearing Lincoln say in a speech, at the funeral of +one of their friends: "I read in a book whose author never errs, +'Woe unto you when all men shall speak well of you.' Our friend will +escape that woe, for he would be the exception had he no +enemies."</p> + +<p>The most pleasing feature of his early life in the town was the +way in which he attached all classes of people to him. He naturally, +from his political importance and from his relation to Mr. Stuart, +was admitted to the most exclusive circle of society. But Lincoln +was not received there from tolerance of his position only. The few +members left of that interesting circle of Springfield in the +thirties are emphatic in their statements that he was recognized as +a valuable social factor. If indifferent to forms and little +accustomed to conventional usages, he had a native dignity and +self-respect which stamped him at once as a superior man. He had a +good will, an easy adaptability to people, which made him take a +hand in everything that went on. His name appears in every list of +banqueters and merry-makers reported in the Springfield papers. He +even served as committee-man for cotillion parties. "We liked +Lincoln, though he was not gay," said one charming and cultivated +old lady to me in Springfield. "He rarely danced, he was never very +attentive to ladies, but he was always a welcome guest everywhere, +and the centre of a circle of animated talkers. Indeed, I think the +only thing we girls had against Lincoln was that he always attracted +all the men around him."</p> + +<p>Lincoln's kindly interest and perfectly democratic feeling +attached to him many people whom he never met save on the streets. +Indeed his life in the streets of Springfield is a most touching and +delightful study. He concerned himself in the progress of every +building which was put up, of every new street which was opened; he +passed nobody without recognition; he seemed always to have time to +stop and talk. He became, in fact, part of Springfield street life, +just as he had of the town's politics and society. By 1840 there was +no man in the town better known, better liked, more sought for; +though there were more than one whose future was considered +brighter.</p> + +<hr class="short" /> + +<blockquote class="footnote"><a id="footnote1" name="footnote1"></a><b>Footnote 1:</b><a href="#footnotetag1"> (return) </a> +<p>Reminiscences of Mr. Weir, a former resident of Sangamon County, +related by E.B. Howell of Butte, Montana.</p> +</blockquote> + +<blockquote class="footnote"><a id="footnote2" name="footnote2"></a><b>Footnote 2:</b><a href="#footnotetag2"> (return) </a> +<p>Summary condensed from Moses's "History of Illinois."</p> +</blockquote> + +<blockquote class="footnote"><a id="footnote3" name="footnote3"></a><b>Footnote 3:</b><a href="#footnotetag3"> (return) </a> +<p>The original of this letter is owned by E.R. Oeltjen of +Petersburg, Illinois.</p> +</blockquote> + +<blockquote class="footnote"><a id="footnote4" name="footnote4"></a><b>Footnote 4:</b><a href="#footnotetag4"> (return) </a> +<p>Lincoln's address on "The Perpetuation of Our Political +Institutions" is dated January 27, 1837, in most biographies, but it +was published in the "Sangamo Journal" of February 3, 1838. The +address is preceded by the following resolution:</p> +<blockquote class="note"> +<p class="right"> "YOUNG MEN'S LYCEUM,</p> + +<p class="right" style="margin-top: -1em">SPRINGFIELD, <i>January 27, 1837[8]</i>.</p> + +<p>"<i>Resolved</i>, That the thanks of this Lyceum be presented +to A. Lincoln, Esq., for the lecture delivered by him this +evening, and that he be solicited to furnish a copy for publication.</p> + +<p class="author">"JAS. H. MATHENY, <i>Secretary</i>"</p> +</blockquote> + +<p>The confusion as to the date of the delivery of this address +evidently arises from the fact that the resolution here quoted bears +the date of "1837"—a mere slip of the pen, of course. In +January, 1837, Lincoln was in the legislature at Vandalia. He had +not yet become a resident of Springfield. According to Mr. Herndon, +who was a member of the Young Men's Lyceum, that society was not +formed until the fall of 1837.</p> + +</blockquote> + + +<hr class="full" /> + +<span class="pagenum"><a name="page328" id="page328"></a>[pg 328]</span> + + + + +<div class="figcenter" style="width:80%;"> +<a href="images/328.jpg" name="fig328" id="fig328"> +<img src="images/328.jpg" alt="THE WAVE 'WENT OUT IN THREE SURGES, MAKING A CLEAN SWEEP OF A BOAT.'" /></a> +<h5>THE WAVE "WENT OUT IN THREE SURGES, MAKING A CLEAN SWEEP OF A BOAT."</h5> +</div> + + + + +<h2>THE SHIP THAT FOUND HERSELF.</h2> + +<h4>By Rudyard Kipling,</h4> + +<h5>Author of "The Jungle Book," "Plain Tales from the Hills," etc.</h5> + +<div class="figletter"><a href="images/LetterI.jpg" name="fig328-2" id="fig328-2"><img src="images/LetterI.jpg" alt="Letter I" /></a></div> + +<p class="hang">T was her first voyage, and though she was only a little cargo +steamer of two thousand five hundred tons, she was the very best of +her kind, the outcome of forty years of experiments and improvements +in framework and machinery; and her designers and owners thought +just as much of her as though she had been the "Lucania." Any one +can make a floating hotel that will pay her expenses, if he only +puts enough money into the saloon, and charges for private baths, +suites of rooms, and such like; but in these days of competition and +low freights every square inch of a cargo boat must be built for +cheapness, great hold capacity, and a certain steady speed. This +boat was perhaps two hundred and forty feet long and thirty-two feet +wide, with arrangements that enabled her to carry cattle on her main +and sheep on her upper deck if she wanted to; but her great glory +was the amount of cargo that she could store away in her holds. Her +owners—they were a very well-known Scotch family—came +round with her from the North, where she had been launched and +christened and fitted, to Liverpool, where she was to take cargo for +New York; and the owner's daughter, Miss Frazier, went to and fro on +the clean decks, admiring the new paint and the brass-work and the +patent winches, and particularly the strong, straight bow, over +which she had cracked a bottle of very good champagne when she +christened the steamer the "Dimbula." It was a beautiful September +afternoon, and the boat in all her newness (she was painted lead +color, with a red funnel) looked very fine indeed. Her house flag +was flying, and her whistle from time to time acknowledged <span +class="pagenum"><a name="page329" id="page329"></a>[pg 329]</span> +the salutes of friendly boats, who saw that she was new to the sea +and wished to make her welcome.</p> + +<p>"And now," said Miss Frazier, delightedly, to the captain, "she's +a real ship, isn't she? It seems only the other day father gave the +order for her, and now—and now—isn't she a beauty?" The +girl was proud of the firm, and talked as though she were the +controlling partner.</p> + +<p>"Oh, she's no so bad," the skipper replied, cautiously. "But I'm +sayin' that it takes more than the christenin' to mak' a ship. In +the nature o' things, Miss Frazier, if ye follow me, she's just +irons and rivets and plates put into the form of a ship. She has to +find herself yet."</p> + +<p>"But I thought father said she was exceptionally well found."</p> + +<p>"So she is," said the skipper, with a laugh. "But it's this way +wi' ships, Miss Frazier. She's all here, but the parts of her have +not learned to work together yet. They've had no chance."</p> + +<p>"But the engines are working beautifully. I can hear them."</p> + +<p>"Yes, indeed. But there is more than engines to a ship. Every +inch of her, ye'll understand, has to be livened up, and made to +work wi' its neighbor—sweetenin' her, we call it, +technically."</p> + +<p>"And how will you do it?" the girl asked.</p> + +<p>"We can no more than drive and steer her and so forth; but if we +have rough weather this trip—it's likely—she'll learn +the rest by heart! For a ship, ye'll obsairve, Miss Frazier, is in +no sense a reegid body, closed at both ends. She's a highly complex +structure o' various an' conflictin' strains, wi' tissues that must +give an' tak' accordin' to her personal modulus of eelasteecity." +Mr. Buchanan, the chief engineer, in his blue coat with gilt +buttons, was coming toward them. "I'm sayin' to Miss Frazier, here, +that our little 'Dimbula' has to be sweetened yet, and nothin' but a +gale will do it. How's all wi' your engines, Buck?"</p> + +<p>"Well enough—true by plumb an' rule, of course; but there's +no spontaneeity yet." He turned to the girl. "Take my word, Miss +Frazier, and maybe ye'll comprehend later, even after a pretty +girl's christened a ship it does not follow that there's such a +thing as a ship under the men that work her."</p> + +<p>"I was sayin' the very same, Mr. Buchanan," the skipper +interrupted.</p> + +<p>"That's more metaphysical than I can follow," said Miss Frazier, +laughing.</p> + +<p>"Why so? Ye're good Scotch, an'—I knew your mother's +father; he was fra' Dumfries—ye've a vested right in +metapheesics, Miss Frazier, just as ye have in the 'Dimbula,'" the +engineer said.</p> + +<p>"Eh, well, we must go down to the deep watters, an' earn Miss +Frazier her deevidends. Will you not come to my cabin for tea?" said +the skipper. "We'll be in dock the night, and when you're goin' back +to Glasgie ye can think of us loadin' her down an' drivin' her +forth—all for your sake."</p> + +<p>In the next four days they stowed nearly four thousand tons dead +weight into the "Dimbula," and took her out from Liverpool. As soon +as she met the lift of the open water she naturally began to talk. +If you put your ear to the side of the cabin the next time you are +in a steamer, you will hear hundreds of little voices in every +direction, thrilling and buzzing, and whispering and popping, and +gurgling and sobbing and squeaking exactly like a telephone in a +thunder storm. Wooden ships shriek and growl and grunt, but iron +vessels throb and quiver through all their hundreds of ribs and +thousands of rivets. The "Dimbula" was very strongly built, and +every piece of her had a letter or a number or both to describe it, +and every piece had been hammered or forged or rolled or punched by +man and had lived in the roar and rattle of the shipyard for months. +Therefore, every piece had its own separate voice in exact +proportion to the amount of trouble spent upon it. Cast iron, as a +rule, says very little; but mild steel plates and wrought iron, and +ribs and beams that have been bent and welded and riveted a good +deal, talk continuously. Their conversation, of course, is not half +as wise as human talk, because they are all, though they do not know +it, bound down one to the other in black darkness, where they cannot +tell what is happening near them, nor what is going to happen +next.</p> + +<p>A very short while after she had cleared the Irish coast a +sullen, gray-headed old wave of the Atlantic climbed leisurely over +her straight bows, and sat down on the steam capstan, used for +hauling up the anchor. Now, the capstan and the engine that drove it +had been newly painted red and green; besides which, nobody cares +for being ducked.</p> + +<p>"Don't you do that again," the capstan sputtered through the +teeth of his cogs. "Hi! Where's the fellow gone?"</p> + +<p>The wave had slouched overside with a plop and a chuckle; but +"Plenty more where he came from," said a brother wave, and went +through and over the capstan, who was <span class="pagenum"><a +name="page330" id="page330"></a>[pg 330]</span> bolted firmly to an +iron plate on the iron deck beams below.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/330.jpg" name="fig330" id="fig330"> +<img src="images/330.jpg" alt="THE 'DIMBULA' TAKING CARGO FOR HER FIRST VOYAGE." /></a> +<h5>THE "DIMBULA" TAKING CARGO FOR HER FIRST VOYAGE.</h5> +</div> + +<p>"Can't you keep still up there," said the deck beams. "What's the +matter with you? One minute you weigh twice as much as you ought to, +and the next you don't."</p> + +<p>"It isn't my fault," said the capstan. "There's a green brute +from outside that comes and hits me on the head."</p> + +<p>"Tell that to the shipwrights. You've been in position up there +for months, and you've never wriggled like this before. If you +aren't careful you'll strain <i>us</i>."</p> + +<p>"Talking of strain," said a low, rasping, unpleasant voice, "are +any of you fellows—you deck beams, we mean—aware that +those exceedingly ugly knees of yours happen to be riveted into our +structure—<i>ours</i>?"</p> + +<p>"Who might you be?" the deck beams inquired.</p> + +<p>"Oh, nobody in particular," was the answer. "We're only the port +and starboard upper-deck stringers; and, if you persist in heaving +and hiking like this, we shall be reluctantly compelled to take +steps."</p> + +<p>Now, the stringers of the ship are long iron girders, so to +speak, that run lengthways from stern to bow. They keep the iron +frames (what are called ribs in a wooden ship) in place, and also +help to hold the ends of the deck beams which go from side to side +of the ship. Stringers always consider themselves most important, +because they are so long. In the "Dimbula" there were four stringers +on each side—one far down by the bottom of the hold, called +the bilge stringer; one a little higher up, called the side +stringer; one on the floor of the lower deck; and the upper-deck +stringers that have been heard from already.</p> + +<p>"You will take steps, will you?" This was a long, echoing rumble. +It came from the frames; scores and scores of them, each one about +eighteen inches distant from the next, and each riveted to the +stringers in four places. "We think you will have a certain amount +of trouble in <i>that</i>;" and thousands and thousands of the little +rivets that held everything together whispered: "You will! You will! +Stop quivering and be quiet. Hold on, brethren! Hold on! Hot +punches! What's that?"</p> + +<p>Rivets have no teeth, so they can't chatter with fright; but they +did their best as a fluttering jar swept along the ship from stern +to bow, and she shook like a rat in a terrier's mouth.</p> + +<p>An unusually severe pitch, for the sea was rising, had lifted the +big throbbing screw <span class="pagenum"><a name="page331" +id="page331"></a>[pg 331]</span> nearly to the surface, and it was +spinning round in a kind of soda water—half sea and half +air—going much faster than was right, because there was no +deep water for it to work in. As it sank again, the +engines—and they were triple-expansion, three cylinders in a +row—snorted through all their three pistons: "Was that a joke, +you fellow outside? It's an uncommonly poor one. How are we to do +<i>our</i> work if you fly off the handle that way?"</p> + +<p>"I didn't fly off the handle," said the screw, twirling huskily +at the end of the screw shaft. "If I had, <i>you'd</i> have been scrap +iron by this time. The sea dropped away from under me, and I had +nothing to catch on to. That's all."</p> + +<p>"That's all, d'you call it?" said the thrust-block, whose +business it is to take the push of the screw; for if a screw had +nothing to hold it back it would crawl right into the engine room. +(It is the holding back of the screwing action that gives the drive +to a ship.) "I know I do my work deep down and out of sight, but I +warn you I expect justice. All <i>I</i> ask is justice. Why can't you +push steadily and evenly, instead of whizzing like a whirligig and +making me hot under all my collars?" The thrust-block had six +collars, each faced with brass, and he did not want to get them +heated.</p> + +<p>All the bearings that supported the fifty feet of screw shaft as +it ran to the stern whispered: "Justice—give us justice."</p> + +<p>"I can only give you what I get," the screw answered. "Look out! +It's coming again!"</p> + +<p>He rose with a roar as the "Dimbula" plunged; and +"whack—whack—whack—whack" went the engines +furiously, for they had little to check them.</p> + +<p>"I'm the noblest outcome of human ingenuity—Mr. Buchanan +says so," squealed the high-pressure cylinder. "This is simply +ridiculous." The piston went up savagely and choked, for half the +steam behind it was mixed with dirty water. "Help! Oiler! Fitter! +Stoker! Help! I'm choking," it gasped. "Never in the history of +maritime invention has such a calamity overtaken one so young and +strong. And if I go, who's to drive the ship?"</p> + +<p>"Hush! oh, hush!" whispered the steam, who, of course, had been +to sea many times before. He used to spend his leisure ashore, in a +cloud, or a gutter, or a flower-pot, or a thunder storm, or anywhere +else where water was needed. "That's only a little priming, as they +call it. It'll happen all night, on and off. I don't say it's nice, +but it's the best we can do under the circumstances."</p> + +<p>"What difference can circumstances make? I'm here to do my +work—on clean, dry steam. Blow circumstances!" the cylinder +roared.</p> + +<p>"The circumstances will attend to the blowing. I've worked on the +North Atlantic run a good many times—it's going to be rough +before morning."</p> + +<p>"It isn't distressingly calm now," said the extra strong frames, +they were called web frames, in the engine room. "There's an upward +thrust that we don't understand, and there's a twist that is very +bad for our brackets and diamond plates, and there's a sort of +northwestward pull that follows the twist, which seriously annoys +us. We mention this because <i>we</i> happened to cost a great deal of +money, and we feel sure that the owner would not approve of our +being treated in this frivolous way."</p> + +<p>"I'm afraid the matter's out of the owner's hands for the +present," said the steam, slipping into the condenser. "You're left +to your own devices till the weather betters."</p> + +<p>"I wouldn't mind the weather," said a flat bass voice deep below; +"it's this confounded cargo that's breaking my heart. I'm the +garboard strake, and I'm twice as thick as most of the others, and I +ought to know something."</p> + +<p>The garboard strake is the very bottom-most plate in the bottom +of a ship, and the "Dimbula's" garboard strake (she was a +flat-bottomed boat) was nearly three-quarters of an inch mild +steel.</p> + +<p>"The sea pushes me up in a way I should never have expected," the +strake went on, "and the cargo pushes me down, and between the two I +don't know what I'm supposed to do."</p> + +<p>"When in doubt, hold on," rumbled the steam, making head in the +boilers.</p> + +<p>"Yes, but there's only dark and cold and hurry down here, and how +do I know whether the other plates are doing their duty? Those +bulwark plates up above, I've heard, aren't more than +five-sixteenths of an inch thick—scandalous, I call it."</p> + +<p>"I agree with you," said a huge web frame by the main cargo +hatch. He was deeper and thicker than all the others, and curved +half-way across the ship's side in the shape of half an arch, to +support the deck where deck beams would have been in the way of +cargo coming up and down. "I work entirely unsupported, and I +observe that I am the sole strength of this vessel, so far as my +vision extends. The responsibility, I assure you, is enormous. I +believe <span class="pagenum"><a name="page332" id="page332"></a>[pg +332]</span> the money value of the cargo is over one hundred and +fifty thousand pounds. Think of that!"</p> + +<p>"And every pound of it dependent on my personal exertions." Here +spoke a sea-valve that communicated directly with the water outside +and was seated not very far from the garboard strake. "I rejoice to +think that I am a Prince-Hyde valve, with best Para rubber facings. +Five patents cover me—I mention this without pride—five +separate and several patents, each one finer than the other. At +present I am screwed fast. Should I open, you would immediately be +swamped. This is incontrovertible!"</p> + +<p>Patent things always use the longest words they can. It is a +trick they pick up from their inventors.</p> + +<p>"That's news," said a big centrifugal bilge pump. "I had an idea +that you were employed to clean decks and things with. At least, +I've used you for that more than once. I forget the precise number +in thousands of gallons which I am guaranteed to pump in an hour; +but I assure you, my complaining friends, that there is not the +least danger. <i>I</i> alone am capable of clearing any water that may +find its way here. By my biggest delivery, we pitched then!"</p> + +<p>The sea was getting up in workmanlike style. It was a dead +westerly gale, blown from under a ragged opening of green sky, +narrowed on all sides by fat gray clouds; and the wind bit like +pincers, as it fretted the spray into lace-work on the heads of the +waves.</p> + +<p>"I tell you what it is," the foremast telephoned down its wire +stays. "I'm up here, and I can take a dispassionate view of things. +There's an organized conspiracy against us. I'm sure of it, because +every single one of these waves is heading directly for our bows. +The whole sea is concerned in it—and so's the wind. It's +awful!"</p> + +<p>"What's awful?" said a wave, drowning the capstan for the +hundredth time.</p> + +<p>"This organized conspiracy on your part," the capstan gurgled, +taking his cue from the mast.</p> + +<p>"Organized bubbles and spindrift! There has been a depression in +the Gulf of Mexico. Excuse me!" He leaped overside; but his friends +took up the tale one after another.</p> + +<p>"Which has advanced—" <i>That</i> wave threw green over the +funnel.</p> + +<p>"As far as Cape Hatteras—" <i>He</i> drenched the bridge.</p> + +<p>"And is now going out to sea—to sea—to sea!" <i>He</i> +went out in three surges, making a clean sweep of a boat, which +turned bottom up and sank in the darkening troughs alongside.</p> + +<p>"That's all there is to it," seethed the broken water, roaring +through the scuppers. "There's no animus in our proceedings. We're a +meteorological corollary."</p> + +<p>"Is it going to get any worse?" said the bow anchor, chained down +to the deck, where he could only breathe once in five minutes.</p> + +<p>"Not knowing, can't say. Wind may blow a bit by midnight. Thanks +awfully. Good-by."</p> + +<p>The wave that spoke so politely had travelled some distance aft, +and got itself all mixed up on the deck amidships, which was a well +deck sunk between high bulwarks. One of the bulwark plates, which +was hung on hinges to open outward, had swung out, and passed the +bulk of the water back to the sea again with a wop.</p> + +<p>"Evidently that's what I'm made for," said the plate, shutting up +again with a sputter of pride. "Oh, no, you don't, my friend!"</p> + +<p>The top of a wave was trying to get in from outside, but the +plate did not open in that direction, and the defeated water spurted +back.</p> + +<p>"Not bad for five-sixteenths of an inch," said the bulwark plate. +"My work, I see, is laid down for the night;" and it began opening +and shutting, as it was designed to do, with the motion of the +ship.</p> + +<p>"We are not what you might call idle," groaned all the frames +together, as the "Dimbula" climbed a big wave, lay on her side at +the top, and shot into the next hollow, twisting as she descended. A +huge swell pushed up exactly under her middle, and her bow and stern +hung free, with nothing to support them, and then one joking wave +caught her up at the bow, and another at the stern, while the rest +of the water fell away from under her, just to see how she would +like it, and she was held up at the two ends, and the weight of the +cargo and the machinery fell on the groaning iron keels and bilge +stringers.</p> + +<p>"Ease off! Ease off there!" roared the garboard strake. "I want +an eighth of an inch play. D'you hear me, you young rivets!"</p> + +<p>"Ease off! ease off!" cried the bilge stringers. "Don't hold us +so tight to the frames!"</p> + +<p>"Ease off!" grunted the deck beams, as the "Dimbula" rolled +fearfully. "You've cramped our knees into the stringers and we can't +move. Ease off, you flat-headed little nuisances."</p> + +<span class="pagenum"><a name="page333" id="page333"></a>[pg 333]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/333.jpg" name="fig333" id="fig333"> +<img src="images/333.jpg" alt="'AN UNUSUALLY SEVERE PITCH ... HAD LIFTED THE BIG THROBBING SCREW NEARLY TO THE SURFACE.'" /></a> +<h5>"AN UNUSUALLY SEVERE PITCH ... HAD LIFTED THE BIG THROBBING SCREW NEARLY TO THE SURFACE." </h5> +</div> + +<span class="pagenum"><a name="page334" id="page334"></a>[pg 334]</span> + +<p>Then two converging seas hit the bows, +one on each side, and fell away in torrents +of streaming thunder.</p> + +<p>"Ease off!" shouted the forward collision bulkhead. "I want to +crumple up, but I'm stiffened in every direction. Ease off, you +dirty little forge filings. Let me breathe!"</p> + +<p>All the hundreds of plates that are riveted on to the frames, and +make the outside skin of every steamer, echoed the call, for each +plate wanted to shift and creep a little, and each plate, according +to its position, complained against the rivets.</p> + +<p>"We can't help it! <i>We</i> can't help it!" they murmured. "We're put +here to hold you, and we're going to do it. You never pull us twice +in the same direction. If you'd say what you were going to do next, +we'd try to meet your views."</p> + +<p>"As far as I could feel," said the upper-deck planking, and that +was four inches thick, "every single iron near me was pushing or +pulling in opposite directions. Now, what's the sense of that? My +friends, let us all pull together."</p> + +<p>"Pull any way you please." roared the funnel, "so long as you +don't try your experiments on <i>me</i>. I need fourteen wire ropes, all +pulling in opposite directions, to hold me steady. Isn't that +so?"</p> + +<p>"We believe you, my boy!" whistled the funnel stays through their +clenched teeth, as they twanged in the wind from the top of the +funnel to the deck.</p> + +<p>"Nonsense! We must all pull together," the decks repeated. "Pull +lengthways."</p> + +<p>"Very good," said the stringers; "then stop pushing sideways when +you get wet. Be content to run gracefully fore and aft, and curve in +at the ends as we do."</p> + +<p>"No, no curves at the end. A very slight workmanlike curve from +side to side, with a good grip at each knee, and little pieces +welded on," said the deck beams.</p> + +<p>"Fiddle!" said the iron pillars of the deep, dark hold. "Who ever +heard of curves? Stand up straight; be a perfectly round column, and +carry tons of good solid weight. Like that! There!" A big sea +smashed on to the deck above, and the pillars stiffened themselves +to the load.</p> + +<p>"Straight up and down is not bad," said the frames who run that +way in the sides of the ship, "but you must also expand yourself +sideways. Expansion is the law of life, children. Open out! Open +out!"</p> + +<p>"Come back!" said the deck beam, savagely, as the upward heave of +the sea made the frames try to open. "Come back to your bearings, +you slack-jawed irons!"</p> + +<p>"Rigidity! Rigidity! Rigidity!" thumped the engines. "Absolute, +unvarying rigidity—rigidity!"</p> + +<p>"You see!" whined the rivets in chorus. "No two of you will ever +pull alike, and—and you blame it all on us. We only know how +to go through a plate and bite down on both sides so that it can't +and mustn't and sha'n't move."</p> + +<p>"I've got one-sixteenth of an inch play at any rate," said the +garboard strake triumphantly; and so he had, and all the bottom of +the ship felt a good deal easier for it.</p> + +<p>"Then we're no good," sobbed the bottom rivets. "We were +ordered—we were <i>ordered</i>—never to give, and we've +given, and the sea will come in, and we'll all go to the bottom +together! First we're blamed for everything unpleasant, and now we +haven't the consolation of having done our work."</p> + +<p>"Don't say I told you," whispered the steam consolingly; "but, +between you and me and the cloud I last came from, it was bound to +happen sooner or later. You <i>had</i> to give a fraction, and you've +given without knowing it. Now hold on, as before."</p> + +<p>"What's the use?" a few hundred rivets chattered. "We've +given—we've given; and the sooner we confess that we can't +keep the ship together and go off our little heads, the easier it +will be. No rivet forged could stand this strain."</p> + +<p>"No one rivet was ever meant to. Share it among you," the steam +answered.</p> + +<p>"The others can have my share. I'm going to pull out," said a +rivet in one of the forward plates.</p> + +<p>"If you go, others will follow," hissed the steam. "There's +nothing so contagious in a boat as rivets going. Why, I knew a +little chap like you—he was an eighth of an inch fatter, +though—on a steamer—to be sure, she was only twelve +tons, now I come to think of it—in exactly the same place as +you are. <i>He</i> pulled out in a bit of a bobble of a sea, not half as +bad as this, and he started all his friends on the same butt-strap, +and the plate opened like a furnace door, and I had to climb into +the nearest fog bank while the boat went down."</p> + +<p>"Now that's peculiarly disgraceful," said the rivet. "Fatter than +me, was he, and in a steamer not half our tonnage? Reedy little peg! +I blush for the family, sir." He settled himself more firmly than +ever in his place, and the steam chuckled.</p> + +<p>"You see," he went on quite gravely, "a rivet, and especially a +rivet in <i>your</i> position, is really the <i>one</i> indispensable part of +the ship." The steam did not say that he had whispered the very same +thing to every <span class="pagenum"><a name="page335" +id="page335"></a>[pg 335]</span> single piece of iron aboard. There +is no sense in telling too much.</p> + +<p>And all that while the little "Dimbula" pitched and chopped and +swung and slewed, and lay down as though she were going to die, and +got up as though she had been stung, and threw her nose round and +round in circles half a dozen times as she dipped, for the gale was +at its worst. It was inky black, in spite of the tearing white froth +on the waves, and, to top everything, the rain began to fall in +sheets, so that you could not see your hand before your face. This +did not make much difference to the iron-work below, but it troubled +the foremast a good deal.</p> + +<p>"Now it's all finished," he said, dismally. "The conspiracy is +too strong for us. There is nothing left but to—"</p> + +<p>"Hurraar! Brrrraaah! Brrrrrrp!" roared the steam through the +foghorn, till the decks quivered. "Don't be frightened below. It's +only me, just throwing out a few words in case any one happens to be +rolling round to-night,"</p> + +<p>"You don't mean to say there's any one except <i>us</i> on the sea in +such weather?" said the funnel, in a husky snuffle.</p> + +<p>"Scores of 'em," said the steam, clearing its throat. "Rrrrrraaa! +Brraaaaa! Prrrrp! It's a trifle windy up here; and, great boilers, +how it rains!"</p> + +<p>"We're drowning," said the scuppers. They had been doing nothing +else all night, but this steady thresh of rain above them seemed to +be the end of the world.</p> + +<p>"That's all right. We'll be easier in an hour or two. First the +wind and then the rain; soon you may make sail again! Grrraaaaah! +Drrrraaaa! Drrrrrp! I have a notion that the sea is going down +already. If it does you'll learn something about rolling. We've only +pitched till now. By the way, aren't you chaps in the hold a little +easier than you were?"</p> + +<p>There was just as much groaning and straining as ever, but it was +not so loud or squeaky in tone; and when the ship quivered she did +not jar stiffly, like a poker hit on the floor, but gave a supple +little waggle, like a perfectly balanced golf club.</p> + +<p>"We have made a most amazing discovery," said the stringers, one +after another; "a discovery that entirely changes the situation. We +have found, for the first time in the history of shipbuilding, that +the inward pull of the deck beams and the outward thrust of the +frames locks us, as it were, more closely in our places, and enables +us to endure a strain which is entirely without parallel in the +records of marine architecture."</p> + +<p>The steam turned a laugh quickly into a roar up the foghorn. +"What massive intellects you great stringers have!" he said, softly, +when he had finished.</p> + +<p>"We, also," began the deck beams, "are discoverers and geniuses. +We are of opinion that the support of the hold-pillars materially +helps <i>us</i>. We find that we lock upon them when we are subjected to +a heavy and singular weight of sea above."</p> + +<p>Here the "Dimbula" shot down a hollow, lying almost on her side, +and righting at the bottom with a wrench and a spasm.</p> + +<p>"In these cases—are you aware of this, steam?—the +plating at the bows, and particularly at the stern,—we would +also mention the floors beneath us,—helps <i>us</i> to resist any +tendency to spring." It was the frames who were speaking in the +solemn and awed voice which people use when they have just come +across something entirely new for the very first time.</p> + +<p>"I'm only a poor, puffy little flutterer," said the steam, "but I +have to stand a good deal of pressure in my business. It's all +tremendously interesting. Tell us some more. You fellows are <i>so</i> +strong."</p> + +<p>"You'll see," said the bow plates proudly. "Ready behind there! +Here's the father and mother of waves coming! Sit tight, rivets +all!" The great sluicing comber thundered by, but through all the +scuffle and confusion the steam could hear the low, quick cries of +the iron-work as the various strains took them—cries like +these: "Easy now, easy! <i>Now</i> push for all your strength! Hold out! +Give a fraction! Hold up! Pull in! Shove crossways! Mind the strain +at the ends! Grip now! Bite tight! Let the water get away from +under, and there she goes."</p> + +<p>The wave raced off into the darkness shouting, "Not bad that, if +it's your first run!" and the drenched and ducked ship throbbed to +the beat of the engines inside her. All three cylinders were wet and +white with the salt spray that had come down through the engine-room +hatch; there was white salt on the canvas-bound steam pipes, and +even the bright work below was speckled and soiled; but the +cylinders had learned to make the most of steam that was half water, +and were pounding along cheerfully.</p> + +<p>"How's the noblest outcome of human ingenuity hitting it?" said +the steam, as he whirled through the engine room.</p> + +<p>"Nothing for nothing in the world of woe," the cylinders +answered, as if they had <span class="pagenum"><a name="page336" +id="page336"></a>[pg 336]</span> been working for centuries, "and +precious little for seventy-five pounds head. We've made two knots +this last hour and a quarter! Rather humiliating for eight hundred +horse-power, isn't it?"</p> + +<p>"Well, it's better than drifting astern, at any rate. You seem +rather less—how shall I put it?—stiff in the back than +you were."</p> + +<p>"If you'd been hammered as we've been this night, you wouldn't be +stiff—ffreff—ff—either. +Theoreti—retti—retti—cally, of course, rigidity is +<i>the</i> thing. Purr—purr—practically, there has to be a +little give and take. <i>We</i> found that out by working on our sides +for five minutes at a stretch—chch—chh. How's the +weather?"</p> + +<p>"Sea's going down fast," said the steam.</p> + +<p>"Good business," said the high-pressure cylinder. "Whack her up +along, boys. They've given us five pounds more steam;" and he began +humming the first bars of "Said the young Obadiah to the old +Obadiah," which, as you must have noticed, is a pet tune among +engines not made for high speed. Racing liners with twin screws sing +"The Turkish Patrol" and the overture to the "Bronze Horse" and +"Madame Angot," till something goes wrong, and then they give +Gounod's "Funeral March of a Marionette" with variations.</p> + +<p>"You'll learn a song of your own some fine day," said the steam, +as he flew up the foghorn for one last bellow.</p> + +<p>Next day the sky cleared and the sea dropped a little, and the +"Dimbula" began to roll from side to side till every inch of iron in +her was sick and giddy. But, luckily, they did not all feel ill at +the same time; otherwise she would have opened out like a wet paper +box. The steam whistled warnings as he went about his business, for +it is in this short, quick roll and tumble that follows a heavy sea +that most of the accidents happen; because then everything thinks +that the worst is over and goes off guard. So he orated and +chattered till the beams and frames and floors and stringers and +things had learned how to lock down and lock up on one another, and +endure this new kind of strain.</p> + +<p>They had ample time, for they were sixteen days at sea, and it +was foul weather till within a hundred miles of New York. The +"Dimbula" picked up her pilot, and came in covered with salt and red +rust. Her funnel was dirty gray from top to bottom; two boats had +been carried away; three copper ventilators looked like hats after a +fight with the police; the bridge had a dimple in the middle of it; +the house that covered the steam steering-gear was split as with +hatchets; there was a bill for small repairs in the engine room +almost as long as the screw-shaft; the forward cargo hatch fell into +bucket staves when they raised the iron crossbars; and the steam +capstan had been badly wrenched on its bed. Altogether, as the +skipper said, it was "a pretty general average."</p> + +<p>"But she's soupled," he said to Mr. Buchanan. "For all her dead +weight, she rode like a yacht. Ye mind that last blow off the Banks? +I was proud of her."</p> + +<p>"It's vara good," said the chief engineer, looking along the +dishevelled decks. "Now, a man judging superficially would say we +were a wreck, but we know otherwise—by experience."</p> + +<p>Naturally, everything in the "Dimbula" stiffened with pride, and +the foremast and the forward collision bulkhead, who are pushing +creatures, begged the steam to warn the port of New York of their +arrival. "Tell those big boats all about us," they said. "They seem +to take us quite as a matter of course."</p> + +<p>It was a glorious, clear, dead calm morning, and in single file, +with less than half a mile between each, their bands playing, and +their tugboats shouting and waving handkerchiefs beneath, were the +"Majestic," the "Paris," the "Touraine," the "Servia," the "Kaiser +Wilhelm II." and the "Werkendam," all statelily going out to sea. As +the "Dimbula" shifted her helm to give the great boats clear way, +the steam (who knows far too much to mind making an exhibition of +himself now and then) shouted:</p> + +<p>"Oyez! oyez! oyez! Princes, Dukes, and Barons of the High Seas! +Know ye by these presents we are the 'Dimbula,' fifteen days nine +hours out from Liverpool, having crossed the Atlantic with four +thousand ton of cargo for the first time in our career. We have not +foundered! We are here! Eer! eer! We are not disabled. But we have +had a time wholly unparalleled in the annals of shipbuilding. Our +decks were swept. We pitched, we rolled! We thought we were going to +die! Hi! hi! But we didn't! We wish to give notice that we have come +to New York all the way across the Atlantic, through the worst +weather in the world; and we are the 'Dimbula.' We +are—arr—ha—ha—ha-r-r!"</p> + +<p>The beautiful line of boats swept by as steadily as the +procession of the seasons. The "Dimbula" heard the "Majestic" say +"Humph!" and the "Paris" grunted "How!" and the "Touraine" said +"Oui!" with a little coquettish flicker of steam; and the "Servia" +said "Haw!" and the <span class="pagenum"><a name="page337" +id="page337"></a>[pg 337]</span> "Kaiser" and the "Werkendam" said +"Hoch!" Dutch fashion—and that was absolutely all.</p> + +<p>"I did my best," said the steam, gravely, "but I don't think they +were much impressed with us, somehow. Do you?"</p> + +<p>"It's simply disgusting," said the bow-plates. "They might have +seen what we've been through. There isn't a ship on the sea that has +suffered as we have—is there now?"</p> + +<p>"Well, I wouldn't go so far as that," said the steam, "because +I've worked on some of those boats, and put them through weather +quite as bad as we've had in six days; and some of them are a little +over ten thousand tons, I believe. Now, I've seen the 'Majestic,' +for instance, ducked from her bows to her funnel, and I've helped +the 'Arizona,' I think she was, to back off an iceberg she met with +one dark night; and I had to run out of the 'Paris's' engine room +one day because there was thirty foot of water in it. Of course, I +don't deny—" The steam shut off suddenly as a tugboat, loaded +with a political club and a brass band that had been to see a +senator off to Europe, crossed the bows, going to Hoboken. There was +a long silence, that reached without a break from the cut-water to +the propeller blades of the "Dimbula."</p> + +<p>Then one big voice said slowly and thickly, as though the owner +had just waked up: "It's my conviction that I have made a fool of +myself."</p> + +<p>The steam knew what had happened at once; for when a ship finds +herself, all the talking of the separate pieces ceases and melts +into one deep voice, which is the soul of the ship.</p> + +<p>"Who are you?" he said, with a laugh.</p> + +<p>"I am the 'Dimbula,' of course. I've never been anything else +except that—and a fool."</p> + +<p>The tugboat, which was doing its very best to be run down, got +away just in time, and its band was playing clashily and brassily a +popular but impolite air:</p> + +<div class="poem"> <div class="stanza"> +<p>In the days of old Rameses—are you on?</p> +<p>In the days of old Rameses—are you on?</p> +<p>In the days of old Rameses,</p> +<p>That story had paresis—</p> +<p>Are you on—are you on—are you on?</p> + </div> </div> + +<p>"Well, I'm glad you've found yourself," +said the steam. "To tell the truth, I was +a little tired of talking to all those ribs of +stringers. Here's quarantine. After that +we'll go to our wharf and clean up a +little, and next month we'll do it all over +again."</p> + +<hr class="full" /> + + + +<h2>A CENTURY OF PAINTING.</h2> + +<h3>NOTES DESCRIPTIVE AND CRITICAL.—GOYA AND HIS CAREER.—FOUR ENGLISH +PAINTERS OF FAMILIAR LIFE.—GÉRICAULT, INGRES, AND DELACROIX.</h3> + +<h4>By Will H. Low.</h4> + +<div class="figletter"><a href="images/LetterL.jpg" name="fig337" id="fig337"><img src="images/LetterL.jpg" alt="Letter L" /></a></div> + +<p class="hang">OOKING backward to the first quarter of this century, it is +hardly too sweeping an assertion to say that, with a single +exception, there was little that was important in the way of +painting outside of France and England. There were local reputations +in all the other countries, practitioners of the art who joined to a +respectable proficiency in painting an adhesion to the traditions +which had been handed down to them. These men, in their time and +place, were notable; and in the museums of their respective +countries their works remain of chronological interest to students +of painting. But to the larger public which these papers address, +they are of little importance, having exercised but slight influence +on contemporaneous art.</p> + +<p>The exception already noted was in Spain, and there only in the +case of a single painter. Francisco Goya y Lucientes, "Pintor +Español," as he delighted to call himself, would be, indeed has +been, a fascinating subject for picturesque biography. Charles +Yriarte, the well-known French art critic, has given the world a +most interesting and complete story of Goya's life, which, though it +is only separated from our own day by a span of seventy years, +chronicles the exploits of one who in the history of art must hark +back to Benvenuto Cellini in the sixteenth century to find his +parallel.</p> + +<p>Goya was born March 31, 1746, at Fuente de Todos, in the province +of Aragon. The son of a small farmer, he was <span +class="pagenum"><a name="page338" id="page338"></a>[pg 338]</span> +placed when very young in the local Academy of Fine Arts at +Saragossa, where he received instruction from Bayen and Luzan, +painters little known outside of Spain. The swashbuckler instincts +which were to govern him through life manifested themselves here, +where in a street brawl he laid low three of his adversaries. He +found it prudent to evade both justice and the vengeance which +followed swift and sure in those days in Spain, by flying to Madrid. +Soon after his arrival in the capital, however, in continuation of +his old mode of life, he was picked up for dead in one of the low +quarters of the town. Surviving the poignard, but again threatened +with arrest, he joined a <i>quadrilla</i> of bull-fighters, in whose +company he went from town to town, giving exhibitions of his prowess +in the national sport.</p> + +<div class="figleft" style="width:30%;"> +<a href="images/338-1.jpg" name="fig338-1" id="fig338-1"> +<img src="images/338-1.jpg" alt="THE GARROTED MAN. FROM AN ETCHING BY GOYA." /></a> +<h5>THE GARROTED MAN. FROM AN ETCHING BY GOYA.</h5> + +<p>There is a tradition that this etching was made from nature, the +model—some malefactor executed by the strangling method +employed in Spain—being studied by Goya from his chamber +window.</p> +</div> + +<p>With all this, painting must have been somewhat of an interlude; +but Goya had early shown signs of great talent, and before he left +Saragossa, his master, Josepha Bayen, had confidence enough in his +future to entrust the happiness of his daughter to his care by +permitting his marriage to her. Goya's biographer notes that through +all the various adventures of his career he had the utmost care for +the material comfort of this lady. Her character must impress us +to-day as charitable to excess; for, shortly after the bull-fighting +episode, Goya found himself in Rome, where his next exploit was the +abduction, from a convent, of a noble Roman girl. With the police +once more on his track, he sought refuge at the Spanish Embassy, +whence he was despatched home in disguise, probably to the relief of +his country's representative in Rome. Before this adventure, which +was only one of many which the charitable wife had to pardon, he had +attracted the attention of David, who was then in Italy, and who, as +his art differed in every way from that of Goya, must have been +strongly impressed by his work to give it his approval.</p> +<br clear="all" /> +<div class="figright" style="width:40%;"> +<a href="images/338-2.jpg" name="fig338-2" id="fig338-2"> +<img src="images/338-2.jpg" alt="DEATH ON THE BATTLE-FIELD. FROM AN ETCHING BY GOYA." /></a> +<h5>DEATH ON THE BATTLE-FIELD. FROM AN ETCHING BY GOYA.</h5> + +<p>One of the plates from the "Disasters of War" where the grotesque +and huge figure of Death appears to the combatants.</p> +</div> + +<p>On arriving home Goya was given employment in designing a series +of tapestries for the royal palace; and from 1780, when he was made +a member of the Spanish Royal Academy, ensues the period of his +greatest artistic activity. Carrying into his art the same excess of +temperament which marked his life, his execution was rapid and +decisive. Rebellious to the ordinary means employed by painters, he +used various mediums, some of which <span class="pagenum"><a +name="page339" id="page339"></a>[pg 339]</span> have ill withstood +the ravages of time; and, disdaining brushes, he often employed +sponges or bits of rag in their place. In the case of one of his +pictures, a revolt of the Madrilenians against the French, it is +said that he employed a spoon.</p> + +<p>In 1799 Goya was made painter to the king, Charles III., whose +successor, the fourth of his name, continued his favor. The time, +which was that of the notorious "Prince of Peace," Godoy, was +favorable for a character like that of Goya, whose eccentricities +were looked upon with an indulgent eye by a court which must have +felt that its function was hardly that of moral censor. At least +Goya, the intimate of Maria Louisa and the court circle, by no means +abandoned his friends the bull-fighters and tavern-keepers. Fresh +from an altar-piece for a cathedral, or a royal portrait, his ready +brush found employment in rapidly painting a street scene, or even a +sign for a wine-shop. A whitewashed wall for canvas and mud from the +gutter for pigment, were the means employed to embody a patriotic +theme at the entrance of the French soldiers into Madrid—a +popular masterpiece executed to the plaudits of the crowd.</p> + +<p>All this would seem to denote a charlatan; yet withal, Goya has +fairly won his place amid the great painters of the world. Perhaps +no better example could be found of the essential difference between +the outward and visible actions of a man and the inward and +spiritual grace of an artist than in this instance; and the Latin +standpoint, always more intellectually liberal than our own +Anglo-Saxon appreciation of the same problem furnishes the reason +why Goya was left free to pursue his artistic career instead of +languishing in prison. His illogical brush filled the cathedrals of +Saragossa, Seville, Toledo, and Valencia with masterly frescoes, +while with the etching needle he produced many plates. Some of +these, like the "Caprices," a series of eighty etchings, are filled +with imagination alternately tragical and grotesque; while another +series, representing bull-fights, throughout its thirty-three plates +depicts the incidents of the game with intense realism. The +"Disasters of War," another series of eighty, were inspired by the +French invasion; and never, perhaps, were the cruelties of war more +strenuously realized in art than in these. Probably these etchings, +executed, like all his works, by methods peculiar to himself, +constitute his best title to remembrance. But his painting, replete +though it be with the defects of his qualities, stands as a +precursor of the great coloristic school of which Delacroix was the +head and front. This is notably to be felt in his portraits, and in +some of the rapidly executed single figures of which the Louvre has +a specimen and the Metropolitan Museum, New York, another—the +latter, "A Jewess of Tangiers."</p> + +<div class="figleft" style="width:30%;"> +<a href="images/339.jpg" name="fig339" id="fig339"> +<img src="images/339.jpg" alt="GOYA. FROM A PORTRAIT ETCHED BY HIMSELF." /></a> +<h5>GOYA. FROM A PORTRAIT ETCHED BY HIMSELF.</h5> + +<p>This portrait is the frontispiece to a series of etchings by Goya.</p> +</div> + +<p>Before leaving Goya for men whose works are their only history, a +characteristic incident, which caused his flight from Spain to +Bordeaux in France, must be told. In 1814 Wellington was in Madrid +and sat for his portrait to Goya. After the first sitting, the +soldier presumed to criticise the work; whereat Goya, seizing a +cutlass, attacked him, causing the future hero of Waterloo to flee +for his life from the maniacal fury of the painter. It is said that, +later, peace was made between the two men, and that the portrait was +achieved; but for the moment Goya found safety in France, together +with his <span class="pagenum"><a name="page340" +id="page340"></a>[pg 340]</span> long-suffering wife, who had +incidentally borne him twenty children. At the green old age of +eighty-two Goya died at Bordeaux, April 16, 1828.</p> + +<div class="figright" style="width:30%;"> +<a href="images/340.jpg" name="fig340" id="fig340"> +<img src="images/340.jpg" alt="ST. JUSTINA AND ST. RUFINA. FROM A PAINTING BY GOYA IN THE CATHEDRAL AT SEVILLE." /></a> +<h5>ST. JUSTINA AND ST. RUFINA. FROM A PAINTING BY GOYA IN THE CATHEDRAL AT SEVILLE.</h5> + +<p>These are the patron saints of Seville. The legend has it +that they were the daughters of a potter and followed their +father's trade, giving away in charity, however, all that they +earned more than was sufficient to supply their simple wants. +At the time of a festival to Venus, they were requested to supply +the vessels to be used in her worship, and on their refusing, +they were dragged before the prefect, who condemned them to +death, July 19, A.D. 304. They are generally represented with +earthen vessels and the palms of martyrdom; in this case, the +broken statue of Venus lies in the foreground. The Giralda +tower, the chief ornament of Seville, and the prototype of the +Madison Square tower in New York City, is their especial care, +and it is believed that its preservation from lightning is due to +them.</p> +</div> + +<p>No greater contrast could be devised than the four works which +follow, either in the character of the art or in the uneventful +respectability of the painters' lives. They are all typical of a +class of pictures which has been popular in England, from the time +of Hogarth to the present day. The earliest of them is the "Blind +Fiddler" of Sir David Wilkie, which was exhibited at the Royal +Academy in 1807. The dates at which the others, by Mulready, +Webster, and Leslie, were painted would preclude their appearance +here, if strict chronological sequence were imposed, as they were +painted about 1840. It is instructive, however, to group them +together, to show that these artists and their followers, who were +legion, thought at least as much of subject as of method. Not that +the latter quality is lacking. On the contrary, it is only too +evident; but it is a method of convention. No one would imagine for +a moment, in looking at any one of these pictures, that he was +admitted an unseen spectator to some scene of intimate family life. +It is this quality which the great Dutchmen in all their scenes of +familiar life preserved; and when we look at a Pieter de Hooge, for +instance, there is no suspicion that the homely scene has been +arranged for our delectation. In its transplantation from Holland, +however, English art lost just this quality.</p> + +<p>David Wilkie, born in Scotland, at Cults in Fifeshire, November +18, 1785, came to London in 1805 to enter the Royal Academy schools, +after some preliminary training at Edinburgh. His first picture, in +the exhibition of 1806, "The Village Politicians," attracted +attention, and was followed the next year by "The Blind Fiddler." +The work of a youth of twenty-two, it is remarkable for its close +observation of character and the skilful use made of what may be +termed the theatrical faculty of grouping the personages so that +their action tells the story. This is not a merit, and there is +little doubt that the scene would be greater as art were it more +consistently human. Character is well and pictorially rendered; but +by its insistence in every figure, we feel that it is but a moment +since the curtain was withdrawn and the <i>tableau vivant</i> shown. This +and the pictures following it met with the most unbounded popular +approval, were reproduced by engraving, and exercised an influence +increased by the honors and fortune which were showered on the +painter.</p> + +<p>In 1825 Wilkie made an extended continental tour, and three years +later, after his return to England, changed his class of subjects +for historical and portrait painting, bringing to these later themes +the same ability and the same lack of <i>naïveté</i> which characterized +his former work. A Royal Academician since 1811, he was appointed +first painter in ordinary to the king, on the death of Lawrence, in +1830. He was knighted in 1836, and died at sea on June 1, 1841, +while returning from Egypt.</p> + +<span class="pagenum"><a name="page341" id="page341"></a>[pg 341]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/341.jpg" name="fig341" id="fig341"> +<img src="images/341.jpg" alt="THE BLIND FIDDLER. FROM A PAINTING BY SIR DAVID WILKIE." /></a> +<h5>THE BLIND FIDDLER. FROM A PAINTING BY SIR DAVID WILKIE.</h5> + +<p>"An itinerant musician is entertaining a cottager and his family +with a tune on the fiddle; the father gayly snaps his fingers at an +infant on the knees of the mother, behind whom a mischievous boy, +with the poker and bellows in his hands, is mimicking the action of +the musician. With this exception, all, even the dog standing by the +chair of its mistress, appear to be intent upon the music of the +blind fiddler." This quotation, from the catalogue of the National +Gallery where the original picture is placed, accurately describes +it.</p> +</div> + +<span class="pagenum"><a name="page342" id="page342"></a>[pg 342]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/342.jpg" name="fig342" id="fig342"> +<img src="images/342.jpg" alt="CHOOSING THE WEDDING GOWN. FROM A PAINTING BY WILLIAM MULREADY IN THE SOUTH KENSINGTON MUSEUM, LONDON." /></a> +<h5>CHOOSING THE WEDDING GOWN. FROM A PAINTING BY WILLIAM MULREADY IN THE SOUTH KENSINGTON MUSEUM, LONDON.</h5> + +<p>To the title of this picture, the painter himself added, as +expository of his theme and the source of his inspiration, the +following passage from Goldsmith's "Vicar of Wakefield": "I had +scarcely taken orders a year, before I began to think seriously of +matrimony, and chose my wife, as she did her wedding gown, not for a +fine glossy surface, but for such qualities as would wear well." The +picture thus affords a good instance of the dependence on literature +of the painters of Mulready's school. Its title alone would suffice, +so well and simply is the story told; but, apparently, with the +British public, and in the painter's mind, it gained an added grace +by diverting the visual impression of the observer to the realm of +literature. The picture is here reproduced from a copyrighted +photograph by Frederick Hollyer, Kensington.</p> +</div> + +<p>William Mulready was of Irish birth, having come into the world +at Ennis, in the County Clare, April 1, 1786. In 1809, after a +period in the schools of the Royal Academy, he exhibited there a +picture entitled "Fair Time," which gave him almost instant success; +and until his death, July 7, 1863, though producing fewer pictures +than Wilkie, he worked on very much the same class of subjects. +<span class="pagenum"><a name="page343" id="page343"></a>[pg +343]</span> His color is less agreeable than that of the Scot, and +his execution very much more labored. His life was uneventful, +occupied exclusively with his work, which he loved; so much so that +two days before his death, an old man of seventy-seven, he sat +drawing in the evening life class at the Royal Academy. He had been +a member of the Academy since 1816. The picture here reproduced is +(even without the quotation from the "Vicar of Wakefield" which +accompanies it in the catalogue of the South Kensington Museum) a +simple story simply told. It is free from the mannerisms which mar +much of Mulready's work, especially in the portrayal of children, +and in the original is more agreeable in color than are many of his +pictures.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/343.jpg" name="fig343" id="fig343"> +<img src="images/343.jpg" alt="CONTRARY WINDS. FROM A PAINTING BY THOMAS WEBSTER." /></a> +<h5>CONTRARY WINDS. FROM A PAINTING BY THOMAS WEBSTER.</h5> +<p> The happily chosen title explains sufficiently this pleasant scene. +The picture, painted in 1843, is now in the South +Kensington Museum.</p> +</div> + +<p>Thomas Webster, born March 20, 1800, in London, and dying at +Cranbrook in Kent, September, 1886, was another painter whose work +had enjoyed the full meed of popularity, from 1825 to the time of +his retirement from the Royal Academy in 1877. Pictures like the one +here reproduced (from the original in the South Kensington Museum, +painted in 1843, and entitled "Contrary Winds"), pictures depicting +homely rustic life, were his specialty. His work had gained him the +title of Royal Academician in 1846.</p> + +<p>Through all this time, and in the work of many painters unnoticed +here, the qualities are evident of an honest endeavor to paint the +simple life of the country. With a higher standard of taste, and +better preliminary instruction, painting would have gained; and the +defect with which British art has been so often reproached, of being +too literary, might have been lessened. Charles Robert Leslie, whose +works are almost uniformly inspired by literature, was born at +Clerkenwell in England, of American parents, October 19, 1794. He +was taken to Philadelphia when five years of age, but returned to +England in 1811, to study at the Royal Academy. Washington Allston +and Benjamin West, both Americans—the latter at the time +President of the Royal Academy—aided Leslie by advice.</p> + +<p>After a preliminary stage as a portrait painter, Leslie exhibited +at the Royal Academy in 1819 a picture of "Sir Roger de Coverley +Going to Church," the first of a long series of pictures dependent +on books for their subjects. In 1825 he painted "Sancho Panza and +the Duchess," which procured him his election as an Academician the +following year. The picture here reproduced is a repetition, with +some slight changes, of the same subject, <span class="pagenum"><a +name="page344" id="page344"></a>[pg 344]</span> but was painted in +1844. Leslie may be said to have originated this style of subject in +England, where he has had many followers; and, given the requisite +knowledge of literature, his pictures tell their story with +directness and humor. In painting, his work is rather hard; but in +grace and style of drawing he was much superior to his +contemporaries. Among his pictures are many suggested by +Shakespeare, which have been popularized by engraving.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/344.jpg" name="fig344" id="fig344"> +<img src="images/344.jpg" alt="SANCHO PANZA IN THE APARTMENT OF THE DUCHESS. FROM A PAINTING BY C.E. LESLIE." /></a> +<h5>SANCHO PANZA IN THE APARTMENT OF THE DUCHESS. FROM A PAINTING BY +C.E. LESLIE.</h5> + +<p>Sancho having, by the command of the Duchess, seated himself upon +a low stool, is saying, "Now, madam, that I am sure that nobody but +the company present hears us, I will answer without fear or emotion +to all you have asked and to all you shall ask me; and the first +thing I tell you is that I take my master, Don Quixote, for a +downright madman." The original picture is in the National Gallery, +London.</p> +</div> + +<p>Leslie returned to this country in 1833 to accept the +professorship of drawing at the West Point Military Academy, but +remained only a few months. After returning to London, he enjoyed a +successful career until his death, May 5, 1859. He was one of the +first and most consistent admirers of Constable's work, and wrote +his life. He also published lectures on painting, delivered at the +Royal Academy, where he had been appointed lecturer in 1848.</p> + +<p>The consideration of the two men whose portraits face each other +here, and who stood thus opposed, during their lives, as the leaders +of all that constituted art in their time and country, takes us back +to France. Frequent returns of this character will be necessary in +the course of these papers; for, without undue prejudice in favor of +the French, it must be said that they alone have through the century +maintained a consistent attitude in regard to art. Other countries +have from time to time encouraged painting, with as frequent lapses +of interest or lack of men who could legitimately inspire interest. +Although transplanted bodily from Italy to France, in the time of +Francis the First, art had taken so firm a root by the commencement +of this century that, as we have seen, it grew and flourished though +watered by the red blood of revolution. As a national institution, +following the prescribed rules of the Academy, it has, of course, +met with frequent assaults at the hands of men for whom prescribed +academic law was as naught in comparison with the higher law of +genius. In 1819 such a man appeared, with a picture which violated +the unwritten law formulated by David: "Look in your Plutarch and +paint!"</p> + +<span class="pagenum"><a name="page345" id="page345"></a>[pg 345]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/345.jpg" name="fig345" id="fig345"> +<img src="images/345.jpg" alt="THE RAFT OF THE 'MEDUSA.' FROM A PAINTING BY GÉRICAULT IN THE LOUVRE." /></a> +<h5>THE RAFT OF THE "MEDUSA." FROM A PAINTING BY GÉRICAULT IN THE +LOUVRE.</h5> + +<p>The frigate "Medusa," accompanied by three other vessels, left +France June 17, 1816, heading for Saint-Louis (Senegal), with the +governor and principal officers of the colony as passengers. On July +2 the vessel stranded on a reef, and after five days of ineffectual +effort to float her, was abandoned. A raft was constructed and one +hundred and forty-nine men embarked on it, the remainder of the crew +and passengers, four hundred all told, taking to the boats. For +twelve days, the raft floated at the will of the waves and winds; +then it was sighted by one of the convoys, the brig Argus. Only +fifteen men survived. The picture represents the moment of their +deliverance.</p> +</div> + +<span class="pagenum"><a name="page346" id="page346"></a>[pg 346]</span> + +<p>Jean Louis André Théodore Géricault, born at Rouen, September 26, +1791, came to Paris in 1808, and entered the studio of Guérin, where +his method of painting displeased his master to such a degree that +he advised him to abandon the study of art. Guérin had thoroughly +imbibed the defects of the David method; and the spectacle of a +youth who obstinately persisted in trying to paint the model as he +really appeared, instead of making a pink imitation of antique +sculpture, seemed to him to be of little promise.</p> + +<div class="figright" style="width:40%;"> +<a href="images/346.jpg" name="fig346" id="fig346"> +<img src="images/346.jpg" alt="INGRES. FROM A PORTRAIT PAINTED BY HIMSELF." /></a> +<h5>INGRES. FROM A PORTRAIT PAINTED BY HIMSELF.</h5> + +<p>Painted for the gallery of Painters' Portraits in the Uffizi, +Florence, in 1858, according to the inscription on the picture. This +most interesting collection, which is still being added to year by +year, comprises the portraits of the great painters, in most cases +by their own hands, from the time of the Renaissance to our day.</p> +</div> + +<p>Géricault, however, persisted; and with the exception of about a +year, when the halo of military glory seduced him from his work, he +worked so well and earnestly that, after two years' sojourn in +Italy, he returned to Paris, a few weeks before the Salon of 1819, +equipped with the knowledge of a master.</p> + +<p>Taking a canvas about fifteen feet high by twenty in length, +using the green-room of a theatre for a studio, he set to work. +Disdaining the prevailing taste for mythology and classic themes, he +took from the journals of the time the moving recital of the +sufferings of the crew of the frigate "Medusa," abandoned on a raft +in mid-ocean. Choosing the moment when the fifteen survivors of the +hundred and forty-nine men who had embarked on the raft sighted the +sail in the offing which meant their deliverance, he worked with an +energy and fire which have remained remarkable in the annals of art. +Certain of the figures, all of which are more than life size, were +painted in a day, and when the Salon of 1819 opened, the picture was +finished.</p> + + +<p>Seen as it is to-day in the Louvre, blackened by time and the +neglect from which it suffered for six or seven years before it was +placed there, it remains one of the capital pages in the history of +modern art. The effect on the younger generation who saw it fresh +from the hand of the master, accustomed as they were to the lifeless +effigies of the classic school, was puzzling, and none but the most +revolutionary dared approve of it. With the older painters there was +a similar distrust of the impression which it caused. Yet +David—an artistic kernel encased in an academic +husk—admired it; and so did a swarthy youth who was soon to +make his <span class="pagenum"><a name="page347" +id="page347"></a>[pg 347]</span> mark and who was a friend and +former comrade of Géricault in the <i>atelier</i> Guérin—Eugène +Delacroix.</p> + +<div class="figleft" style="width:40%;"> +<a href="images/347.jpg" name="fig347" id="fig347"> +<img src="images/347.jpg" alt="DELACROIX. FROM A PORTRAIT PAINTED BY HIMSELF IN 1837." /></a> +<h5>DELACROIX. FROM A PORTRAIT PAINTED BY HIMSELF IN 1837.</h5> + +<p>This portrait was left by the painter at his death to Mlle. Jenny +Leguillon, his housekeeper, and by her was bequeathed to the Louvre +in 1872.</p> +</div> + +<p>Géricault received a recompense of the fourth class, and, +disgusted with his lot, took the immense canvas to London, where it +was exhibited with success. During his sojourn in England he +executed a number of pictures in oil and water color, and many +lithographs, which are to-day eagerly sought by collectors. +Returning to France full of projects for work, his health began to +give way, and on the 18th of January, 1824, he died. The influence +which he exercised had, however, borne its fruits. Already in the +Salon of 1822 Ferdinand Victor Eugène Delacroix, born at Charenton, +near Paris, April 26, 1799, had shown his "Dante and Virgil."</p> + +<p>Before considering Delacroix, however, it is best to return to +the earlier years of the century, and give J. Dominique Auguste +Ingres, whose stern face confronts Delacroix's portrait, the +precedence to which his age entitles him.</p> + +<p>"Monsieur" Ingres, as the iconoclastic leaders of the romantic +school called him in mock deference, was born at Montauban, August +29, 1780. His life was fortunate, and his history, which is chiefly +that of his works, can be told in few words. A pupil of David, he +received the Prix de Rome in 1801. He remained in Rome much longer +than the allotted four years to which his prize entitled him, and +returned there often during his life as to the source of all art. By +portraiture and the constant patronage of the government, the +material conditions of his life, which was of a simple character, +befitting a man who viewed his mission as that of an apostle +preaching the doctrine of pure classicism, were made easy; and the +official titles of Member of the Institute, Grand Officer of the +Legion of Honor, and Senator of the Empire all came to him with the +lapse of years.</p> + +<p>More royalist than the king, and the last of David's disciples, +Ingres pursued throughout his life the even tenor of a man convinced +that the source of all inspiration in art was Greek sculpture as +amplified, transmuted, and translated to the realm of painting by +Raphael. Painting in his hands became almost purely a matter of +form. The element of color was virtually ignored, and form, +chastened in contour and modelling, became through the magic of his +genius the almost sufficient quality. The qualification is +necessary. For though too great a man to lose, as too many of his +master's pupils did, the grasp on nature; and while, therefore, his +works, seen as they are through the glamour of the antique, never +lack an intimate relation to existing life, it is impossible to +resist the feeling before them that it is life beautified, of +exquisite yet virile choice, but of life arrested. The reproach of +his opponents of the romantic school that he was an "embalmer" has a +foundation of truth.</p> + +<span class="pagenum"><a name="page348" id="page348"></a>[pg 348]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/348.jpg" name="fig348" id="fig348"> +<img src="images/348.jpg" alt="A PORTRAIT OF INGRES, DRAWN IN ROME IN 1816." /></a> +<h5>A PORTRAIT OF INGRES, DRAWN IN ROME IN 1816.</h5> + +<p>This lovely drawing, from the collection in the Louvre, shows +Ingres in his most pleasing aspect. By the magic of a few lines +faintly traced, he has evoked for us the image of a charming person; +and by the slight indication of costume, has also fixed the epoch at +which the drawing was made. It was in the earlier years of the +master, while he was in Rome, that he drew many such little +masterpieces as a means of livelihood, drawings which he then made +for a few francs, and which are now eagerly sought by the museums of +Europe.</p> +</div> + +<span class="pagenum"><a name="page349" id="page349"></a>[pg 349]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/349.jpg" name="fig349" id="fig349"> +<img src="images/349.jpg" alt="APOTHEOSIS OF HOMER. FROM A PAINTING BY INGRES." /></a> +<h5>APOTHEOSIS OF HOMER. FROM A PAINTING BY INGRES.</h5> + +<p>Originally painted for a ceiling in the gallery of Greek and +Roman Antiquities, in the Louvre, where it is now replaced by a copy +of the same executed by Ingres's pupils. The picture represents +Homer crowned as Jupiter by Victory, and seated before his temple +receiving the homage of the poets, painters, sculptors, and +architects of the world.</p> +</div> + +<span class="pagenum"><a name="page350" id="page350"></a>[pg 350]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/350.jpg" name="fig350" id="fig350"> +<img src="images/350.jpg" alt="THE SEIZURE OF CONSTANTINOPLE BY THE CRUSADERS. FROM A PAINTING BY EUGÈNE DELACROIX." /></a> +<h5>THE SEIZURE OF CONSTANTINOPLE BY THE CRUSADERS. FROM A PAINTING +BY EUGÈNE DELACROIX.</h5> + +<p>In 1203, through political intrigue, a French army, raised to +take part in the fourth crusade for the rescue of Jerusalem from the +Mohammedans, joined with a Venetian army in an attack on +Constantinople, then a Christian city, the capital of the Byzantine +Empire. The city fell, but later was recovered. Then, on April 12, +1204, the invaders secured it again, and subjected it to a +despoilment without parallel. Delacroix's picture portrays a scene +in this despoilment. One of the invading barons, attended by his +escort, rides on to a terrace, and the citizens fall before him, +praying his mercy. Behind lies the Bosphorous, and beyond it are the +shores of Asia.</p> +</div> + +<p>For all this, it is hardly superlative to say that, since art +began, no man has ever felt the exquisite and subtle harmony of line +to the same degree as Ingres. Naturally the best examples of this, +his greatest quality, are to be found in his rendering of the nude +human form; and from the "Oedipus and the Sphinx," of 1808, to "La +Source," of 1856, both of which are now in the Louvre, he returned +again and again to its study, producing each time a masterpiece. His +portraits, again, are most masterly, occasionally rising through +sheer force of rendering each characteristic trait of his model (as +in the portrait of M. Bertin, the editor of the "Débats"), to the +extreme exactitude of Holbein, coupled with an <i>allure</i> so +thoroughly modern that the whole epoch of Louis Philippe lives +before us. In the slighter drawings of his earlier years in Rome, +one of which is reproduced here, only the most typical details are +chosen, and these are indicated with a delicacy of touch, a sureness +of hand, that not only indicates the master, but lends a distinctive +charm of truthful delicacy of which none but Ingres has known the +secret. It is in such works that his influence will be felt the +longest; <span class="pagenum"><a name="page351" +id="page351"></a>[pg 351]</span> for, as with his master, the great +pictures in which he exemplified his principles remain cold and +uninteresting. The "Homer Deified," reproduced here, was originally +intended as a ceiling for the Louvre, and from a decorative point of +view would excite a pitying smile from Veronese or Tiepolo. Taken +bit by bit, as a beautiful exhibition of supreme knowledge, of the +evasive quality of style in drawing, it is, however, admirable, and +as a whole it has the merits of grave, balanced composition. It was +the spirit of work like this which the master sought to force upon +his epoch, rather than that of his portraits or of pictures like the +"Source;" and the austerity of these principles met with more +submission in the earlier years of the century than when later +Géricault had shown the path in which the audacious Delacroix threw +himself at the head of a band of romantic followers.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/351.jpg" name="fig351" id="fig351"> +<img src="images/351.jpg" alt="DANTE AND VIRGIL CROSSING THE LAKE WHICH SURROUNDS THE INFERNAL CITY OF DITÉ. FROM A PAINTING BY EUGÈNE DELACROIX, IN THE LOUVRE." /></a> +<h5>DANTE AND VIRGIL CROSSING THE LAKE WHICH SURROUNDS THE INFERNAL +CITY OF DITÉ. FROM A PAINTING BY EUGÈNE DELACROIX, IN THE LOUVRE.</h5> + +<p>The subject is taken from Dante's "Inferno," and represents the +poet and his companions and guide standing in a bark conducted by +Phlegyas, while around them appear on the surface of the water the +writhing bodies of the condemned, among whom Dante recognizes +certain Florentines.</p> +</div> + +<span class="pagenum"><a name="page352" id="page352"></a>[pg 352]</span> + +<p>I have used the term audacious in speaking of Delacroix, and +circumstances forced him to justify the epithet. Yet to a student of +his work, and still more of his character as revealed in his +writings (his recently published letters and the few articles +published during his life in the "Revue des Deux-Mondes"), he would +appear to have been by nature prepared to receive the full academic +tradition, and only because of what appeared a violation of the +tradition <i>as he understood it</i>, to have arrayed himself in violent +opposition: a situation which rendered him in work and in life +contradictory to his natural instinct. It is the old story of the +defect of system. Even the most cunningly devised cannot make a +place for all the many manifestations of temperamental activity. +Like Géricault, a pupil of Guérin, Delacroix found in his master and +in the general spirit of the school an insistence on the letter of +the classic law to which his richly endowed nature could not bend, +and was thus forced to rebel; whereas a more elastic application of +received principles would have found him an enthusiastic adherent. +In this way he missed acquiring the technical mastery over form, +which proved a stumbling block to him through life. At times his +drawing is possessed of a vigor and life which even Ingres never +had; at others his work is almost lamentable in its lack of +constructive form. In respect to color in its finest, most harmonic +qualities, he is the greatest of French painters; and at all times +he is master of an intense dramatic force. It was with a +masterpiece—"Dante and Virgil"—that he made his first +appearance at the Salon in 1822. At a bound he found himself famous. +Guérin, who had counselled him against sending his picture to the +Salon, grudgingly acknowledged that he was wrong. Gros told him that +it was like Rubens, with more correctness of form—Rubens +"chastened" was the word. The government bought the picture, paying +the artist two hundred and forty dollars—twelve hundred +francs—for it.</p> + +<p>The same year Delacroix submissively made his final attempt for +the Prix de Rome, but came out sixtieth in the competition. +Thenceforward he was to be constantly before the public, constantly +opposed, misunderstood, criticised; but nevertheless, with all the +energy which shows in his portrait, constantly in the front. When +his defenders had sufficient influence to force the hand of the +ministry of fine arts, he was commissioned to paint for the state; +and to this we owe the decorations in the gallery of Apollon in the +Louvre, the decorations in the church of St. Sulpice, and others. +When he received the order for the entrance of the Crusaders to +Constantinople for the Gallery of Battles at Versailles, the good +King Louis Philippe sent him word to make it as little like his +usual style as possible!</p> + +<p>Among Delacroix's critics Ingres, with all the force of his +convictions, was the foremost. He to whom a sky had always served as +a simple background was not created to understand the almost purple +canopy of azure stretching far above the heads of the Crusaders; nor +to find barbaric delight in the rich trappings of horses and men, +since to him a drapery was simply a textureless covering adjusted to +accentuate the form beneath. Delacroix, whose intelligence was of a +higher order and who said of himself that he was "more rebellious +than revolutionary," treated Ingres when they met on official +occasions, as at the meetings of the Institute (where finally +Delacroix had penetrated), with a high and distant courtesy which +his sturdy adversary, strong in his pious devotion to classicism, +hardly returned. Delacroix had by far the most brilliant following, +reinforced as it was by the landscape painters, who from 1830 +onwards gave to this century its most notable school of painting. +Added to this was a fair measure of appreciation on the part of +collectors.</p> + +<p>Delacroix's genius found expression in many small pictures, all +of them characterized by a gem-like coloration (which is more than +mere color, however, for in it lies the secret of a powerful and +direct expression of sentiment) and by a vivid realization of +movement. Proud by nature, delicate in health, his life was far from +happy; he never ceased to feel the sting of adverse criticism. "For +more than thirty years I have been given over to the wild beasts," +he said once. He had warm friends, who have left many records of his +sweetness of disposition when the outer barrier of haughty reserve +was broken through; but they were few in number. He never married; +painting, he said, was his only mistress, and his passion for his +art is felt through all his work. His death occurred at Champrosay +near Paris, where he had a modest country house, on August 13, 1863; +and four years later, January 14, 1867, his great adversary, Ingres, +followed him.</p> + +<hr class="full" /> + +<span class="pagenum"><a name="page353" id="page353"></a>[pg 353]</span> + + + + +<h2>CY AND I.</h2> + +<h4>By Eugene Field.</h4> + + +<div style="margin-left: 25%"> +<div class="poem"> <div class="stanza"> +<p>As I went moseyin' down th' street,</p> +<p>My Denver friend I chanced t' meet.</p> +<p class="i4">"Hello!" says I,</p> +<p>"Where have you been so long a time</p> +<p>That we have missed your soothin' rhyme?"</p> +<p class="i4">"New York," says Cy.</p> +<p class="i4">"Gee whiz!" says I.</p> + </div><div class="stanza"> +<p>"You must have seen some wonders down</p> +<p>In that historic, splendid town;"</p> +<p class="i4">And then says I:</p> +<p>"For bridges, parks, and crowded streets</p> +<p>There is no other place that beats</p> +<p class="i4">New York," says I.</p> +<p class="i4">"<i>Correct!</i>" says Cy.</p> + </div><div class="stanza"> +<p>"The town is mighty big, but then</p> +<p>It isn't in it with its men,</p> +<p class="i4">Is it?" says I.</p> +<p>"And tell me, Cyrus, if you can,</p> +<p>Who is its biggest, brainiest man?"</p> +<p class="i4">"Dana!" says Cy.</p> +<p class="i4">"You <i>bet</i>!" says I.</p> + </div><div class="stanza"> +<p>"He's big of heart and big of brain,</p> +<p>And he's been good unto us twain"—</p> +<p class="i4">Choked up, says I.</p> +<p>"I love him, and I pray God give</p> +<p>Him many, many years to live!</p> +<p class="i4">Eh, Cy?" says I.</p> +<p class="i4">"<i>Amen!</i>" says Cy.</p> + </div> </div> +</div> + +<hr class="full" /> + +<span class="pagenum"><a name="page354" id="page354"></a>[pg 354]</span> + + + + +<h2>A YOUNG HERO</h2> + +<h3>PERSONAL REMINISCENCES OF COLONEL E.E. ELLSWORTH.</h3> + +<h4>By John Hay,</h4> + +<h5>Author, with John G. Nicolay, of "Abraham Lincoln: a History."</h5> + + +<div class="figleft" style="width:20%;"> +<a href="images/354.jpg" name="fig354" id="fig354"> +<img src="images/354.jpg" alt="HENRY H. MILLER," /></a> +<h5>HENRY H. MILLER, A MEMBER OF THE ORIGINAL COMPANY +OF ELLSWORTH ZOUAVES.</h5> + +<p>From a photograph loaned by Mr. Miller and taken in 1861 by +Colonel E.L. Brand, at that time commanding the company.</p> </div> + +<p class="cap">It is in contemplating what the world loses in the deaths of +brilliant young citizen soldiers that we appreciate most fully the +waste of war and the priceless value of the cause for which such +lives were sacrificed. When a man like Henri Regnault—the most +substantial hope and promise of art in our century—is seen at +the siege of Paris lingering behind his retreating comrades, "<i>le +temps de bruler une dernière cartouche</i>" the last words he uttered; +when a genius like Theodore Winthrop is extinguished in its ardent +dawn on an obscure skirmish field; when a patriot and poet like +Koerner dies in battle with his work hardly begun—we feel how +inadequate are all the millions of the treasury to rival such +offerings. We shall have no correct idea what our country is worth +to us if we forget all the singing voices that were hushed, all the +noble hearts that stopped beating, all the fiery energies that were +quenched, that we might be citizens of the great and indivisible +Republic of the Western world.</p> + +<p>I believe that few men who fell in our civil conflict bore with +them out of the world possibilities of fame and usefulness so bright +or so important as Colonel Ephraim Elmer Ellsworth, who was killed +at Alexandria, Virginia, on May 24, 1861—the first conspicuous +victim of the war. The world can never compute, can hardly even +guess, what was lost in his untimely end. He was killed by the first +gun he ever heard fired in strife; and his friends, who believe him +to have had in him the making of a great soldier, have nothing to +support their opinion but the impression made upon them by his manly +character, his winning and vigorous personality, and the +extraordinary ardor and zest with which his powerful mind turned +towards military affairs in the midst of circumstances of almost +incredible difficulty and privation. He was one of the dearest of +the friends of my youth. I cannot hope to enable the readers of this +paper to see him as I saw him. No words can express the vivid +brilliancy of his look and his speech, the swift and graceful energy +of his bearing. He was not a scholar, yet his words were like +martial music; in stature he was less than the medium size, yet his +strength was extraordinary; he seemed made of tempered steel. His +entire aspect breathed high ambition and daring. His jet-black +curls, his open candid brow, his dark eyes, at once fiery and +tender, his eagle profile, his mouth just shaded by the youthful +growth that hid none of its powerful and delicate lines—the +whole face, which seemed made for nothing less than the command of +men, whether as general or as orator, comes before me as I write, +with a look of indignant appeal to the future for the chance of fame +which inexorable fate denied him. The appeal, of course, is in vain. +Only a few men, now growing old, knew what he was and what he might +have been if life had been spared him for a year or two. I will +merely try to show in these few pages, mainly from his own words, +how great a heart was broken by the slugs of the assassin at the +Marshall House.</p> + +<p>He was born in the village of Mechanicsville, Saratoga County, +New York, on April 23, 1837. His parents were plain people, without +culture or means; one cannot guess how this eaglet came into so +lowly a nest. He went out into the world at the first opportunity, +to seek his fortune; he turned his hand, like other American <span +class="pagenum"><a name="page355" id="page355"></a>[pg 355]</span> +boys, to anything he could find to do. He lived a while in New York, +and finally drifted to Chicago, where we find him, in the spring of +1859, a clerk and student in the law office of Mr. J.E. Cone. From +his earliest boyhood he had a passionate love of the army. He +learned as a child the manual of arms; he picked up instinctively a +knowledge of the pistol and the rifle; he became, almost without +instruction, a scientific fencer. But he was now of age, and +determined to be a lawyer, since, to all appearance, there was no +chance for him in the army. The way in which he pursued his legal +studies he has set down in a diary which he kept for a little while. +He began it on his twenty-second birthday. "I do this," he said, +"because it seems pleasant to be able to look back upon our past +lives and note the gradual change in our sentiments and views of +life; and because my life has been, and bids fair to be, such a +jumble of strange incidents that, should I become anybody or +anything, this will be useful as a means of showing how much +suffering and temptation a man may undergo and still keep clear of +despair and vice."</p> + +<div class="figleft" style="width:30%;"> +<a href="images/355.jpg" name="fig355" id="fig355"> +<img src="images/355.jpg" alt="ELLSWORTH IN THE SPRING OF 1861, WHEN HE WAS A LIEUTENANT IN THE REGULAR ARMY AND JUST BEFORE HE RECRUITED THE REGIMENT OF NEW YORK ZOUAVES." /></a> +<h5>ELLSWORTH IN THE SPRING OF 1861, WHEN HE +WAS A LIEUTENANT IN THE REGULAR ARMY +AND JUST BEFORE HE RECRUITED THE REGIMENT +OF NEW YORK ZOUAVES.</h5> + +<p>From a photograph by Brady in the Civil War collection of Mr. +Robert Coster, by whose permission it is here reproduced.</p> +</div> + +<p>He was neat, almost foppish, in his attire; not strictly +fashionable, for he liked bright colors, flowing cravats, and hats +that suggested the hunter or ranger rather than the law clerk; yet +the pittance for which he worked was very small, and his poverty +extreme. He therefore economized upon his food. He lived for months +together upon dry biscuits and water. Here is a touching entry from +his diary: "Had an opportunity to buy a desk to-day worth forty-five +dollars, for fourteen dollars. It was just such a one as I needed, +and I could sell at any time for more than was asked for it. I +bought it at auction. I can now indulge my ideas of order in the +arrangement of my papers to their fullest extent. Paid five dollars +of my own money and borrowed ten dollars of James Clayburne; +promised to return it next Tuesday. By the way, this was an instance +in a small way of the importance of little things. Some two years +since, when I was so poor, I went one day into an eating-house on an +errand. While there, Clayburne and several friends came in.</p> + +<p>"As I started to go out they stopped me and insisted upon my +having an oyster stew. I refused, for I always made it a practice +never to accept even an apple from any one, because I could not +return like courtesies. While they were clamoring about the matter +and I trying to get from them, the waiter brought on the oysters for +the whole party, having taken it for granted that I was going to +stay. So to escape making myself any more conspicuous by further +refusal, I sat down. How gloriously every morsel tasted—the +first food I had touched for three days and three nights. When I +came to Chicago with a pocket full of money I sought James out and +told him I owed him half a dollar. He said no, but I insisted my +memory was better than his, and made him take it. Well, when I +wanted ten dollars, I went to him, and he gave it to me freely, and +would take no security. Have written four hours this evening; two +pounds of crackers; sleep on office floor to-night."</p> + +<p>The diary relates many incidents like this. He took a boyish +pride in refusing offers of assistance, in resisting temptation to +innocent indulgence, in passing most of his hours in study, earning +only enough by his copying to keep body and soul together. One entry +is, "Read one hundred and fifty pages of Blackstone—slept on +floor." Such a regimen was not long in having its effect upon even +his rugged health. He writes: "I tried to read, but could not. I am +afraid my strength will not hold out. I have contracted a cold by +sleeping on the floor, which has <span class="pagenum"><a +name="page356" id="page356"></a>[pg 356]</span> settled in my head, +and nearly sets me crazy with catarrh. Then there is that gnawing, +unsatisfied sensation which I begin to feel again, which prevents +any long-continued application." About this time he was urged to +take command of a company of cadets which, through mismanagement, +had been reduced to a deplorable condition. He at first declined, +but afterward consented if the company would accept certain rigorous +conditions of discipline and obedience. He was as firm as granite to +his company, and cheery and gay to the world, while in his private +life he was subjecting himself to the cruel rigors described in his +diary of April 21: "I am convinced that the course of reading which +I am pursuing is not sufficiently thorough. Have commenced again at +beginning of Blackstone. I now read a proposition or paragraph and +reason upon it; try to get at the principle involved, in my own +language; view it in every light till I think I understand it; then +write it down in my commonplace book. My progress is, in +consequence, very slow, as it takes on an average half an hour to +each page. Attended meeting of cadets' committee on ways and means; +all my propositions accepted. I spent my last ten cents for crackers +to-day. Ten pages of Blackstone."</p> + +<p>The next day he writes: "My mind was so occupied with obtaining +money due to-morrow that I could not study. Five pages of +Blackstone. Nothing whatever to eat. I am very tired and hungry +to-night. Onward."</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/356.jpg" name="fig356" id="fig356"> +<img src="images/356.jpg" alt="ELLSWORTH IN 1860, WHEN HE WAS CAPTAIN OF THE CHICAGO COMPANY." /></a> +<h5>ELLSWORTH IN 1860, WHEN HE WAS CAPTAIN OF THE CHICAGO COMPANY.</h5> + +<p>From a photograph loaned by Mr. H.H. Miller of Chicago, a member +of the Chicago company, and taken July 2, 1860, by Colonel E.L. +Brand of Chicago, a member of Ellsworth's Chicago company, and +afterwards in command of it. In the State House at Springfield, +Illinois, is a portrait group of the members of the Ellsworth +company, with a reproduction of this portrait of Ellsworth in the +centre.</p> +</div> + +<p>In these circumstances of hunger and toil, he took charge of the +company of cadets, which was falling to pieces from neglect. There +was no sign in his bearing of the poverty and famine which were +consuming him. He told them roundly that if they elected him their +captain they did so with their eyes open; that he should enforce the +strictest discipline, and make their company second to none in the +United States. His laws were Draconic in their severity. He forbade +his cadets from entering <span class="pagenum"><a name="page357" +id="page357"></a>[pg 357]</span> a drinking or gambling saloon or +any other disreputable place under penalty of expulsion, publication +of the offender's name in the city papers, and forfeiture of +uniform. He insisted on prompt obedience and unremitting drill. The +company under his firm and inspiring command rapidly pulled itself +together, and attracted all at once the notice and admiration of +Chicago and northern Illinois. The young captain did not give up his +law studies. He wrote and affixed to his desk a card which contained +his own daily orders: "So aim to spend your time that at night, when +looking back at the disposal of the day, you find no time misspent, +no hour, no moment even, which has not resulted in some benefit, no +action which had not a purpose in it. Mondays, Thursdays and +Saturdays: Rise at 5 o'clock; 5 to 10, study; 10 to 1, copy; 1 to 4, +business; 4 to 7, study; 7 to 8, exercise; 8 to 10, study. Tuesdays, +Wednesdays, and Fridays: Rise at 6; 6 to 10, study; 10 to 1, +business; 1 to 7, study and copy; 7 to 11, drill."</p> + +<p>Working faithfully as he did in the office, his whole heart was +in his drill room. His fame as a fencer went abroad in the town, and +he was challenged to a bout by the principal teacher of the art in +Chicago. Ellsworth records the combat in his diary of May 24th: +"This evening the fencer of whom I have heard so much came up to the +armory to fence with me. He said to his pupils and several others +that if I held to the low guard he would disarm me every time I +raised my foil. He is a great gymnast, and I fully expected to be +beaten. The result was: I disarmed him four times, hit him thirty +times. He disarmed me once and hit me five times. At the +<i>touche-à-touche</i> I touched him in two places at the same allonge, +and threw his foil from him several feet. He was very angry, though +he tried to conceal it."</p> + +<div class="figright" style="width:30%;"> +<a href="images/357.jpg" name="fig357" id="fig357"> +<img src="images/357.jpg" alt="FRANK E. BROWNELL, WHO KILLED THE ASSASSIN OF COLONEL ELLSWORTH." /></a> +<h5>FRANK E. BROWNELL, WHO KILLED THE ASSASSIN OF COLONEL ELLSWORTH.</h5> + +<p>From a photograph in the Civil War collection of Mr. Robert +Coster, by whose permission it is here reproduced.</p> +</div> + +<p>Public interest constantly grew in the Zouaves and their young +captain. Large crowds attended every drill. The newspapers began to +report all their proceedings, and to comment upon them with more or +less malevolence; for military companies were treated with scant +respect in Western towns before the war. Ellsworth at last +determined to confront hostile opinion by giving a public exhibition +of the proficiency of his company on the Fourth of July. He was not +without trepidation. The night before the Fourth he wrote: +"To-morrow will be an eventful day to me; to-morrow I have to appear +in a conspicuous position before thousands of citizens—an +immense number of whom, without knowing me except by sight, are +prejudiced against me. To-morrow will demonstrate the truth or +falsity of my assertion that the citizens would encourage military +companies if they were worthy of respect." The result was an +overwhelming success; and the young soldier, after his feast of +crackers the next night, wrote in exultation: "Victory! And thank +God!"</p> + +<p>The Chicago "Tribune," which had previously been unfriendly to +the little company who were trying to make soldiers of themselves, +gave a long and flattering account of the performance, and said: "We +but express the opinion of all who saw the drill yesterday morning, +when we say this company cannot be surpassed this side of West +Point."</p> + +<p>Encouraged by this public applause, he brought his company of +Zouaves as near to absolute perfection of drill as was possible; and +then, having tested them in as many competitive contests as were +within reach, he challenged the militia companies of the United +States, and set forth in the summer of 1860 on a tour of the country +which was one unbroken succession of triumphs. He defeated the crack +companies in all the principal Eastern cities, and <span +class="pagenum"><a name="page358" id="page358"></a>[pg 358]</span> +went back to Chicago one of the most talked-of men in the country. +Hundreds of Zouave companies started up in his wake, and a very +considerable awakening of interest in military matters was the +substantial result of his journey.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/358.jpg" name="fig358" id="fig358"> +<img src="images/358.jpg" alt="THE DEATH OF COLONEL ELLSWORTH." /></a> +<h5>THE DEATH OF COLONEL ELLSWORTH.</h5> +</div> + +<p>On his return to Illinois he made the acquaintance of Abraham +Lincoln, and gained at once his friendship and esteem. He entered +his office in Springfield ostensibly as a law student; but Mr. +Lincoln was then a candidate for the Presidency, and Ellsworth read +very little law that autumn. He made some Republican speeches in the +country towns about Springfield, bright, witty, and good-natured. +But his mind was full of a project which he hoped to accomplish by +the aid of Mr. Lincoln—no less than the establishment in the +War Department of a bureau of militia, by which the entire militia +system of the United States should be concentrated, systematized, +and made efficient: an enormous undertaking for a boy of +twenty-three; but his plans were clear, definite, and +comprehensive.</p> + +<span class="pagenum"><a name="page359" id="page359"></a>[pg 359]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/359.jpg" name="fig359" id="fig359"> +<img src="images/359.jpg" alt="THE MARSHALL HOUSE, ALEXANDRIA, VIRGINIA, IN WHICH COLONEL ELLSWORTH WAS KILLED." /></a> +<h5>THE MARSHALL HOUSE, ALEXANDRIA, VIRGINIA, IN WHICH COLONEL +ELLSWORTH WAS KILLED.</h5> + +<p>From a photograph owned by Bryan, Taylor & Co., publishers, New York, and +reproduced here by their permission.</p> +</div> + +<p>After Mr. Lincoln's election Ellsworth accompanied him to +Washington. As a preliminary step towards placing him in charge of a +bureau of militia, the President gave him a commission as a +lieutenant in the army. Shortly afterward he fell seriously ill with +the measles; and before he was thoroughly convalescent, the guns +about Sumter opened the Civil War. There had been much doubt in many +minds as to the loyalty of the people in case of actual war. +Ellsworth never had doubted it. He said to me as I sat by his +bedside: "You know I have a great work to do, to which my life is +pledged; I am the only earthly stay of my parents; there is a young +woman whose happiness I regard as dearer than my own; yet I could +ask no better death than to fall next week before Sumter. I am not +better than other men. You will find that patriotism is not dead, +even if it sleeps." When the news came that South Carolina had begun +the war, he did not wait an instant. He threw up his commission in +the regulars, took all the money we both had, which was not much, +and thus insufficiently equipped, started for New York, and raised, +with incredible celerity, the New York Zouaves, a regiment eleven +hundred strong.</p> + +<p>This unique organization filled so large a space in the public +mind while Ellsworth commanded it that it seems hard to realize that +its history with him is only a matter of a few weeks. He brought his +regiment down to Washington early in May, arriving thin as a +greyhound, his voice hoarse with drilling; but flushed and happy to +know he was busy and useful at last.</p> + +<p>There was no limit to the hopes and the confidence of his +friends. We had grown to admire and respect him for his high and +<span class="pagenum"><a name="page360" id="page360"></a>[pg +360]</span> honorable character, his thorough knowledge of his +business, ardent zeal for the flag he followed, and his +extraordinary courage and energy. We fully expected, relying upon +his splendid talents and the President's affectionate regard, that +his first battle would make him a brigadier-general, and that his +second would give him a division. There was no limit to the glory +and usefulness we anticipated for him. How soon all these hopes were +dust and ashes!</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/360.jpg" name="fig360" id="fig360"> +<img src="images/360.jpg" alt="COLONEL ELLSWORTH AND A GROUP OF MILITIA OFFICERS." /></a> +<h5>COLONEL ELLSWORTH AND A GROUP OF MILITIA OFFICERS.</h5> + +<p>From a photograph taken by Colonel E.L. Brand, a member of +Ellsworth's Chicago company, and reproduced by the courtesy of Mr. +H.H. Miller, also a member of the company. The photograph was taken +in New York City, July, 1860, on the occasion of an exhibition drill +given there by Ellsworth's company. The persons shown in the picture +are, beginning on the left, the Lieutenant-Colonel of the Sixth +Regiment, New York Militia; E.E. Ellsworth, Captain of the United +States Zouave Cadets (Ellsworth's Chicago company); Joseph C. +Pinckney, Colonel of the Sixth Regiment, New York Militia; the +Adjutant of the Sixth Regiment, New York Militia; H. Dwight Laflin, +Second Lieutenant of the United States Zouave Cadets, and J.R. +Scott, First Lieutenant of the United States Zouave Cadets. The +colors shown in the picture were won by Ellsworth's company in a +drill competition at the National Agricultural Fair, Chicago, +September, 15, 1859, and were, by it, never lost. They are to-day in +the custody of the company's color sergeant, B.B. Botteford, +Chicago.</p> +</div> + +<p>On the evening of May 23d he received his orders to lead his +regiment on the extreme left of the Union lines in the advance into +Virginia. The part assigned him was the occupation of Alexandria. He +worked almost all night in his tent, arranging the business of his +regiment, and then wrote a touching letter of farewell to his +parents. Anticipating an engagement, he said: "It may be my lot to +be injured in some manner. Whatever may happen, cherish the +consolation that I was engaged in the performance of a sacred duty; +and to-night, thinking over the probabilities of the morrow and the +occurrences of the past, I am perfectly content to accept whatever +my fortune may be, confident that He who noteth even the fall of a +sparrow will have some purpose even in the fate of one like me. My +darling and ever-loved parents, good-by. God bless, protect, and +care for you." These loving and filial words were the last that came +from his pen.</p> + +<p>The Zouaves were embarked before dawn the next morning. The +celerity and order with which Ellsworth performed his work excited +the admiration and surprise <span class="pagenum"><a name="page361" +id="page361"></a>[pg 361]</span> of Admiral Dahlgren, who commanded +the navy yard.</p> + +<p>The town of Alexandria was occupied without resistance; and +Ellsworth, with a squad of Zouaves, hurried off to take possession +of the telegraph office. On his way he caught sight of a Confederate +flag floating from the summit of the Marshall House. He had often +seen, from the window of the Executive Mansion in Washington, this +self-same banner flaunting defiance; and the temptation to tear it +down with his own hands was too much for his boyish patriotism. +Accompanied by four soldiers only and several civilians, he ran into +the hotel, up the stairs to the roof, and tore down the flag; but +coming down was met on the stairs by the hotel-keeper and shot dead. +His assassin perished at the same moment, killed by Frank E. +Brownell.</p> + +<p>Ellsworth was buried from the East Room of the White House by the +special order of the President, who mourned him as a son. Many brave +and able officers were to perish in the four years that followed +that mournful day; but there was not one whose death was more +sincerely lamented than that of this young soldier who had never +seen a battle; and it is the belief of his friends that he had not +his superior in natural capacity among all the most eminent heroes +of the war. But who will care to hear this said? If Napoleon +Bonaparte had been killed at the siege of Toulon, who would have +listened to some grief-stricken comrade's assertion that this young +Corsican was the greatest soldier since Cæsar? I have written these +lines merely to show how simple, kindly, and heroic a heart Colonel +Ellsworth had—and not to claim for him what can never be +proved.</p> + +<hr class="full" /> + + + +<h2>CHAPTERS FROM A LIFE.</h2> + +<h4>By Elizabeth Stuart Phelps,</h4> + +<h5>Author of "The Gates Ajar," "The Madonna of the Tubs," etc.</h5> + +<h3>ANDOVER GIRLS AS STUDENTS OF THEOLOGY.—THE DARK DAYS OF THE WAR.—WRITING +MAGAZINE STORIES AND SUNDAY-SCHOOL BOOKS.—THE DIFFICULTY +AND UNCERTAINTY OF WRITING FOR A LIVING.</h3> + +<div class="figletter"><a href="images/LetterO.jpg" name="fig361" id="fig361"><img src="images/LetterO.jpg" alt="Letter O" /></a></div> + +<p class="hang">NE study in our curriculum at the Andover School I have omitted +to mention in its place; but, of them all, it was the most +characteristic, and would be most interesting to an outsider. Where +else but in Andover would a group of a dozen and a half girls be put +to studying theology? Yet this is precisely what we did. Not that we +called our short hour with Professor Park on Tuesday evenings by +that long word; nor did he. It was understood that we had Bible +lessons.</p> + +<p>But the gist of the matter was, that we were taught Professor +Park's theology.</p> + +<p>We had our note-books, like the students in the chapel +lecture-rooms, and we took docile notes of the great man's views on +the attributes of the Deity, on election and probation, on atonement +and sanctification, on eschatology, and the rest.</p> + +<p>Girls' with pink ribbons at white throats, and girls with blue +silk nets on their pretty hair, fluttered in like bees and +butterflies, and settled about the long dining-room table, at whose +end, with a shade over his eyes to shield them from the light, the +professor sat in a dark corner.</p> + +<p>Thence he promulgated stately doctrines to those soft and +dreaming woman-creatures, who did not care a maple-leaf whether we +sinned in Adam, or whether the Trinity were separate as persons or +as attributes; but who drew little portraits of their dearest +Academy boys on the margins of their lecture-books, and passed these +to their particular intimates in surreptitious interludes between +doctrines.</p> + +<p>What must have been the professor's private speculations on those +Tuesday evenings? I had a certain sense of their probable nature, +even then; and glanced furtively into the dark corner for glimpses +of the distant, sarcastic smile which I felt must be carving itself +upon the lines of his strong face. But I never caught him at it; not +once. With the gravity befitting his awful topics, and with the +dignity belonging to his Chair and <span class="pagenum"><a +name="page362" id="page362"></a>[pg 362]</span> to his fame, the +professor taught the butterflies, to the best of my knowledge and +belief, as conscientiously as he did those black-coated beetles +yonder, the theologues on the Seminary benches.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/362.jpg" name="fig362" id="fig362"> +<img src="images/362.jpg" alt="'THE OLD BRICK ACADEMY,' PHILLIPS ACADEMY, ANDOVER, MASSACHUSETTS, WITH THE CLASS OF 1861 IN FRONT." /></a> +<h5>"THE OLD BRICK ACADEMY," PHILLIPS ACADEMY, ANDOVER, +MASSACHUSETTS, WITH THE CLASS OF 1861 IN FRONT.</h5> + +<p>Of the class of 1861 over twenty went into the war, and several +died in battle or in war prisons. Lieutenant S.H. Thompson, son of +the late Professor William Thompson of East Windsor Seminary, was +among this number. Also, Sergeant J.H. Thompson, son of the late Dr. +Joseph P. Thompson of New York City. President Ward of Franklin +College, the Rev. Dr. Dougherty of Kansas City, and the Rev. Dr. +Brand of Oberlin College, were members of the class, and their +portraits appear in the picture. The valedictorian was Carlos F. +Carter, brother of President Carter of Williams College. He was +drowned in the Jordan a few months after graduation.</p> +</div> + +<p>I ought to say, just here, that, in a recent correspondence with +Professor Park upon this matter, I found him more or less +unconscious of having been so generous with his theology to the +girls. I am giving the pupil's impressions, not the teacher's +recollections, of that Bible-class; and I can give no other. Of +course, I may be mistaken, and am liable to correction; but my +impressions are, that he gave us his system of theology pretty +straight and very faithfully.</p> + +<p>I cannot deny that I enjoyed those stern lessons. Not that I had +any marked predilections towards theology, but I liked the +psychology of it. I experienced my first appreciation of the nature +and value of logic in that class-room, and it did me good, and not +evil altogether. There I learned to reason with more patience than a +school-girl may always care to suffer; and there I observed that the +mysteries of time and eternity, whatever one might personally +conclude about them, were material of reason.</p> + +<p>In many a mental upheaval of later life, the basis of that +theological training has made itself felt to me, as one feels rocks +or stumps or solid things underfoot in the sickly swaying of wet +sands. I may not always believe all I was taught, but what I was +taught has helped me to what I believe. I certainly think of those +theological lectures with unqualified gratitude.</p> + +<p>The Tuesday evenings grow warm and warmer. The butterflies hover +about in white muslins, and pretty little bows of summer colors +glisten on bright heads as they bend over the doctrines, around the +long table. On the screens of the open windows the June beetles +knock their heads, like theologues who wish they could get in. There +is a moon without. Visions of possible forbidden ecstasies of +strolls under the arches of the Seminary elms with the bravest boy +in the Academy melt before the gentle minds, through which +depravity, election, predestination, and justification are filing +sternly. The professor's voice arises:</p> <span class="pagenum"><a +name="page363" id="page363"></a>[pg 363]</span> + +<p>"A sin is a wrong committed against God. God is an Infinite +Being; therefore sin against Him is an infinite wrong. An infinite +wrong against an Infinite Being deserves an infinite +punishment—"</p> + +<p>Now, the professor says that he has no recollection of ever +having said this in the Bible-class; but there is the note-book of +the girl's brain, stamped with the sentence for these thirty +years!</p> + +<p>"I have sometimes quoted it at the Seminary," he writes, "for the +purpose of exposing the impropriety of it. I do not think any +professor ever quoted the statement, without adding that it is +untenable. The Andover argument was ——"<a +id="footnotetag5" name="footnotetag5"></a><a +href="#footnote5"><sup>5</sup></a> He adds the proper controversial +language, which, it seems, went solidly out of my head. Tenable or +untenable, my memory has clutched the stately syllogism.</p> + +<p>Sharp upon the doctrines there falls across the silence and the +sweetness of the moonlit Hill a strange and sudden sound. It is +louder than theology. It is more solemn than the professor's system. +Insistent, urging everything before it—the toil of strenuous +study, the fret of little trouble, and the dreams of dawning +love—the call stirs on. It is the beat of a drum.</p> + +<p>The boys of old Phillips, with the down on their faces, and that +eternal fire in their hearts which has burned upon the youth of all +the ages when their country has commanded: "Die for me!" are +drilling by moonlight.</p> + +<p>The Academy Company is out in force, passing up and down the +quiet, studious streets. The marching of their feet beats solemnly +at the meeting of the paths where (like the gardens of the +professors) the long walks of the Seminary lawns form the shape of a +mighty cross.</p> + +<p>"An infinite wrong deserves an infinite punishment—" The +theologian's voice falls solemnly. The girls turn their grave faces +to the open windows. Silence helps the drum-beat, which lifts its +cry to Heaven unimpeded; and the awful questions which it asks, what +system of theology can answer?</p> + +<hr /> + +<p>Andover was no more loyal, probably, than other New England +villages; but perhaps the presence of so many young men helped to +make her seem so to those who passed the years from 1861 to 1865 +upon the Hill.</p> + +<p>Theology and church history and exegesis and sacred rhetoric +retreated from the foreground of that scholastic drama. The great +Presence that is called War swept up and filled the scene.</p> + +<p>Gray-haired men went to their lecture-rooms with bowed heads, the +morning papers shaking in their hands. The accuracy of the Hebrew +verb did not matter so much as it did last term. The homiletic uses +or abuses of an applied text, the soundness of the new school +doctrine of free will, seemed less important to the universe than +they were before the Flag went down on Sumter. Young eyes looked up +at their instructors mistily, for the dawn of utter sacrifice was in +them. He was only an Academy boy yesterday, or a theologue; unknown, +unnoticed, saying his lesson in Xenophon, taking his notes on the +Nicene Creed; blamed a little, possibly, by his teacher or by his +professor, for inattention.</p> + +<p>To-day he comes proudly to the desk. His step rings on the old, +bare floors that he will never tread again. "Sir, my father gives +his permission. I enlist at once."</p> + +<p>To-day he is a hero, and the hero's light is glorious on his +face. To-day <i>he</i> is the teacher, and the professor learns lessons +in his turn now. The boy whom he has lectured and scolded towers +above him suddenly, a sacred thing to see. The old man stands +uncovered before his pupil as they clasp hands and part.</p> + +<p>The drum calls on, and the boys drill bravely—no boys' +parade this, but awful earnest now. The ladies of Andover sew red +braid upon blue flannel shirts, with which the Academy Company make +simple uniform.</p> + +<p>Then comes a morning when the professors cannot read the papers +for the news they bring; but cover streaming eyes with trembling +hands, and turn their faces. For the black day of the defeat at Bull +Run has darkened the summer sky.</p> + +<p>Andover does not sew for the missionaries now. Her poor married +theologues must wait a little for their babies' dresses. Even the +blue flannel shirts for the drill are forgotten. The chapel is +turned into sudden, awful uses, of which the "pious founders" in +their comfortable graves did never dream. For there the women of the +Hill, staying for no prayer-meeting, and delaying to sing no hymns, +pick lint and roll bandages and pack supplies for the field; and +there they sacrifice and suffer, like women who knew no theology at +all; and since it was not theirs to offer life to the teeth of shot +and shell, they "gave their happiness instead."</p> + +<hr /> + +<p>The first thing which I wrote, marking in <span +class="pagenum"><a name="page364" id="page364"></a>[pg 364]</span> +any sense the beginning of what authors are accustomed to call their +"literary career"—I dislike the phrase and wish we had a +better—was a war story.</p> + +<p>As nearly as I can recall the facts, up to this time I had shown +no literary tendency whatever, since the receipt of that check for +two dollars and a half. Possibly the munificence of that honorarium +seemed to me to satiate mortal ambition for years. It is true that, +during my schooldays, I did perpetrate three full-grown novels in +manuscript. My dearest particular intimate and I shared in this +exploit, and read our chapters to each other on Saturday +afternoons.</p> + +<p>I remember that the title of one of these "books" was "The Shadow +of a Lifetime." It was a double title with a heroine to it, but I +forget the lady's name, or even the nature of her particular shadow. +The only thing that can be said about these three volumes is, that +their youthful author had the saving sense not to try the Christian +temper of a publisher with their perusal.</p> + +<p>Yet, in truth, I have never regretted the precious portion of +human existence spent in their creation; for I must have written off +in that way a certain amount of apprenticeship which does, in some +cases, find its way into type, and devastate the endurance of a +patient public.</p> + +<p>The war story of which I speak was distinctly the beginning of +anything like genuine work for me. Mr. Alden tells me that it was +published in January, 1864; but I think it must have been written a +while before that, though not long, for its appearance quickly +followed the receipt of the manuscript. The name of the story was "A +Sacrifice Consumed." It was a very little story, not covering more +than four or five pages in print. I sent it to "Harper's Magazine," +without introduction or what young writers are accustomed to call +"influence;" it was sent quite privately, without the knowledge of +any friend. It was immediately accepted, and a prompt check for +twenty-five dollars accompanied the acceptance. Even my father knew +nothing of the venture until I carried the letter and enclosure to +him. The pleasure on his expressive face was only equalled by its +frank and unqualified astonishment. He read the story when it came +out, and, I think, was touched by it—it was a story of a poor +and plain little dressmaker who lost her lover in the army—and +his genuine emotion gave me a kind of awed elation which has never +been repeated in my experience. Ten hundred thousand unknown voices +could not move me to the pride and pleasure which my father's first +gentle word of approval gave to a girl who cared much to be loved, +and little to be praised; and the plaudits of a "career" were the +last things in earth or heaven then occupying her mind.</p> + +<div class="figright" style="width:40%;"> +<a href="images/364.jpg" name="fig364" id="fig364"> +<img src="images/364.jpg" alt="ABBOT ACADEMY, ANDOVER, MASSACHUSETTS." /></a> +<h5>ABBOT ACADEMY, ANDOVER, MASSACHUSETTS.</h5> + +<p>From a photograph by Geo. H. Leek, Lawrence, Massachusetts, taken in 1864.</p> +</div> + +<p>Afterwards, I wrote with a distinct purpose, and, I think, quite +steadily. I know that longer stories went, soon and often, to the +old magazine, which never sent them back; and to which I am glad to +pay the tribute of a gratitude that I have never outgrown. There was +nothing of the stuff that heroines and geniuses are made of in a shy +and self-distrustful girl who had no faith in her own capabilities, +and, indeed, at that time, the smallest possible amount of interest +in the subject.</p> + +<p>It may be a humiliating fact, but it is the truth, that had my +first story been refused, or even the second or the third, I should +have written no more.</p> + +<p>For the opinion of important editors, and for the sacredness of +market value in literary wares, as well as in professorships or +cotton cloth, I had a kind of respect at which I sometimes wonder; +for I do not recall that it was ever distinctly taught me. But, +assuredly, if nobody had cared for my stories enough to print them, +I should have <span class="pagenum"><a name="page365" +id="page365"></a>[pg 365]</span> been the last person to differ from +the ruling opinion, and should have bought at Warren Draper's old +Andover book-store no more cheap printer's paper on which to +inscribe the girlish handwriting (with the pointed letters and the +big capitals) which my father, with patient pains, had caused to be +taught me by a queer old travelling-master with an idea. Professor +Phelps, by the way, had an exquisite chirography, which none of his +children, to his evident disappointment, inherited.</p> + +<div class="figleft" style="width:45%;"> +<a href="images/365-1.jpg" name="fig365-1" id="fig365-1"> +<img src="images/365-1.jpg" alt="'THE STONE BUILDING,' PHILLIPS ACADEMY, ANDOVER, MASSACHUSETTS." /></a> +<h5>"THE STONE BUILDING," PHILLIPS ACADEMY, ANDOVER, MASSACHUSETTS.</h5> + +<p>This building was burned in 1864 or 1865.</p> +</div> + +<p>But the editor of "Harper's" took everything I sent him; so the +pointed letters and the large capitals continued to flow towards his +desk.</p> + +<p>Long after I had achieved whatever success has been given me, +this magazine returned me one of my stories—it was the only +one in a lifetime. I think the Editor then in power called it too +tragic, or too something; it came out forthwith in the columns of +another magazine that did not agree with him, and was afterwards +issued, I think, in some sort of "classic" series of little +books.</p> + +<p>I was a little sorry, I know, at the time, for I had the most +superstitious attachment for the magazine that, when "I was a +stranger, took me in;" but it was probably necessary to break the +record in this, as in all other forms of human happiness.</p> + +<p>Other magazines took their turn—the "Atlantic," I +remember—in due course; but I shared the general awe of this +magazine at that time prevailing in New England, and, having, +possibly, more than my share of personal pride, did not very early +venture to intrude my little risk upon that fearful lottery.</p> + +<p>Perhaps this reserve was more natural because "Harper's" +published as fast as I could write; which is not saying much, to be +sure, for I have always been a slow worker. The first story of mine +which appeared in the "Atlantic" was a fictitious narrative of +certain psychical phenomena occurring in Connecticut, and known to +me, at first hand, to be authentic. I have yet to learn that the +story attracted any attention from anybody more disinterested than +those few friends of the sort who, in such cases, are wont to +inquire, in tones more freighted with wonder than admiration: "What! +Has she got into the '<i>Atlantic</i>'?"</p> + +<p>The "Century" came in turn, when it came into being. To this +delightful magazine I have always been, and always hope to be, a +contributor.</p> + +<div class="figright" style="width:40%;"> +<a href="images/365-2.jpg" name="fig365-2" id="fig365-2"> +<img src="images/365-2.jpg" alt="THE HOUSE IN ANDOVER, MASSACHUSETTS, WHERE THE SCHOOL CALLED 'THE NUNNERY' WAS HELD." /></a> +<h5>THE HOUSE IN ANDOVER, MASSACHUSETTS, WHERE THE SCHOOL CALLED "THE +NUNNERY" WAS HELD.</h5> + +<p>From a photograph taken in 1864 by Geo. H. Leek, Lawrence, Massachusetts.</p> +</div> + +<p>I read, with a kind of hopeless envy, histories and legends of +people of our craft who "do not write for money." It must be a +pleasant experience to be able to cultivate so delicate a class of +motives for the privilege of doing one's best to express <span +class="pagenum"><a name="page366" id="page366"></a>[pg 366]</span> +one's thoughts to people who care for them. Personally, I have yet +to breathe the ether of such a transcendent sphere. I am proud to +say that I have always been a working-woman, and always had to be; +though I ought to add that I am sure the proposal that my father's +allowance to his daughter should cease, did not come from the +father.</p> + +<p>When the first little story appeared in "Harper's Magazine," it +occurred to me, with a throb of pleasure greater than I supposed +then that life could hold, that I could take care of myself, and +from that day to this I have done so.</p> + +<p>One hesitates a little, even in autobiography, about saying +precisely this. But when I remember the thousands of women who find +it too easy to be dependent on too heavily-weighted and too generous +men, one hesitates no longer to say anything that may help those +other thousands of women who stand on their own feet, and their own +pluck, to understand how good a thing it is to be there.</p> + +<p>Of all the methods of making a living open to educated people +to-day, the profession of literature is, probably, the poorest in +point of monetary returns. A couple of authors, counted successful +as the world and the word go, said once:</p> + +<p>"We have earned less this year than the fisherman in the dory +before the door of our summer home." Perhaps it had been a good year +for Jack; possibly a poor one for those other fishers, who spread +their brains and hearts—a piteous net—into the seas of +life in quest of thought and feeling that the idlers on the banks +may take a summer's fancy to. But the truth remains. A successful +teacher, a clever manufacturer, a steady mechanic, may depend upon a +better income in this country than the writer whose supposed wealth +he envies, and whose books he reads on Sunday afternoons, if he is +not too sleepy, or does not prefer his bicycle.</p> + +<p>When we see (as we have actually done) our market-man driving by +our old buggy and cheap horse on holidays, with a barouche and span, +we enjoy the sight very much; and when I say (for the other occupant +of the buggy has a little taste for two horses, which I am so +plebeian as not to share, having never been able to understand why +one is not enough for anybody): "But would you <i>be</i> the +span-owner—for the span?" we see the end of the subject, and +grow ravenously contented.</p> + +<p>One cannot live by bread or magazine stories alone, as the young +daughter of toil too soon found out. Like other writers I did hack +work. My main dependence was on that venerable and useful form of it +which consists in making Sunday-school books. Of these I must have +written over a dozen; I wince, sometimes, when I see their forgotten +dates and titles in encyclopædias; but a better judgment tells me +that one should not be ashamed of doing hard work honestly. I was +not an artist at Sunday-school literature (there are such), and have +often wondered why the religious publishing societies kept me at it +so steadily and so long.</p> + +<p>There were tales of piety and of mischief, of war and of home, of +babies and of army nurses, of Tom-boys, and of girls who did their +mending and obeyed their mothers.</p> + +<p>The variety was the only thing I can recall that was commendable +about these little books, unless one except a considerable dash of +fun.</p> + +<p>One of them came back to me—it happened to be the only book +I ever wrote that did—and when the Andover expressman brought +in the square package, just before tea, I felt my heart stand still +with mortification. Fortunately nobody saw the expressman. I always +kept my ventures to myself, and did not, that I can remember, read +any manuscript of mine to suffering relatives or friends, before +publication. Indeed, I carried on the writer's profession for many +years as if it had been a burglar's.</p> + +<p>At the earliest moment possible I got myself into my little room, +and turned both keys upon myself and my rejected manuscript. But +when I came to read the publisher's letter, I learned that hope +still remained, a flickering torch, upon a darkened universe. That +excellent man did not refuse the story, but raised objections to +certain points or forms therein, to which he summoned my attention. +The criticism called substantially for the rewriting of the book. I +lighted my lamp, and, with the June beetles butting at my head, I +wrote all night. At three o'clock in the morning I put the last +sentence to the remodelled story—the whole was a matter of +some three hundred and fifty pages of manuscript—and crawled +to bed. At six, I stole out and found the expressman, that innocent +and ignorant messenger of joy or woe. The revised manuscript reached +the publisher by ten o'clock, and his letter of unconditional +acceptance was in my hands before another tea-time.</p> + +<p>I have never been in the habit of writing at night, having been +early warned against this practice by the wisest of fathers (who +notably failed to follow his own advice); and this almost solitary +experience of the midnight <span class="pagenum"><a name="page367" +id="page367"></a>[pg 367]</span> oil remains as vivid as yesterday's +sunset to me. My present opinion of that night's exploit is, that it +signified an abnormal pride which might as well have received its +due humiliation. But, at the time, it seemed to be the inevitable or +even the creditable thing.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/367.jpg" name="fig367" id="fig367"> +<img src="images/367.jpg" alt="HENRY MILLS ALDEN, EDITOR OF 'HARPER'S MAGAZINE.'" /></a> +<h5>HENRY MILLS ALDEN, EDITOR OF "HARPER'S MAGAZINE."</h5> + +<p>From a photograph by G.C. Cox, New York.</p> +</div> + +<p>Sunday-school writers did books by sets in those days; perhaps +they do still. And at least two such sets I provided to order, each +of four volumes. Both of these, it so happens, have survived their +day and generation—the Tiny books, we called them, and the +Gypsy books. Only last year I was called upon to renew the copyright +for Gypsy, a young person now thirty years old in type.</p> + +<p>There is a certain poetic justice in this little circumstance, +owing to the fact that I never <i>worked</i> harder in my life at +anything than I did upon those little books; for I had, madly +enough, contracted to supply four within a year.</p> + +<p>We had no vacations in those days; I knew nothing of hills or +shore; but "spoke straight on" through the terrible Andover weather. +Our July and August thermometers used to stand up hard at over +ninety degrees, day and night, for nearly a week at a time. The +large white mansion was as comfortable as ceiled walls and back +plaster could be in that furnace; but my own small room, on the +sunny side of the house, was heated seven times hotter than +endurance. Sometimes I got over an open register in a lower room, +and wrote in the faint puffs of damp air that played with my misery. +Sometimes I sat in the cellar itself; but it was rather dark, and +one cherished a consciousness of mice. In the orchard, or the grove, +one's brains fricasseed quickly; <span class="pagenum"><a +name="page368" id="page368"></a>[pg 368]</span> in fact, all +out-of-doors was a scene of bottomless torment worthy of a theology +older and severer than Andover's.</p> + +<p>When the last chapter of the last book was done, it occurred to +me to wonder whether I might ever be able to afford to get for a +week or two where the thermometer went below ninety degrees in +summer. But this was a wild and baseless dream, whose irrationality +I quickly recognized. For such books as those into which I had been +coining a year of my young strength and heart, I received the sum of +one hundred dollars apiece. The "Gypsy" publisher was more +munificent. He offered one hundred and fifty; a price which I +accepted with incredible gratitude.</p> + +<p>I mention these figures distinctly, with the cold-blooded view of +dimming the rosy dreams of those young ladies and gentlemen with +whom, if I may judge by their letters, our country seems to be +brimming over.</p> + +<p>"Will you read my poem?" "Won't you criticize my manuscript?" "I +would like to forward my novel for your perusal." "I have sent you +the copy of a rejected article of mine, on which I venture to +ask—," etc., etc. "I have been told that all I need is +Influence." "My friends think my book shows genius; but I have no +Influence." "Will it trouble you too much to get this published for +me?"</p> + +<p>"Your Influence—" and so on, and so on, run the piteous +appeals which every successful author receives from the great +unknown world of discouraged and perplexed young people who are +mistaking the stir of youth or vanity, or the <i>ennui</i> of idleness, +or the sting of poverty, for the solemn throes of power.</p> + +<p>What can one do for them, whom no one but themselves can help? +What can one say to them, when anything one says is sure to give +pain, or dishearten courage?</p> + +<p>Write, if you <i>must</i>; not otherwise. Do not write, if you can +earn a fair living at teaching or dressmaking, at electricity or +hod-carrying. Make shoes, weed cabbages, survey land, keep house, +make ice-cream, sell cake, climb a telephone pole. Nay, be a +lightning-rod peddler or a book agent, before you set your heart +upon it that you shall write for a living. Do anything honest, but +do not write, unless God calls you, and publishers want you, and +people read you, and editors claim you. Respect the market laws. +Lean on nobody. Trust the common sense of an experienced publisher +to know whether your manuscript is worth something or nothing. Do +not depend on influence. Editors do not care a drop of ink for +influence. What they want is good material, and the fresher it is, +the better. An editor will pass by an old writer, any day, for an +unknown and gifted new one, with power to say a good thing in a +fresh way. Make your calling and election sure. Do not flirt with +your pen. Emerson's phrase was, "toiling terribly." Nothing less +will hint at the grinding drudgery of a life spent in living "by +your brains."</p> + +<p>Inspiration is all very well; but "genius is the infinite +capacity for taking pains."</p> + +<p>Living? It is more likely to be dying by your pen; despairing by +your pen; burying hope and heart and youth and courage in your +ink-stand.</p> + +<p>Unless you are prepared to work like a slave at his galley, for +the toss-up chance of a freedom which may be denied him when his +work is done, do not write. There are some pleasant things about +this way of spending a lifetime, but there are no easy ones.</p> + +<p>There are privileges in it, but there are heart-ache, +mortification, discouragement, and an eternal doubt.</p> + +<p>Had one not better have made bread or picture-frames, run a +motor, or invented a bicycle tire?</p> + +<p>Time alone—perhaps one might say, eternity—can +answer.</p> + +<hr class="short" /> + +<blockquote class="footnote"><a id="footnote5" name="footnote5"></a><b>Footnote 5:</b><a href="#footnotetag5"> (return) </a> +<p>"A sin once committed, always <i>deserves</i> punishment; +and, as long as strict <i>Justice</i> is administered, the sin <i>must</i> be +punished. Unless there be an Atonement, strict Justice <i>must</i> +be administered; that is, Sin must be punished forever; but, +on the ground of the Atonement, <i>Grace</i> may be administered, +instead of <i>Justice</i>, and then the sinner may be pardoned."</p> +</blockquote> + +<div class="figcenter" style="width:80%;"> +<a href="images/368.jpg" name="fig368" id="fig368"> +<img src="images/368.jpg" alt="Chapter End Graphic." /></a></div> + +<hr class="full" /> + +<span class="pagenum"><a name="page369" id="page369"></a>[pg 369]</span> + + + + +<div class="figcenter" style="width:80%;"> +<a href="images/369.jpg" name="fig369" id="fig369"> +<img src="images/369.jpg" alt="ROBERT LOUIS STEVENSON AT THE AGE OF FOURTEEN." /></a> +<h5>ROBERT LOUIS STEVENSON AT THE AGE OF FOURTEEN.</h5> + +<p>From a photograph by Fradelle & Young, London.</p> +</div> + + + + +<h2>LOST YOUTH.</h2> + +<h4>By R. L. Stevenson.</h4> + +<div style="margin-left:20%"> +<div class="poem"> <div class="stanza"> +<p>Sing me a song of a lad that is gone,</p> +<p class="i2">Say, could that lad be I?</p> +<p>Merry of soul he sailed on a day</p> +<p class="i2">Over the sea to Skye.</p> + </div><div class="stanza"> +<p>Mull was astern, Egg on the port,</p> +<p class="i2">Rum on the starboard bow;</p> +<p>Glory of youth glowed in his soul:</p> +<p class="i2">Where is that glory now?</p> + </div><div class="stanza"> +<p>Sing me a song of a lad that is gone,</p> +<p class="i2">Say, could that lad be I?</p> +<p>Merry of soul he sailed on a day</p> +<p class="i2">Over the sea to Skye.</p> + </div><div class="stanza"> +<p>Give me again all that was there,</p> +<p class="i2">Give me the sun that shone!</p> +<p>Give me the eyes, give me soul,</p> +<p class="i2">Give me the lad that's gone!</p> + </div><div class="stanza"> +<p>Sing me a song of a lad that is gone,</p> +<p class="i2">Say, could that lad be I?</p> +<p>Merry of soul he sailed on a day</p> +<p class="i2">Over the sea to Skye.</p> + </div><div class="stanza"> +<p>Billows and breeze, islands and seas,</p> +<p class="i2">Mountains of rain and sun,</p> +<p>All that was good, all that was fair,</p> +<p class="i2">All that was me is gone.</p> + </div> </div> +</div> + +<blockquote class="note"><p> +Originally published in the "Pall Mall Gazette." +</p></blockquote> + +<hr class="full" /> + +<span class="pagenum"><a name="page370" id="page370"></a>[pg 370]</span> + + + + +<h2>THE DIVIDED HOUSE</h2> + +<h4>By Julia D. Whiting,</h4> + +<h5>Author of "The Story of Myra," "Brother Sesostris," "A Special Providence," and other stories.</h5> + +<div class="figletter"><a href="images/LetterW.jpg" name="fig370" id="fig370"><img src="images/LetterW.jpg" alt="Letter W" /></a></div> + +<p class="hang">HEN Selucius Huxter had arrived at his last illness, he proved +himself more than ever in his life troublesome and wearing. Having a +suspicion that his condition was worse than his doctor or children +allowed, he gave them no peace until he had extracted an admission +that such was the case. Left alone with the doctor at his request, +he reproached him.</p> + +<p>"Ye might as well told me before as let me lay here thinkin' and +stewin' about it. I've lost a sight of strength tryin' to git the +truth from ye, and there wa'n't no need. Wall—I suppose I +ain't reely dyin' naow, while I'm a-talkin', be I?"</p> + +<p>Assured as to that point, he added: "The reason I wanted to know +is because I've got to fix my concerns so as to leave 'em as well as +I can; and all I want of you is that when you think +I'm—wall—if you see there's goin' to be a change, I want +you should tell me, so's't I can straighten things right out and git +their consent to it." Having promised, the doctor apprised him as +the last moments drew near.</p> + +<p>"Sho! I want to know! Why, I feel full as well as I did yes'dy +and a leetle grain easier, if anythin'."</p> + +<p>"I hope this notice does not find you unprepared," observed the +doctor.</p> + +<p>"Wall, no; I'm prepared as much as I can be, as you may say. I've +been a member in good and regular standin' this fifty-five +year—and I hain't arrived at my age without seeing there's +somethin' in life beside livin'." He paused, then added with an +accent of pride, "I don't owe any man a cent, nor never cheated a +man of one. Wall, I've had quite a spell to think of things in, +durin' my sickness, and I don't know but what I've enjoyed it +considerable. Thought of things all along back to when I was a boy. +Events come up that I'd clean forgot."</p> + +<p>The doctor gone, he called his children in.</p> + +<p>"Wall, Armidy, wall, Lucas, the doctor don't seem to think I +shall tucker it out much longer. Wall, naow," he exclaimed, quite +vexed, "I vow for't if I didn't forgit to ask him how long! Wall, +too late naow. He's got out of sight, I s'pose."</p> + +<p>Armida stepped to the window, and assured him of the fact.</p> + +<p>"Wall, no gret matter. I jist thought if I could git him to fix +the time I'd like to see how nigh he'd hit it.</p> + +<p>"Naow, I want to fix the property so's't you won't have no +trouble with it. No use wastin' money gittin' lawyers here. There +ain't no cheatin' nor double-dealin' anywhere to be found amongst +the Huxters nor the Lucases; and when you give me your promises to +abide by my last will and testament I shall expect you to hold to it +jist the same as if it was writ out.</p> + +<p>"Naow, about the farm and house. The house, as you know, stands +in the middle line of the farm; that is, the north side has a leetle +the advantage in hevin' the Jabez Norcross paster tacked unto it, +over and above the south half, but it's near enough. That paster +don't count for much. Pooty thick with sheep laurel. Wall, seein' +the land lies jist as it does, and the house is jist as it is, I +propose to divide it even. Lucas, you can have the north half, and +Armidy the south, beginnin' right to the front door, and runnin' +right through the house and right along down to the river, straight +as you can fetch it. Do you agree to my plan?"</p> + +<p>Armida and Lucas exchanged glances. "You speak," said Lucas in a +low tone.</p> + +<p>"No, you," said Armida.</p> + +<p>"What you whisperin' about? P'raps you think I can't hear because +I'm dyin', but I'd have you to know my hearin' ain't affected a +grain. Speak up naow! What is it, Lucas?"</p> + +<p>"We were thinkin' of Theodore," said Lucas. "You're leavin' him +out, seems so."</p> + +<p>"'Tain't 'cause I forgot him; but I give him all I cal'lated to +when he quit home five year ago—money; and so I sha'n't leave +him anythin'. Wouldn't do him no good, if I did," he said to +himself.</p> + +<p>"Well, we should feel better if you did," said Armida. "I don't +want he should be <span class="pagenum"><a name="page371" +id="page371"></a>[pg 371]</span> left out. Neither would mother if +she was livin'; she'd feel bad."</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/371.jpg" name="fig371" id="fig371"> +<img src="images/371.jpg" alt="'WALL, ARMIDY, WALL, LUCAS, THE DOCTOR DON'T SEEM TO THINK I SHALL TUCKER IT OUT MUCH LONGER.'" /></a> +<h5>"'WALL, ARMIDY, WALL, LUCAS, THE DOCTOR DON'T SEEM TO THINK I +SHALL TUCKER IT OUT MUCH LONGER.'"</h5> +</div> + +<p>"I'll settle it with your ma when I see her. Come, now, what do +you say?"</p> + +<p>There was a long silence, which Armida broke by saying, "S'posin' +him or me was to want to leave the place, I mean for good—get +tired of stayin' here to home?"</p> + +<p>"Wall," said her father with a chuckle, "if either of you feels +like <i>givin</i> your share to the other, you may. I ain't goin' to +leave my old place for either of you to sell to each other nor +nobody else. I expect you to live on't."</p> + +<p>"Well," now objected Lucas; "s'posin' one of us should git +married, then how would it be?"</p> + +<p>"Why, live along. Put in and work a leetle harder, maybe. This +farm carried a pooty fair number when I was younger. If you should +git too numerous you could build on either side. I guess there ain't +no gret danger," he added.</p> + +<p>As neither offered further objections, Mr. Huxter said: "There's +been talk enough, I s'pose. Do you agree to 't?" He waited while +each gave an audible "yes." "Naow," said he, "I hain't an earthly +thing to hamper me."</p> + +<p>The father dead, for the brother and sister no new life began. +Armida still skimmed all the milk and made the butter, looked after +Lucas as she had before, and Lucas attended impartially to the whole +of the farm, and Armida sometimes wondered what difference it made. +To be sure the profits were divided with the most rigid exactness; +but everything went tranquilly <span class="pagenum"><a +name="page372" id="page372"></a>[pg 372]</span> on until more than a +year after their father's death, when Armida had a suspicion, +confirmed by appearances, that Lucas was becoming interested in a +young girl in a neighborhood a few miles away. The spirit of +jealousy surely animated poor Armida, for nothing else could have +prompted her action. Having ascertained the girl's name, she caused +to be conveyed to her the facts, colored for the occasion, relating +to the partition of the house and land; and the young woman, having +a shrewd eye to the main chance, bluntly told Lucas when next she +saw him that she didn't wish the half of a house nor the half of a +farm.</p> + +<div class="figleft" style="width:40%;"> +<a href="images/372.jpg" name="fig372" id="fig372"> +<img src="images/372.jpg" alt="THE DIVIDED HOUSE.—'ARMIDA'S SIDE OF THE HOUSE FELL MORE AND MORE INTO RUIN; WHILE LUCAS ... KEPT HIS IN EXCELLENT REPAIR, AND OCCASIONALLY RENEWED THE PAINT.'" /></a> +<h5>THE DIVIDED HOUSE.—"ARMIDA'S SIDE OF THE HOUSE FELL MORE AND +MORE INTO RUIN; WHILE LUCAS ... KEPT HIS IN EXCELLENT REPAIR, AND OCCASIONALLY +RENEWED THE PAINT."</h5> +</div> + +<p>Lucas had thought all might go on smoothly with a wife, and had +counted on her accepting the situation. Inquiring as to who had +meddled in his affairs, he traced the matter back to Armida, and +coming home mortified and angry, reproached her in unsparing terms, +ending his recital of wrongs with: "I don't know what you did it +for, unless you was afraid your half was going to be invaded; and if +you feel that way you'd better keep to your side and take care of +your own property. I ain't going to interfere."</p> + +<p>Armida was powerless to protect herself except with tears, which +did not avail with Lucas. She made overtures of peace, such as +offering to cook her brother's meals and look after his share of the +milk; but was warned to attend to her own business.</p> + +<p>Lucas had a new pipe-hole made in the kitchen chimney, and bought +a new stove, and hunted up a kitchen table, telling Armida she was +welcome to the stove and table they had previously used in common, +but he'd thank her to stay on her own side of the room. The +situation would have been ludicrous if it had not been grim earnest +to the brother and sister. Lucas had a hard side to his character, +and he could not forgive his sister's interference. He would not +even give Armida advice, but allowed her cows to break into her +cornfield and her sheep to stray away, without warning her, though +all the while his heart pricked him at sight of her distress. Still +all he would do was to suggest that she get a hired man.</p> + +<p>Accordingly Armida, in despair, hired an easy-going, good-natured +creature that offered his services. He did very well, and Armida got +on better, and took courage.</p> + +<p>But there was a dreadful blow in store for her. Lucas brought a +gang of carpenters to the farm, who instituted repairs on his half +of the house. He even went so far as to commit the extravagance of +having blinds hung for his sitting-room and front chamber windows, +and his half of the front porch was trimmed with brackets, and then +the whole of his half of the house painted white, so that his +neighbors rallied him on being proud. "Only," as <span +class="pagenum"><a name="page373" id="page373"></a>[pg 373]</span> +one said, "why don't you extend your improvements right along acrost +the house, Lucas? It looks sorter queer to see one-half so fine and +the other so slack."</p> + +<p>"Armida's free to do she's a mind to," said Lucas. "If she wants +to fix up her side, she can. I don't hinder her—"</p> + +<p>"Nor you don't help her neither, as I see," said the other.</p> + +<p>"I believe in 'tendin' to your own affairs and not interferin' +with other folks," Lucas rejoined.</p> + +<p>Armida was made very unhappy by these changes and the comments of +the neighbors, and would gladly have beautified her half also, but +had no money to spend. The farm had fallen behind, and she was +pinched for means. She did what she could, taking more care than +usual of vines and flowers, and even had an extra bed dug under her +front windows, where she had many bright-hued flowers; but as she +rose from digging around her plants and surveyed the +house—Lucas's side with the new green blinds and the +clapboards shining with paint, hers with its stained, weather-beaten +appearance and its staring windows—she felt ashamed and +discouraged.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/373.jpg" name="fig373" id="fig373"> +<img src="images/373.jpg" alt="'AS ARMIDA SAT ON THE BENCH UNDER THE OLD RUSSET APPLE-TREE, ... SHE ... LOOKED UP TO SEE A SHABBY, SHAMBLING, OLDISH MAN COMING AROUND THE SIDE OF THE HOUSE.'" /></a> +<h5>"AS ARMIDA SAT ON THE BENCH UNDER THE OLD RUSSET APPLE-TREE, ... +SHE ... LOOKED UP TO SEE A SHABBY, SHAMBLING, OLDISH MAN COMING AROUND +THE SIDE OF THE HOUSE."</h5> +</div> + +<span class="pagenum"><a name="page374" id="page374"></a>[pg 374]</span> + +<p>She feared her hired man was slack and neglected his work; yet +when he threatened to go, and afterward compromised the matter by +offering to stay if she'd marry him, at a loss what to do, and +partly because she was lonely, she married him. He was a respectable +man, whose only fault was laziness, and she hoped that now he would +take an interest. When Armida and her husband came back from the +minister's and announced to Lucas that they were married, his only +comment was, "Well, a slack help will make a shif'less husband."</p> + +<p>Years went by, and Armida's side of the house fell more and more +into ruin; while Lucas, with what Armida considered cruel +carefulness, kept his in excellent repair and occasionally renewed +the paint. The contrast was so great that passers-by stopped their +horses that they might look and wonder at their leisure. Every +glance was like a blow to Armida, so that she avoided her +sitting-room and kept herself in the uncomfortable kitchen that was +divided by an imaginary line directly through the middle, a line +never crossed by her brother, her husband, or herself.</p> + +<p>It would have looked absurd enough to a stranger to see this +divided room, with the brother clumsily carrying on his household +affairs on the one side and the sister doing her work on the other, +with often not a word exchanged between them for days together. +Absurd it might be, but it was certainly wretched. Armida grew old +rapidly. Her husband was a poor stick, and when, as years passed, a +touch of rheumatism gave him a real excuse for laziness, he did +little more than sit by the fire and smoke.</p> + +<p>As Armida sat on the bench under the old russet apple-tree by the +back door one day, regretting her evil fate, she heard footsteps +approaching, and, pushing back her old sun-bonnet, looked up to see +a shabby, shambling, oldish man coming around the side of the house +and gazing in at the windows, "What ye doin' there?" said Armida +sharply.</p> + +<p>The man turned, surveyed her with a smile, then said with a drawl +she remembered: "I hain't been gone so long but that I know ye, +Armidy. Don't you remember me?"</p> + +<p>"Theodore Huxter! Is that you? Well!" and she hurried up to him, +and shook hands violently.</p> + +<p>"I heard only last week that father was dead," he explained. "I +seen a man from this way, and he said he was gone. How long +since?"</p> + +<p>"More than ten years ago."</p> + +<p>"Well, I thought I'd come and see ye."</p> + +<p>"I'm glad you did," she said. "But come right in;" and she led +the way into the kitchen.</p> + +<p>He leaned up against the door and surveyed the room. "I should +'a' s'posed I'd have remembered this room, but what ye done to it? +What hev you got two stoves and two tables and all that for, +Armidy?"</p> + +<p>Armida told him all, winding up her story with a few tears.</p> + +<p>"That accounts for the looks of the outside, I s'pose," was his +only comment. "I thought it was about the queerest I ever see. It's +ridiculous! Why haven't you and Lucas straightened out affairs +before this?"</p> + +<p>"I can't, and he can't, I s'pose," she said hopelessly; "and +everything makes it worse. I wouldn't care so much if he hadn't +fixed up the outside the way he did."</p> + +<p>"Oh, well now, don't you fret. If I had money—but then I +haven't."</p> + +<p>"How have you lived sence you left home?" Armida inquired.</p> + +<p>"Why, I've had a still, and made essence and peddled it out; but +I sold the still to git money to come here, and it took all I +had."</p> + +<p>"Well now, Theodore, I wish you'd stay here now you've got round +again," said Armida with great earnestness. "I've worried about you +a sight. I'd be glad to have you, and Lucas would, I know."</p> + +<p>To spare a possible rebuff for Theodore, she ran out as she saw +Lucas coming to the house to get his supper, and apprised him of his +brother's arrival, glad to find he shared her pleasure in it. As +Lucas entered the room he shook hands with Theodore, saying, "How +are ye?" to which Theodore responded with "How are you, Lucas?"</p> + +<p>Theodore was a relief and pleasure to all the family. He observed +a strict impartiality. If he split some kindling-wood for Armida, he +churned for Lucas. If he took Armida's old horse to be shod, he +helped Lucas wash his sheep. He accepted everything, asking no +questions after the first evening, but kept an observant eye on +all.</p> + +<p>Both Lucas and Armida had loved him since their earliest +remembrance, and retained their old fondness for him now. He was a +welcome guest on either side of the kitchen, and though when he +announced of an evening that he was going visiting, and stepped +across the line to the other <span class="pagenum"><a name="page375" +id="page375"></a>[pg 375]</span> side of the half from where he had +been sitting, the owner of the side he honored felt pleased by the +distinction, yet the one on the opposite side, though no longer +(according to an understood law) joining in the conversation, still +had the benefit of Theodore's narratives.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/375.jpg" name="fig375" id="fig375"> +<img src="images/375.jpg" alt="EVENING IN THE DIVIDED KITCHEN." /></a> +<h5>EVENING IN THE DIVIDED KITCHEN.</h5> +</div> + +<p>He was busy, too, in his way. He was indefatigable in +berry-picking and herb-gathering, selling what Armida and Lucas did +not wish, and showing not a little shrewdness. When he had laid a +little money together he bought a still, and distilled essences of +peppermint, wintergreen, and other sweet-smelling herbs and roots, +and when a store was accumulated he filled a basket and departed on +a peddling expedition, returning with money in his purse and a +handkerchief or ribbon for Armida. Once he bought her a stuff gown, +which she came near ruining by weeping over it, it was such a +delight.</p> + +<p>Lucas remonstrated. "I think you're foolish, Theodore. Why don't +you spend your money on yourself? You'd a sight better get you a new +coat."</p> + +<p>"I'd rather see Armida crying over that stuff," said Theodore, +"than have a dozen coats. Nobody knows Armida's good looking, +because she's no good clothes. But she is, and when she gets that +dress made up and puts it on with that pink ribbon I bought her last +time, she'll look as pretty as a pink."</p> + +<p>Not so great a success were the Venetian blinds that he bought +second-hand and gave to Armida to hang in the sitting-room. They +proved to be in sorry condition, and Theodore was much mortified. +Being a handy creature, he managed to patch them up so that, though +they could not be rolled up, they looked very well from the outside; +and, as he philosophically remarked:</p> + +<p>"What more do you want, Armidy? A room you never set in, you +don't want any light in."</p> + +<p>There was one thing that Theodore would not do. He would not, as +he said, fellowship with Jerry, Armida's husband. "Tell you, +Armidy," he would say, "I can't put up with a man like him."</p> +<span class="pagenum"><a name="page376" id="page376"></a>[pg +376]</span> + +<p>"Some folks call you shif'less, Theodore," Armida retorted with +bitterness.</p> + +<p>"Well, I am," he allowed; "but the difference is—I'm lazy, +but work, my fashion; but he's lazy, and don't work at all."</p> + +<p>Though he disdained Jerry, he would rather do his tasks than see +Armida's interests suffer; and when he was not occupied with his +still or peddling, he busied himself on her side of the farm. Lucas +would at any time give him a helping hand rather than see Theodore +hurt himself, and so Armida's fences were mended and sundry repairs +on her barns and out-houses made. Lucas was still as stiff as ever, +and the help given was always to oblige Theodore, who laughed to +himself but said nothing.</p> + +<p>He once attempted to wheedle Lucas into painting at least all of +the front of the house, but Lucas was not to be moved. Disappointed +in that, Theodore brought home a pot of yellow paint when returning +from his next expedition, and painted his sister's half of the +kitchen floor, in spite of her remonstrating that Lucas wouldn't +like it, though she acknowledged it looked pretty, and in spite of +Lucas's vexation at finding the room ridiculous.</p> + +<p>"No more ridiculous than it was before," Theodore assured him; +"it couldn't be. Besides," he added, as an afterthought, "I'll bring +it plumb up to the middle, and neither of you will be trespassin' on +the other's side. I noticed one of your chairs was a leetle grain +onto Armidy's side the other night, and that ain't right."</p> + +<p>In the middle of an afternoon, as Lucas was ploughing out his +corn, he heard a "Hello!" to which, when it had been two or three +times repeated, he replied, though without looking around. Presently +he heard some one coming, in a sort of scuffling run, and breathing +heavily, and looked over his shoulder to see Theodore, who dropped +into a walk as he spied him, and gasped: "Lucas! Say! Stop! Look +here!"</p> + +<p>"Well?" said Lucas, and pulled up his horse.</p> + +<p>"I'm too old to run like this, that's a fact," said Theodore, +mopping his face and leaning up against the plough. "There's a queer +piece of work for us to do, Lucas. Armidy's all smashed up on the +road, right down here on that second dip, and I guess Jerry is stone +dead, and we must fetch 'em up just as soon as we can."</p> + +<p>Lucas made no comment, but mechanically unfastened the horse and +turned toward the house, his brother stumbling behind, quite +exhausted by the hurry and fatigue of the hour.</p> + +<p>As they went Lucas said: "How did you come to know of it?"</p> + +<p>"Well, it was cur'us," said Theodore. "You know I had old Sam +this morning, bringing in a little jag of wood for Armidy, and +lengthened out the traces to fit the old waggin. Well, all I know +about it is what I guess. I see from the looks they must 'a' +concluded to go to the village with some eggs and so on, 'cause you +can see in the road where they smashed when the basket flew out; and +Jerry didn't know no more than to hitch up into the buggy without +shortenin' the traces, and you know how that would work. Well, the +cur'us thing is that I was out in the paster mowin' some +brakes—here, let me hitch up this side, while you do the +other—and I heard somebody or somethin' comin' slam-bang, and +I looked up—I wa'n't near enough so as to see who 'twas nor +anythin'—and I looked up, and see 'em comin' like hudy, down +one of them pitches. Thinks said I, well, there's a hitch-up that's +goin' to flinders—and just then the forward wheel struck a big +stone, and I see the woman and man and all fly inter the air and +come down agin, and the hoss went."</p> + +<p>"Where's the horse now?" said Lucas.</p> + +<p>"I don't know, and I don't care. Tell ye, best put a feather-bed +in the bottom of this waggin, because her arm's broke for certain, +and I don't know what else. I'll fetch it—if you've got some +spirits."</p> + +<p>"Yes," said Lucas, "I'll fetch some;" and both hurried into the +house, and soon came out again and hastened off.</p> + +<p>"How did you know who 'twas?" Lucas inquired, with solemn +curiosity fitting the occasion.</p> + +<p>"Why, I didn't; but I knew when they didn't offer to git up, +whoever 'twas wanted help, and I put across the lot to 'em, and sure +enough 'twas Armidy and Jerry. I looked her over, and see by the way +she lay that one of her arms was broke, anyway, and stepped over to +where Jerry was, and sir! he was as dead as Moses! Head struck right +on a big stone and broke his neck—his head hung down like +that," letting his hand fall limply from the wrist.</p> + +<p>"Does she know?" said Lucas.</p> + +<p>"No, and I hope she won't for a spell. She hadn't come to when I +left her."</p> + +<p>Lucas struck the horse with the end of the reins to urge him +on.</p> + +<p>"There, now you can see 'em," said Theodore, rising in his seat +and pointing <span class="pagenum"><a name="page377" +id="page377"></a>[pg 377]</span> down the road. Lucas followed his +example, and looking before them they could see both husband and +wife lying motionless in the road.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/377.jpg" name="fig377" id="fig377"> +<img src="images/377.jpg" alt="'LOOKING BEFORE THEM THEY COULD SEE BOTH HUSBAND AND WIFE LYING MOTIONLESS IN THE ROAD.'" /></a> +<h5>"LOOKING BEFORE THEM THEY +COULD SEE BOTH HUSBAND AND WIFE LYING MOTIONLESS IN THE ROAD."</h5> +</div> + +<p>Between them they soon lifted poor Armida into the wagon, and +laid her on the bed as tenderly as might be, eliciting a groan by +the operation.</p> + +<p>"Best give her some?" said Lucas, bringing a bottle of brandy +from out his pocket. "Come to think of it, best not. She won't sense +it so much if she don't realize."</p> + +<p>A brief examination of Jerry was sufficient. The brothers +exchanged glances and shakes of the head. "And to think," said +Theodore, as they regarded the body, "that it was only this morning +I said to Armidy there was one tramp too many in the house, meaning +me, and now to have my words brought before me like this! 'Twasn't +anything but a joke, but I hope she won't remember it against +me."</p> + +<p>"Well, first thing we've got to do is to get her to the house," +said Lucas.</p> + +<p>Armida having been made as comfortable as the present would +allow, and Jerry having been brought up and consigned to the best +chamber, as befitted his state, Lucas hastened after the doctor and +Aunt Polly Slater. The doctor found Armida in a sad case. "Though I +don't think," he assured the brothers, "if she isn't worried she +will be hard sick. She's naturally rugged, and it's merely a simple +fracture of the forearm. The sprained ankle will be the most tedious +thing, but I must charge you to keep her in ignorance of her +husband's death."</p> + +<p>Theodore helped Aunt Polly in caring for Armida, and never was +woman more tenderly cared for. Many were the lies he was forced to +tell, as Armida was first surprised, then indignant, at Jerry's +apparent neglect.</p> + +<p>"Even Lucas has come to the door and looked at me," she +complained, "and Jerry ain't so much as been near me."</p> + +<p>Theodore was fain to concoct a story about a strained back that +would not allow Jerry to rise from the bed. When it was deemed +prudent to tell her, the task fell to Theodore, who was very tender +of his sister, remembering that though he considered Jerry a +shiftless, poor shack of a creature, Armida probably had affection +for him. She took her loss very quietly.</p> + +<p>"He was always good to me," she said, "and he cared for me when +no one else did."</p> + +<p>"You're wrong there," Theodore remonstrated.</p> <span +class="pagenum"><a name="page378" id="page378"></a>[pg 378]</span> + +<p>"I used to tell myself I was," she replied sadly. "I knew I give +the first offence, but Lucas never would 'a' done as he did by the +house if he'd cared for me."</p> + +<p>Lucas heard the reproach where he stood out of sight in the +little entry that led to Armida's room, listening to the brother and +sister as they talked together within. He often lingered there, +wishing to enter, but not daring to; longing to atone for the +unhappiness he had caused his sister, but not knowing how to set +about it. Now, taking Theodore into his confidence, he set to work +to obliterate all outward signs that made it "the divided house," +leaving to his brother the task of keeping it from Armida. As she +querulously inquired what all the hammering and pounding that was +going on in front of the house meant, Theodore had a story ready +about the steps to the front porch being so worn out that Lucas had +to have some new ones, "or else break his legs goin' over them." The +smell of paint was accounted for by Lucas "havin' one of his spells +of gittin' his side painted over agin;" on which Armida gave way to +tears, until her brother comforted her by saying it didn't make much +difference, a new coat couldn't make it any whiter than it was.</p> + +<p>It was a great day when Armida was pronounced well enough to eat +breakfast in the kitchen. Hobbling out with the aid of Theodore's +arm, she stepped on the threshold, and looked over to where Lucas +stood by his window. He greeted her with, "How are ye, Armidy?" but +did not leave his place.</p> + +<p>"It seems good to git out of my bedroom," said Armida; then +stopped, gazed about her, and sank into a convenient chair, +exclaiming, "What does it mean?"</p> + +<p>For both her and Lucas's old stoves were gone, and a new one +stood directly before the middle of the chimney, with its pipe +running into the old pipe-hole that they used before the house was +divided. The coffee-pot steamed and bubbled over the fire, and a +platter of ham and eggs stood on the hearth, while the table, set +for breakfast, stood exactly in the centre of the room; the dividing +line had been wiped out by the paint-brush, and Lucas's side shone +with yellow paint like her own.</p> + +<p>"What does it mean?" she cried, trembling and clutching at +Theodore's arm. Theodore said nothing, but slipped out of the room, +and Lucas, after an awkward pause, said: "Armidy, I wanted, if you +was willin', that we should quit doin' as we have done and have +things together as we used to. Seems as if it would be pleasanter, +and if you can forgive what I've done, I'll try to make it up to +ye."</p> + +<p>"Why, Lucas!" was all she could say.</p> + +<p>"I know I hain't done by ye like a brother," said Lucas, anxious +to get his self-imposed humiliation over, "and I'm sorry, and I'd +like to begin over again."</p> + +<p>"I'm just as much a transgressor as you be," said Armida, anxious +to spare him. "If I hadn't said what I did, I 'spose you'd married +Ianthe, and like as not had a family round ye."</p> + +<p>"I don't know as I care <i>now</i>," said Lucas; "I have felt hard to +ye; but I see Ianthe last March"—he laughed—"and I +didn't mourn much that her name wa'n't Huxter. But that's neither +here nor there. If you feel as if you could git along with two old +brothers to look after instead of one, and overlook what's +passed—"</p> + +<p>"I'd be glad to, Lucas, if you won't lay up anything against +me."</p> + +<p>"Well, then;" and coming to her side Lucas bent over her, and, to +her great surprise, kissed her. Turning away before she could return +the kiss, he opened the back door and called to Theodore.</p> + +<p>As Theodore came in, Lucas said: "If you had a shawl round ye, +Armidy, wouldn't you like to git out a minute before breakfast?" and +without waiting for an answer, he brought her shawl and wrapped it +round her, then put on her bonnet.</p> + +<p>"Can't you and I," he said to Theodore, "make a chair and take +her out? You hain't forgot sence you left school, hev you?"</p> + +<p>Locking their hands together they formed what school-children +call a chair, and lifting Armida between them, carried her through +the hall, out at the front door, down the walk to the gate, and +turned round, while Theodore bade his sister look up at the house. +Armida obeyed. She saw the house glistening with paint, her side of +it as white as Lucas's, and blinds adorning her front windows, while +the front porch, with new-laid floor and steps and bristling with +brackets, was, in her eyes, the most imposing of entrances.</p> + +<p>Could it be true? she asked herself, and shut her eyes; then +glanced again, then looked at her brothers, who were both silent, +Theodore smiling with joy, while Lucas looked gravely down at +her.</p> + +<p>"Oh, Lucas!" she cried, throwing her arms around his neck, "you +done this for me!"</p> + +<p>"I <i>told</i> you I was sorry, Armidy," he said.</p> + +<hr class="full" /> + +<span class="pagenum"><a name="page379" id="page379"></a>[pg 379]</span> + + + + +<h2>SCIENTIFIC KITE-FLYING.</h2> + +<h4>By Cleveland Moffett.</h4> + + +<p>On the long peninsula that separates New York Bay from Newark +Bay, there is, among other things, a red house by an open field, in +which lives the king of kite-flyers. Every one in Bayonne, the town +which covers this peninsula, knows the red house by the open field; +for scarcely a day passes, winter or summer, that kites are not seen +sailing above this spot—sometimes a solitary "hurricane +flyer," when the wind is sweeping in strong from the ocean; +sometimes a tandem string of seven or eight six-footers, each one +fastened to the main line by its separate cord. And wonderful are +the feats in kite-illumination accomplished by Mr. Eddy (the king +aforesaid) on holiday nights, especially on the Fourth of July, when +he keeps the sky ablaze with gracefully waving meteors, to the +profound awe or admiration of his fellow-townsmen.</p> + +<div class="figleft" style="width:52%;"> +<a href="images/379.jpg" name="fig379" id="fig379"> +<img src="images/379t.jpg" alt="HARGRAVE LIFTED SIXTEEN FEET FROM THE GROUND BY A TANDEM OF HIS BOX-KITES." /></a> +<h5>HARGRAVE LIFTED SIXTEEN FEET FROM THE GROUND +BY A TANDEM OF HIS BOX-KITES.</h5> +</div> + +<p>If you enter the red house and show a proper interest in the +subject, Mr. Eddy will take you up to his kite-room, where skyflyers +of all sorts, sizes, and materials range the walls—from the +tiniest, made of tissue paper, to nine-footers, with lath frames and +oil-cloth coverings. Hanging from the ceiling is one of the queer +Hargrave kites, which looks like a double box, and seems as little +likely to fly as a full-legged dining-table; yet fly it will, and +beautifully too, though by a principle of aëroplanes only recently +understood.</p> + +<p>Then Mr. Eddy will show you the room where, with the help of his +deft-fingered wife, also a kite enthusiast, he spends many hours +developing and mounting photographs taken from high altitudes, with +a camera especially constructed to be swung and operated from the +kite cord.</p> + +<p>Until one talks with a man like Mr. Eddy—though, indeed, +there is no one just like him—one does not realize what a +large and important subject this of scientific kite-flying is. Many +men of distinction have devoted years of their best energies to +experiments with kites. Mr. Eddy himself is a scientist first, last, +and always; for the sake of a new observation he will send up a +tandem of kites when the thermometer is below zero, or stand half a +night at his reeling apparatus, getting records of the +thermograph.</p> + +<p>Perhaps I shall do best to begin by giving some useful +information to those who may contemplate constructing a modern +scientific kite. The first thing that should be done by such a +person, be he boy or man, is to rid his mind of all his preconceived +<span class="pagenum"><a name="page380" id="page380"></a>[pg +380]</span> notions about kites, for it is almost certain that they +are incorrect. To begin with, the scientific kite has no tail. A few +years ago people would have laughed at any one who attempted to send +up a kite without a tail. But the question is now no longer even +open with the scientific kite-flyers, who not only send up tailless +kites with the greatest ease, but do so under conditions which, to +kites with tails, would be impossible: for instance, in dead calms +and in driving hurricanes. The tailless kite, sent from the hands of +a master, will fly in all winds.</p> + +<p>It is true that kites with tails have given good results in +experimental work; but the tails are annoying and an unnecessary +weight, and may better be dispensed with. Every boy has had the +vexatious experience of sending up a kite in a light breeze with a +tail made light in proportion, only to find that, on reaching +stronger air currents above, the kite has begun to dive and grow +unmanageable. Then, when he has taken the kite down and added a +heavier tail, he has found the breeze at the ground insufficient to +lift the extra load; and so, between two difficulties, has had to +give up his sport in disgust. This is the one serious defect of +kites with tails, that they cannot adapt themselves to wind currents +of varying intensities; whereas the tailless kites do so without +difficulty. And in tandem flying, which is the backbone of the +modern system, the weight of a half dozen or more heavy tails would +be a serious impediment, to say nothing of the perpetual danger of +the different tails getting entangled in the lines.</p> + + +<h4>HOW TO MAKE A SCIENTIFIC KITE.</h4> + +<p>It is important, then, to know how to make a scientific tailless +kite, such as is used by the experts at the Smithsonian Institution, +or at the Blue Hills Conservatory near Boston, for it must not be +supposed that kite-flying is merely an idle pastime; it is a +pleasure doubtless for boys, but it is also a field of serious +experiment and observation for men. The information I here present, +including practical directions as well as interesting theories, was +obtained from Mr. Eddy himself, and may be regarded as strictly +accurate.</p> + +<div class="figright" style="width:40%;"> +<a href="images/380.jpg" name="fig380" id="fig380"> +<img src="images/380t.jpg" alt="Frankfort Street. PHOTOGRAPHIC VIEW FROM A KITE." /></a> +<h5>Frankfort Street. PHOTOGRAPHIC VIEW FROM A KITE.</h5> + +<p>This view, from a photograph taken from a kite by Mr. W.A. Eddy, +New York City at the crossing of Frankfort and William +Streets.</p> +</div> + +<p>It is much better for amateurs to begin with a kite designed to +fly in strong winds, as it is a long and delicate task to learn to +manage the variety with extra wide cross-stick meant for ascension +in calms. The two sticks which form the skeleton should be of equal +lengths, say six feet; and should cross each other at right angles +at a point on the upright stick eighteen per cent. of its length +below the top. This point of crossing is of great importance, and +was only located by Mr. Eddy after months of wearisome experiment. +He was misled in his earlier efforts at tailless kite-making by the +example of the Malay kiter-flyers, who are reputed to be the most +skilful in the world, and who cross the sticks much nearer the +middle of the upright one. In a six-foot kite the two sticks, equal +in length, should cross at about thirteen inches from the top of the +upright stick; and the same proportion should be observed for kites +of other dimensions. At the point of crossing, <span +class="pagenum"><a name="page381" id="page381"></a>[pg 381]</span> +the sticks should be slightly notched, and strongly bound together +with twine tied in flat knots. Driving a nail or screw through the +sticks, to bind them, weakens the frame at the point of greatest +strain.</p> + +<p>As material for the sticks Mr. Eddy has found clear spruce better +than any other wood. Bamboo is bad, because it bends unevenly at the +joints. White pine is not tough enough, and cypress is both too +brittle and too flexible. The hard woods, like ash, hickory, and +oak, are too heavy; in scientific kite-flying, even so small a +weight as a quarter of an ounce may make all the difference between +failure and success. All winds are broken by frequent brief +intervals of calm, and a kite must rely on its lightness to outride +these. Whoever contemplates going seriously into kite-flying will do +well to provide himself with a store of suitable sticks by +purchasing a straight-grained, well-planed spruce plank, free from +knots, and having it sawed on a circular saw into sticks +five-sixteenths and seven-sixteenths inches in thickness, to be cut +later into such lengths as he may choose.</p> + +<div class="figleft" style="width:45%;"> +<a href="images/381.jpg" name="fig381" id="fig381"> +<img src="images/381t.jpg" alt="Frankfort Street. PHOTOGRAPHIC VIEW FROM A KITE." /></a> +<h5>Frankfort Street. PHOTOGRAPHIC VIEW FROM A KITE.</h5> + +<p>From a photograph taken from a kite by Mr. W.A. Eddy. This view +also is of New York City about the crossing of Frankfort and William Streets. +The high wall on the right of Frankfort Street is the back of the "World" +building; the high wall on the left is the back of the "Tribune" building.</p> +</div> + +<p>The two sticks (there are never more than two) having been +fastened firmly together, the cross-stick must be sprung backward; +so that, when finished, the kite will present a convex or bulging +surface to the wind. It might be imagined that a concave surface to +the wind would be better; and indeed this has been tried. But it has +invariably proved that with a concave surface the kite receives too +much of the breeze and becomes quite uncontrollable. The amount of +spring that must be given the cross-piece is in proportion to its +length, Mr. Eddy's rule being to spring the cross-stick, by means of +a cord joining the two ends like a bow, until the perpendicular +between the point of juncture of the two sticks and the centre of +the cord is equal to one-tenth of the length of the cross-stick, or +a little more than one-tenth, if the kite is to be flown in very +high winds.</p> + +<p>It is of the first importance to keep the two halves of the kite +on the right and the left of the upright stick perfectly +symmetrical. And this is by no means an easy matter. It often +happens in bending the cross-stick that, owing to differences in the +fibre and elasticity of the wood, one side bends more than the +other, with the result that the two halves present different curves +and consequently unequal wind areas. To offset this difficulty, and +also to strengthen the skeleton, Mr. Eddy's practice is to add a +bracing piece at the back of the cross-stick—a piece about +one-fourth of the length of the cross-stick itself, and of the same +width and thickness. If the two halves of the kite are already quite +symmetrical, he places this bracing stick with its centre directly +even with the point of juncture of the two large sticks, its two +ends being fastened with twine to the cross-stick, about nine inches +on either side of the crossing-point. But if one half of the +cross-stick shows a greater bend than the other, he places the +longer arm of the bracing piece toward the side that bends the most, +thus presenting a greater leverage against the wind on that side +than on the other, and so equalizing things.</p> + +<p>With the two sticks and the brace all <span class="pagenum"><a +name="page382" id="page382"></a>[pg 382]</span> thus properly in +place, a supporting frame for the paper or cloth is formed by +running, not cord, but fine picture wire, over the tips of the +sticks, notched to hold it in place, in the ordinary way. Then, with +a thin, clear paste made of starch, the paper may be laid on, care +being taken to paste the edges so as to leave a certain amount of +slack or looseness in the part of the kite below the cross-stick, so +that each of the lower faces will present concave wind surfaces. To +preserve the required equilibrium, it is important that the amount +of looseness in the paper be equal on the two sides; and in order to +keep it so, it is necessary to measure exactly the amount +allowed.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/382.jpg" name="fig382" id="fig382"> +<img src="images/382.jpg" alt="THE EDDY TAILLESS KITE." /></a> +<h5>THE EDDY TAILLESS KITE.</h5> + +<p>Front view, showing how the line is attached.</p> + +<p>A storm-flyer.—The diamond-shaped figure in the centre is +an opening made to lessen the wind pressure.</p> +</div> + +<p>Those who wish to make many kites will do well to buy thin +manilla paper, as wide as possible, having the dealer roll off for +them seven hundred or eight hundred feet, say a yard in width, which +will insure a cheap as well as an abundant supply. For strong winds +and large kites it is best to use cloth as the covering. It should +be sewed to the frame, and, if carefully put on, will do service for +years. Silk, of course, is the ideal material; but its costliness +puts it beyond ordinary means, and common silesia, such as is used +in dress linings, is almost as good. Whatever the material, the kite +should be fortified at the corners by pasting or sewing on quadrants +of paper or cloth, so as to give double thickness at the points most +liable to injury. A finished six-footer should not weigh over twenty +ounces, if covered with paper; or twenty-five ounces, if covered +with cloth. Mr. Eddy has made a six-footer for calm flying as light +as eight ounces.</p> + + +<h4>HOW TO SEND UP A KITE.</h4> + +<p>There is only one way to learn the practical art of kite-flying, +and that is to begin and do the thing yourself—with many +mishaps and disappointments at the outset. One of Mr. Eddy's +practices when sending kites up in very light winds or in an +apparent calm, is to reel out two hundred yards or so of cord in a +convenient open space, leaving kite and cord on the ground until +ready to start. Then, by taking the cord at the extreme distance +from the kite, and beginning to run with it, he gets it quickly into +the upper air currents, which are always stirring more than those at +the surface. It is sometimes necessary to run for a considerable +distance before the kite reaches a sustaining current; but a real +kite enthusiast will not mind taking trouble; indeed he had better +abandon the whole business if he does. It is worth noting that even +in a dead calm a kite may be kept up indefinitely as long as the +flyer is willing to run with the cord at the rate of about five +miles an hour.</p> + +<p>In flying kites tandem there is always to be guarded against the +danger of a breaking of the cord. Few people realize how hard a pull +is exerted by a series of kites well up in the air. A strain of +twenty-five or thirty pounds on the cord is not uncommon; and not +only the strength of the cord, but the way of attaching it, is of +great importance. There should be two strings (never more), fastened +to the upright <span class="pagenum"><a name="page383" +id="page383"></a>[pg 383]</span> stick at its lower end and at the +point of crossing, the upper length being about one-third of the +lower one, and the two being adjusted so that, when taut, the kite +takes an angle of about twenty degrees with the ground—which +means that the kite goes up almost straight overhead, the string +making an angle of about seventy degrees with the ground.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/383.jpg" name="fig383" id="fig383"> +<img src="images/383.jpg" alt="THE HARGRAVE BOX-KITE." /></a> +<h5>THE HARGRAVE BOX-KITE.</h5> + +<p>It was by kites of this variety, flown in tandem, that the inventor, Hargrave, +was lifted sixteen feet from the ground on +November 12, 1894.</p> +</div> + +<p>In sending up a series of kites to fly tandem, it is best to head +the line with a small kite, three or, four feet in diameter, and +gradually increase the size until a diameter of six feet is reached +for the one sent last. This arrangement makes it possible to hold +the upper kites by lighter cord, the heavier kites being reserved +for the half of the line nearest to the ground; and thus there is a +material lessening of the load to be borne. The first kite should be +well up, say five hundred feet, before the second is attached to the +line. But after that they maybe sent at closer intervals, sometimes +with only a few hundred feet between them—say two hundred feet +in light winds, and five hundred feet in heavy winds. Each kite in a +tandem should have a length of at least one hundred feet of cord +from the main line, and great care should be exercised in knotting +fast the individual lines.</p> + +<p>The best way of starting a second kite, after the first is well +up, is to pay out about a hundred feet of cord for the tandem line, +attaching one end of this to the main cord and the other to the +second kite, which is left lying on the ground back downward. Then +pay out the main line evenly until the tandem line begins to lift. +As the pendent kite is borne higher and higher, it will swing for a +while in a horizontal position; but will presently begin to flutter +and sail sideways, and then finally come up more and more, until the +wind catches it and it shoots up like a bird into its proper +position. In fact, once the first kite is securely up, the others +will fly themselves by merely being attached to the main line as +described. Of course each fresh kite increases the pull on the main +line, and the line must be made proportionately stronger as the +tandem is increased.</p> + + +<h4>RUNAWAY TANDEMS.</h4> + +<p>Mr. Eddy has had some remarkable experiences with escaping kites. +One day at Bayonne, in July, 1894, while he was flying a tandem of +eight kites in a northwest wind blowing eighteen miles an hour, the +main line broke with a loud snap, and the kites sailed away towards +Staten Island with the speed of an escaped balloon. One can scarcely +conceive the rapidity with which a line of kites like this travels +over the first four or five hundred feet after its release. An +ice-boat goes no faster, and one might as well pursue the shadow of +a flying cloud as chase that string. At the time of the escape the +top kite, a four-footer, was up nearly a mile, and the other seven +were flying at a good elevation. The consequence was that although, +as invariably happens in such cases, they began to drop, the lowest +kite did not strike the ground until it had been carried about a +quarter of a mile, to the New Jersey shore of the Kill von Kull, +which is half a mile wide at this point. <span class="pagenum"><a +name="page384" id="page384"></a>[pg 384]</span> Here kite number +eight, a six-footer, caught in a tree and held the line for a few +seconds until its own cord broke, under the strain, and set the +other kites free. This check had lifted the other kites, and they +now flew right bravely across the water, not one of the seven +wetting its heels before the farther shore was reached. Then the +lowest of them came to the ground, in its turn putting a brief check +on the others. But its cord soon broke under the strain, and the six +still flying went sailing over the trees of Staten Island, hundreds +of people watching them as they flew—six tailless kites +driving along towards New York Bay, the main line trailing behind +over lawns and house-tops.</p> + +<p>Then a queer thing happened. As the loose end of the main line +trailed along, it whipped against a line of telegraph wires with +such violence as to wind itself around the wires again and again, +just as a whip-lash winds round a hitching-post when whipped against +one. The result was that the runaway kites were finally anchored by +the main line, and held fast until their owner, coming in quick +pursuit on ferryboat and train, could secure them.</p> + +<p>On another occasion, two of Mr. Eddy's kites flying in tandem +broke away, and started out to sea, the dangling line passing over a +moored coal barge on which a man was working. Feeling something +tickle his neck, the man put up his hand quickly and touched the +kite-cord. Greatly surprised, he seized the cord and made it fast; +and he was not at all disposed to give up the kites when Mr. Eddy +claimed them. There is no property, indeed, so hard to prove and +recover as a runaway kite. For one thing, there is absolutely no +telling how far a runaway kite will sail before landing. Mr. Eddy +estimates that when the main line breaks, a kite well up in a +twenty-five mile breeze will travel, before alighting, a distance +equal to twelve times its height from the ground. This means that a +kite straight over the Battery, in New York City, and a mile in the +air, driven by a stiff south wind, might land in Yonkers if the cord +broke. There is, by the way, an old-time ordinance on the statute +book, prohibiting the flying of kites in any part of New York City +below Fourteenth Street. This, however, did not prevent Mr. Eddy +from taking recently a series of unique photographs (some of them +are reproduced in this article), by means of a tandem of kites sent +up from a high building near the City Hall Park. The only +complication that resulted was a fierce contention among a crowd of +idlers and gamins over the possession of one of the kites, which +came down accidentally and lodged in one of the Park trees.</p> + +<div class="figright" style="width:40%;"> +<a href="images/384.jpg" name="fig384" id="fig384"> +<img src="images/384t.jpg" alt="NEW YORK, EAST RIVER, BROOKLYN, AND NEW YORK BAY, FROM A KITE." /></a> +<h5>NEW YORK, EAST RIVER, BROOKLYN, AND NEW YORK BAY, FROM A KITE.</h5> + +<p>From a photograph taken from a kite by Mr. W.A. Eddy.</p> +</div> + + +<h4>THE LIFTING POWER OF KITES.</h4> + +<p>A tandem of six or eight six-foot kites exerts a pull of thirty +pounds or more on the main line; but it must not be assumed that +such a tandem would lift and carry through the air a weight of +thirty pounds. The weight of thirty pounds would be carried a short +distance; but as the weight moved off, there would be a sudden +lessening of the resistance on the line, and so of the wind pressure +against the kites, which would soon cause them to sink. A tandem of +strong kites in a good breeze might be made to operate a sort of +jumping apparatus which, after being carried a short distance, would +anchor itself to the ground until the renewed strength of the kites +lifted it up again for another jump. <span class="pagenum"><a +name="page385" id="page385"></a>[pg 385]</span> But all kite experts +are agreed that a kite's power for lifting loads clear of the ground +must be enormously increased according as the distance to which the +load is to be lifted is increased. It would be possible, for +example, to build a tandem of kites strong enough to lift a man +clear of the ground, supposing him to be swung in a basket from the +main line. This, indeed, has been actually accomplished. September +18, 1895, in England, Captain Baden-Powell was lifted to a height of +one hundred feet on a kite-string supported by five large hexagon +kites. But Mr. Eddy calculates that to lift a man of the same weight +(one hundred and fifty pounds) to a height of fifteen hundred feet, +with a wind blowing at the same rate (twenty miles an hour), would +require seven kites with upright and cross-sticks not less than +sixty-four feet each in length.</p> + +<p>The only other instance on record where a man has been lifted by +a kite-cord was in the experiment of the great Australian kite +expert, Hargrave, who, on November 12, 1894, placed himself in a +sling seat attached to a tandem of his wonderful box kites, and was +swung sixteen feet clear of the earth. The entire load, including +the seat and appurtenances, amounted to two hundred and eight +pounds. Mr. Eddy calculates that six of his bird-shaped kites, +twenty feet in diameter, would lift a man and basket in safety to a +height of one hundred feet, assuming the wind to be blowing steadily +at twenty miles an hour.</p> + +<div class="figright" style="width:30%;"> +<a href="images/385.jpg" name="fig385" id="fig385"> +<img src="images/385t.jpg" alt="PHOTOGRAPHING FROM A KITE-LINE." /></a> +<h5>PHOTOGRAPHING FROM A KITE-LINE.</h5> + +<p>NOTE.—In this picture the square +box suspended from the upper line is +the camera. The ball hanging from +the camera is the burnished signal +which, by its fall, informs the operator on the ground when the shutter of the +camera has opened. The shutter and +the ball are controlled from the ground by the lower line.</p> +</div> + +<span class="pagenum"><a name="page386" id="page386"></a>[pg 386]</span> + + +<h4>THE METEOROLOGICAL USE OF KITES.</h4> + +<p>Although Mr. Eddy began flying kites as a diversion, he soon saw +that there were more serious reasons for continuing his experiments. +Having long been interested in meteorological problems, it occurred +to him that good results might be obtained by sending aloft, on +kite-strings, self-registering thermometers and apparatus for +indicating the direction and strength of the air currents. On +February 4, 1891, he sent up what is believed to be the first +thermometer ever attached to a kite for scientific purposes. This +was at nine o'clock in the evening on a cold winter's night, the +thermometer registering ten degrees Fahrenheit at the ground. On +reading the record after the descent, the thermometer was found to +mark six degrees Fahrenheit, which indicated, according to the +recognized law of decrease of temperature, that the kite had been +sent to a height of one thousand feet. The law is that in ascending +from the earth the temperature falls one degree for every two +hundred and fifty feet; but subsequent experiments convinced Mr. +Eddy that it was by no means to be relied upon as an indication of +the height of kites. Not that the law is false; but it holds good +only when the meteorological conditions above are the same as at the +earth's surface, which is very far from being the case always.</p> + +<p>Out of these experiments Mr. Eddy evolved an important theory +which has since been abundantly verified. Seeing the frequent +variations in the thermometric readings from what the law had led +him to expect, he concluded that these were due to meteorological +variations overhead; and that changes in the weather, say the +approach of warm waves or cold waves, make themselves felt in the +air strata above the earth's surface several hours before they can +be detected at the surface. Observations extending over months at +the Blue Hills Observatory, near Boston, and elsewhere, have +abundantly confirmed this theory.</p> + +<p>With this fact established, it followed, in Mr. Eddy's opinion, +that it was perfectly possible to use kites in making weather +prognostications; and, indeed, he has been doing this himself for +several years with the best results. Whenever his kite-thermometers, +sent to a fixed height which he determines independently by a +specially devised kite-quadrant, show actual readings which are +either warmer or cooler than the theoretical readings, he prophesies +that the weather will, within a few hours, become warmer or colder +at the earth's surface, and these prophecies are fulfilled in a +large majority of cases. If the kite-thermometers show exactly the +temperature which the law would call for, he prophesies that there +will be no change in the weather.</p> + +<div class="figright" style="width:40%;"> +<a href="images/386.jpg" name="fig386" id="fig386"> +<img src="images/386t.jpg" alt="CITY HALL PARK AND BROADWAY FROM A KITE." /></a> +<h5>CITY HALL PARK AND BROADWAY FROM A KITE.</h5> + +<p>From a photograph taken from a kite by Mr. W.A. Eddy. City Hall Park, +New York City, appears in the foreground, with Broadway back of it.</p> +</div> + +<p>It has also been demonstrated that kites may be used by +meteorologists to indicate the approach of storms, which they +foretell by a sudden and continuous veering over a considerable arc, +usually about sixty degrees. This veering begins usually six or +seven hours before a storm, and often as much as twelve hours. And +another sure sign of a storm is the continuous and sudden dropping +of the kites followed by a quick recovery, which shows that the wind +is blowing in gusts interspersed with periods of calm.</p> <span +class="pagenum"><a name="page387" id="page387"></a>[pg 387]</span> + +<p>In making a series of meteorological experiments which he +conducted at the Blue Hills Observatory, Mr. Eddy often employed as +many as eight or ten kites; and in August, 1895, he sent up twelve +kites on one line, three of them being nine-footers. This is +probably the largest number of kites ever sent up in tandem; and +although on this occasion the line carried only the thermographs +suspended in a basket, the whole weighing not more than two pounds, +a very much larger load might have been carried, had it been +desired.</p> + +<br clear="all" /> + +<div class="figleft" style="width:45%;"> +<a href="images/387.jpg" name="fig387" id="fig387"> +<img src="images/387t.jpg" alt="Murray Street. Warren Street. From a Kite." /></a> + +<h5>MURRAY AND WARREN STREETS, NEW YORK CITY, FROM A KITE.</h5> + +<p>From a photograph taken from a kite by Mr. W.A. Eddy, showing Murray +and Warren Streets, New York City, as they run west from Broadway.</p> +</div> + + +<p>Among many other curious things about the wind observed by Mr. +Eddy, is the fact that the night winds are by far the steadiest and +most satisfactory for kite-flying. On this account much of his work +with kites has been done in the darkness, although he uses lanterns +on the lines to assist him in locating the kites. It has also been +demonstrated that the force of the wind increases steadily as the +distance from the earth increases. Archibald proved this +conclusively, by suspending a series of wind-measuring instruments +at intervals along the main line, their registration showing almost +invariably greater wind pressure at the higher altitude. Mr. Eddy +has furthermore noted that, while the early morning wind is usually +very light at the earth's surface, it is almost invariably good +aloft; and he has again and again verified the well-established fact +that all clouds herald their approach and are accompanied by +increased wind velocity.</p> + + +<h4>THE HIGHEST FLIGHT EVER MADE BY A KITE.</h4> + +<p>The modern system of flying kites tandem was devised by Mr. Eddy +in 1890, although it was hit upon two years later independently by +Dr. Alexander B. Johnson, the distinguished surgeon of the Roosevelt +Hospital in New York. The tandem system makes it possible to send +kites to far greater altitudes than had ever been previously +attained. And here the best record is undoubtedly held by one of Mr. +Eddy's tandems, sent aloft at Bayonne, on November 7, 1893. Mr. Eddy +began to send up the kites at 7:30 A.M.; but, being hampered by +light breezes from the east, found he was kept busy until half-past +three in the afternoon in getting nine kites aloft. He had paid out +nearly two miles of cord, when the top kite, a little two-footer, +stood straight over the spar buoy in Newark Bay. The lowest kite, a +six-footer, was hovering some distance inland from the shore, on a +line from the shore to Mr. Eddy's house (where the end of the line +was anchored) measuring fifty-five hundred feet by the surveyor's +map. Taking two observations from the two ends of this base line, +Mr. Eddy's kite-quadrant showed angles of thirty-five and sixty-six +degrees; and these data, by simple methods of triangulation, were +sufficient to determine the altitude of the kite, which was found to +be five thousand five hundred and ninety-five feet—or +something over one mile. The kites were seen by hundreds of persons +during the fifteen hours that they remained up, the experiment +coming to an abrupt end at ten o'clock that night by the blowing +away of the two upper kites in the increasing wind. The escaped +kites disappeared in Newark Bay, along with three thousand feet of +the line.</p> + +<span class="pagenum"><a name="page388" id="page388"></a>[pg 388]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/388-1.jpg" name="fig388-1" id="fig388-1"> +<img src="images/388-1.jpg" alt="KITE-DRAWN BUOY." /></a> +<h5>KITE-DRAWN BUOY.</h5> + +<p>Invented by Prof. J. Woodbridge Davis. This buoy lacks the +steering appliances of the one shown below, and travels simply in a +line with the kite that draws it.</p> +</div> + +<p>Much interest attaches from a scientific point of view to +experiments designed to test how great an altitude may be reached by +kites; and for a year past Mr. Eddy has been working in this +direction for the Smithsonian Institution, the hope being that he +will ultimately succeed in sending kites two miles above the earth's +surface. Professor Langley has been following these experiments with +great interest, and has furnished Mr. Eddy with a special quality of +silk cord which, it is believed, will give better results in +meteorological observation than the ordinary hempen twine or rope. +The great difficulty that Mr. Eddy finds in the way of making his +kites reach great altitudes, is the pull on the cord, which +increases greatly as the kites rise higher. It is probable that a +tandem of fifteen or twenty big kites, reaching to a mile above the +earth's surface, would exert a pull of one hundred pounds; while at +a height of two miles they might, Mr. Eddy thinks, exert a pull of +three hundred and fifty pounds; and at a height of three miles, a +pull of seven hundred pounds. However great the pull, it is +essential to successful flying that the man in control be able to +let out or reel in the main line with great rapidity, and it is +evident that a dozen men could not by hand alone accomplish this if +the kites were sent as high as might be. It is likely, therefore, +that, as the importance of scientific kite-flying becomes more +widely understood, some simple dummy engine will be devised for +rapidly turning the windlass on which the main line is wound.</p> + +<p>Mr. Eddy has made frequent experiments with rain-kites, which he +used for the first time in November, 1893. It is true that Franklin +sent up a flyer during a shower, but in his case the rain was merely +an accident accompanying the electric storm, which was his only +concern. Mr. Eddy, however, has sent up kites in the rain for the +purpose of studying cloud altitudes and other meteorological +phenomena; and by this means he has discovered what was not +previously believed to be true: that clouds sometimes sink to within +six hundred feet of the earth's surface without actually coming down +to it. In fact, Mr. Eddy has had kites disappear in a cloud at a +height of only five hundred and sixty-eight feet. It has sometimes +happened that clouds settling toward the earth have obscured the +kites gradually, the top one becoming invisible first, and then the +others in succession. Mr. Eddy has found that by such indications he +is able to foretell the approach of fog four or five hours before it +reaches the earth's surface, so slowly do the clouds settle through +the air strata.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/388-2.jpg" name="fig388-2" id="fig388-2"> +<img src="images/388-2.jpg" alt="DIRIGIBLE KITE-DRAWN BUOY." /></a> +<h5>DIRIGIBLE KITE-DRAWN BUOY.</h5> + +<p>This is the buoy invented by Prof. J. Woodbridge Davis for +conveying messages, food, or life-lines between disabled vessels and +the shore. The buoy is drawn over the water by the kite-line, like +the one shown above, but the setting of the keel and the three +guy-ropes give it whatever direction is desired.</p> +</div> + +<span class="pagenum"><a name="page389" id="page389"></a>[pg 389]</span> + +<div class="figcenter" style="width:80%;"> +<a href="images/389.jpg" name="fig389" id="fig389"> +<img src="images/389.jpg" alt="THE KITE-BUOY IN SERVICE." /></a> +<h5>THE KITE-BUOY IN SERVICE.</h5> +</div> + +<span class="pagenum"><a name="page390" id="page390"></a>[pg 390]</span> + +<p>It is best to make rain-kites of oil-skin or paraffine paper, as +the ordinary paper or cloth becomes saturated with the dampness and +very heavy, thus lessening the buoyancy of the line. So penetrating +is the dampness of clouds, even without a rain-storm, that the +wooden frames sometimes become warped and the paste seams soak +open.</p> + + +<h4>DRAWING DOWN ELECTRICITY BY A KITE-STRING.</h4> + +<p>The scientific kite-flyer will find much to tempt him into the +field of electricity; and will be able, not only to duplicate Dr. +Franklin's historic experiment of bringing down sparks from the +heavens, but may go far beyond this, taking advantage of the greater +knowledge of electricity at his disposal and the superior apparatus. +In the summer of 1885, Alexander McAdie, at the Blue Hills +Observatory, got strong sparks at the earth's surface from a wire +connected with a kite whose surface had been coated with tinfoil so +as to form an electric collector. He also, by the brightness and +increased lengths of the sparks obtained, proved that the electric +force in the atmosphere is very greatly increased with the approach +of thunder clouds; and also that this force increases steadily as +the kites reach greater altitude, and <i>vice versa</i>. Indeed Mr. Eddy +and others who have conducted similar experiments, have found the +electric force so strong at certain altitudes as to make the +manipulation of the conducting wire a source of considerable +danger.</p> + +<p>On October 8, 1892, Mr. Eddy made an important advance in +electrical experiments with kites, by using a collector quite +separate from the kites themselves, which were merely used in tandem +to support the line on which the collector was swung and raised to +any desired altitude. By this arrangement any accident that might +befall one of the kites is less likely to ruin the whole +experiment.</p> + +<p>Much experience with the kite-collector has convinced Mr. Eddy +that there is always in the air overhead, at all times of the year +and in all weathers, an abundant, practically a boundless, supply of +electricity. It has never yet happened to him to send his collector +up to even so low a height as four hundred feet without getting a +spark in his discharge-box at the earth. He has discovered, however, +that the greater the amount of moisture in the air, the greater is +the height to which he must send the collector before getting the +first spark. There is no doubt that large quantities of electricity +might be obtained by hoisting large collectors, supported by strong +flying tandems, to considerable altitudes, and drawing off the +supply at the earth by means of a system of transformers which would +lower the electricity from the dangerously high tension at which it +discharges down the wire, to a voltage that could be handled with +safety. In his experiments thus far, Mr. Eddy has discharged the +copper wire leading from his collector into a wooden box containing +a pasteboard wheel with darning-needle axle and tinfoil edges. The +axle is grounded, and the copper wire from the collector placed near +the tinfoil periphery of the wheel, so as to discharge its sparks +through the intervening distance, and by the shock cause the wheel +to turn.</p> + + +<h4>THE USE OF KITES IN PHOTOGRAPHY.</h4> + +<p>One of the most interesting applications of the kite, but a +thoroughly practical one, is its use in photography. This has been +entirely developed within the past year or two; indeed the first +kite-photograph taken on the American continent was one made by Mr. +Eddy's camera on May 30, 1895. Although some attempts in this +direction had been previously made in Europe, this was the first +clearly focused kite-photograph obtained. The previous ones had been +blurred, owing to defects in the devices for swinging the camera +apparatus from the kite-cord, and for loosening the shutter. Mr. +Eddy's apparatus will be better understood from the accompanying cut +than from any description. In a general way it is a wooden frame +capable of holding the camera, and terminating behind in a long +stick or boom, by means of which the camera is made to point in any +desired direction or at any angle. This is arranged before sending +up the apparatus, the boom being properly placed and held in +position by means of guy cords from the main kite-line. A separate +line hangs from the spring of the camera shutter, with which is also +connected a hollow ball of polished metal supported in such a way +that it will drop from its position, five or six feet through the +air, when the camera cord is pulled. The purpose of this ball is to +allow the operator on the ground to be sure that the camera has +responded to his pull and that the desired photograph has been +taken. He is assured of this, having given the pull, on seeing the +flash made by the polished ball in its fall.</p> + +<p>All this being arranged, it is only necessary <span +class="pagenum"><a name="page391" id="page391"></a>[pg 391]</span> +to send the camera up to any desired altitude and pull the camera +cord, in order to get photographs of wide-stretching landscapes, +extensive cities, like New York, and panoramas of every description. +Such photographs could not but be of the greatest value to +geologists, mountain climbers, surveyors, and explorers. And they +must possess particular interest for students of geography and for +map-makers.</p> + + +<h4>POSSIBLE USE OF KITES IN WAR.</h4> + +<p>It is obvious, too, that kite-photographs might be of great value +in time of war, since a detailed view of an enemy's lines and +fortifications might be thus obtained; while at sea a perfected +kite-photographing apparatus might be of great value in recording +the approach of an enemy's ships. Mr. Eddy regards it as perfectly +possible to send up a tandem of kites from the deck of a man-of-war, +with a circular camera, such as has already been devised, attached +to the main line, and an apparatus for snapping all the shutters +simultaneously; and photograph, not only the whole horizon as seen +from the deck of a vessel, but, because of the greater elevation, +many miles beyond. A battle-ship provided with this photographing +device would enjoy as great an advantage as if it were able at will +to stretch out its mainmast into a tower of observation a mile +high.</p> + +<p>It is true that some of the lenses in the circular camera, the +ones facing the sun, might give imperfect pictures; but in whatever +position the sun might be, at least one hundred and eighty degrees +of the horizon would be clearly photographed. And by taking such +observations in the early morning, and again in the middle of the +afternoon, it would be possible to cover the whole circuit, and thus +be aware of the approach of an enemy's ships long before they would +have been visible to a telescope used on the deck. In such a +circular camera each lens would be numbered, and the position of +each would be accurately determined with regard to the points of the +compass by the use of guy-cords stretching from the main line to the +framework of the apparatus. Thus, on looking at the number of a +lens, the photographer would immediately know from which direction +any vessel whose image was shown might be coming.</p> + +<p>Nor is the use of the kite in war limited to the services it +would render in photography; it might easily do more than that, and +become a most efficient and novel engine of destruction. As has been +shown, it is merely a question of carpenter work to send up a tandem +of kites that will swing a heavy load high in the air. Suppose that +load were dynamite, with an arrangement for dropping it over any +desired spot. Mr. Eddy suggests that this might be effected by means +of a slow match made by soaking a cotton string in saltpetre, which +would be lighted on despatching the load of dynamite, and would burn +at a regular rate, say one foot in five minutes, so that the length +of the match could be timed to meet the necessities of the case. On +burning to its end, the match would ignite a cord holding the +dynamite in a pasteboard receptacle, one side of which would fall +down like the front of a wall-pocket as soon as the restraining cord +was burned through; and immediately the dynamite in the box would be +launched toward its destination. Mr. Eddy has already carried out an +experiment similar to this, in setting loose from high elevations +tiny paper aëroplanes. With a little practice he found he could +start the slow match with such precision as to cause the aëroplanes +to burst out into flight at any desired altitude. This interesting +and beautiful experiment was performed for the first time by Mr. +Eddy on February 22, 1893, when he sent off from a height of one +thousand feet forty aëroplanes, their forward edges weighted with +pins for greater stability.</p> + +<p>Assuming such an arrangement made for discharging a load of +dynamite, Mr. Eddy calculates that, with a twenty-mile breeze, six +eighteen-foot kites would lift fifty pounds of the explosive a +quarter of a mile in the air and suspend it over a fort or +beleaguered city half a mile distant. It would thus be perfectly +possible, supposing the wind to be in the right direction, to +bombard Staten Island with dynamite dropped from kites sent up from +the Jersey shore. It is evident that, for purposes of bombardment, a +tandem of kites possesses several advantages over the war balloon. +Kites are much cheaper. Then it would be far more difficult to +disable them than to disable a balloon, since they offer a smaller +mark to the enemy's guns; and even if one or two were destroyed, the +others would still suffice to carry the dynamite. Finally, the kites +may be sent up without risk to the lives of those who directed them, +which is not the case with the balloons.</p> + +<p>Another interesting and important application of the modern kite +has been conceived <span class="pagenum"><a name="page392" +id="page392"></a>[pg 392]</span> by Professor J. Woodbridge Davis, +principal of the Woodbridge Boys' School, in New York, who is one of +the most famous kite-flyers in the world, in addition to being a +distinguished scientist and mathematician. It was Professor Davis +who invented the dirigible kite several years ago, three strings +allowing the operator to steer the kite from right to left at will +or to make it sink to earth. Having perfected this curious kite, +which is of hexagon shape, is covered with oiled silk, is foldable, +portable, and has a tail, Professor Davis turned his attention to +his more recent and important discovery of the dirigible buoy, which +bids fair to do much to lessen the dangers of shipwreck. For months +past Professor Davis, assisted by Mr. Eddy, has been experimenting +on the Kill von Kull with this buoy, and has obtained most +encouraging results. There are two kinds, both being designed to be +attached to kite lines and drawn over the water by the power of the +kite. The simpler variety is merely a long wooden tube about three +inches in diameter and shaped very much like a gun projectile, with +a cone of tin dragging behind to give steadiness. It is for use only +when the wind is blowing in exactly the direction in which it is +designed to send a message or carry a rope. It will be observed +that, in a large number of cases when ships are driven on rocks, the +wind is blowing toward the shore, and in such cases a line of kites +would readily carry one of these buoys ashore with the important +words inside or the still more important rope following after.</p> + +<p>Not satisfied, however, with this buoy, Professor Davis sought +some means of making kites draw a load across the water in any +direction desired, regardless of the way the wind might be blowing; +and, after much thought and calculation, he hit upon what is now +known as the Davis buoy, an object that has become familiar to +dwellers at Bergen Point and Port Richmond, from the frequent +experiments on the Kill that have been carried on during the past +year. This form of buoy is much larger than the other, being three +or four feet in length; and its essential feature is a deep iron +keel that projects below out of the block of wood forming the body. +It is evident that this keel will tend to keep the buoy headed in +any given direction; and stability of position is further assured by +the presence of guy-ropes attached to the main line of the kite. +Each buoy is provided with three of these ropes, which, by being +lengthened or shortened, may cause the buoy to form any desired +angle with the kite-cord, and to keep it. Professor Davis has +entirely succeeded in making the kites drag the buoy along the water +in various directions in the very strongest gales—in fact, +under precisely the conditions that would assist when the buoys +would be needed for life-saving service from wrecks. And he is +positive that, with further experiment, he will be able, by moving +along the shore until a tacking angle is reached, not only to send +lines, food, or messages to a disabled vessel from the shore, but to +bring back by the same kites and the same buoy other lines and +messages from the people in distress.</p> + +<p>Considering the important offices of which it has already been +proved capable, and the possibility which these suggest of many +other practical applications, it is clear that the kite is no longer +to be regarded as simply a toy. And this, in turn, suggests anew the +familiar truth that, after all, nothing in this world is of small +consequence.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/392.jpg" name="fig392" id="fig392"> +<img src="images/392.jpg" alt="Chapter End Graphic." /></a></div> + +<span class="pagenum"><a name="page393" id="page393"></a>[pg 393]</span> + +<hr class="full" /> + + + + + +<h2>A DRAMATIC POINT.</h2> + +<h4>By Robert Barr,</h4> + +<h5>Author of "In the Midst of Alarms," "A Typewritten Letter," etc.</h5> + + +<p class="cap">In the bad days of Balmaceda, when Chili was rent in twain, and +its capital was practically a besieged city, two actors walked +together along the chief street of the place towards the one theatre +that was then open. They belonged to a French dramatic company that +would gladly have left Chili if it could; but being compelled by +stress of war to remain, the company did the next best thing, and +gave performances at the principal theatre on such nights as a +paying audience came.</p> + +<p>A stranger would hardly have suspected, by the look of the +streets, that a deadly war was going on, and that the +rebels—so called—were almost at the city gates. Although +business was ruined, credit dead, and no man's life or liberty safe, +the streets were filled with a crowd that seemed bent on enjoyment +and making the best of things.</p> + +<p>As Jacques Dupré and Carlos Lemoine walked together they were +talking earnestly, not of the real war so close to their doors, but +of the mimic conflicts of the stage. M. Dupré was the leading man of +the company, and he listened with the amused tolerance of an elder +man to the energetic vehemence of the younger.</p> + +<p>"You are all wrong, Dupré," cried Lemoine, "all wrong! I have +studied the subject. Remember I am saying nothing against your +acting in general. You know you have no greater admirer than I am, +and that is something to say when you know that the members of a +dramatic company are usually at loggerheads through jealousy."</p> + +<p>"Speak for yourself, Lemoine. You know I am green with jealousy +of you. You are the rising star, and I am setting. You can't teach +an old dog new tricks, Carl, my boy."</p> + +<p>"That's nonsense, Dupré. I wish you would consider this +seriously. It is because you are so good on the stage that I can't +bear to see you false to your art just to please the gallery. You +should be above all that."</p> + +<p>"How can a man be above his gallery—the highest spot in the +house? Talk sense, Carlos, and I'll listen."</p> + +<p>"Yes, you're flippant simply because you know you're wrong, and +dare not argue this matter soberly. Now she stabs you through the +heart—"</p> + +<p>"No. False premises entirely. She says something about my wicked +heart, and evidently <i>intends</i> to pierce that depraved organ; but a +woman never hits what she aims at, and I deny that I'm ever stabbed +through the heart. Say in the region or the neighborhood of the +heart, and go on with your talk."</p> + +<p>"Very well. She stabs you in a spot so vital that you die in a +few minutes. You throw up your hands, you stagger against the +mantel-shelf, you tear open your collar and then grope at nothing; +you press your hands on your wound and take two reeling steps +forward; you call feebly for help and stumble against the sofa which +you fall upon, and finally, still groping wildly, you roll off on +the floor, where you kick out once or twice; your clinched hand +comes down with a thud on the boards, and all is over."</p> + +<p>"Admirably described, Carlos. I wish my audience paid such +attention to my efforts as you do. Now, you claim this is all wrong, +do you?"</p> + +<p>"All wrong."</p> + +<p>"Suppose she stabbed you, what would <i>you</i> do?"</p> + +<p>"I would plunge forward on my face—dead."</p> + +<p>"Great Heavens! What would become of your curtain?"</p> + +<p>"Oh, bother the curtain!"</p> + +<p>"It's all very well for you to condemn the curtain, Carl, but you +must work up to it. Your curtain would come down, and your friends +in the gallery would not know what had happened. Now, I go through +the evolutions you so graphically describe, and the audience gets +time to take in the situation. They say, chuckling to themselves, +'That villain's got his dose at last, and serves him right, too.' +They want to enjoy his struggles, while she stands grimly at the +door taking care that he doesn't get away. Then when my fist comes +down flop on the stage, and they realize that I am indeed done for, +the yell of triumph <span class="pagenum"><a name="page394" +id="page394"></a>[pg 394]</span> that goes up is something delicious +to hear."</p> + +<p>"That's just the point, Dupré. I claim the actor has no right to +hear applause—that he should not know there is such a thing as +an audience. His business is to portray life exactly as it is."</p> + +<p>"You can't portray life in a death scene, Carl."</p> + +<p>"Dupré, I lose all patience with you, or rather I would did I not +know that you are much deeper than you would have us suppose. You +apparently won't see that I am very much in earnest about this."</p> + +<p>"Of course you are, my boy, and that is one reason why you will +become a very great actor, I was ambitious myself once; but as we +grow older"—Dupré shrugged his shoulders—"well, we begin +to have an eye on the box-office receipts. I think you sometimes +forget that I am a good deal older than you are."</p> + +<p>"You mean that I am a fool and that I may learn wisdom with age. +I quite admit that you are a better actor than I am; in fact, I said +so only a moment ago, but—"</p> + +<p>"You wrong me, Brutus; I said an older soldier, not a better. But +I will take you on your own grounds. Have you ever seen a man +stabbed or shot through the heart?"</p> + +<p>"I never have, but I know mighty well he wouldn't undo his +necktie afterwards."</p> + +<p>Dupré threw back his head and laughed.</p> + +<p>"Who is flippant now?" he asked.</p> + +<p>"I don't undo my necktie; I merely tear off my collar, which a +dying man may surely be permitted to do. But until you have seen a +man die from such a stab as I receive every night, I don't +understand how you can justly find fault with my rendition of the +tragedy. I imagine, you know, that the truth lies between the two +extremes. The man done to death would likely not make such a fuss as +I make; nor would he depart so quickly as you say he would, without +giving the gallery gods a show for their money. But here we are at +the theatre, Carlos, and this acrimonious debate is +closed—until we take our next walk together."</p> + +<p>In front of the theatre soldiers were on duty, marching up and +down with muskets on their shoulders, to show that the state was +mighty and could take care of a theatre as well as conduct a war. +There were many loungers about, which might have indicated to a +person who did not know, that there would be a good house when the +play began. The two actors met the manager in the throng near the +door.</p> + +<p>"How are prospects to-night?" asked Dupré.</p> + +<p>"Very poor," replied the manager. "Not half a dozen seats have +been sold."</p> + +<p>"Then it isn't worth while beginning?"</p> + +<p>"We must begin," said the manager, lowering his voice. "The +President has ordered me not to close the theatre."</p> + +<p>"Oh, hang the President!" cried Lemoine impatiently. "Why doesn't +he put a stop to the war, and then the theatre would remain open of +its own accord?"</p> + +<p>"He is doing his best to put a stop to the war, only his army +does not carry out his orders as implicitly as our manager does," +said Dupré, smiling at the other's vehemence.</p> + +<p>"Balmaceda is a fool," retorted the younger actor. "If he were +out of the way the war would not last another day. I believe he is +playing a losing game, anyhow. It's a pity he hasn't to go to the +front himself, and then a stray bullet might find him and put an end +to the war, which would save the lives of many better men."</p> + +<p>"I say, Lemoine, I wish you wouldn't talk like that," +expostulated the manager gently, "especially when there are so many +listeners."</p> + +<p>"Oh, the larger my audience the better I like it," rejoined +Lemoine. "I have all an actor's vanity in that respect. I say what I +think, and I don't care who hears me."</p> + +<p>"Yes; but you forget that we are, in a measure, guests of this +country, and we should not abuse our hosts, or the man who +represents them."</p> + +<p>"Ah, does he represent them? It seems to me that begs the whole +question; that's just what the war is about. The general opinion is +that Balmaceda misrepresents them, and that the country would be +glad to be rid of him."</p> + +<p>"That may all be," said the manager almost in a whisper, for he +was a man evidently inclined towards peace; "but it does not rest +with us to say so. We are French, and I think therefore it is better +not to express an opinion."</p> + +<p>"I'm not French," cried Lemoine. "I'm a native Chilian, and I +have a right to abuse my own country if I choose to do so."</p> + +<p>"All the more reason, then," said the manager, looking timorously +over his shoulder—"all the more reason that you should be +careful what you say."</p> + +<p>"I suppose," said Dupré, by way of <span class="pagenum"><a +name="page395" id="page395"></a>[pg 395]</span> putting an end to +the discussion, "it is time for us to get our war paint on. Come +along, Lemoine, and lecture me on our mutual art, and stop talking +politics—if the nonsense you utter about Chili and its +President is politics."</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/395.jpg" name="fig395" id="fig395"> +<img src="images/395.jpg" alt=""MY GOD!—YOU WERE RIGHT—AFTER ALL."" /></a> +<h5>"MY GOD!—YOU WERE RIGHT—AFTER ALL."</h5> +</div> + +<p>The two actors entered the theatre; they occupied the same +dressing-room, and the volatile Lemoine talked incessantly. Although +there were but few people in the stalls, the gallery was well +filled, as was usually the case. When going on for the last act in +the final scene, Dupré whispered a word to the man who controlled +the falling of the curtain; and when the actor, as the villain of +the piece, received the fatal knife-thrust from the ill-used +heroine, he plunged forward on his face and died without a struggle, +to the amazement of the manager, who was watching the play from the +front of the house, and to the evident bewilderment of the gallery, +who had counted on an exciting struggle with death. Much as they +desired the cutting off of the villain, they were not pleased to see +him so suddenly shift his worlds without an agonizing realization of +the fact that he was quitting an existence in which he had done +nothing but evil. The curtain came down upon the climax, but there +was no applause, and the audience silently filtered out into the +street.</p> <span class="pagenum"><a name="page396" +id="page396"></a>[pg 396]</span> + +<p>"There," said Dupré, when he returned to his dressing-room, "I +hope you are satisfied now, Lemoine, and if you are, you are the +only satisfied person in the house. I fell perfectly flat, as you +suggested, and you must have seen that the climax of the play fell +flat also."</p> + +<p>"Nevertheless," persisted Lemoine stoutly, "it was the true +rendition of the part."</p> + +<p>As they were talking, the manager came into their dressing-room. +"Good Heavens, Dupré!" he said, "why did you end the piece in that +idiotic way? What on earth got into you?"</p> + +<p>"The knife," said Dupré, flippantly. "It went directly through +the heart, and Lemoine, here, insists that when that happens a man +should fall dead instantly. I did it to please Lemoine."</p> + +<p>"But you spoiled your curtain," protested the manager.</p> + +<p>"Yes; I knew that would happen, and I told Lemoine so; but he +insists on art for art's sake. You must expostulate with Lemoine; +although I don't mind telling you both frankly that I don't intend +to die in that way again."</p> + +<p>"Well, I hope not," replied the manager. "I don't want you to +kill the play as well as yourself, you know, Dupré."</p> + +<p>Lemoine, whose face had by this time become restored to its +normal appearance, retorted hotly:</p> + +<p>"It all goes to show how we are surrounded and hampered by the +traditions of the stage. The gallery wants to see a man die all over +the place, and so the victim has to scatter the furniture about and +make a fool of himself generally, when he should quietly succumb to +a well-deserved blow. You ask any physician, and he will tell you +that a man stabbed or shot through the heart collapses at once. +There is no jumping-jack business in such a case. He doesn't play at +leap-frog with the chairs and sofas, but sinks instantly to the +floor and is done for."</p> + +<p>"Come along, Lemoine," cried Dupré, putting on his coat, "and +stop talking nonsense. True art consists in a judicious blending of +the preconceived ideas of the gallery with the actual facts of the +case. An instantaneous photograph of a trotting horse is doubtless +technically and absolutely correct, yet it is not a true picture of +the animal in motion."</p> + +<p>"Then you admit," said Lemoine quickly, "that I am technically +correct in what I state about the result of such a wound?"</p> + +<p>"I admit nothing," said Dupré. "I don't believe you are correct +in anything you say about the matter. I suppose the truth is that no +two men die alike under the same circumstances."</p> + +<p>"They do when the heart is touched."</p> + +<p>"What absurd nonsense you talk! No two men act alike when the +heart is touched in love; why then should they when it is touched in +death? Come along to the hotel, and let us stop this idiotic +discussion."</p> + +<p>"Ah!" sighed Lemoine, "you will throw your chances away. You are +too careless, Dupré; you do not study enough. This kind of thing is +all well enough in Chili, but it will wreck your chances when you go +to Paris. If you studied more deeply, Dupré, you would take Paris by +storm."</p> + +<p>"Thanks," said Dupré lightly; "but unless the rebels take this +city by storm, and that shortly, we may never see Paris again. To +tell the truth, I have no heart for anything but the heroine's +knife. I am sick and tired of the situation here."</p> + +<p>As Dupré spoke they met a small squad of soldiers coming briskly +towards the theatre. The man in charge evidently recognized them, +for saying a word to his men, they instantly surrounded the two +actors. The sergeant touched Lemoine on the shoulder, and said:</p> + +<p>"It is my duty to arrest you, sir."</p> + +<p>"In Heaven's name, why?" asked Lemoine.</p> + +<p>The man did not answer; but a soldier stepped to each side of +Lemoine.</p> + +<p>"Am I under arrest also?" asked Dupré.</p> + +<p>"No."</p> + +<p>"By what authority do you arrest my friend?" inquired Dupré.</p> + +<p>"By the President's order."</p> + +<p>"But where is your authority? Where are your papers? Why is this +arrest made?"</p> + +<p>The sergeant shook his head and said:</p> + +<p>"We have the orders of the President, and that is sufficient for +us. Stand back, please!"</p> + +<p>The next instant Dupré found himself alone, with the squad and +their prisoner disappearing down a back street. For a moment he +stood there as if dazed, then he turned and ran as fast as he could +back to the theatre again, hoping to meet a carriage for hire on the +way. Arriving at the theatre he found the lights out and the manager +on the point of leaving.</p> + +<p>"Lemoine has been arrested," he cried; <span class="pagenum"><a +name="page397" id="page397"></a>[pg 397]</span> "arrested by a squad +of soldiers whom we met, and they said they acted by the order of +the President."</p> + +<p>The manager seemed thunderstruck by the intelligence, and gazed +helplessly at Dupré.</p> + +<p>"What is the charge?" he said at last.</p> + +<p>"That I do not know," answered the actor. "They simply said they +were acting under the President's orders."</p> + +<p>"This is bad, as bad as can be," said the manager, looking over +his shoulder, and speaking as if in fear. "Lemoine has been talking +recklessly. I never could get him to realize that he was in Chili, +and that he must not be so free in his speech. He always insisted +that this was the nineteenth century, and a man could say what he +liked; as if the nineteenth century had anything to do with Chili in +its present state."</p> + +<p>"You don't imagine," said Dupré, with a touch of pallor coming +into his cheeks, "that this is anything serious? It will mean +nothing more than a day or two in prison, at the worst?"</p> + +<p>The manager shook his head and said:</p> + +<p>"We had better get a carriage and see the President as soon as +possible. I'll undertake to send Lemoine back to Paris, or to put +him on board one of the French iron-clads. But there is no time to +be lost. We can probably get a carriage in the square."</p> + +<p>They found a carriage, and drove as quickly as they could to the +residence of the President. At first they were refused admittance; +but finally they were allowed to wait in a small room while their +message was taken to Balmaceda. An hour passed, but still no +invitation came to them from the President. The manager sat silent +in a corner, but Dupré paced up and down the small room, torn with +anxiety about his friend. At last an officer entered the room, and +presented them with the compliments of the President, who regretted +that it was impossible for him to see them that night. He added for +their information, by order of the President, that Lemoine was to be +shot at day-break. He had been tried by court-martial, and condemned +to death for sedition. The President regretted having kept them +waiting so long, but the court-martial had been going on when they +arrived, and the President thought that perhaps they would be +interested in the verdict. With that the officer escorted the two +dumfounded men to the door, where they got into their carriage +without a word. The moment they were out of ear-shot, the manager +said to the coachman:</p> + +<p>"Drive as quickly as you can to the residence of the French +minister."</p> + +<p>Every one at the French Legation had retired when the two +panic-stricken men reached there; but after a time the secretary +consented to see them, and on learning the seriousness of the case, +he undertook to arouse his Excellency, and see if anything could be +done. The minister entered the room shortly after, and listened with +interest to what they had to say.</p> + +<p>"You have your carriage at the door?" he asked, when they had +finished their recital.</p> + +<p>"Yes."</p> + +<p>"Then I will take it, and see the President at once. Perhaps you +will wait here until I return."</p> + +<p>Another hour dragged its slow length along, and they were well +into the second hour before the rattle of the wheels was heard in +the silent street. The minister came in, and the two anxious men saw +by his face that he had failed in his mission.</p> + +<p>"I am sorry to say," said his Excellency, "that I have been +unable even to get the execution postponed. I did not understand, +when I undertook the mission, that M. Lemoine was a citizen of +Chili. You see, that fact puts the matter entirely out of my hands. +I am powerless. I could only advise the President not to carry out +his intentions; but he is to-night in a most unreasonable and +excited mood, and I fear nothing can be done to save your friend. If +he had been a citizen of France, of course this execution would not +have been permitted to take place; but as it is, it is not our +affair. M. Lemoine seems to have been talking with some +indiscretion. He does not deny it himself, nor does he deny his +citizenship. If he had taken a conciliatory attitude at the +court-martial the result might not have been so disastrous; but it +seems that he insulted the President to his face, and predicted that +he would within two weeks meet him in Hades. The utmost I could do +was to get the President to sign a permit for you to see your +friend, if you present it at the prison before the execution takes +place. I fear you have no time to lose. Here is the paper."</p> + +<p>Dupré took the document, and thanked his Excellency for his +exertions on their behalf. He realized that Lemoine had sealed his +own fate by his independence and lack of tact.</p> <span +class="pagenum"><a name="page398" id="page398"></a>[pg 398]</span> + +<p>The two dejected men drove from the Legation and through the +deserted streets to the prison. They were shown through several +stone-paved rooms to a stone-paved court-yard, and there they waited +for some time until the prisoner was brought in between two +soldiers. Lemoine had thrown off his coat, and appeared in his +shirt-sleeves. He was not manacled or bound in any way, there being +too many prisoners for each one to be allowed the luxury of +fetters.</p> + +<p>"Ah," cried Lemoine, when he saw them, "I knew you would come if +that old scoundrel of a President would allow you in, of which I had +my doubts. How did you manage it?"</p> + +<p>"The French minister got us a permit," said Dupré.</p> + +<p>"Oh, you went to him, did you? Of course he could do nothing, +for, as I told you, I have the misfortune to be a citizen of this +country. How comically life is made up of trivialities! I remember +once in Paris going with a friend to take the oath of allegiance to +the French Republic."</p> + +<p>"And did you take it?" cried Dupré eagerly.</p> + +<p>"Alas, no! We met two other friends, and we all adjourned to a +café and had something to drink. I little thought that bottle of +champagne was going to cost me my life; for, of course, if I had +taken the oath of allegiance, my friend the French minister would +have bombarded the city before he would have allowed this execution +to go on."</p> + +<p>"Then you know to what you are condemned?" said the manager, with +tears in his eyes.</p> + +<p>"Oh, I know that Balmaceda thinks he is going to have me shot; +but then he always was a fool, and never knew what he was talking +about. I told him if he would allow you two in at the execution, and +instead of ordering a whole squad to fire at me, order one expert +marksman, if he had such a thing in his whole army, who would shoot +me through the heart, that I would show you, Dupré, how a man dies +under such circumstances; but the villain refused. The usurper has +no soul for art, or for anything else, for that matter. I hope you +two won't mind my death. I assure you I don't mind it myself I would +much rather be shot than live in this confounded country any longer. +But I have made up my mind to cheat old Balmaceda if I can, and I +want you, Dupré, to pay particular attention, and not to +interfere."</p> + +<p>As Lemoine said this he quickly snatched from the sheath at the +soldier's side the bayonet which hung at his hip. The soldiers were +standing one to the right and one to the left of him, with their +hands interlaced over the muzzles of their guns, whose butts rested +on the stone floor. They apparently paid no attention to the +conversation that was going on, if they understood it, which was +unlikely. Lemoine had the bayonet in his hands before either of the +four men present knew what he was doing.</p> + +<p>Grasping both hands over the butt of the bayonet, with the point +towards his breast, he thrust the blade with desperate energy nearly +through his body. The whole action was done so quickly that no one +realized what had happened until Lemoine threw his hands up and they +saw the bayonet sticking in his breast. A look of agony came in the +wounded man's eyes, and his lips whitened. He staggered against the +soldier at his right, who gave way with the impact, and then he +tottered against the whitewashed stone wall, his right arm sweeping +automatically up and down the wall as if he were brushing something +from the stones. A groan escaped him, and he dropped on one knee. +His eyes turned helplessly towards Dupré, and he gasped out the +words:</p> + +<p>"My God!—you were right—after all."</p> + +<p>Then he fell forward on his face, and the tragedy ended.</p> + +<div class="figcenter" style="width:80%;"> +<a href="images/398.jpg" name="fig398" id="fig398"> +<img src="images/398.jpg" alt="Chapter End Graphic." /></a></div> + +<hr class="full" /> + +<span class="pagenum"><a name="page399" id="page399"></a>[pg 399]</span> + + + + +<h2>EDITORIAL NOTES.</h2> + + +<h4>MR. WARD'S STORY "THE SILENT WITNESS."</h4> + +<blockquote class="note"> +<p>We published in our January number the first of a series of +stories by Herbert D. Ward, in which Mr. Ward will exhibit in +dramatic form some monstrous imperfections in the present modes of +judicial procedure. That there is great need of such a study is +shown by the remarkable effect produced by the story already +published, "The Silent Witness." In various parts of the country the +press has taken particular notice of the story and of the question +with which it deals. A recent number of "The Argus," Avoca, +Pennsylvania, contained the following editorial:</p> +</blockquote> + + +<h4>"JUSTICE, WHERE ART THOU?"</h4> + +<blockquote class="note"> +<p>"'The Silent Witness,' a powerful story in McCLURE's MAGAZINE for +January, portrays in a graphic and thrilling manner the evil, which +in some cases amounts almost to a horror, of holding in confinement +witnesses in cases of capital crime who are unable to furnish +bail.</p> + +<p>"The story tells of a young and stalwart country lad who goes to +Boston in search of fortune, and on the night of his arrival, while +wandering about in quest of lodgings to suit his scanty purse, is +the unwilling witness of a murder.</p> + +<p>"He is arrested and held in the city jail to await the trial of +the murderer.</p> + +<p>"The news of his imprisonment reaches his widow mother up among +the New Hampshire hills. She knows nothing of the circumstances +further than the rumors brought to her by her country neighbors. She +dies of a broken heart, though never doubting the innocence of her +noble-hearted boy.</p> + +<p>"The unfortunate young man learns of her death through his +sweetheart, who comes to the Boston prison to see him.</p> + +<p>"His grief is beyond endurance, and he curses the law that forces +such suffering upon the innocent. He has brain fever, and when the +case is called several months after the incarceration, the sheriff, +who is asked to produce the only witness for the commonwealth, +responds that he died that morning.</p> + +<p>"The murderer, a saloon-keeper and ward man, has been at liberty +under bail during the time that the innocent witness has been +suffering the untold agony experienced by one who comes with +spotless character from green fields and rural simplicity to the +company of felons in a wretched cell. There being no witnesses +against him at the trial, a <i>nolle prosequi</i> is found, and he goes +free.</p> + +<p>"This story is fiction, but it is not overdrawn. Such horrible +things do happen in these <i>fin-de-siècle</i> days in a civilized +country.</p> + +<p>"In Scranton, only this week, a woman, Mrs. Nicotera, was +released after having been in custody since February 28th last, as a +witness in the Rosa murder case. She was confined with, her husband, +who was also a witness, in the Lackawanna county jail until her +health broke down, when she was removed to the Lackawanna +hospital.</p> + +<p>"On Tuesday she was released on her own recognizance. Her husband +had been given his liberty in a similar manner some weeks before. +She was thin and pale when she appeared in court, and had evidently +passed through severe suffering. Careful nursing will be required to +restore her to health.</p> + +<p>"It would seem as if some means of meeting the ends of justice +could be devised without the necessity of subjecting innocent +persons to a felon's fate for simply being a chance witness of an +affair that is to be brought into the court."</p> + +<p>In the editorial columns of a recent number of the Cleveland, +Ohio, "World" appeared the following:</p> +</blockquote> + + +<h4>"A DISGRACE TO CIVILIZATION."</h4> + +<blockquote class="note"> +<p>"A heart-breaking story, founded on fact, in McCLURE's MAGAZINE +for the current month, is an arraignment of the nineteenth century +civilization that, considering its boasts of enlightenment and +decency, is as horrible an official crime as any that has given so +dark a stain to Russian treatment of innocence."</p> + +<p>Following this is a long outline of Mr. Ward's story, and then +the article continues:</p> + +<p>"It is impossible to conceive of more awful inhuman injustice +than this. But the story is not overdrawn. It has happened with +variations scores, if not hundreds, of times. It is occurring or +liable to occur this very day, not alone in Boston, but in +Cleveland.</p> + +<p>"At a meeting of the judges, a short time ago, Judge Lamson used +the following language:</p> + +<p>"'The detention of innocent persons as witnesses is, under the +best of circumstances, bad. It is clearly the duty of the people of +this country or their representatives to see that the present +disgraceful method in vogue in the county jail is abolished. We have +no right, under any law, to place innocent persons on a plane with +criminals. It is nothing more or less than an outrage, inflicted on +helpless people. I hope that the people of this county will be +aroused to the enormity of this problem, and very soon put an end to +this imposition.'</p> + +<p>"And the counterpart of the story in McCLURE's MAGAZINE has +happened here within a short time. Lewis Gerardin, a sailor, was +released last April, after being detained six months. Several months +before, Frank Blaha, a saloon-keeper, who committed the crime of +murder in the second degree, managed to get bail. While Gerardin was +held he received pathetic letters from his wife and family begging +him to come home. They did not know why he was held, and he said +that if they were to learn of his imprisonment they could not +understand his innocence of crime. One day a letter was received +from home, announcing that his favorite little son had died but a +week before. The last words of the child called for his father. But +Gerardin was not released until the prosecutor was ready to dismiss +him.</p> + +<p>"Such possibilities are a disgrace to any community that +tolerates such a horrible law or such a feeble administration of it, +and such callousness to human suffering that it will not save these +innocent victims from its outrageous injustice. When to this +brutality are added the comparative safety of the criminal, and the +vile jails and the vile inmates with whom young boys and girls and +honest men and decent women <span class="pagenum"><a name="page400" +id="page400"></a>[pg 400]</span> are thrown for the crime of +witnessing a crime, it convicts the civilization of the age with a +combination of stupidity and heartlessness that had better say +nothing of the Czar of Russia or the ferocious Kurds. In its +essential injustice and inhumanity it is not many removes from the +lynchings of the South."</p> +</blockquote> + + +<h4>THE REAL LINCOLN.</h4> + +<blockquote class="note"> +<p>The "McClure's Early Life of Lincoln," which has just been +published, is worthy of comment in these pages for several +reasons.</p> + +<p>1st. It contains no less than twenty portraits of Lincoln; and +although this is only one-third of the number that will appear in +the whole life, it is more than twice as many as have appeared in +any previous life. Furthermore, most of the portraits are new to the +public.</p> + +<p>2d. There are a large number of entirely fresh documents, several +of which are absolutely essential to a full understanding of Abraham +Lincoln, and some of which make it necessary to revise our opinion +of Lincoln's career.</p> + +<p>3d. It contains a remarkable record of the achievements of the +Lincoln family, whose services to the country extended through +nearly a century—a century which included the Revolutionary +War and the Civil War. Lincoln himself was ignorant of much of the +history we have given about his ancestors; but in the light of the +facts set forth, his career is logical and easily understood.</p> + +<p>4th. We have shown by new documents that Lincoln's father was by +no means the colorless individual we have hitherto understood him to +be. The reminiscences of Christopher Columbus Graham, first +published in this volume, together with records we have unearthed in +Kentucky, show that Thomas Lincoln was the owner of a farm three +years before his marriage, that he was a good carpenter, and that he +was held in esteem by his neighbors; while according to Mr. Graham, +Thomas's brother Mordecai (uncle of Abraham Lincoln) was a member of +the Kentucky legislature. His two sisters married into leading +families.</p> + +<p>5th. In regard to Lincoln personally, we have shown how +thoroughly he educated himself, so that at twenty-six he was able to +more than hold his own as a member of the legislature of +Illinois.</p> + +<p>It does not detract from the great fame of Abraham Lincoln to +show that he was a worthy son of a splendid ancestry, for his +extraordinary personality would be just as hard to account for had +he been a scion of the most notable family in the world. When a man +climbs the Matterhorn it matters little whether he began his journey +at Zermatt or a few furlongs farther on.</p> +</blockquote> + +<hr /> + +<h4>LINCOLN IN 1860—J. HENRY BROWN'S JOURNAL.</h4> + +<blockquote class="note"> +<p>As stated in the note to the portrait of Lincoln which makes the +frontispiece of this number of the MAGAZINE, the late J. Henry +Brown, who went to Springfield, Illinois, in 1860, and painted a +miniature of Mr. Lincoln on ivory, left at his death a manuscript +journal which contains interesting entries regarding Mr. Brown's +sojourn in Springfield and his acquaintance with Mr. and Mrs. +Lincoln. We print herewith this part of the journal entire:</p> + +<table summary="Journal of J. Henry Brown"> +<thead> +<tr> +<td>1860.</td> +<td></td> +<td></td> +<td>AUGUST, <i>Continued</i>.</td> +</tr> +</thead> +<tr> +<td><p>Springfield,</p> </td> +<td><p>Illinois</p></td> +<td><p>12.</p></td> +<td><p>Sunday. Arrived here at three o'clock this morning. +Wrote some letters.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>13.</p></td> +<td><p>Called at Mr. Lincoln's house to see him. +As he was not in, I was directed to the +Executive Chamber, in the State Capitol. I +found him there. Handed him my letters from +Judge Read. He at once consented to sit for +his picture. We walked together from the +Executive Chamber to a daguerrean +establishment. I had a half dozen of +ambrotypes taken of him before I could get +one to suit me. I was at once most favorably +impressed with Mr. Lincoln. In the afternoon +I unpacked my painting materials.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>14.</p></td> +<td><p>Commenced Mr. Lincoln's picture; at it all day.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>15.</p></td> +<td><p>At Mr. Lincoln's picture.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>16.</p></td> +<td><p>Mr. Lincoln gave me his first sitting, in the +library room of the State Capitol. Called +to see Mrs. Lincoln; much pleased with her. +Wrote five letters.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>17,18.</p></td> +<td><p>At Mr. Lincoln's picture. Received an +invitation from Mrs. Lincoln to take tea +with them.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>19.</p></td> +<td><p>Sunday. Wrote letters.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>20.</p></td> +<td><p>Mr. Lincoln's second sitting. Have arranged to +have his sittings in the Representative +Chamber.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>21.</p></td> +<td><p>At Mr. Lincoln's picture. Heard from home; all well.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>22.</p></td> +<td><p>Mr. Lincoln's third sitting.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>23.</p></td> +<td><p>At Mr. Lincoln's picture.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>24.</p></td> +<td><p>Mr. Lincoln's fourth sitting.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>25.</p></td> +<td><p>Lincoln's fifth and last sitting. The +picture gives great satisfaction; Mrs. +Lincoln speaks of it in the most +extravagant terms of approbation.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>26.</p></td> +<td><p>Sunday. At church. Saw Mr. Lincoln there. I +hardly know how to express the strength of +my personal regard for Mr. Lincoln. I never +saw a man for whom I so soon formed an +attachment. I like him much, and agree with +him in all things but his politics. He is +kind and very sociable; immensely popular +among the people of Springfield; even those +opposed to him in politics speak of him in +unqualified terms of praise. He is +fifty-one years old, six feet four inches +high, and weighs one hundred and sixty pounds. +There are so many hard lines in his face +that it becomes a mask to the inner man. His +true character only shines out when in an +animated conversation, or when telling an +amusing tale, of which he is very fond. He +is said to be a homely man; I do not think +so. Mrs. Lincoln is a very fine-looking +woman, apparently in excellent health, and +seems to be about forty or forty-five years +of age.</p> +</td> +</tr> +<tr> +<td><p>"</p></td> +<td><p>"</p></td> +<td><p>27.</p></td> +<td><p>The people of Springfield who have seen Mr. +Lincoln's picture speak of it in strong +terms of approbation, declaring it to be +the best that has yet been taken of him. +Received a letter from Mr. Lincoln indorsing +the picture; also one from Mrs. Lincoln +expressing her unqualified satisfaction with +it; also one from Mr. John G. Nicolay, Mr. +Lincoln's confidential clerk; and one from +the man who took the ambrotype. This would +be, I suppose, the proper place to say a +word about Springfield, the prairie city, +as it is sometimes called. It is a very +pretty place; the streets eighty feet wide. +It contains many very fine buildings, and +has a population of about ten thousand.</p> +</td> +</tr> +</table> +</blockquote> + +<hr class="full" /> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 14319 ***</div> +</body> +</html> diff --git a/14319-h/images/306.jpg b/14319-h/images/306.jpg Binary files differnew file mode 100644 index 0000000..f9836b3 --- /dev/null +++ b/14319-h/images/306.jpg diff --git a/14319-h/images/309.jpg b/14319-h/images/309.jpg Binary files differnew file mode 100644 index 0000000..5886cef --- /dev/null +++ b/14319-h/images/309.jpg diff --git a/14319-h/images/310.jpg b/14319-h/images/310.jpg Binary files differnew file mode 100644 index 0000000..22157eb --- /dev/null +++ b/14319-h/images/310.jpg diff --git a/14319-h/images/311-1.jpg b/14319-h/images/311-1.jpg Binary files differnew file mode 100644 index 0000000..e585b6e --- /dev/null +++ b/14319-h/images/311-1.jpg diff --git a/14319-h/images/311-2.jpg 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