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+The Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. 356,
+October 23, 1886., by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Girl's Own Paper, Vol. VIII: No. 356, October 23, 1886.
+
+Author: Various
+
+Release Date: May 15, 2006 [EBook #18395]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. ***
+
+
+
+
+Produced by Susan Skinner and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+THE GIRL'S OWN PAPER
+
+VOL. VIII.--NO. 356.
+
+OCTOBER 23, 1886.
+
+PRICE ONE PENNY.
+
+
+
+
+A DREAM OF QUEENS' GARDENS.[1]
+
+A STORY FOR GIRLS.--IN TWO PARTS.
+
+BY DANIEL DORMER. Author of "Out of the Mists."
+
+
+PART II.
+
+A QUEEN'S DREAM.
+
+[Illustration: "LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND."]
+
+Yet the recollection of that book is helping to soften Hazel. There is a
+tender bit of writing at the close of the lecture which can hardly fail
+to reach any woman's heart, unless it be wholly hardened; and Hazel's is
+not a hard heart. So she muses on it, growing gradually calmer and
+happier. After all, she might be of some use in the world if she were to
+try, and if One Divine would be with her.
+
+She stoops down to throw some coal on the fire. She is too much
+exhausted physically to make it up carefully; but with an effort piles
+on large blocks and small indiscriminately, then throws in a handful of
+matches from a box within reach. What strange chaos there seems to be in
+the grate after a little while! One after another the matches go off
+with a phiz and short-lived flare, and each seems to light up a more
+curious scene than the last. From being mere piled-up blocks of coal in
+a grate, they grow to be a half blocked up entrance to some unknown
+place. There is a large shining black portal, half ruined, surrounded
+with _débris_. By degrees Hazel's languid curiosity is excited, and she
+wonders whither it leads. Why should she not explore?... The next match
+which takes fire lights up the slight form leaning far back in the big
+chair, with the soft, golden brown hair half loosened, and the dark,
+shadowed eyes fast closed. And Hazel has passed through the dark
+gateway, and is in a wonderful world.
+
+What a strange black gateway to have led into so fair a garden! Hazel
+pauses at the entrance, her eyes glistening, her breath taken away with
+delight at the beauty of the scene before her. A paradise of fresh green
+shade and exquisite light and colouring. Wide-spreading chestnuts,
+graceful, feathery birches, and a hundred other trees, clothed and robed
+in their tender young leaves, mingle with a glory of pink and white
+spring blossom, which seems to fill the air like a snowstorm in the
+clear, blue sky. The South wind blows and fans Hazel's cheek, and wafts
+delicious breath of flowers and sweet-brier around her. Beneath the
+shower of snowy blossom stretches smooth, green grass, and masses of
+brilliant flowers glow, expanding their petals up towards the sun.
+
+After a while Hazel wanders forward in a dreamy intoxication of delight,
+every moment discovering fresh beauties. She finds a beautiful grotto,
+where are large rocks and cascades and running streams and fountains.
+She enters by a low archway of stone, covered with drooping ferns, and
+there, right before her, is a large clear pool at the foot of a huge
+rock. She flushes with the prettiest of shy pleasure and frank
+admiration at sight of her own reflection.
+
+How beautiful! A girl in a long, white robe, with a sweet, dark-eyed
+face, which she knows to be her own. She is leaning slightly forward,
+and the eyes--so often heavy and weary--are brimming with happiness, the
+lips parted in a smile. Her hair, with its pretty, sunny ripples, is
+unbound, and the wind blows it slightly back from her shoulders. And,
+most wonderful and striking of all, a circlet of pure gold rests upon
+the shapely head, and a second circlet is clasped round the waist. Then
+she is a queen? No doubt of it. And then comes, to the joy of admiration
+of all she has seen, the added joy of certainty that all is her own.
+This is a queen's garden, and she is the happy queen!
+
+More and more dawns gradually upon her. There are those near at hand
+dear to her, to whom she is also dear, whose queen she is. Oh the joy of
+it all! She clasps her hands in ecstasy, and the pretty reflection in
+the pool is more than ever lovely, only she has forgotten it now.
+
+A serious thought must have come into Hazel's mind, for suddenly a
+different expression appears in her eyes; a look of perplexity and shade
+of sorrow. The consciousness in her new life is growing, and, alas! it
+is not unmixed with pain. This garden is not all the world, then? She
+puts her hand to her brow, trying to recall something. Slowly it comes
+back to her in words, noble words, spoken by one whose face is a
+darkness to her. And she listens--
+
+"It is you queens only who can feel the depths of pain, and conceive the
+way to its healing."
+
+Ah! that is enough. She has lost her desire to recall more. She would
+fain turn back to the former delight and forget the existence of pain.
+But the steady voice persists, and will not be quenched.
+
+"Instead of trying to do this, you turn away from it; you shut
+yourselves within your park walls and garden gates; and you are content
+to know that there is beyond them a whole world in wilderness, a world
+of secrets which you dare not penetrate, and of suffering which you dare
+not conceive."
+
+Hazel looks round on the garden. How pleasant it is! Why should she
+leave it? Why should she concern herself with what may lie outside this
+home-kingdom of hers? She tries again to banish the voice, yet she knows
+in her heart, if she would only look for its knowledge, that, outside of
+that little rose-covered wall, the wild grass, to the horizon, is torn
+up by the agony of men, and beat level by the drift of their life-blood.
+
+Yes, it is useless; there is no escaping the truth the voice tells. So
+Hazel yields herself to listen as it goes on.
+
+"I knew you would like that to be true; you would think it a pleasant
+magic if you could flush your flowers into brighter bloom by a kind look
+upon them; nay, more, if your look had the power, not only to cheer, but
+to guard.... This you would think a great thing! And do you not think it
+a greater thing that all this (and how much more than this) you can do
+for fairer flowers than these, flowers that could bless you for having
+blessed them, and will love you for having loved them; flowers that have
+thoughts like yours, and lives like yours, and which, once saved, you
+save for ever? Is this only a little power? Far among the moorlands and
+the rocks, far in the darkness of the terrible streets, these feeble
+florets are lying, with all their fresh leaves torn and their stems
+broken; will you never go down to them, nor set them in order in their
+little fragrant beds, nor fence them, in their trembling, from the
+fierce wind?"
+
+Engrossed with the voice, Hazel has been walking on, little heeding
+whither she goes, when, as its tones die away, a groan startles her. How
+terrible its sound; how incongruous, interrupting the soft harmonious
+chorus of the soaring, singing birds! So painfully near it seemed, too,
+it could but have been a very little distance off outside that gate
+which she sees before her. Her first impulse is to draw back and retire,
+shuddering, far into the garden. But, behold! the gate swings back of
+its own accord, and in the face of that fact, and with the remembrance
+of the words she has heard, she dare not do other than pass through the
+open way.
+
+What a strange, wide world, and how dreary! A great, mad battle is
+raging; the grass, sloping up to the horizon, is scorched with the heat
+of the sun--the sun which only made a pleasant warmth in the shady
+garden. There is the fierce galloping of horses, and wrestling and
+fighting of men. Shouts and groans fill the air and drown the song of
+the birds. There are heaps of dying and wounded. Ah! there is one man
+not a stone's throw from her; his must have been the voice that reached
+her within her gates. How remarkable that she should have heard nothing
+before of all the great din. Another groan, followed by some inaudible
+words, causes Hazel timidly to approach the wounded man. He is evidently
+one of the very poorest of the "common" soldiers; and there is a look in
+his face which speaks the word death with a shudder in the girl's heart.
+A gleam lightens the agony in the man's eyes as he sees the white form
+and gentle face above him. He gazes steadily a moment, as though to make
+sure his vision is not a passing illusion; then Hazel catches the words,
+"Were you sent to me?"
+
+Very quietly she tells him in whose name she comes. Then, with a long,
+struggling sigh of satisfaction, without a shadow of further questioning
+in the dying eyes or voice, he whispers--"Hope even for me in Him, then,
+since He sent you!"
+
+So the low, flickering flame of life, set free, leaps up to its source;
+and the forsaken home rests in unbroken peace.
+
+Saddened, and yet peaceful, too, Hazel turns slowly away from the
+battle-field, and walks on, not noticing whither she goes. Jarring
+sounds recall her, and she finds herself in a narrow valley, surrounded
+by noisy children and brawling women. No one seems conscious of her
+presence. A lot of men are lounging against the wall of a public-house.
+The low building is conspicuous by its being in good repair, while its
+neighbours are all in a shattered condition. The window-frames are
+painted and varnished, and the open entrance discloses a smart interior.
+A few doors beyond this the houses reach the climax of desolate
+disorder. The whole place is tumbling down; the window is broken; the
+battered door is off its hinges, propped up against the wall. A cripple
+girl is sitting on a broken box, turned upside down, immediately outside
+this miserable hovel. Her face is a greater shock to Hazel than any of
+the other wretchedness around. There is a desperation of bitterness in
+that set, white face, with its hollow eyes and cheeks, which is
+absolutely appalling. Hazel had always imagined that suffering must of
+necessity, by its own inherent nature, bring with it a patience which
+would be reflected in a sweet face. Slowly, as she scans those immovable
+features, full of pain, and still more full of dogged rebellion, this
+idea has to be abandoned. Here obviously is a human being in the midst
+of a noisy squalor, whose physical disease and torture is unlightened by
+one softening ray of hope; whose misery is too sullen and dull to rise
+even to the hope of putting an end to itself.
+
+One moment and the deformed girl starts apprehensively. A sob has
+sounded in her ear, and some one, unlike any she has ever seen
+heretofore, stands beside her, taking her hand in mute, unspeakable
+compassion. She cowers back against the wall and drags away her hand;
+Hazel's purity and loveliness raises in her only a shrinking dislike and
+dread of contact.
+
+It is long before the pleading, loving voice gains any hearing; but at
+last, before the two part, some faint expression of intelligent thought
+has dawned on the lame girl's brow; and in her mind a question has been
+raised, "Can it be that there is one who loves me and has need of me?"
+
+The evening sunlight is falling through the birches in the beautiful
+garden; the air is full of fragrance and harmony; the queen is
+returning. Wearily she opens the gate to enter. She is filled with pain,
+for the many sadnesses to which she has drawn near have touched her own
+soul with the shadow of suffering.
+
+Suddenly, in the chequered shade of the trees at the entrance of the
+garden, she stops and turns round, for a bright radiance envelops her.
+And, lo! there stands One, in glorious light--One in whose Divine face
+love is shining. Hazel bows down, her whole soul overwhelmed with
+reverent awe. Then her hand is taken and held with a touch which thrills
+her with exquisite rapture, and a voice in her ears says--
+
+"Come, see with Me My garden."
+
+And the air, which is filled with light, grows buoyant, and, while her
+hand is still clasped by the Divine Guide, she is wafted upwards.
+
+Stretched out below, the hills and vales of the earth are one vast
+garden. All is indistinct at first; expanses of misty colour and tint;
+but by degrees the scene resolves itself into more definite form. The
+whole is intersected and watered with streams, more or less clear and
+pure, which arise and are replenished from a bright vapour, the Spirit
+of Life, which shines, issuing forth from an empty tomb in a rock in the
+East. There are banks of wild violets and primroses, and woods filled
+with anemones and hyacinths--myriads of beautiful flowers, reaching over
+all the world.
+
+Hazel has hardly taken in anything of the wonder of the scene, when her
+attention is attracted by an arch of white mist above the earth, and, as
+it seems, but a few paces from her. Gradually this path of mist grows
+clear as crystal, and the colours glancing in it take shape, and form a
+clear, transparent picture.
+
+A cornfield on a summer evening, filled with blossoms of poppies and
+corn-flowers. A wild storm sweeps over the field; the corn is broken
+down; the flowers are crushed beneath its weight, draggled and withered.
+A poppy, torn up by its roots, is whirled through the air.
+
+A mist sweeps over the crystalline cloud, and where it grows clear again
+the scene is changed to a wild hill-side. Scarlet and blue flowers
+intermingle in the distance; in the foreground lies a single poppy,
+withered and dying. Slowly, beside it a lily grows up; as it grows the
+fading poppy is stirred, touched by its leaves; and the tiny bells
+waving over it inspire new life and vigour, till at length, grown whole
+and fresh, it is loosened from the brown uptorn roots, and floats
+upwards, to bloom more beautiful in Paradise.
+
+Again the mist passes over the light picture and changes it. A woodland
+scene is painted there now. Amid the fern and moss and twigs under the
+trees, wild flowers are blowing. A pathway intersects the little wood,
+and across it shadows of the trees fall, with sunlight between. In the
+foremost patch of sunshine, at the edge of the path, is a sprinkling of
+anemone leaves. And there amongst them a delicate blossom, half crushed
+by the superincumbent weight of moss, the fallen leaves of last year,
+and tiny, lichen-covered twigs. The white, transparent petals are soiled
+and deformed, thrust down to the earth. As Hazel looks, regretting that
+she has not the power to stretch forth her hand and clear away the
+destructive weight, the leaves and twigs tremble, and are uplifted, and
+fall away from the slender plant, for close beside it a hardy little
+fern frond slowly uncurls itself and arises. The frail blossom stirs
+slightly, released from the overwhelming pressure; but has no strength
+to do more. Oh, for water to revive it! And, lo! from the fair green
+fern drops of dew embosomed there are shed and scattered over the
+downcast head. They are drunk in, and by degrees the drooping cup is
+raised to the friendly fern. And then, the straight young frond, itself
+ever growing, waves aside in a natural, graceful sweep, and allows the
+sunshine in all its strong radiance and reviving force to fall full on
+the flower. And the half-closed bell joyously expanding, grows white and
+strong and beautiful.
+
+And so the crystal pictures change and change, till Hazel's every
+helpful act has been set forth. Then, as the last fades, and the arch of
+storied light itself dissolves and melts, with one all-absorbing passion
+of eternal devotion flooding her whole being, Hazel turns to Him who has
+kept her beside Him throughout, her hand retained in His. For one moment
+she beholds Him, the Unutterable One; and in His Sacred Face she reads,
+amid ineffable love and infinite majesty, a look of gratitude. And once
+more the Divine accents fall on her ear, saying--
+
+"'Inasmuch as thou didst it unto one of these My brethren, even these
+least, thou didst it unto Me.'
+
+"Let not those, the queens of the earth, to whom I have given the
+priceless gifts of life and leisure, hold either lightly. Life, with its
+sorrows and its joys, is but the education time fitting them to live for
+ever with Me. The leisure I have bestowed may be used for Me, in doing
+work in My garden--work which I have prepared for them to do, and which
+I long to see done. Let them see to it that they waste not the
+opportunity in fretful discontent and idleness--'And whosoever shall
+give to drink unto one of these little ones, a cup of cold water only,
+in the name of a disciple, verily I say unto you, she shall in no wise
+lose her reward.'"
+
+       *       *       *       *       *
+
+Hazel awoke. The moon was streaming in through the window. The grate was
+filled with shining blocks of coal, and a few half-burnt matches. Aching
+all over, and shivering with cold, she closed her eyes once more, and a
+period of insensibility followed.
+
+Many days and nights of feverish illness ensued--days and nights in
+which Hazel had much to suffer, and was only from time to time
+conscious of the loving, unceasing care which watched over her. In those
+intervals when her mind was not dazed and confused, she saw a face, old
+and plain and wrinkled, which was to her as the face of an angel, for
+Miss Bright tended and watched her with all the self-sacrifice of a
+noble, true woman.
+
+At length, after a weary, weary time of pain, Hazel fell asleep once
+more. Her dream came back to her, for she thought she was resting in the
+warm sunshine on a bed of lilies in the same beautiful garden. And when
+she opened her eyes she found her room was really bright and warm with a
+fire and sunshine, and fresh and sweet with the fragrance of lilies of
+the valley, a large bunch of them standing beside her, and more lying on
+the white coverlid of her bed. Her eyes filled and her heart swelled
+with gratitude. Softly she whispered, as though she spoke to someone
+close beside her, "Dear Lord, I am so thankful to Thee for making me
+better. I so longed to live a little while more to do some work for Thee
+in Thy garden. I bless Thee so!"
+
+The door opened, and Brightie came in. The brave old woman broke down as
+she clasped Hazel in her joy at the improvement in her. The two cried
+together for a little while; there was so very much to be glad about
+that the gladness was too great for self-control.
+
+A few days later, a girl with a white but radiantly happy face is
+resting in a cane armchair, her feet supported by a footstool, in the
+garden of a pretty country house at Fridorf. The sunshine is hot, but
+she is shaded from it by a trellis work of young-leaved creepers
+overhead. Lilacs and laburnum trees bloom abundantly around. The lawn
+before her is smooth and green, and beyond is the sea.
+
+"How wonderful God's love is!" the girl says, presently, reaching out
+her hand to an old woman with a peaceful face who shortly joins her, and
+who clasps and retains the hand with an answering look more eloquent
+than speech.
+
+THE END
+
+FOOTNOTE:
+
+[1] Sesame and Lilies. By John Ruskin LL.D. 1. Of Kings' Treasuries. 2.
+Of Queens' Gardens.
+
+
+
+
+HINTS ON MODELLING IN CLAY.
+
+BY FRED MILLER.
+
+
+Modelling in clay is a very agreeable change in one's artistic
+occupation, for it is quite unlike other branches of art, and calls into
+play a different set of faculties for its performance. It needs a
+greater amount of "hand cunning" than does painting, and is in that
+sense akin to wood carving, to which delightful craft it is, indeed,
+almost indispensable, and, I might add, part of the necessary training
+one has to undergo to become a carver in wood. And as on another
+occasion I am going to write a few hints on wood carving, the present
+article may be taken as a prelude to the one on that subject.
+
+The materials necessary to try one's hand at modelling are very
+inexpensive. The clay is the most essential thing, and this can be
+purchased at one or two artists' colourmen, or, better still, at any
+pottery. I have had clay sent me from the potteries in Staffordshire,
+and those of my readers who live near a pottery would have no difficulty
+in supplying themselves with clay. The clay used for flower-pots does
+for coarse work, but is not sufficiently carefully prepared for fine
+work. It burns a rich red colour, and is, of course, terra-cotta. The
+clay used in making the terra-cotta plaques and vases is what you
+require for fine work. There are two or three firms who supply London
+shops with terra-cotta vases, etc., and I have no doubt that clay might
+be purchased of them.
+
+The clay used in making tiles does for modelling, but perhaps the best
+is that which burns a cream colour. It is a dull grey colour, rather
+dark before it is fired, and it should be noticed that it is difficult
+to tell the colour clay will burn by its appearance when unbaked. Thus a
+grey clay may burn a rich red or pale cream. The qualities necessary in
+clay for modelling are plasticity, which enables it to be worked without
+falling to pieces, and fineness--a perfect freedom from grit, small
+stones, and other impurities. It should be quite soft to the touch, and
+when pressed and kneaded should feel smooth and silky. Old clay is more
+plastic as well as being tougher than new, and in potteries clay is
+often kept a considerable time before it is used. The clay should not be
+allowed to dry when it is not in use, and to prevent this it must be
+wrapped in wet flannel. Should it dry quite hard, there is nothing to do
+but to put it into a vessel and pour water on it, allowing it to stand
+until the clay becomes soft. Some of the moisture must then be allowed
+to evaporate, otherwise it is too soft for use. This is another point to
+be observed in clay used for modelling. It must not be too damp. If it
+sticks to the fingers it is too wet, and if it resists the pressure of
+the fingers, too dry. The state between stickiness and stubbornness is
+what is wanted.
+
+Now as to the tools. Wooden modelling tools can be purchased at some
+artists' colourmen, and also at some tool shops. You must choose those
+tools you think look handiest. A little practice will soon show you
+which are the best to have.
+
+Each modeller has a predilection for certain tools, and it will take my
+readers very little time to find out which tools give the best results.
+I often shape those I buy myself to fit them for particular work. In
+addition to these wooden tools, it is necessary to have a fine steel one
+to work the clay when it is dry. Modelling tools are very inexpensive.
+You really require no other tools but these wooden ones and a steel one,
+but it is necessary to have a few boards to work your clay upon. They
+should be strong, with battens at the back to prevent them warping,
+which they are liable to do owing to the dampness of the clay.
+
+We will start our work with a very simple design, for our aim should be
+to overcome the difficulties by degrees. The design I have chosen (fig.
+1) was modelled as a tile about eight inches square, and the first thing
+to be done is to roll out a piece of clay about half an inch thick, and
+fairly flat all over. It is as well to work the clay up in one's hands,
+damping it occasionally if too dry. If clay be allowed to remain
+untouched for any length of time it gets set, and does not work easily;
+therefore, thoroughly work it up with the hands. It may be made into a
+ball, and can be rolled out flat with a thick ruler or rolling pin. The
+clay has a tendency to curl up round the rolling pin, and care must be
+taken to prevent this. If the rolling pin be covered with leather, this
+is to a great extent prevented. The design can be made on tracing paper,
+and by marking over the tracing paper placed over the clay with a hard
+point, an impression sufficiently distinct will be left to guide one in
+doing the actual modelling. The first thing is to build up the oranges,
+which can be done by sticking little pellets of clay on to the slab,
+pressing them down with the fingers, and rounding the oranges roughly
+into shape.
+
+[Illustration: FIG. 1.--A TILE.
+
+_Our First Experiment._]
+
+Don't be too particular about this part of the work; be content to get
+some approximation to the shape, leaving the finishing to be done with
+the tools. Build up the stem in like manner, or you might roll out a
+thin piece of clay and stick this on to the slab. In sticking clay on to
+clay, it is always advisable to wet both the clay and the slab to
+ensure thorough adhesion, and in working the design into shape it is
+even a good plan to dip the fingers into water, as the extra moisture
+makes it easier to press the clay into the requisite shape.
+
+The leaves can be modelled separately, and stuck on to the clay slab one
+by one. Do as much of the work as you can with the fingers. In
+modelling, the fingers are the best tools, after all. They do their work
+so much more expeditiously and effectively than the so-called "tools"
+do, and, depend upon it, the more the preliminary work is done with the
+fingers the better, as the use of the fingers tends towards boldness of
+design and vigour of execution. People, in starting a new employment,
+are very apt to be finiking owing to timidity, and this must be overcome
+from the outset--this tendency to pettiness--and in the case of
+modelling, the best way to overcome it is to do all the preliminary work
+with the fingers. Build up the design boldly and freely, studying only
+the principal masses and most important forms. When this is
+accomplished, let the clay stand a little time uncovered, as the use of
+water will have made it very sticky, and the modelling tools cannot be
+used as efficiently when the clay is in this state as when it is drier.
+
+The modelling tools will enable you to begin to finish up the design,
+for at present the design exists only in its rough state. Pick the clay
+out of the interstices of the design, and begin to refine the different
+forms by putting in the more delicate curves. It very much depends upon
+the nature of the design as to how far in the direction of finish you
+carry the work, but as your modelled tile will not be exposed to rough
+usage, you may under-cut it, as modellers say. Under-cutting is the
+taking of the clay away from the back of the various forms. In the
+leaves, for instance, instead of leaving a solid mass of clay at the
+back, this should be carefully cut away underneath, or under-cut, so as
+to give lightness and delicacy to the work. Of course, it is necessary
+to leave some clay here and there to attach the various forms to the
+slab. The under-cutting may be carried to such a pitch as to make the
+design look weak, and as though it would fall to pieces with a puff of
+wind. When this is the case, I reckon the finishing has been carried too
+far. Clay should always look strong enough to hold together, and I may
+say I never thought much of that fancy china one sees which is covered
+with flowers and foliage modelled as delicately as though wrought in
+some precious metal. Sooner or later the edges get chipped off, and the
+charm of such work is immediately gone. Of course we know that an
+accident may destroy work that is not wrought in this delicate manner,
+but modelled clay should be delicate without being weak--it should at
+least look as though it could hold its own with fair usage.
+
+Get as much of the work done as possible while the clay is plastic, and
+with a little practice a modelled design can be finished entirely while
+the clay is damp. In fact, the work is better when wrought from the
+plastic clay than when finished up with steel tools after the clay is
+dry. There is a certain crispness about the modelling when wrought from
+plastic clay, which is often wanting in work tooled up when the clay is
+hard. To my thinking, the best work is always that which looks as though
+it had been thrown off in a happy moment, and which has a certain number
+of the tool marks showing, as though the worker were not ashamed to let
+his craftsmanship be seen. Work which has been touch and retouched, and
+rubbed down and smoothed until all life, vigour, and crispness have
+departed from it, looks what it is, amateurish (in the worse sense) and
+weak.
+
+I have had many opportunities of seeing amateurs work during the years I
+have been teaching, and I have noticed that they have a mistaken notion
+of what finish really is. It certainly does not consist in smoothing the
+work until it has the texture of a wax doll, and I have often noticed
+that work is often wholly spoilt in the so-called finishing.
+
+In the subject I am dealing with--modelling in clay--this is
+particularly the case, and, reader, I pray you avoid it. I would sooner
+you leave the work rough, with all the marks of the tools showing, so
+that you get vigour and crispness in your work, than that you should in
+your endeavour to efface the marks of the tools make your work tame and
+effeminate.
+
+[Illustration: FIG. 2.--A PLAQUE.]
+
+In working up the leaves, don't attempt to put many veins in them.
+Hardly do more than indicate the centre vein. Nothing looks worse than
+to see the various forms covered with a network of minute markings. You
+will find, if you try and put in the veins in your modelled tile, your
+leaves will not look as though they were veined, but as though some
+stiff-legged insect had crawled over the damp clay, and had left its
+trail behind it. In putting in the stamens in flowers, you will have to
+have recourse to an expedient, for it is evident that you cannot copy
+every individual stamen in clay any more than you can make your clay
+petals as thin and delicate as nature. You must translate the effect of
+nature into clay, and in the case of the stamens you will find it a good
+plan to build up the centre of the flower, and then press into it a
+pointed stick, repeating the operation until the whole of the centre is
+perforated, as it were, like a grater.
+
+In order to make a contrast between the design and the background, you
+can dot or line over the slab upon which the design is lying, so as to
+make the surface rough in texture. When the clay is quite dry, which
+will take some week or more to effect, you can put any further work
+into the design with the steel tool, which must be used to scrape the
+clay; for if you exert any pressure upon the dry clay it very soon
+chips, and it is almost impossible to repair such damage, and for this
+reason: that if you stick on a piece of wet clay to the dry clay, the
+moisture of the wet clay is soon absorbed by the dry, and the piece
+stuck on immediately falls off. The only chance is to keep damping the
+part damaged until the clay all round gets quite moist again, and you
+must then model another piece on to the broken part. Dry your work very
+slowly at first, to prevent it cracking or warping, and when it seems
+quite hard put it into a warmer place, for, though clay may appear hard
+on the surface, there is sure to be a good deal of moisture inside,
+especially if the clay be thick, and should it be put into a kiln before
+the moisture is entirely evaporated, the modelled clay will fly into
+minute fragments, and cause incalculable damage to other work in the
+kiln. I recommend my readers to put their work into a hot oven two or
+three times after it has been drying for two or three weeks, so as to
+insure the clay being quite hard. I lost several works through firing
+them before they were dry enough.[2]
+
+The heat that china is put to fix the colours is not sufficient for
+baking clay, and it must be sent to some place where underglaze pottery
+is fired. This first firing turns the clay into "biscuit," and if any
+painting is to be done on it, now is the time to do it. Underglaze or
+Barbotine colours should be used, and they should be put on in thin
+washes. The whole work must then be glazed and fired. But I shall not
+touch further on this part of the subject here, for I must say something
+about modelled decoration applied to vases and plaques.
+
+The plaque or vase to receive modelled decoration must be of the same
+degree of dampness, or nearly the same degree of dampness, as the clay
+used in modelling, for reasons already stated. You cannot put modelled
+decoration on to clay that is dry, or ware that has been fired. To make
+a plaque, it is almost necessary to have a plaster mould. You might make
+this for yourself by buying a china plaque the shape and size you
+require, and filling this plaque with plaster-of-Paris, being careful to
+let the plaster come to edge of plaque all round. When the plaster is
+dry, trim the edge round, and take it out of plaque. You must now roll
+out a flat sheet of clay sufficiently large to cover this plaster mould,
+and, by pressing the clay evenly all over the mould, and trimming round
+the edges with a knife, you will get a clay plaque sufficiently good to
+answer your purpose. Don't attempt to remove the clay immediately from
+the plaster, but let it remain on a few hours, to enable the clay to
+set. The surface of this plaque may be kept moist by keeping a damp
+flannel over it. When the modelling has been started, the damp cloth
+must not press upon the modelled portions, but be supported on a wicker
+frame.
+
+It is always better to model direct from nature--and for this reason. By
+taking a leaf and pressing it into a piece of clay, and marking it round
+with a darning-needle, you get the exact shape of the leaf, and by
+pulling off the leaf you can bend the clay impression into any form you
+like, and put it upon your clay plaque or vase, pressing it into the
+curve you wish it to take. A little very wet clay should be put on back
+of leaf, to ensure it sticking to plaque. I have taken as my
+illustration (fig. 2) the garden poppy, and if I were modelling it
+direct from nature, I should first of all roll out a strip of clay for
+the stem, and put this on the plaque so that it makes a graceful curve.
+Strip off the leaves one by one, and take impressions in clay, and then
+fasten them to plaque, following the natural growth, and yet arranging
+them so that the leaves fall into their places agreeably. The back
+leaves, instead of being modelled, might be just marked in outline on
+the plaque itself. This will give depth to the design. The leaves should
+not be put on the plaque flatly, but should be bent and twisted as is
+necessary to suggest the growth of nature. The flower will present the
+greatest difficulty, as the serrated edges of the petals must be
+carefully done.
+
+[Illustration: FIG. 3.--A VASE.]
+
+In the case of flowers like chrysanthemums, it is necessary to build up
+the most prominent flower solidly in clay, putting on the outer petals
+separately. The back flower can have the near petals modelled, while the
+distant ones can be just indicated on plaque with incised lines. Don't
+attempt to copy every petal in clay, which is an impossibility, but try
+and get the general effect of the flower in your modelling. Take the
+prominent petals first, and put them on in their proper positions, and
+the less important petals can then be filled in in the intervening
+spaces. This is the plan to adopt in all intricate work. Put down your
+principal forms first of all, and you will have little difficulty in
+getting in the less important ones, for the principal forms act as
+measuring points to the rest of the work, and enable you to preserve
+that proportion between the various parts of the design which is
+essential in all good designs. It is necessary in modelling to simplify
+nature somewhat, for we cannot imitate nature in clay. What we have to
+do is to seize upon the principal points, the curves of the stems, the
+position, form, and characteristics of the flowers and leaves, and put
+them down intelligently and in as telling a manner as possible. Let the
+work dry carefully before having it fired, and you can either finish it
+up in colours, and have it glazed, or let it remain as it is. I often
+used to use my Barbotine colours (see articles on "Barbotine Painting,"
+in Nos. 440 and 584, vol. iv., of the G.O.P.) for colouring modelled
+work and glazed it with my soft glaze. I have also sent some work to the
+potteries, and had a coloured glaze put over the whole work. I may here
+say that much may be learnt by studying good modelled work, and even
+copying some stone or wood carving in clay. The pottery of Della Robbia
+and Palissy should be studied whenever the student has the opportunity
+of so doing.
+
+I need not say much as to modelled work or vases. You must have some
+shapes sent up from the potteries in the "green" state, for it is almost
+impossible for amateurs to "throw" their own vases on a wheel. Space
+forbids me to describe the potter's wheel, but visitors to the Health
+Exhibition two years ago had the opportunity of seeing a potter at work,
+which is much better than reading about one. Those adventurous spirits
+who wish to try "throwing" vases, should get a small wheel from the
+potteries (it will cost, including carriage, about £8), and have a few
+lessons from a practical potter. In the meantime, get some firm to
+procure for you a few unbaked vases, and when you receive them it will
+be necessary to wrap them up in damp flannel for a day or two, so that
+the modelled work will stick on the vase. Let the shape of the vases be
+very plain and simple, with a good broad surface to receive the modelled
+decoration. I have chosen as the illustration (fig. 3) the blackberry,
+as it is a very ornamental plant and one familiar to all readers. Throw
+on your stalk first of all, letting it wrap round the vase, and so place
+it that the leaves, flowers, and fruit can spring from it so as to be
+seen to the best advantage. The stalks might be placed in such a way as
+to form handles. Get a certain quaintness into the modelling, and don't
+be too intent upon imitating nature, for, do what you will, you will
+find it impossible to accomplish this. Therefore, be content to decorate
+your vase with a graceful spray of bramble, with all essential
+characteristics of the plant indicated, and the general "swing" of the
+plant expressed in your work. Model each part separately, either by
+pressing the leaves into clay and marking them round, or by modelling
+pure and simple, and then fasten the various parts on to the vase with
+diluted clay. Don't let any part of the work stand out too prominently;
+for not only will the shape of the vase be destroyed, but there is
+always much more liability to damage if the design be very prominent
+than when it just lies, as it were, closely to the surface of the vase.
+And yet it is not necessary to put everything perfectly flat on the
+vase. The stems, for instance, can be raised in places, so that there is
+a space between the stem and vase; and so with leaves, flowers, and
+other details.
+
+It will be seen that I make the stems form an ornamental rim round the
+vase and also round the neck. Dry the vase very slowly, and in sending
+it to be fired, wrap plenty of cotton wool around it so that no pressure
+can be exerted upon any portion of the modelling. This applies with
+equal force to all modelled work. Red terra-cotta vases decorated with
+modelling, and merely baked, are most effective. Terra-cotta vases
+should not be too small; the larger they are the more effective is
+appearance in a room. I have some more than two feet high, and when
+filled with dried rushes, etc., they fill up a corner charmingly.
+
+As a general rule let your modelled work be drawn to a natural size, and
+let it be rather over than under the natural size, for if modelled work
+is smaller than nature, the effect is apt to be petty and insignificant.
+Birds and insects can often be introduced with advantage.
+
+I have recently been modelling some large works, using clay employed in
+making drain tiles, and having them fired in an ordinary brick kiln. In
+fact, I started some of my work with large size drain tiles, which I
+obtained when they were quite wet, and by pulling up the top and
+spreading it out a little, and putting a slab of clay on the bottom, I
+obtained cylindrical vases, upon which I modelled some decoration; but
+as the subject is one of peculiar interest, and is somewhat new to my
+readers, I must just reserve a few remarks upon this subject for another
+occasion, when I will give sketches of some of the vases I have recently
+been modelling. This work is within the reach of everyone, especially my
+country readers, for there are few villages of any size that have not a
+brick kiln in their vicinity, and for large work, such as ornamental
+flower-pots, vases for holding bulrushes, and garden vases, this is most
+admirably adapted.
+
+FOOTNOTE:
+
+[2] As will be seen, the tile design, fig. 1, is what is termed a "bas
+relief," _i.e._, the forms in many cases are only just relieved from the
+ground, and only here and there are any of the forms in entire relief.
+
+[Illustration]
+
+
+
+
+LOVE ON, LOVE EVER.
+
+BY RUTH LAMB.
+
+"Love not, love not, ye hapless sons of earth."
+
+
+    How world-worn must have been the weary heart
+    When this sad strain belied its noblest part!
+    What! Bid us cease to love! Why life were pain
+    If this best attribute were given in vain.
+
+    Cease not to love. O, wherefore shouldst thou scorn
+    The flowers thy path beside, to cull the thorn?
+    Or heed the man who, all unblest with sight,
+    Counsels his fellow-man to shun the light?
+
+    Gazing around, 'tis ever hard to trace
+    The Maker's image in the Creature's face.
+    Seek it not there. That image wouldst thou prove,
+    Know the Divine gleams through our works of love.
+
+    If cruel Death a dear one rend away,
+    Let thy love follow; do not with the clay
+    Bury thy heart. Soar higher. Wherefore bow?
+    Yesterday's mortal is immortal now.
+
+    If thy life's labour meet with scant return,
+    Thou who hast wrought it should'st be last to mourn.
+    Nay more, rejoice. Each unpaid debt of love
+    Is so much treasure garnered up above.
+
+    Let cold ingratitude bring no dismay,
+    But rather aid thee on thy heavenward way.
+    Work on, love on, aye to increase the debt;
+    Thy God is not unrighteous to forget.
+
+
+
+
+DRESS: IN SEASON AND IN REASON.
+
+BY A LADY DRESSMAKER.
+
+
+The extreme warmth of September has naturally postponed ideas of winter,
+and our preparations are generally very backward. In fact, at the end of
+September many people would have said that they knew nothing whatever
+about new things, and that they did not want them either, and the secret
+of this indifference would have been attributable to the weather. It is
+to be hoped that we shall have a seasonable winter, less cold and
+disagreeable than the last.
+
+During my visit to Paris I found but little to chronicle in the way of
+winter novelties. The chief changes seemed to be in materials and their
+designs. Checks are in high favour, and it is said they will supersede
+stripes; and last year, when I was there at this season, they said much
+the same thing, but this year they seemed more determined to vote
+stripes old-fashioned. To tell the truth, I think the Parisians, and the
+women in France generally, are great admirers of plaids, and do not find
+stripes becoming, simply because they are usually very short and stout.
+Englishwomen, who are tall and stout, like them because they decrease
+their apparent size, and give an effect of length while decreasing
+breadth. On tall people plaids have a bad effect.
+
+[Illustration: AUTUMN CLOAKS, ULSTERS, AND GOWNS.]
+
+Rough-faced materials constitute the majority of those prepared, and
+plain stuffs are still united with plaided and striped ones in the same
+dress; but this is not an absolute rule this year, for some dresses are
+entirely of either plaids or stripes, or else are of plain material
+only. Many of the materials are plain, with a bordering at one edge of
+plaid. For instance, a grey of rough-faced stuff had a bordering of a
+large check in lines of a paler grey, a little relief being given by
+pale lines of a clear Naples-yellow. The effect was quiet and subdued by
+the roughness of the surface of the cloth. With this gown the underskirt
+was made of the plaid material, quite plain, and the overskirt of the
+bordered part was draped above it in simple straight long folds, the
+plaid part being at the lower edge of the overskirt. The bodice was of
+the plain, and it had a plastron, or waistcoat front, of the plaid. The
+buttons (as are many in use this year) are of smoked pearl, and are very
+small for the fronts of gowns and larger for the jacket-bodices.
+Bretelles of velvet are used as trimmings to the bodices of these rough
+woollens, and the collars and cuffs are almost invariably of the same
+material, which seems likely to retain its popularity through the
+winter. The velvet collars are both useful and becoming, and, in
+addition, they save white trimmings at the neck. We rather rejoice in
+our emancipation from that bondage, and I hear many people say they will
+never resume it again, now they have once found that they can look well
+without the once inevitable white collar or frill. The tendency in every
+woman's mind who is possessed of ordinary good sense is to simplify
+everything connected with clothes, and I feel sure we shall all be
+healthier and happier when we have banished many things from our
+wardrobes which we now think absolutely needful.
+
+"Dr. Jaeger's sanitary woollen clothing," about which I have so often
+written in praise, has raised up some rival manufactures amongst our
+English makers, who have long been famous for their merino or lambswool
+stuffs. Pure woollen under-garments in England have always been thought
+to wear and to wash badly, and much of this has probably been owing to
+the fact that the washing was very bad and that no one before Dr. Jaeger
+ever tried washing woollens scientifically, so as to take out the grease
+and perspiration, and not to harden the material at the same time. By
+Jaeger's method this is done with lump ammonia and soap. The soap is cut
+into small pieces and boiled into a lather with water, and the lump
+ammonia is then added. This lather is used at about 100° Fahrenheit, and
+the clothes must not be rubbed, but allowed to soak for about an hour in
+the water, and must then be drawn backwards and forwards repeatedly in
+the bath till clean. Three waters are to be used, the two after the
+first lather being of the same heat, and of pure clean water. This
+leaves the clothes delightfully soft and supple, and their wearing
+qualities suggest nothing further as an improvement.
+
+Some of the new English underclothing is very light and good, and claims
+to be of pure merino-wool. It is of varying thickness, and many ladies,
+both young and old, are adopting it for combinations; these and one
+petticoat forming the whole of the clothing. Of course, the thickness of
+these garments is to be suited to the season, and the gossamer clothing
+manufactured for the warm season leaves nothing to be desired in its
+lightness and apparent coolness.
+
+[Illustration: BY THE LAKE SIDE WITH THE BOATS.]
+
+One does not associate thick materials with great heat, and the mere
+look of thick wool would make one begin to feel hot, however foolish
+it may sound to say so. When the skin becomes used to wearing wool it
+will be found more comfortable than either cotton or linen, and we,
+moreover, avoid the chance of chills after being over-heated. I know
+several people who date their almost perfect immunity from colds to the
+use of woollen underclothing, who previously had been martyrs to colds
+and coughs, and had been constantly imprisoned in the house during quite
+mild seasons. In England the climate (need I say so?) is fickle and
+changeable, and, singular to say, we may be, and many people are,
+apparently wrapped up carefully and seasonably, and yet we may all err
+on every hygienic point, in regard to the weight and porosity of
+materials.
+
+So far as I can see in the newest styles, the loose-fronted bodices have
+it all their own way. Many of them only fasten at the throat and waist,
+either large buttons or handsome clasps being used. These jackets
+stretch open over the front to show a full waistcoat, this latter being
+a scarf long enough to continue below the waist and round it at either
+side, so as to form a sort of sash, showing under the edge of the bodice
+and ending under the long coat-tails at the back in ends or a bow.
+
+The newest bonnets are still high in the front, or, if not high
+themselves, the trimmings are high. The horseshoe crowns which were
+introduced in the summer bid fair to become extremely popular, and the
+stringless bonnet will be in vogue as long as possible, and I have no
+doubt many people will wear it through the winter, too. Beaver bonnets
+are announced to take the place of kid or felt, and I have seen some
+black beaver crowns with open-work jet fronts, which appeared
+incongruous.
+
+Leaves of all bright hues, the bramble and its berries, the blackberry,
+and the virginian-creeper, are likely to be in great favour for
+trimmings this autumn. These will be used even upon velvet and beaver
+bonnets.
+
+There is a very strong feeling in many quarters in favour of restoring
+the "princess" cut of dress to favour. In a letter from a lady, it is
+very wisely said, in writing to a contemporary, "For active exercise, a
+dress ought to be cut all in one--'princess,' as the milliners call
+it--and so arranged in the skirt that there is no drapery which will
+catch in things, come unstitched, and look untidy; everything wants to
+be taut and trim, like tailor's work. But even the ladies' tailors will
+insist upon making a skirt and little jacket-bodice, instead of a dress
+in one piece. It is almost impossible to use the arms freely--to go out
+in a sailing-boat, for instance, and help in its management--or, in
+fact, to raise the arms high, without causing a hiatus between the two
+parts of the garment at the sides of the waist. I have noticed this
+happen so often, even with smart tailor-made gowns, the wearer being
+generally blissfully unconscious of the accident, that I feel bound to
+draw attention to it.
+
+"It was curious to note the awful revelations made recently by a storm
+of wind on an elevated promenade by the sea. Every steel stood out in
+bold relief even under the most _bouffante_ drapery. Upper-skirts broke
+away from the under, and displayed the sorry fact that the latter were
+only shams, formed of lining-calico, with patches of good material put
+in here and there, where the over-garment was cut open. One neat
+tailor-gown revealed the cotton back to the pretty waistcoat, a pretence
+which is carried out in every suit of clothes made for men, but which
+seemed an aggravated offence to art in a well-dressed woman. It was
+comforting to turn from such sartorial mistakes to a group of young
+girls sensibly clad in simple gowns, guiltless of pretence, of steels,
+or _tournures_. Gathered bodices and full plain skirts, confined by
+broad sashes, combined the elements of grace and utility, and exhibited
+no foolish attempt to distort and pervert nature."
+
+I have given the full extract, as it contains much matter for thought
+for my readers, both young and middle-aged. I suppose everyone read with
+interest the celebration of the centenary of M. Chevreul, the great
+French chemist, who has been for years a great student of colour, and to
+whom we owe many alterations, inventions, and suggestions in dyes and
+colours. Trade has been assisted and developed by his researches, and
+the subject of colour harmonies has been placed by him in the position
+and basis of a science. When we admire the loveliness of our coloured
+materials, and notice the wonderful improvements of late years, we women
+may thank the industry and talent of M. Chevreul. I put in a long
+quotation from him some months ago, and it may interest some of my
+readers to hear that M. Chevreul has attained his hundredth year as a
+total abstainer, but drank his own health in a glass of champagne,
+tasted for the first time!
+
+[Illustration: A LADY'S PYJAMA.]
+
+From a recently-published book I gather the following ideas, and as they
+coincide with what I am always impressing on my readers with reference
+to tight dresses and stays, I quote them gladly, as showing that there
+are other sensible women in the world, a class which I hope will every
+day increase:--"If you lace tightly, nothing can save you from acquiring
+high shoulders, abnormally large hips, varicose veins in your legs, and
+a red nose. Surely such penalties, to say nothing of heart disease,
+spinal curvature, and worse, are sufficiently dreadful to deter either
+maids or matrons from unduly compressing their waists? No adult woman's
+waist ought to measure less in circumference than twenty-four inches at
+the smallest, and even this is permissible to slender figures only. The
+rule of beauty is that the waist should be twice the size of the throat.
+Therefore, if the throat measure twelve and a half inches, round the
+waist should measure twenty-five. The celebrated statue know as the
+'Venus de Medici,' the acknowledged type of beauty and grace, has a
+waist of twenty-seven inches, the height of the figure being only five
+feet two inches."
+
+And, while on this subject, I must mention that some new stays, made of
+elastic material, have recently been advertised, which I should imagine
+were comfortable. Dr. Jaeger also has an elastic knitted bodice on his
+list, which is in reality a description of stays, and would afford
+sufficient support to a slight figure.
+
+The illustrations to our dress instructions of this month show the
+prevailing characteristics of the gowns of the month, and also
+demonstrate how little change there is in them. As the majority of the
+community is still moving about at this season, most of the dress
+thought about and worn is suitable for travelling, as well as autumn.
+Now that we no longer think it needful to put on all our old clothes and
+to make our appearance grotesque, as was formerly the case, we very
+frequently follow the French and American plan, and have a special dress
+made for the tour we are about to undertake, which will do for day wear,
+as well as for journeying while we are away; then, furnished with a
+second nice black silk or satin for very best occasions, we are
+sufficiently well clad for every purpose. A dust cloak, travelling
+cloak, and short jacket are added, and some wise people take their fur
+capes; in fact, for short expeditions of a month or six weeks we do not
+like large trunks nor encumbrances, so we curtail all our wants, and are
+so much the happier, having less anxiety and worry. In addition to all
+this, we save our shillings in fees, and charges for over-weight, very
+considerably, and, when we are rid of the heavy trunks, last, not least,
+we break no backs.
+
+While I am on this topic, I must mention that the late Exhibition (the
+Healtheries) was of great assistance to travellers in showing how much
+can be done to decrease weight and bulk in every way, and setting wits
+to work to improve in all directions. Thus we have wonderfully improved
+waterproofed cloaks, hygienic boots and shoes; and the improvement in
+trunks and bags is immense, in addition to their moderation in price.
+
+The greatest unanimity prevails with regard to the small jackets, which
+seem patronised by young girls, as well as married women of every age.
+They are generally loose-fronted, but tight-fitting at the back, the
+fronts being lined with coloured silk. Many of them are braided, some
+gold braid being used, and many have a flat braided plastron in the
+front to button over and give a double-breasted effect. Serge in all
+hues seems very much liked, but the most popular are dark navy-blue and
+cream-white. Short cloaks, with sling-sleeves and hoods, are very much
+worn, also short mantelettes, like our paper-pattern for last month.
+These may be made in the material of the dress.
+
+This autumn I must again mention the numbers of slightly full bodices of
+the "Garibaldi" and "Norfolk jacket" class that this season has brought
+out, to be worn with skirts of different materials. The different
+ladies' tailors of renown have taken up this idea, and it is probable
+that we shall see them greatly worn during the winter season. Some of
+these have a yoke, and some have a straight band on the shoulders, into
+which they are fulled. They are made in flannel, linen, and twilled
+silk, in all colours, striped, spotted, and plain, and with them the
+becoming fashion of the full basque has come in. Yoked bodices will be a
+decided winter style.
+
+With these bodices there is generally a turned-down collar and long
+cuffs of velvet, and the belt should be also of velvet. In other cases
+the belt matches the full bodice, and is of moiré or Petersham ribbon.
+
+The fancy for stripes as well as plaids is shown by the dresses in the
+illustration of the autumn fashions. The figure standing in the centre
+of our boating picture at the English lakes, shows a blue flannel or
+serge, made up with a striped material. The vest and revers show the
+stripe as well as the underskirt. The back of this dress is shown by
+one of the distant figures. The other wears one of the new blouse
+bodices, which will be the style of the winter. In the larger of our
+illustrations is shown the general tendency of the day. The cloaks and
+ulsters are of plaid, and there is but little change in the shapes. The
+girl in the sailor's hat shows one of the full white under-vests, the
+jacket being almost of a Breton style. The edge is braided, and so is
+one panel at the side of the skirt. The two bonnets, one in each
+picture, show one with strings and one without. They are not quite so
+high, and both have the horseshoe crown, which, as the last summer
+novelty, bids fair to be adopted for the autumn and winter.
+
+The pattern for this month will, I hope, be a surprise, as well as a
+great comfort, to those of my readers who select it, and who wish to
+attain to the greatest amount of comfort and hygienic advantages in
+their underclothing. The pattern in question is a combination nightgown,
+or lady's "pyjama," and is a novelty which will be found of much value
+and comfort. It consists of five pieces--front, back, lower back, and
+two sleeve pieces. The method of putting together is carefully indicated
+by marks in the pattern, and no difficulty will be experienced in the
+making-up. The amount of material required will be from 4½ to 5 yards,
+and calico, flannel, or swansdown, or the new cotton flannel, may, any
+of them, be used to make it. For the winter season it will be found to
+supply a great increase in warmth, and, to the invalid, a great comfort,
+as it fits closely, will not form creases, nor "ruck up," as the
+ordinary nightgown always does, to the discomfort of the wearer.
+
+Each of the patterns may be had of "The Lady Dressmaker," care of Mr. H.
+G. Davis, 73, Ludgate-hill, E.C., price 1s. each. It is requested that
+the addresses be clearly given, and that postal notes, crossed so as to
+be eligible only to go through a bank, may be sent, as so many losses
+have occurred through the sending of postage stamps. The patterns
+already issued can always be obtained, as "The Lady Dressmaker" shows
+constantly in her articles how they can be made use of.
+
+The following is a list of those already issued:--April, braided
+loose-fronted jacket; May, velvet bodice; June, Swiss belt and full
+bodice, with plain sleeves; July, mantle; August, Norfolk or pleated
+jacket; September, housemaid's or plain skirt; October, combination
+garment (underlinen); November, double-breasted out-of-door jacket;
+December, zouave jacket and bodice; January, princess under-dress
+(under-linen, under-bodice, and skirt combined); February, polonaise
+with waterfall back; March, new spring bodice; April, divided skirt and
+Bernhardt mantle with sling sleeves; May, Early English bodice and yoke
+bodice for summer dress; June, dressing jacket, princess frock, and
+Normandy peasant's cap, for a child of four years; July, Princess of
+Wales' jacket-bodice and waistcoat for tailor-made gown; August, bodice
+with guimpe; September, mantle with stole ends and hood. October,
+"pyjama" or nightdress combination with full back.
+
+
+
+
+THE SHEPHERD'S FAIRY.
+
+A PASTORALE.
+
+BY DARLEY DALE, Author of "Fair Katherine," etc.
+
+
+CHAPTER IV.
+
+Meanwhile, Mrs. Shelley had washed and dressed her own three boys, and
+had introduced the little stranger to the two elder, Charlie, the baby,
+being already on intimate terms with his foster sister, for whose sake
+he had to submit to much less attention than had hitherto fallen to his
+share, for which reason he was unusually cross this morning. Willie, the
+second boy, the living image of his father, was barely three years old,
+and too young to pay much attention to the baby, or to understand that
+it had arrived in an unusual way; but Jack, the eldest boy, quite took
+it in, and stood lost in admiration of the wonderful baby with its
+beautiful clothes, so unlike Charlie's, and the lovely coral and bells,
+as his mother showed them all to him. Jack was five years old, a tall,
+strong child for his age, and very like his mother in face; he had her
+quick temper, too, though Mrs. Shelley had hers pretty well under
+control, while little Jack often got into trouble by giving way to his.
+Nothing ever escaped Jack's notice; he was always all ears and eyes, and
+he took in every detail of the strange baby's belongings as
+intelligently as his mother could have done, and, to her joy, for she
+was by no means sure what kind of a welcome Jack, who resented the
+arrival of little Charlie, saying, "Mother didn't want anyone else to
+love her when she had him," would give to the strange baby, he was
+enchanted with it, and was as anxious as Mrs. Shelley herself to keep
+it.
+
+"It is the fairies' baby; they brought it, didn't they, mother? We will
+always, always keep it, won't we?"
+
+"I don't quite know yet, Jack; father says perhaps we shall have to send
+it away," said Mrs. Shelley.
+
+"It shan't go away. How dare father say so? He is a wicked man to want
+to send it away," cried the boy, with flashing eyes and crimson cheeks.
+
+"Jack, I am ashamed of you; you must not speak of your father in that
+way; if he says it is to go away it must go, whether we like it or no."
+
+Jack hung his head and hid his face on his mother's shoulder, while she,
+remembering how indignant she had been with the shepherd for hinting at
+sending it away the night before, stooped and kissed her boy's curly
+head, and Jack raised his head again and renewed his attentions to the
+baby.
+
+"What a pretty little thing it is; see how it holds my finger. I think
+it will love me, mother, though it is not my real sister. Oh! do make
+father keep it, will you?"
+
+For the first time since Mrs. Shelley had had the baby, she now
+hesitated about keeping it; the boy had unconsciously struck a wrong
+chord, and his mother, with a prophetic instinct, coupled with a quick
+imagination, for a moment saw that it was possible this little stranger
+who, as Jack had already grasped, was not his real sister, might, in
+future years, destroy the harmony and peace of the home circle. But it
+was only a momentary hesitation; the thought flashed across her mind and
+vanished again, almost as quickly as it had come. Could she have known
+how true that prophetic instinct was, would she not have gone counter to
+all her own inclinations, and disregarded all Jack's wishes and prayers,
+rather than have run the risk of introducing strife into her peaceful
+household? As it was, the motherly pity she felt for the baby was
+stronger at the moment than the foreboding light which had flashed
+across the distant future, and she answered hurriedly--
+
+"I must go and see Mr. Leslie first, dear, and hear what he says; do you
+think you could take care of Charlie while I am gone with the baby? I
+shall take Willie with me, or he will be getting into mischief."
+
+Jack, proud to be of use to his mother, professed his ability to look
+after Charlie, privately regretting it was not the beautiful strange
+fairies' baby which was to be left under his charge.
+
+"Jack, I can't be back before the clock has struck twelve; it is now
+half-past ten, so it will strike twice before I come back, do you
+understand; and both the hands will have to be on the twelve at the top,
+do you see? So now, if it seems a long time, do not be frightened, I
+shall be back soon after twelve. If baby cries, rock the cradle, but
+don't try to take him out; if he sleeps you may wash the potatoes for
+dinner. Now, good-bye," and Mrs. Shelley, with the infant in her arms
+and Willie running by her side, set off to the Rectory, while Jack stood
+at the door watching her out of sight.
+
+The first half-hour passed quickly enough. The baby slept, and Jack
+washed the potatoes, and was delighted when the clock struck eleven. But
+the next hour was interminably long, and little Jack got very tired of
+rocking Charlie, who was awake now, and would scream every time his
+brother stopped rocking. Every few minutes Jack ran to the door to see
+if his mother was coming, and then ran back and rocked violently at the
+cradle. At last he thought he heard footsteps, and, running to look,
+saw, not his mother, but Dame Hursey, making her way towards the house.
+
+Now, Jack did not care about Dame Hursey's visits even when his mother
+was at home. He was half afraid of the witch-like old woman, and to have
+a visit from her while he was alone was the last thing he desired, so he
+came in quickly and banged the door, hoping she would think they were
+all out and go away, if only he could keep Charlie quiet. But Dame
+Hursey had seen and heard the door shut, and so, after knocking two or
+three times without any result, she quietly lifted the latch and walked
+in, while Jack, who was kneeling by the cradle, looked up, half
+defiantly, half frightened.
+
+"Mother is out; there is no one at home but me," said Jack, sharply.
+
+"Oh, is she? Well, I'll sit and rest a bit till she comes in. Who have
+you got there in that cradle?"
+
+"Charlie, my new brother," said Jack.
+
+"And where is the fairies' baby? Ah! you see, I know all about it. I
+know everything; there is no keeping secrets from me. That is the shawl
+it was brought in, isn't it, now?" said Dame Hursey, rising and
+examining minutely the Indian shawl in which the baron had wrapped his
+daughter, and which was lying on a chair.
+
+Jack, more convinced than ever that Dame Hursey was a witch, thought
+perhaps she might be able to tell him where the fairies had brought the
+baby from if he were civil to her, so he answered all her questions and
+described minutely all the baby's belongings.
+
+"Ah! well, it is the Pharisees you have to thank for bringing her here.
+Mind you all take care of her, and one of these fine days she'll turn
+into a beautiful princess and make you all very rich; but if you talk
+much about her the fairies will be angry and take her away. You tell
+your mother I said so; I can't wait any longer."
+
+And Dame Hursey, who had been prying about the kitchen to see if she
+could find any other belongings of this mysterious baby, took her
+departure, much to Jack's joy.
+
+Shortly after she left Mrs. Shelley came home, and Jack was so full of
+Dame Hursey's visit and her account of the fairies' child that he forgot
+to ask the result of his mother's interview with the rector, while Mrs.
+Shelley, on the other hand, was not at all pleased to find Dame Hursey
+had been prying about her cottage in her absence, and congratulated
+herself on not having left any of the baby's little garments about, for
+she might never have found them again if she had.
+
+The next day the rector called and had a long talk with the shepherd and
+his wife about the baby, though he could throw but little light upon it,
+except, of course, to utterly discredit the ridiculous notion that the
+fairies had brought it. That it belonged to rich people was clear from
+its clothes; and to foreigners, from the coronet, which was certainly
+not English. More the rector could not say, except that its parents
+evidently wanted to get rid of it, and had connived at placing it on the
+shepherd's doorstep.
+
+As to keeping it, that was a point entirely for the shepherd and his
+wife to decide. If they chose to send it to the workhouse, no one could
+blame them for doing so. He doubted exceedingly anyone ever claiming it,
+but he advised Mrs. Shelley to lock up all its clothes and things in
+case of their being needed for identification at any future period. He
+also counselled them, if they thought of keeping the child, to weigh the
+matter well before they decided, as it would be cruel kindness to take
+it in for a time and then tire of it and send it to the union.
+
+But John Shelley was not a man to do this, as his wife well knew. If he
+decided to keep the child he would do his duty by it, and go to the
+workhouse himself before he suffered that to do so. All that day John
+was very thoughtful, but when he came in to supper that night he told
+Mrs. Shelley he had made up his mind, and they would keep the baby and
+bring it up as their own daughter. Here, however, Mrs. Shelley raised an
+objection.
+
+"We will keep it, by all means, John, but we can't bring a delicate
+little thing like this up as we shall our own strong boys, who must work
+for their living. This child may be claimed any day by its parents, so
+we must try and have it educated like a lady when it gets old enough."
+
+John was inclined to dispute the wisdom of this; but as its education
+was a thing of the far future, he very wisely thought it was useless to
+discuss it, and resolved to let matters shape themselves, feeling sure
+the baby would take its own place as it grew older. One matter puzzled
+the good shepherd sorely. He was most particular in having his own
+children baptised when they were a month old, and they could not tell
+whether this baby had been baptised or no, though the rector thought its
+parents were most likely Roman Catholics, in which case it would be sure
+to have been christened, as it was two or three months old.
+
+The next question was, what was it to be called? For, if baptised, they
+had no means of discovering its name. But here Jack came to the rescue.
+
+"Let's call her Fairy, mother. Dame Hursey says she is a fairy, and it
+is a pretty name."
+
+"So it is, my son; and though she is no fairy, but a real child like
+you, we will call her Fairy. It is a very good name for her, and when
+she is old enough we will tell her why," said the shepherd.
+
+And so Fairy was the little stranger called as long as she lived in the
+shepherd's family.
+
+(_To be continued._)
+
+
+
+
+A PRINCESS WHO LIVED TWO LIVES.
+
+A ROMANCE OF HISTORY.
+
+
+There was no lovelier woman in all the Russias than Carolina, the wife
+of Alexis, eldest son and presumptive heir to Peter the Great. Her
+beauty was not only that of the body, for her sweet temper and gentle
+disposition made her beloved by all who were brought in contact with
+her. The only being who did not yield to the charms of her surpassing
+beauty and amiability was the one who ought to have prized her above all
+others--her husband. His nature was far too coarse and brutal to
+appreciate the treasure that he possessed, and the more he saw how
+universally beloved his wife was, the more did she become an object of
+aversion to him. For some time he treated her with cold neglect, but by
+degrees he became more brutal in his behaviour, until one day, when she
+offended him in some trifling respect, he dealt her an inhuman blow
+which stretched her, apparently lifeless, at his feet. Well pleased at
+being delivered so easily from what he only regarded as a hateful
+burden, he gave orders that she should be buried with all due pomp, and
+hastened away to another part of the kingdom.
+
+But when her ladies of honour came to raise the unhappy princess, they
+found that she still breathed. Under the devoted attention of the
+Countess of Konigsmark, who had always been her confidential attendant,
+she slowly won her way back to life, and this while her funeral
+obsequies were being celebrated with the greatest pomp throughout the
+length and breadth of Russia, while the principal courts of Europe were
+mourning her premature decease, and while her unnatural husband was
+drowning the remembrance of his horrible crime in revelries and
+excesses of all kinds. None knew that she was still alive but the
+Countess of Konigsmark and one or two other of her most devoted
+adherents. They kept her concealed from everyone; for well they knew
+that Alexis, should he hear of her recovery, would take measures to rid
+himself of her effectually. Acting under their advice, the princess
+collected all the valuables she was able to lay her hands on, and, in
+company with an old domestic, who assumed the character of her father,
+set out for Paris. Here, however, she felt still within reach of Alexis,
+and so, with her supposed father, she set sail for Louisiana, where the
+French had lately formed extensive colonies. They settled down in New
+Orleans, and Carolina began to rapidly recover her health and beauty.
+
+A young man, by name Moldask, who held a Government appointment in New
+Orleans and who had spent many years in Russia thought that he
+recognised in the beautiful stranger the princess who had been the
+brightest star of the Muscovite Court. However, he could not believe
+that the highborn lady of whose death he had heard and the daughter of
+the feeble old man who had lately arrived from France were the same
+person, wonderful though the resemblance between them might be. He kept
+his ideas secret, but made himself so useful and agreeable to the
+strangers, that finally they settled to cast in their lot with his, and
+live under the same roof. Before the lapse of many months the news of
+Alexis' death reached New Orleans. Moldask noticed the agitation with
+which his friends received it, and told them that their secret was his.
+They did not attempt a denial; so he offered to sacrifice his private
+fortune, throw up his position in New Orleans, and take Carolina back to
+Moscow. This offer she would hear nothing of. She thanked Moldask again
+and again for his noble generosity, but expressed her fixed
+determination not to revisit the scene of all that had been most
+unpleasant in her life. She begged him not to betray her secret, and he
+readily promised to keep it inviolate. The truth was that he had lost
+his heart to the widow of Czar Peter's son. Respect, however, controlled
+his feelings. He knew how exalted was her real station compared to his,
+and resolved to conceal his love.
+
+Time passed on, and one autumn evening a pararalytic stroke carried off
+Carolina's pseudo-father. After this it was, of course, impossible that
+she and Moldask should continue to inhabit the same house. He came to
+her on the morning after her faithful old friend's funeral, and
+explained that he must seek a new abode unless she would so far cast
+away all thoughts of her former station as to consent to call him
+husband. The princess, who had long regarded him with feelings warmer
+than those of mere friendship, agreed to link her fate with his, and
+from now began the happiest period of her so far troubled life. Their
+union was blessed by the advent of a little girl; nothing seemed wanting
+to render her happiness complete.
+
+Years rolled by, and Moldask was attacked by a disease which baffled the
+skill of the New Orleans doctors. His wife was determined that he should
+have the best medical advice, and so persuaded him to sell all his
+possessions and embark for Paris. Their journey was not in vain; the
+skill of the Parisian physicians restored Moldask to good health, and he
+obtained employment in a department of the French Government.
+
+One day, as Carolina was walking in the public gardens with her little
+girl, she met the son of her faithful friend, the Countess of
+Konigsmark. She recognised him instantly, and, fearing that he might
+know her, tried to brush past him with averted head. The Marshal,
+however, was struck with her appearance, and, turning round, followed
+her until she sat down beneath some trees. The instant that he caught a
+fair sight of her he recognised his former mistress, and quickly
+approaching, bent his knee and carried her hand to his lips. She
+implored him not to divulge her secret, but to come with her to her
+home, and hear how she had fared since Alexis had, as he thought, killed
+her. The Marshal consented to accompany her; he listened with interest
+to her tale, and when he had heard it to the end announced his intention
+of informing the King of France, that her highness might be restored to
+her proper position and honours. Carolina, however, was quite
+determined that this should not be. She begged the Marshal to keep her
+secret for one week, as her husband had certain negotiations, which
+would be ruined if her identity were disclosed. This he consented to do,
+and Carolina dismissed him, with the assurance that on that day week he
+should be definitely informed of her wishes in the matter.
+
+On the appointed day the Marshal found that the princess and her husband
+had left their home. However, he succeeded in tracing them, and told the
+king of the noble lady who was then in his dominions. His Majesty
+entered into negotiations with the Empress Maria Theresa, with a view to
+deciding upon the manner in which her august aunt should be treated. The
+upshot of these negotiations was a most tender letter from the Empress
+to Carolina, asking her to make the Austrian court her home, and
+promising to load her husband and herself with honours and distinctions.
+But the happy wife and mother felt that the life she had been leading
+for the last few years was preferable in every way to the artificial
+existence of a court, and refused her niece's generous offer. It was
+renewed again and again; but nothing could shake her determination.
+
+For many years she led a life of the utmost happiness, and then death
+deprived her of both husband and daughter. Maria Theresa renewed her
+offers; but Carolina preferred to pass the rest of her days in solitude.
+She accepted a small pension from the Empress, and retired to a small
+cottage at Vitry, near Paris. After a quiet existence here for some few
+years more she passed away, without ever having regretted her refusal to
+rejoin the brilliant circle of a court.
+
+
+
+
+VARIETIES.
+
+
+CURIOUS FRESCO.
+
+In the Carthusian Monastery of Garignano, a few miles from Milan, are
+some frescoes by Daniel Crespi, of Busto, which are said to be marvels
+of art and imagination. One of them is grim enough, at any rate, and
+awful. It represents a dead person rising from his bier, to announce to
+all whom it might concern that, although they were burying him in the
+abode of holiness, and were now adoring him as a saint, he was, as a
+fact, condemned to hell.
+
+Perhaps one of our own famous modern divines was thinking of this fresco
+when he declared that one great source of surprise, to those who went to
+heaven, would be to find so many there they had not expected to see, and
+to _miss_ so many they had thought to meet.
+
+
+"NO' THE DAY, HONEST WOMAN!"
+
+Dr. John Erskine, a well-known Scottish divine, was remarkable for his
+simplicity of manner and gentle temper. He returned so often from the
+pulpit minus his pockethandkerchief that Mrs. Erskine at last began to
+suspect that the handkerchiefs were stolen by some of the old women who
+lined the pulpit stairs. So both to baulk and detect the culprit she
+sewed a corner of the handkerchief to one of the pockets of his coat
+tails. Half way up the pulpit stairs the good doctor felt a tug,
+whereupon he turned round to the old woman whose was the guilty hand, to
+say, with great gentleness and simplicity:--
+
+"No' the day, honest woman, no' the day. Mrs. Erskine has sewed it in!"
+
+
+A BRAVE WIFE.
+
+In 1872 a storm overtook a Boston ship on the banks of Newfoundland. The
+captain--Captain Wilson--had his shoulder-blade broken by the fall of a
+mast, and the first mate and part of the crew were at the same time
+disabled.
+
+No sooner, however, had the captain been carried to his cabin than his
+wife, a woman of one-and-twenty, hurried on deck, told the men to work
+with a will, and she would take them into port. The wreckage was
+cleared, the pumps manned, and the gale was weathered. Then a jury-mast
+was rigged, the ship put before the wind, and in twenty-one days she
+reached St. Thomas. After repairing damages there, finding her husband
+still helpless, the indomitable woman navigated the ship to Liverpool.
+
+Captain Wilson was never able to resume work, and for seven years his
+brave wife supported him and their only child by working as clerk in a
+dry goods store. Then he died, and Mrs. Wilson was deservedly appointed
+to a custom-house inspectorship by the American Government.
+
+
+OLD FRIENDS.--The world has few greater pleasures than that which two
+friends enjoy in tracing back, at some distant time, those transactions
+and events through which they have passed together.--_Dr. Johnson._
+
+
+A RARE COMPANION.--She whom you can treat with unreserved familiarity,
+at the same time preserving your dignity and her respect, is a rare
+companion, and her acquaintance should be cultivated.
+
+
+THINGS OF VALUE.
+
+    What shines and glitters has its birth
+      But for the present hour alone;
+    The real--the thing of truth and worth--
+      To all posterity goes down.
+
+    _--Goethe._
+
+BEETHOVEN IN GERMANY.--When the German talks of symphonies he means
+Beethoven; the two names are to him one and indivisible; his joy, his
+pride. As Italy has its Naples, France its Revolution, England its
+Navigation, so Germany has its Beethoven symphonies. The German forgets
+in his Beethoven that he has no school of painting; with Beethoven he
+imagines that he has again won the battles that he lost under Napoleon;
+he even dares to place him on a level with Shakespeare.--_Robert
+Schumann._
+
+
+A NEW USE FOR A DOG.--A farmer's daughter in the West of England
+received a hairy poodle dog from a friend in town. The unsophisticated
+damsel wrote back thanking her friend for the present, and saying that
+she found it very handy, when tied to a stick, to clean windows with.
+
+
+THE WORST OF SUCCESS.--She that has never known adversity is but half
+acquainted with others or with herself. Constant success shows us but
+one side of the world, for, as it surrounds us with friends who will
+tell us only our merits, so it silences those enemies from whom alone we
+can learn our defects.
+
+
+RIGHTS AND DUTIES.--There is no right without its duties, and no duty
+without its rights.
+
+
+
+
+MERLE'S CRUSADE.
+
+BY ROSA NOUCHETTE CAREY, Author of "Aunt Diana," "For Lilias," etc.
+
+
+CHAPTER IV.
+
+MERLE'S LAST EVENING AT HOME.
+
+
+"So it is all settled, Merle."
+
+"Yes, Aunt Agatha," I returned, briskly, for she spoke in a lugubrious
+voice, and as one sad face is enough beside the family hearth, I assumed
+a tolerably cheerful aspect. If only Aunt Agatha's eyes would not look
+at me so tenderly!
+
+"Poor child!" she sighed; and then, as I remained silent, she continued
+in a few minutes, "I wish I could reconcile myself more to the idea, but
+I cannot help feeling a presentiment that you will live to repent this
+strange step you are taking."
+
+I found this speech a little damping, but I bore it without flinching.
+One can never set out down some new road without a few friendly missiles
+flying about one's ears. "Remember, I told you such and such a thing
+would happen if you did not take my advice. I am only warning you for
+your good." Alas! that one's dearest friend should be transformed into a
+teasing gad-fly! What can one do but go straight across the enemy's
+country when the boats are destroyed behind one? I always did think that
+a grand action on Xenophon's part.
+
+"You have not given me your opinion of my new mistress," was my wicked
+rejoinder.
+
+Aunt Agatha drew herself up at this and put on her grandest manner. "You
+need not go out of your way to vex me, Merle. I am sufficiently
+humiliated without that."
+
+"Aunt Agatha," I remonstrated; for this was too much for my forbearance,
+"do you think I would do anything to vex you when we are to part in a
+few days? Oh, you dear, silly woman!" for she was actually crying, "I am
+only longing to know what you think of Mrs. Morton."
+
+"She is perfectly lovely, Merle," she returned, drying her eyes, as I
+kissed and coaxed her. "I very nearly fell in love with her myself. I
+liked the simple way in which she sat down and talked to me about my old
+pupils, making herself quite at home in our little drawing-room, and I
+was much pleased with her manner when she spoke about you; it was almost
+a pity you came into the room just then."
+
+"I left you alone for nearly half an hour; please to remember that."
+
+"Indeed! it did not seem nearly so long. Half an hour! and it passed so
+quickly, too. Well, I must say Mrs. Morton is a most interesting woman;
+she is full of intelligence, and yet so gentle. She has lost her
+baby--did she tell you that? only four months ago, and her husband does
+not like her to wear mourning. She is a devoted wife, I can see that,
+but I have a notion that you will have some difficulty in satisfying Mr.
+Morton; he is very particular and hard to please."
+
+"I have found out that for myself; he is a man of strong prejudices."
+
+"Well, you must do your best to conciliate him; tact goes a long way in
+these cases. Mrs. Morton has evidently taken a fancy to you, Merle. She
+told me over again how her baby boy had made friends with you at once;
+she said your manner was very frank and winning, and though you looked
+young you seemed very staid and self-reliant."
+
+"I wish Uncle Keith had heard that. Did she say any more about me, Aunt
+Agatha?"
+
+"No, you interrupted us at that point, and the conversation became more
+general; but, my dear, I must scold you about one thing: how absurd you
+were to insist on wearing caps. Mrs. Morton was quite embarrassed; she
+said she would never have mentioned such a thing."
+
+"But I have set my heart on wearing them, Aunt Agatha," I returned, very
+quickly; "you have no idea how nice I shall look in a neat bib apron
+over my dark print gown, and a regular cap such as hospital nurses wear.
+I should be quite disappointed if I did not carry out that part of my
+programme; the only thing that troubles me is the smallness of my
+salary--I mean wages. Thirty pounds a year will never make my fortune."
+
+"You cannot ask more with a good conscience, Merle; you have never been
+out before, and have no experience. Mrs. Morton said herself that her
+husband had promised to raise it at the end of six months if you proved
+yourself competent; it is quite as much as a nursery governess's
+salary."
+
+"Oh, I am not mercenary," I replied, hastily, "and I shall save out of
+thirty pounds a year. I must keep a nice dress for my home visits and
+for Sundays, though it is dreadful to think that I shall not always go
+to church every Sunday until little Joyce is older; that will be a sad
+deprivation."
+
+"Yes, my poor child, but you must not speak as though this were the only
+serious drawback; you will find plenty of difficulties in your position;
+even Mrs. Morton confessed that."
+
+"The world is full of difficulties," I returned, loftily; "there have
+been thorns and briars ever since Adam's time. Do you remember your
+favourite fable of the old man and the bundle of sticks, Aunt Agatha? I
+mean to treat my difficulties in the same way he managed his. I shall
+break each stick singly."
+
+She smiled approvingly at this, and then, as Uncle Keith's knock reached
+her ear, she rose quickly and went out of the room.
+
+The moment I was left alone my assumed briskness of manner dropped into
+the mental dishabille that we wear for our own private use and comfort.
+Those two had always so much to say to each other that I was sure of at
+least half an hour's solitude, and in some moods self is the finest
+company. Yes, I had destroyed my boats, and now my motto must be
+"Forward!" This afternoon I had pledged myself to a new service--a
+service of self-renunciation and patient labour, undertaken--yes, I dare
+to say it--for the welfare of the large sisterhood of waiting and
+working women. A servant? No, a soldier; for I should be one among the
+vanguard, who strive to make a breach in the great fortress of
+conventionality. Not that I feared the word service, considering what
+Divine lips had said on that subject--"I am among you as one who
+serveth--" but I knew how the world shrank from such terms.
+
+I have always maintained that half the so-called difficulties of life
+consist mainly in our dread of other people's opinions; women are
+especially trammelled by this bondage. They breathe the atmosphere of
+their own special world, and the chill wind of popular opinion blows
+coldly over them; like the sensitive plant, they shiver and wither up at
+a touch. I believe the master minds that achieve great things have
+created their own atmosphere, else how can they appear so impervious to
+criticism? How can they carry themselves so calmly, when their
+contemporaries are sneering round them? We must live above ourselves and
+each other; there is no other way of getting rid of the shams and
+disguises of life; and yet how is one who has been born in slavery to be
+absolutely true? How is an English gentlewoman to shake off the
+prejudices of caste and declare herself free?
+
+Ah, well! this was the enigma I had set myself to solve. And now the old
+life--the protected girl's life--was receding from me; the old guards,
+the old landmarks were to be removed by my own hands. Should I live to
+repent my rash act, as Aunt Agatha predicted, or should I at some future
+time, when I looked back upon this wintry day, thank God, humbly and
+with tears of gratitude, that I had courage given me to see the right
+and do it, "ad finem fidelis," faithful to the last?
+
+       *       *       *       *       *
+
+I found those last few days of home-life singularly trying. Indeed, I am
+not sure that I was not distinctly grateful when the final evening
+arrived. When one has to perform a painful duty there is no use in
+lingering over it; and when one is secretly troubled, a spoken and too
+discursive sympathy only irritates our mental membrane. How could Job,
+for example, tolerate the sackcloth and ashes, and, worse still, the
+combative eloquence of his friends?
+
+Aunt Agatha's pathetic looks and pitying words fretted me to the very
+verge of endurance. I wished she would have been less mindful of my
+comforts, that she would not have insisted on helping me with my sewing,
+and loading me with little surprises in the shape of gifts. But for the
+bitter cold that kept me an unwilling prisoner by the fireside, I would
+have escaped into my own room to avoid the looks that seemed to follow
+me everywhere.
+
+But I would not yield to my inward irritability; I hummed a tune; I even
+sang to myself, as I hemmed my new bib aprons, or quilled the neat
+border for my cap. Nay, I became recklessly gay the last night, and
+dressed myself in what I termed my nurse's uniform, a dark-navy blue
+cambric, and then went down to show myself to Uncle Keith, who was
+reading aloud the paper to Aunt Agatha. I could see him start as I
+entered; but Aunt Agatha's first words made me blush, and in a moment I
+repented my misplaced spirit of fun.
+
+"Why, Merle, how pretty you look! Does not the child look almost pretty,
+Ezra, though that cap does hide her nice smooth hair? I had no idea that
+dress would be so becoming." But the rest of Aunt Agatha's speech was
+lost upon me, for I ran out of the room. Why, they seemed actually to
+believe that I was play-acting, that my part was a becoming one! Pretty,
+indeed! And here such a strange revulsion of feeling took possession of
+me that I absolutely shed a few tears, though none but myself was
+witness to this humiliating fact.
+
+I did not go downstairs for a long time after that, and then, to my
+relief, I found Uncle Keith alone; for men are less sharp in some
+matters than women, and he would never find out that I had been crying,
+as Aunt Agatha would; but I was a little taken aback when he put down
+his paper, and asked, in a kind voice, why I had stayed so long in the
+cold, and if I had not finished my packing.
+
+"Oh, yes," I returned, promptly, "everything was done, and my trunk was
+only waiting to be strapped down."
+
+"That is right," he said, quite heartily, "always be beforehand with
+your duties, Merle; your aunt tells me you have made up your mind to
+leave us in the morning. I should have thought the afternoon or early
+evening would have been better."
+
+"Oh, no, Uncle Keith," I exclaimed, and then, oddly enough, I began to
+laugh, and yet the provoking tears would come to my eyes, for a vision
+of sundry school domestics arriving towards night with their goods and
+chattels, and the remembrance of their shy faces in the morning light
+seemed to evoke a sort of dreary mirth; but to my infinite surprise and
+embarrassment, Uncle Keith patted me on the shoulder as though I were a
+child.
+
+"There, there; never mind showing a bit of natural feeling that does you
+credit; your aunt is fretting herself to death over losing
+you--Hir-rumph; and I do not mind owning that the house will be a trifle
+dull without you; and, of course, a young creature like you must feel
+it, too." And with that he took my hands, awkwardly enough, and began
+warming them in his own, for they were blue with cold. If Aunt Agatha
+had only seen him doing it, and me, with the babyish tears running down
+my face.
+
+"Why, look here," continued Uncle Keith, cheerily, with a sort of
+cricket-like chirp, "we are all as down as possible, just because you
+are leaving us, and yet you will only be two or three miles away, and
+any day if you want us we can be with you. Why, there is no difficulty,
+really; you are trying your little experiment, and I will say you are a
+brave girl for venturing on such a brave scheme. Well, if it does not
+answer, here is your home, and your own corner by the fireside, and an
+old uncle ready to work for you. I can't say more than that, Merle."
+
+"Oh, Uncle Keith," I returned, sobbing remorsefully, "why are you so
+good to me, when I have always been so ungrateful for your kindness?"
+
+"Nay, nay, we will leave bygones alone," he answered, a little huskily.
+"I never minded your tandrums, knowing there was a good heart at the
+bottom. I only wished I was not such a dry old fellow, and that you
+could have been fonder of me. Perhaps you will understand me better some
+day, and----" Here he stopped and cleared his throat, and said
+"hir-rumph" once or twice, and then I felt a thin crackling bit of paper
+underneath my palm. "It will buy you something useful, my dear," he
+finished, getting up in a hurry. A five-pound note, and he had lost so
+much money and had to do without so many comforts! Who can wonder that I
+jumped up and gave him a penitent hug.
+
+It was long before I slept that night, and my first waking thoughts the
+next morning were hardly as pleasant as usual. A premonitory symptom of
+homesickness seized me as I glanced round my little room in the dim,
+winter light. Aunt Agatha had made it so pretty; but here a certain
+suspicious moisture stole under my eyelids, and I gave myself a resolute
+shake, and commenced my toilet in a business-like way that chased away
+gloomy thoughts.
+
+Never had the little dining-room looked more inviting than when I
+entered it that morning. One of Uncle Keith's carefully hoarded logs
+blazed and crackled in the roomy fireplace, a delicious aroma of coffee
+and smoking ham pervaded the room. Aunt Agatha, in her pretty morning
+cap, was placing a vase of hothouse flowers some old pupil had sent her
+in the centre of the table, and the bullfinch was whistling as merrily
+as ever, while old Tom watched him, sleepily, from the rug. I was rather
+long warming my hands and stroking his sleek fur, for somehow I could
+not bring myself to look or speak in quite my ordinary manner; and
+though Uncle Keith did his best to enliven us by reading out scraps from
+his newspaper, I am afraid we gave him only a partial attention. When
+Uncle Keith had bade me a husky good-bye, and had gone to his office,
+Aunt Agatha and I made a grand feint of being busy. There was very
+little to do, really, but I considered it incumbent to be in a great
+state of activity. I am afraid to say how many times I ran up and down
+stairs for articles that were safely deposited at the bottom of my box.
+Aunt Agatha put a stop to it at last by taking my hand and putting me
+forcibly in Uncle Keith's big chair.
+
+"Sit there and keep warm, Merle; the cab will not be here for another
+half hour; what is the use of our pretending that we are not exceedingly
+unhappy? My dear, you are leaving us with a sore heart, I can see that,
+and it only makes me love you all the better. Yes, indeed, Merle," for I
+was clinging to her now and sobbing softly under my breath; "and however
+things may turn out, whether this step be a failure or not, I will
+always say that you are a brave girl, who tried to do her duty."
+
+"Are you sure you think that, Aunt Agatha?"
+
+Then she smiled to herself a little sadly.
+
+"You remind me of the baby Merle who was so anxious to help everyone. I
+remember you such a little creature, trying to lift the nursery chair,
+because your mother was tired; and how you dragged it across the room
+until you were red in the face, and came to me rubbing your little fat
+hands, and looking so important. 'The chair hurted baby drefful, but it
+might hurted poor mammy worser:' that was what you said. I think you
+would still hurt yourself 'drefful' if you could help someone else."
+
+It was nice to hear this. What can be sweeter or less harmful than
+praise from one we love? It was nice to sit there with Aunt Agatha's
+soft hand in mine, and be petted. It would be long before I should have
+a cosy time with her again. It put fresh heart in me somehow; like
+Jonathan's taste of honey, "it lightened my eyes," so that when the
+final good-bye came, I could smile as I said it, and carry away an
+impression of Aunt Agatha's smile too, as she stood on the steps, with
+Patience behind her, watching until I was out of sight. I am afraid I am
+different to most young women of my age--more imaginative, and perhaps a
+little morbid. Many things in everyday life came to me in the guise of
+symbols or signs--a good-bye, for example. A parting even for a short
+time always appears to me a faint type of that last solemn parting when
+we bid good-bye to temporal things. I suppose kind eyes will watch us
+then, kind hands clasp ours; as we start on that long journey they will
+bid God help us, as with failing breath and, perhaps, some natural
+longings for the friends we love, we go out into the great unknown,
+waiting until a Diviner Guide take us by the hand. "God help you, poor
+soul," we seem to hear them say, and perhaps we hear the drip of their
+tears as they say it; but in that other room, who can tell how gently
+those human drops will be wiped away, in that place where pain and
+trouble are unknown?
+
+(_To be continued._)
+
+
+
+
+ANSWERS TO CORRESPONDENTS.
+
+
+MISCELLANEOUS.
+
+IMPERIUM ET LIBERTAS.--There is no question of etiquette in the matter
+of the Highland friends of the bridegroom appearing at the wedding in
+their national costume. It is only a matter for their own decision and
+their friends' permission.
+
+V. D. V.--You were exceedingly wrong in taking walks with any man
+without your parents' permission, and you degraded yourself by enlisting
+the aid of a servant to get letters from him unknown to them, and so led
+her to do wrong and to act in an untrustworthy way to her master and
+mistress. You ought to tell her that you regret having so done, and will
+do so no more.
+
+A DEVONSHIRE DUMPLING says: "I would rather not drink vinegar or raw
+lemon-juice, if you do not mind, please." Dear little reader, pray do
+not feel uneasy on that score; nothing is further from our wishes! If
+your health be so good, leave yourself and your wholesome fat alone. If
+out of health, the case is otherwise. Dropsical puffing should be
+prescribed for by a doctor.
+
+ROSS-SHIRE LASSIE.--The 5th October, 1869, was a Tuesday; the 25th
+March, 1865, was a Saturday.
+
+LILY.--The passage you quote may mean that the blessed ones who have
+attained to perfect purity in the kingdom of their Father above were
+greater than the greatest still on earth.
+
+A LIVELY GIRL is not likely to "get too stout." She inquires, "What is
+the best kind of a _fiancé_ to have?" Judging of her suitability for
+assuming the responsibility of selecting one, and of leaving her
+mother's sheltering wing, we should reply--a gilt gingerbread man.
+
+A METEOR.--The Rosicrucians were a mystic brotherhood, made known to the
+outer world in certain books published in 1614-15-16. The last book,
+published in 1616, was acknowledged by Johann Valentine Andreæ, and
+entitled "The Chymische Hochzeit Christiani Rosenkreuz." The former
+works are likewise described by him. From these we learn that one
+Christian Rosenkreuz, a German noble of the fourteenth century, founded
+a brotherhood of seven adepts on his return from the East, and that
+among their laws was one that they should each heal the sick gratis (or,
+at least, endeavour to do so), should meet annually at a certain secret
+place, and adopt the symbol of the _Rose Crux_, or rose springing from a
+cross, the device on Luther's seal. In 1622 societies of alchymists at
+The Hague and elsewhere assumed this title, and the tenets of the
+community were held by Cabalists, Freemasons, and Illuminati, and
+professed also by Cagliostro. It is said that a Lodge of Rosicrucians
+now exists in London.
+
+TUMPY.--Our answers depend on the questions and style of the letters
+addressed to us. You were right in your surmise. Your writing is
+legible, but not sufficiently regular. If you write us a ridiculous
+letter we promise you a suitable answer. We are so sorry for your poor
+father. Could he not subscribe for _Punch_, or procure a few copies of
+the famous "Mrs. Brown" series?
+
+HIGHLAND MARY inquires, "Who was the author of the first settler, and
+where is it?" How can we tell "where it is"? There have been "first
+settlers" in every part of the globe. The first part of your letter is
+better written than the concluding portion, and gives good promise for a
+good running hand by-and-by.
+
+C. HORSELL.--The lines you send us are very faulty; in fact, are only
+badly-rhymed prose; but if it amuses you to write such, do not desist,
+as outlets are useful to very young people, and it seems desirable for
+them to give vent to their feelings a little.
+
+NOLENS VOLENS.--Many people do not begin "My dear So-and-So," nor end
+with "Yours sincerely," etc., on a postcard, but merely write their
+address in full at the top, and the message signed beneath it, with
+initials only. But you can do as you like in the matter; there is no
+rule. We wonder that, having such suspicions of our honesty, you
+continued to read our paper.
+
+ROUSSEAU and FLOSSY.--We know of no cure for mere nervousness, unless,
+as sometimes happens, it passes into a disease, when a doctor should be
+consulted. Try to forget yourself in the pleasure of adding to the
+enjoyment of others.
+
+HOPE ATHELING.--_A.E.I._ means "for ever." "I don't think" is a common
+colloquialism used by everyone, and is not more incorrect than such
+expressions generally are.
+
+J. S. F.--
+
+    "Not even the tenderest heart, and next our own,
+    Knows half the reasons why we smile and sigh,"
+
+is from Keble's "Christian Year," 24th Sunday after Trinity, verse 1.
+
+MARIE.--The quotation--
+
+    "A primrose by a river's brim
+    A yellow primrose was to him,
+      And it was nothing more,"
+
+is from Wordsworth's poem, "Peter Bell," part i.; stanza 12.
+
+ERA.--The signification of the bee appearing on the monument of the
+Prince Imperial, is that the French royal mantle and standard were
+thickly sown with golden bees instead of "Louis flowers" or _Fleurs de
+lys_. The origin dates back to the time of the early Egyptians, who
+symbolised their kings under this emblem, the honey indicating the
+reward they gave to the well-doers, and the sting the punishment they
+inflicted on the evil. More than 300 golden bees were found in the tomb
+of Childeric, A.D. 1653. Offer your song to some composer. Sometimes
+they are in request; more frequently there are more offered than are
+required. All depends on the fancy of the composer. Only two questions
+are allowed, and the answers given at the discretion of the Editor. We
+regret that you have been disappointed.
+
+[Illustration]
+
+CISSIE.--You cannot interfere with the laudable work of the rector in
+building a school-house for the use of his parishioners; it is his duty.
+But the parents of the children will have the right of choice between
+this school and your private one. Mourning for a parent lasts a year;
+but you are free to wear it longer if you like.
+
+WINNIE E. L.--You should consult a doctor. We cannot usurp his place,
+though we are always willing to give sensible advice on hygienic and
+sanitary matters.
+
+POLLY and OTHERS.--The measurements of a classic figure, as given on
+authority, are: height, 5 feet 4½ inches; bust, 32 inches; waist, 24
+inches; 9 inches from under the arm to the waist, with long arms and
+neck. The proportions of a larger and more stately woman or girl would
+be: height, 5 feet 5 or 6 inches; bust, 36 inches; waist 26½ inches;
+hips 35 inches; thick part of arm, 11½ inches; wrist, 6½ inches. The
+hands and feet should not be too small. "Polly" will see that no
+arrangements are made by judges of true beauty and its lines for waists
+of 15 or 16 inches. They are simply deformities.
+
+BUDDIE.--The book was published anonymously.
+
+C. B. GLOUCESTER.--Easter Day fell on the 25th March, in 1546, 1641,
+1736, 1886, and will fall next time in 1943. Tram, used as a prefix to
+way and road, is the last syllable of the name of their inventor, Mr.
+Benjamin Outram, who in 1800 made improvements in the system of
+railways for common roads, then in use in the North of England. The
+first iron tramroad from Croydon to Wandsworth was completed July 24th,
+1801. Mr. Outram was the father of the celebrated Indian general, Sir
+James Outram.
+
+WILD HYACINTH.--We know of nothing save to benefit your general health.
+The intense perspiration is evidently an effort of nature. Do you take a
+tepid bath every morning, and as much exercise as possible? You have
+doubtless received your book.
+
+R. H. P.--We do not think cold and haughty people are at all nice, nor
+do we think they could be happy themselves, or make others happy. The
+Christian ideal is neither coldness nor haughtiness, but sympathy and
+love. You must take care of those long tails at the end of your words in
+writing. Better tie them up as the Dutch farmers do the tails of their
+cows. They are in writing ugly and useless appendages.
+
+NANNIE B. and FIDDLESTICKS have our best thanks for their letters.
+
+ISIS.--We are much obliged for the account of your visit to the Temple,
+and we regret we can make no use of it. You will acquire more ease in
+writing by constant practice.
+
+GERTRUDE.--We think the first year you must take what is offered to you
+in the way of salary.
+
+A FIELD OFFICER'S DAUGHTER.--We have perused the two poems, and consider
+that they hold some promise of better things, though both are faulty in
+construction and rhyme.
+
+INCONSISTENCY'S paper is too much like a schoolgirl's composition for
+our pages; but she evidently tries to think, which is more than many
+people do.
+
+ELSIE.--We never heard any more of the saying about Brighton, than "a
+country without trees and a sea without ships," and we have looked for
+the original authorship in vain.
+
+SWEET VIOLETS.--We know of nothing but constant rubbing and the practice
+of gymnastics to do your shoulders good. You probably have some trick of
+standing crookedly that has helped to make it grow out, such as standing
+on one leg, or giving down on one side.
+
+FOREVER AND EVER writes English very well, though her writing is rather
+too pointed to suit English tastes. But at 16 she has plenty of time to
+alter it if she likes.
+
+B. H. M. W.--The lines show much good feeling and affection, but no
+poetic talent.
+
+A WELL WISHER.--Rydal and Loughrigg, a township of England, Co.
+Westmoreland, on the Leven, two miles N.W. of Ambleside, celebrated for
+its beautiful lake, on the banks of which stands Rydal Mount, long the
+residence of the poet Wordsworth.
+
+MADGE.--We think "Madge" must not worry herself, as she certainly cannot
+help people who will not allow themselves to be helped, in her way at
+least of assisting them; good advice is generally unpalatable. She must
+look on the best side of the matter, and hope that her friend may be
+happy and comfortable in her own way. We doubt that you could have
+prevented the marriage, as your friend is very likely tired of the
+trouble of earning her living, and thinks of marriage as a way of
+escape. You must commend both her and her affairs to God, and cease
+worrying yourself.
+
+NELL.--Your mother's brother is your uncle, no matter whether by the
+father or the mother. To put the case in another way, your grandfather's
+son is your uncle by whatever wife he had, first or fourth. Of course
+you could not marry him. See the "table of degrees of affinity" in the
+Book of Common Prayer.
+
+ONE OF OUR GIRLS.--We think that men not much exposed to cold and damp,
+and night work, such as sailors and soldiers, do not need the warmth nor
+stimulant obtained by smoking any more than women do. Nevertheless, a
+single cigar or pipe daily would not be injurious to a grown man, though
+much so to a young lad in his teens. Men are so careless about cleansing
+their pipes from that poisonous nicotine, that multitudes have found
+their habit of excessive smoking a highly provoking cause of cancer in
+the mouth.
+
+HEBRIDEAN.--We think some foolish person has been worrying you with
+nonsensical fault-finding. We can not see that you were wrong in any
+way. You were with other girls and with your brothers, and that should
+be sufficient protection, whoever you were walking with. Do not allow
+yourself to be teased.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No.
+356, October 23, 1886., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. ***
+
+***** This file should be named 18395-8.txt or 18395-8.zip *****
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Girl's Own Paper, Vol. VIII., No. 356., OCTOBER 23, 1886.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. 356,
+October 23, 1886., by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Girl's Own Paper, Vol. VIII: No. 356, October 23, 1886.
+
+Author: Various
+
+Release Date: May 15, 2006 [EBook #18395]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. ***
+
+
+
+
+Produced by Susan Skinner and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus001a.png" width="600" height="224" alt="THE GIRL&#39;S OWN PAPER" title="" />
+</div>
+<hr style="width: 95%;" />
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="" width="100%">
+<tr><td align='left'><span class="smcap">Vol. VIII.&mdash;No. 356.</span></td><td align='center'>OCTOBER 23, 1886.</td><td align='right'><span class="smcap">Price One Penny.</span></td></tr>
+</table></div>
+<hr style="width: 95%;" />
+
+<p class='center'>[Transcriber's Note: This Table of Contents was not present in the original.]</p>
+<!-- Autogenerated TOC. Modify or delete as required. -->
+<p class="center">
+<a href="#A_DREAM_OF_QUEENS"><b>A DREAM OF QUEEN'S GARDENS: Part 2.</b></a><br />
+<a href="#HINTS_ON_MODELLING_IN_CLAY"><b>HINTS ON MODELLING IN CLAY.</b></a><br />
+<a href="#LOVE_ON_LOVE_EVER"><b>LOVE ON, LOVE EVER.</b></a><br />
+<a href="#DRESS_IN_SEASON_AND_IN_REASON"><b>DRESS: IN SEASON AND IN REASON.</b></a><br />
+<a href="#THE_SHEPHERDS_FAIRY"><b>THE SHEPHERD'S FAIRY: Chapter 4.</b></a><br />
+<a href="#A_PRINCESS_WHO_LIVED_TWO_LIVES"><b>A PRINCESS WHO LIVED TWO LIVES.</b></a><br />
+<a href="#VARIETIES"><b>VARIETIES.</b></a><br />
+<a href="#MERLES_CRUSADE"><b>MERLE'S CRUSADE: Chapter 4.</b></a><br />
+<a href="#ANSWERS_TO_CORRESPONDENTS"><b>ANSWERS TO CORRESPONDENTS.</b></a><br />
+</p>
+<!-- End Autogenerated TOC. -->
+
+
+<hr style="width: 65%;" />
+
+<h2><a name="A_DREAM_OF_QUEENS" id="A_DREAM_OF_QUEENS"></a>A DREAM OF QUEEN'S GARDENS.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a><br />
+
+<span style="font-size: 75%;">A STORY FOR GIRLS.&mdash;IN TWO PARTS.</span><br />
+<br />
+<span style="font-size: 75%;"><span class="smcap">By</span> DANIEL DORMER, Author of "Out of the Mists."</span></h2>
+
+
+<h3>PART II.<br />
+<span style="font-size: 75%;">A QUEEN'S DREAM.</span></h3>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/gop_86_11_23_illus001b.png" width="600" height="766" alt="&quot;LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND.&quot;" title="" />
+<span class="caption">&quot;LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND.&quot;</span>
+</div>
+
+<p>Yet the recollection of that book
+is helping to soften Hazel. There
+is a tender bit of writing at the
+close of the lecture which can
+hardly fail to reach any woman's
+heart, unless it be wholly hardened;
+and Hazel's is not a hard heart.
+So she muses on it, growing gradually
+calmer and happier. After
+all, she might be of some use in the
+world if she were to try, and if One
+Divine would be with her.</p>
+
+<p>She stoops down to throw some
+coal on the fire. She is too much
+exhausted physically to make it up
+carefully; but with an effort piles
+on large blocks and small indiscriminately,
+then throws in a handful
+of matches from a box within
+reach. What strange chaos there
+seems to be in the grate after a
+little while! One after another
+the matches go off with a phiz
+and short-lived flare, and each
+seems to light up a more curious
+scene than the last. From being
+mere piled-up blocks of coal in a
+grate, they grow to be a half
+blocked up entrance to some unknown
+place. There is a large
+shining black portal, half ruined,
+surrounded with <i>d&eacute;bris</i>. By degrees
+Hazel's languid curiosity is
+excited, and she wonders whither
+it leads. Why should she not
+explore?... The next
+match which takes fire lights up
+the slight form leaning far back in
+the big chair, with the soft, golden
+brown hair half loosened, and the
+dark, shadowed eyes fast closed.
+And Hazel has passed through
+the dark gateway, and is in a
+wonderful world.</p>
+<p><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+<p>What a strange black gateway to have led
+into so fair a garden! Hazel pauses at the
+entrance, her eyes glistening, her breath
+taken away with delight at the beauty of the
+scene before her. A paradise of fresh green
+shade and exquisite light and colouring.
+Wide-spreading chestnuts, graceful, feathery
+birches, and a hundred other trees, clothed
+and robed in their tender young leaves,
+mingle with a glory of pink and white spring
+blossom, which seems to fill the air like a
+snowstorm in the clear, blue sky. The
+South wind blows and fans Hazel's cheek, and
+wafts delicious breath of flowers and sweet-brier
+around her. Beneath the shower of
+snowy blossom stretches smooth, green
+grass, and masses of brilliant flowers glow,
+expanding their petals up towards the sun.</p>
+
+<p>After a while Hazel wanders forward in a
+dreamy intoxication of delight, every moment
+discovering fresh beauties. She finds a
+beautiful grotto, where are large rocks and
+cascades and running streams and fountains.
+She enters by a low archway of stone, covered
+with drooping ferns, and there, right before
+her, is a large clear pool at the foot of a huge
+rock. She flushes with the prettiest of shy
+pleasure and frank admiration at sight of her
+own reflection.</p>
+
+<p>How beautiful! A girl in a long, white
+robe, with a sweet, dark-eyed face, which she
+knows to be her own. She is leaning slightly
+forward, and the eyes&mdash;so often heavy and
+weary&mdash;are brimming with happiness, the
+lips parted in a smile. Her hair, with its
+pretty, sunny ripples, is unbound, and the
+wind blows it slightly back from her shoulders.
+And, most wonderful and striking of all, a
+circlet of pure gold rests upon the shapely
+head, and a second circlet is clasped round
+the waist. Then she is a queen? No doubt
+of it. And then comes, to the joy of admiration
+of all she has seen, the added joy of
+certainty that all is her own. This is a
+queen's garden, and she is the happy
+queen!</p>
+
+<p>More and more dawns gradually upon her.
+There are those near at hand dear to her, to
+whom she is also dear, whose queen she is.
+Oh the joy of it all! She clasps her hands in
+ecstasy, and the pretty reflection in the pool
+is more than ever lovely, only she has forgotten
+it now.</p>
+
+<p>A serious thought must have come into
+Hazel's mind, for suddenly a different
+expression appears in her eyes; a look of
+perplexity and shade of sorrow. The consciousness
+in her new life is growing, and,
+alas! it is not unmixed with pain. This
+garden is not all the world, then? She puts
+her hand to her brow, trying to recall something.
+Slowly it comes back to her in words,
+noble words, spoken by one whose face is a
+darkness to her. And she listens&mdash;</p>
+
+<p>"It is you queens only who can feel the
+depths of pain, and conceive the way to its
+healing."</p>
+
+<p>Ah! that is enough. She has lost her
+desire to recall more. She would fain turn
+back to the former delight and forget the
+existence of pain. But the steady voice
+persists, and will not be quenched.</p>
+
+<p>"Instead of trying to do this, you turn
+away from it; you shut yourselves within
+your park walls and garden gates; and you
+are content to know that there is beyond
+them a whole world in wilderness, a world of
+secrets which you dare not penetrate, and of
+suffering which you dare not conceive."</p>
+
+<p>Hazel looks round on the garden. How
+pleasant it is! Why should she leave it?
+Why should she concern herself with what
+may lie outside this home-kingdom of hers?
+She tries again to banish the voice, yet she
+knows in her heart, if she would only look for
+its knowledge, that, outside of that little rose-covered
+wall, the wild grass, to the horizon, is
+torn up by the agony of men, and beat level
+by the drift of their life-blood.</p>
+
+<p>Yes, it is useless; there is no escaping the
+truth the voice tells. So Hazel yields herself
+to listen as it goes on.</p>
+
+<p>"I knew you would like that to be true;
+you would think it a pleasant magic if you
+could flush your flowers into brighter bloom
+by a kind look upon them; nay, more, if your
+look had the power, not only to cheer, but to
+guard.... This you would think a great
+thing! And do you not think it a greater
+thing that all this (and how much more than
+this) you can do for fairer flowers than these,
+flowers that could bless you for having blessed
+them, and will love you for having loved
+them; flowers that have thoughts like yours,
+and lives like yours, and which, once saved,
+you save for ever? Is this only a little
+power? Far among the moorlands and the
+rocks, far in the darkness of the terrible
+streets, these feeble florets are lying, with all
+their fresh leaves torn and their stems broken;
+will you never go down to them, nor set them
+in order in their little fragrant beds, nor fence
+them, in their trembling, from the fierce
+wind?"</p>
+
+<p>Engrossed with the voice, Hazel has been
+walking on, little heeding whither she goes,
+when, as its tones die away, a groan startles
+her. How terrible its sound; how incongruous,
+interrupting the soft harmonious chorus of
+the soaring, singing birds! So painfully
+near it seemed, too, it could but have been a
+very little distance off outside that gate which
+she sees before her. Her first impulse is to
+draw back and retire, shuddering, far into the
+garden. But, behold! the gate swings back
+of its own accord, and in the face of that fact,
+and with the remembrance of the words she
+has heard, she dare not do other than pass
+through the open way.</p>
+
+<p>What a strange, wide world, and how
+dreary! A great, mad battle is raging; the
+grass, sloping up to the horizon, is scorched
+with the heat of the sun&mdash;the sun which only
+made a pleasant warmth in the shady garden.
+There is the fierce galloping of horses, and
+wrestling and fighting of men. Shouts and
+groans fill the air and drown the song of the
+birds. There are heaps of dying and wounded.
+Ah! there is one man not a stone's throw
+from her; his must have been the voice that
+reached her within her gates. How remarkable
+that she should have heard nothing
+before of all the great din. Another groan,
+followed by some inaudible words, causes
+Hazel timidly to approach the wounded man.
+He is evidently one of the very poorest of the
+"common" soldiers; and there is a look in
+his face which speaks the word death with a
+shudder in the girl's heart. A gleam lightens
+the agony in the man's eyes as he sees the
+white form and gentle face above him. He
+gazes steadily a moment, as though to make
+sure his vision is not a passing illusion; then
+Hazel catches the words, "Were you sent to
+me?"</p>
+
+<p>Very quietly she tells him in whose name
+she comes. Then, with a long, struggling
+sigh of satisfaction, without a shadow of
+further questioning in the dying eyes or voice,
+he whispers&mdash;"Hope even for me in Him,
+then, since He sent you!"</p>
+
+<p>So the low, flickering flame of life, set free,
+leaps up to its source; and the forsaken
+home rests in unbroken peace.</p>
+
+<p>Saddened, and yet peaceful, too, Hazel turns
+slowly away from the battle-field, and walks
+on, not noticing whither she goes. Jarring
+sounds recall her, and she finds herself in a
+narrow valley, surrounded by noisy children
+and brawling women. No one seems conscious
+of her presence. A lot of men are
+lounging against the wall of a public-house.
+The low building is conspicuous by its being
+in good repair, while its neighbours are all in
+a shattered condition. The window-frames
+are painted and varnished, and the open
+entrance discloses a smart interior. A few
+doors beyond this the houses reach the
+climax of desolate disorder. The whole place
+is tumbling down; the window is broken;
+the battered door is off its hinges, propped
+up against the wall. A cripple girl is sitting
+on a broken box, turned upside down,
+immediately outside this miserable hovel.
+Her face is a greater shock to Hazel than any
+of the other wretchedness around. There
+is a desperation of bitterness in that set,
+white face, with its hollow eyes and cheeks,
+which is absolutely appalling. Hazel had
+always imagined that suffering must of
+necessity, by its own inherent nature, bring
+with it a patience which would be reflected in
+a sweet face. Slowly, as she scans those
+immovable features, full of pain, and still
+more full of dogged rebellion, this idea has to
+be abandoned. Here obviously is a human
+being in the midst of a noisy squalor, whose
+physical disease and torture is unlightened by
+one softening ray of hope; whose misery is
+too sullen and dull to rise even to the hope of
+putting an end to itself.</p>
+
+<p>One moment and the deformed girl starts
+apprehensively. A sob has sounded in her
+ear, and some one, unlike any she has ever
+seen heretofore, stands beside her, taking her
+hand in mute, unspeakable compassion. She
+cowers back against the wall and drags away
+her hand; Hazel's purity and loveliness raises
+in her only a shrinking dislike and dread of
+contact.</p>
+
+<p>It is long before the pleading, loving voice
+gains any hearing; but at last, before the
+two part, some faint expression of intelligent
+thought has dawned on the lame girl's brow;
+and in her mind a question has been raised,
+"Can it be that there is one who loves me
+and has need of me?"</p>
+
+<p>The evening sunlight is falling through the
+birches in the beautiful garden; the air is full
+of fragrance and harmony; the queen is
+returning. Wearily she opens the gate to
+enter. She is filled with pain, for the many
+sadnesses to which she has drawn near have
+touched her own soul with the shadow of
+suffering.</p>
+
+<p>Suddenly, in the chequered shade of the
+trees at the entrance of the garden, she stops
+and turns round, for a bright radiance
+envelops her. And, lo! there stands One, in
+glorious light&mdash;One in whose Divine face
+love is shining. Hazel bows down, her
+whole soul overwhelmed with reverent awe.
+Then her hand is taken and held with a touch
+which thrills her with exquisite rapture, and a
+voice in her ears says&mdash;</p>
+
+<p>"Come, see with Me My garden."</p>
+
+<p>And the air, which is filled with light,
+grows buoyant, and, while her hand is still
+clasped by the Divine Guide, she is wafted upwards.</p>
+
+<p>Stretched out below, the hills and vales of
+the earth are one vast garden. All is indistinct
+at first; expanses of misty colour and
+tint; but by degrees the scene resolves itself
+into more definite form. The whole is intersected
+and watered with streams, more or
+less clear and pure, which arise and are
+replenished from a bright vapour, the Spirit
+of Life, which shines, issuing forth from an
+empty tomb in a rock in the East. There are
+banks of wild violets and primroses, and
+woods filled with anemones and hyacinths&mdash;myriads
+of beautiful flowers, reaching over all
+the world.</p>
+
+<p>Hazel has hardly taken in anything of the
+wonder of the scene, when her attention is
+attracted by an arch of white mist above the
+earth, and, as it seems, but a few paces from
+her. Gradually this path of mist grows clear
+as crystal, and the colours glancing in it take
+shape, and form a clear, transparent picture.<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+
+<p>A cornfield on a summer evening, filled
+with blossoms of poppies and corn-flowers. A
+wild storm sweeps over the field; the corn is
+broken down; the flowers are crushed beneath
+its weight, draggled and withered. A poppy,
+torn up by its roots, is whirled through the air.</p>
+
+<p>A mist sweeps over the crystalline cloud,
+and where it grows clear again the scene is
+changed to a wild hill-side. Scarlet and blue
+flowers intermingle in the distance; in the
+foreground lies a single poppy, withered and
+dying. Slowly, beside it a lily grows up;
+as it grows the fading poppy is stirred,
+touched by its leaves; and the tiny bells
+waving over it inspire new life and vigour,
+till at length, grown whole and fresh, it is
+loosened from the brown uptorn roots, and
+floats upwards, to bloom more beautiful in
+Paradise.</p>
+
+<p>Again the mist passes over the light
+picture and changes it. A woodland scene is
+painted there now. Amid the fern and moss
+and twigs under the trees, wild flowers are
+blowing. A pathway intersects the little
+wood, and across it shadows of the trees fall,
+with sunlight between. In the foremost
+patch of sunshine, at the edge of the path, is
+a sprinkling of anemone leaves. And there
+amongst them a delicate blossom, half
+crushed by the superincumbent weight of
+moss, the fallen leaves of last year, and tiny,
+lichen-covered twigs. The white, transparent
+petals are soiled and deformed, thrust down to
+the earth. As Hazel looks, regretting that
+she has not the power to stretch forth her
+hand and clear away the destructive weight,
+the leaves and twigs tremble, and are uplifted,
+and fall away from the slender plant,
+for close beside it a hardy little fern frond
+slowly uncurls itself and arises. The frail
+blossom stirs slightly, released from the overwhelming
+pressure; but has no strength to
+do more. Oh, for water to revive it! And,
+lo! from the fair green fern drops of dew
+embosomed there are shed and scattered over
+the downcast head. They are drunk in, and
+by degrees the drooping cup is raised to the
+friendly fern. And then, the straight young
+frond, itself ever growing, waves aside in a
+natural, graceful sweep, and allows the sunshine
+in all its strong radiance and reviving
+force to fall full on the flower. And the half-closed
+bell joyously expanding, grows white
+and strong and beautiful.</p>
+
+<p>And so the crystal pictures change and
+change, till Hazel's every helpful act has been
+set forth. Then, as the last fades, and the
+arch of storied light itself dissolves and melts,
+with one all-absorbing passion of eternal
+devotion flooding her whole being, Hazel
+turns to Him who has kept her beside Him
+throughout, her hand retained in His. For
+one moment she beholds Him, the Unutterable
+One; and in His Sacred Face she reads, amid
+ineffable love and infinite majesty, a look of
+gratitude. And once more the Divine accents
+fall on her ear, saying&mdash;</p>
+
+<p>"'Inasmuch as thou didst it unto one of
+these My brethren, even these least, thou
+didst it unto Me.'</p>
+
+<p>"Let not those, the queens of the earth, to
+whom I have given the priceless gifts of life
+and leisure, hold either lightly. Life, with
+its sorrows and its joys, is but the education
+time fitting them to live for ever with Me.
+The leisure I have bestowed may be used for
+Me, in doing work in My garden&mdash;work
+which I have prepared for them to do, and
+which I long to see done. Let them see to
+it that they waste not the opportunity in
+fretful discontent and idleness&mdash;'And whosoever
+shall give to drink unto one of these little
+ones, a cup of cold water only, in the name
+of a disciple, verily I say unto you, she shall
+in no wise lose her reward.'"</p>
+
+<hr style='width: 45%;' />
+
+<p>Hazel awoke. The moon was streaming in
+through the window. The grate was filled
+with shining blocks of coal, and a few half-burnt
+matches. Aching all over, and shivering
+with cold, she closed her eyes once more, and
+a period of insensibility followed.</p>
+
+<p>Many days and nights of feverish illness
+ensued&mdash;days and nights in which Hazel had
+much to suffer, and was only from time to
+time conscious of the loving, unceasing care
+which watched over her. In those intervals
+when her mind was not dazed and confused,
+she saw a face, old and plain and wrinkled,
+which was to her as the face of an angel, for
+Miss Bright tended and watched her with all
+the self-sacrifice of a noble, true woman.</p>
+
+<p>At length, after a weary, weary time of
+pain, Hazel fell asleep once more. Her
+dream came back to her, for she thought she
+was resting in the warm sunshine on a bed
+of lilies in the same beautiful garden. And
+when she opened her eyes she found her room
+was really bright and warm with a fire and
+sunshine, and fresh and sweet with the
+fragrance of lilies of the valley, a large
+bunch of them standing beside her, and more
+lying on the white coverlid of her bed. Her
+eyes filled and her heart swelled with
+gratitude. Softly she whispered, as though
+she spoke to someone close beside her,
+"Dear Lord, I am so thankful to Thee for
+making me better. I so longed to live a
+little while more to do some work for Thee in
+Thy garden. I bless Thee so!"</p>
+
+<p>The door opened, and Brightie came in.
+The brave old woman broke down as she
+clasped Hazel in her joy at the improvement
+in her. The two cried together for a little
+while; there was so very much to be glad
+about that the gladness was too great for
+self-control.</p>
+
+<p>A few days later, a girl with a white but
+radiantly happy face is resting in a cane armchair,
+her feet supported by a footstool, in the
+garden of a pretty country house at Fridorf.
+The sunshine is hot, but she is shaded from
+it by a trellis work of young-leaved creepers
+overhead. Lilacs and laburnum trees bloom
+abundantly around. The lawn before her is
+smooth and green, and beyond is the sea.</p>
+
+<p>"How wonderful God's love is!" the girl
+says, presently, reaching out her hand to an
+old woman with a peaceful face who shortly
+joins her, and who clasps and retains the hand
+with an answering look more eloquent than
+speech.</p>
+
+<p class="center">THE END</p>
+
+<div class="footnotes"><h3>FOOTNOTE:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Sesame and Lilies. By John Ruskin
+LL.D. 1. Of Kings' Treasuries. 2.
+Of Queens' Gardens.</p></div>
+</div>
+
+
+<hr style="width: 65%;" />
+<h2><a name="HINTS_ON_MODELLING_IN_CLAY" id="HINTS_ON_MODELLING_IN_CLAY"></a>HINTS ON MODELLING IN CLAY.<br />
+<br />
+<span class="smcap" style="font-size: 75%;">By FRED MILLER.</span></h2>
+
+<div class="figleft" style="width: 150px;">
+<img src="images/gop_86_11_23_illus003.png" width="150" height="220" alt="M" title="" />
+</div><p>
+odelling in clay is a very
+agreeable change in one's
+artistic occupation, for
+it is quite unlike other
+branches of art, and calls
+into play a different set
+of faculties for its performance.
+It needs a greater
+amount of "hand cunning"
+than does painting, and is
+in that sense akin to wood
+carving, to which delightful
+craft it is, indeed, almost indispensable,
+and, I might add, part of the
+necessary training one has to undergo to
+become a carver in wood. And as on another
+occasion I am going to write a few hints on
+wood carving, the present article may be
+taken as a prelude to the one on that subject.</p>
+
+<p>The materials necessary to try one's hand at
+modelling are very inexpensive. The clay is
+the most essential thing, and this can be purchased
+at one or two artists' colourmen, or,
+better still, at any pottery. I have had clay
+sent me from the potteries in Staffordshire,
+and those of my readers who live near a
+pottery would have no difficulty in supplying
+themselves with clay. The clay used for
+flower-pots does for coarse work, but is not
+sufficiently carefully prepared for fine work.
+It burns a rich red colour, and is, of course,
+terra-cotta. The clay used in making the
+terra-cotta plaques and vases is what you
+require for fine work. There are two or
+three firms who supply London shops with
+terra-cotta vases, etc., and I have no doubt
+that clay might be purchased of them.</p>
+
+<p>The clay used in making tiles does for
+modelling, but perhaps the best is that which
+burns a cream colour. It is a dull grey
+colour, rather dark before it is fired, and it
+should be noticed that it is difficult to tell
+the colour clay will burn by its appearance
+when unbaked. Thus a grey clay may burn
+a rich red or pale cream. The qualities necessary
+in clay for modelling are plasticity, which
+enables it to be worked without falling to
+pieces, and fineness&mdash;a perfect freedom from
+grit, small stones, and other impurities. It
+should be quite soft to the touch, and when
+pressed and kneaded should feel smooth and
+silky. Old clay is more plastic as well as
+being tougher than new, and in potteries clay
+is often kept a considerable time before it is
+used. The clay should not be allowed to dry
+when it is not in use, and to prevent this it
+must be wrapped in wet flannel. Should it
+dry quite hard, there is nothing to do but to
+put it into a vessel and pour water on it,
+allowing it to stand until the clay becomes
+soft. Some of the moisture must then be
+allowed to evaporate, otherwise it is too soft
+for use. This is another point to be observed
+in clay used for modelling. It must not be
+too damp. If it sticks to the fingers it is too
+wet, and if it resists the pressure of the fingers,
+too dry. The state between stickiness and
+stubbornness is what is wanted.</p>
+
+<p>Now as to the tools. Wooden modelling
+tools can be purchased at some artists' colourmen,
+and also at some tool shops. You must
+choose those tools you think look handiest.
+A little practice will soon show you which are
+the best to have.</p>
+
+<p>Each modeller has a predilection for certain
+tools, and it will take my readers very little
+time to find out which tools give the best
+results. I often shape those I buy myself
+to fit them for particular work. In
+addition to these wooden tools, it is necessary
+to have a fine steel one to work
+the clay when it is dry. Modelling tools are
+very inexpensive. You really require no other
+tools but these wooden ones and a steel one,
+but it is necessary to have a few boards to
+work your clay upon. They should be strong,
+with battens at the back to prevent them<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+warping, which they are liable to do owing to
+the dampness of the clay.</p>
+
+<p>We will start our work with a very simple
+design, for our aim should be to overcome the
+difficulties by degrees. The design I have
+chosen (<a href="#FIG_1">fig. 1</a>) was modelled as a tile about
+eight inches square, and the first thing to be
+done is to roll out a piece of clay about half
+an inch thick, and fairly flat all over. It is as
+well to work the clay up in one's hands, damping
+it occasionally if too dry. If clay be
+allowed to remain untouched for any length of
+time it gets set, and does not work easily;
+therefore, thoroughly work it up with the
+hands. It may be made into a ball, and can
+be rolled out flat with a thick ruler or rolling
+pin. The clay has a tendency to curl up
+round the rolling pin, and care must be taken
+to prevent this. If the rolling pin be covered
+with leather, this is to a great extent
+prevented. The design can be made on
+tracing paper, and by marking over the tracing
+paper placed over the clay with a hard point,
+an impression sufficiently distinct will be left
+to guide one in doing the actual modelling.
+The first thing is to build up the oranges,
+which can be done by sticking little pellets of
+clay on to the slab, pressing them down with
+the fingers, and rounding the oranges roughly
+into shape.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="FIG_1" id="FIG_1"></a>
+<img src="images/gop_86_11_23_illus004.png" width="600" height="592" alt="FIG. 1.&mdash;A TILE.
+
+Our First Experiment." title="" />
+<span class="caption">FIG. 1.&mdash;A TILE.<br />
+<br />
+<i>Our First Experiment.</i></span>
+</div>
+
+<p>Don't be too particular about this part of
+the work; be content to get some approximation
+to the shape, leaving the finishing to be
+done with the tools. Build up the stem in like
+manner, or you might roll out a thin piece of
+clay and stick this on to the slab. In sticking
+clay on to clay, it is always advisable to wet
+both the clay and the slab to ensure thorough
+adhesion, and in working the design
+into shape it is even a good plan to dip the
+fingers into water, as the extra moisture makes
+it easier to press the clay into the requisite
+shape.</p>
+
+<p>The leaves can be modelled separately,
+and stuck on to the clay slab one by one. Do
+as much of the work as you can with the
+fingers. In modelling, the fingers are the best
+tools, after all. They do their work so much
+more expeditiously and effectively than the so-called
+"tools" do, and, depend upon it, the
+more the preliminary work is done with the
+fingers the better, as the use of the fingers
+tends towards boldness of design and vigour
+of execution. People, in starting a new employment,
+are very apt to be finiking owing
+to timidity, and this must be overcome from
+the outset&mdash;this tendency to pettiness&mdash;and in
+the case of modelling, the best way to overcome
+it is to do all the preliminary work with
+the fingers. Build up the design boldly and
+freely, studying only the principal masses and
+most important forms. When this is accomplished,
+let the clay stand a little time uncovered,
+as the use of water will have made it
+very sticky, and the modelling tools cannot be
+used as efficiently when the clay is in this
+state as when it is drier.</p>
+
+<p>The modelling tools will enable you to
+begin to finish up the design, for at
+present the design exists only in its rough
+state. Pick the clay out of the interstices of
+the design, and begin to refine the different
+forms by putting in the more delicate curves.
+It very much depends upon the nature of the
+design as to how far in the direction of finish
+you carry the work, but as your modelled tile
+will not be exposed to rough usage, you may
+under-cut it, as modellers say. Under-cutting
+is the taking of the clay away from
+the back of the various forms. In the leaves,
+for instance, instead of leaving a solid mass of
+clay at the back, this should be carefully cut
+away underneath, or under-cut, so as to give
+lightness and delicacy to the work. Of course,
+it is necessary to leave some clay here and there
+to attach the various forms to the slab. The
+under-cutting may be carried to such a pitch
+as to make the design look weak, and as though
+it would fall to pieces with a puff of wind.
+When this is the case, I reckon the finishing
+has been carried too far. Clay should always
+look strong enough to hold together, and I
+may say I never thought much of that fancy
+china one sees which is covered with flowers
+and foliage modelled as delicately as though
+wrought in some precious metal. Sooner or
+later the edges get chipped off, and the charm
+of such work is immediately gone. Of course
+we know that an accident may destroy work
+that is not wrought in this delicate manner,
+but modelled clay should be delicate without
+being weak&mdash;it should at least look as though
+it could hold its own with fair usage.</p>
+
+<p>Get as much of the work done as possible
+while the clay is plastic, and with a little
+practice a modelled design can be finished
+entirely while the clay is damp. In fact, the
+work is better when wrought from the plastic
+clay than when finished up with steel tools
+after the clay is dry. There is a certain crispness
+about the modelling when wrought from
+plastic clay, which is often wanting
+in work tooled up when the
+clay is hard. To my thinking,
+the best work is always that which
+looks as though it had been
+thrown off in a happy moment,
+and which has a certain number
+of the tool marks showing, as
+though the worker were not
+ashamed to let his craftsmanship
+be seen. Work which has been
+touch and retouched, and rubbed
+down and smoothed until all life,
+vigour, and crispness have departed
+from it, looks what it
+is, amateurish (in the worse sense)
+and weak.</p>
+
+<p>I have had many opportunities
+of seeing amateurs work during
+the years I have been teaching,
+and I have noticed that they
+have a mistaken notion of what
+finish really is. It certainly does
+not consist in smoothing the work
+until it has the texture of a wax
+doll, and I have often noticed that
+work is often wholly spoilt in the
+so-called finishing.</p>
+
+<p>In the subject I am dealing
+with&mdash;modelling in clay&mdash;this is
+particularly the case, and, reader,
+I pray you avoid it. I would
+sooner you leave the work rough,
+with all the marks of the tools
+showing, so that you get vigour
+and crispness in your work, than
+that you should in your endeavour
+to efface the marks of the
+tools make your work tame and
+effeminate.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="FIG_2" id="FIG_2"></a>
+<img src="images/gop_86_11_23_illus005.png" width="600" height="604" alt="FIG. 2.&mdash;A PLAQUE." title="" />
+<span class="caption">FIG. 2.&mdash;A PLAQUE.</span>
+</div>
+
+<p>In working up the leaves, don't
+attempt to put many veins in
+them. Hardly do more than indicate
+the centre vein. Nothing
+looks worse than to see the various
+forms covered with a network
+of minute markings. You
+will find, if you try and put in the
+veins in your modelled tile, your
+leaves will not look as though<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+they were veined, but as though some stiff-legged
+insect had crawled over the damp clay,
+and had left its trail behind it. In putting
+in the stamens in flowers, you will have to
+have recourse to an expedient, for it is evident
+that you cannot copy every individual stamen
+in clay any more than you can make your clay
+petals as thin and delicate as nature. You
+must translate the effect of nature into clay,
+and in the case of the stamens you will find it
+a good plan to build up the centre of the
+flower, and then press into it a pointed stick,
+repeating the operation until the whole of the
+centre is perforated, as it were, like a grater.</p>
+
+<p>In order to make a contrast between the design
+and the background, you can dot or line
+over the slab upon which the design is lying, so
+as to make the surface rough in texture. When
+the clay is quite dry, which will take some
+week or more to effect, you can put any
+further work into the design with the steel
+tool, which must be used to scrape the clay;
+for if you exert any pressure upon the dry
+clay it very soon chips, and it is almost
+impossible to repair such damage, and for
+this reason: that if you stick on a piece of
+wet clay to the dry clay, the moisture of the
+wet clay is soon absorbed by the dry, and the
+piece stuck on immediately falls off. The
+only chance is to keep damping the part
+damaged until the clay all round gets quite
+moist again, and you must then model
+another piece on to the broken part. Dry
+your work very slowly at first, to prevent it
+cracking or warping, and when it seems quite
+hard put it into a warmer place, for, though
+clay may appear hard on the surface, there is
+sure to be a good deal of moisture inside,
+especially if the clay be thick, and should it be
+put into a kiln before the moisture is entirely
+evaporated, the modelled clay will fly into
+minute fragments, and cause incalculable
+damage to other work in the kiln. I recommend
+my readers to put their work into a hot oven
+two or three times after it has been drying for
+two or three weeks, so as to insure the clay
+being quite hard. I lost several works
+through firing them before they were dry
+enough.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p>The heat that china is put to fix the
+colours is not sufficient for baking clay, and it
+must be sent to some place where underglaze
+pottery is fired. This first firing turns<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+the clay into "biscuit," and if any painting is
+to be done on it, now is the time to do it.
+Underglaze or Barbotine colours should be
+used, and they should be put on in thin
+washes. The whole work must then be
+glazed and fired. But I shall not touch
+further on this part of the subject here, for I
+must say something about modelled decoration
+applied to vases and plaques.</p>
+
+<p>The plaque or vase to receive modelled
+decoration must be of the same degree of
+dampness, or nearly the same degree of dampness,
+as the clay used in modelling, for reasons
+already stated. You cannot put modelled
+decoration on to clay that is dry, or ware
+that has been fired. To make a plaque,
+it is almost necessary to have a plaster mould.
+You might make this for yourself by buying a
+china plaque the shape and size you require,
+and filling this plaque with plaster-of-Paris,
+being careful to let the plaster come to edge
+of plaque all round. When the plaster is dry,
+trim the edge round, and take it out of
+plaque. You must now roll out a flat sheet of
+clay sufficiently large to cover this plaster
+mould, and, by pressing the clay evenly all
+over the mould, and trimming round the edges
+with a knife, you will get a clay plaque sufficiently
+good to answer your purpose. Don't
+attempt to remove the clay immediately from
+the plaster, but let it remain on a few hours,
+to enable the clay to set. The surface of this
+plaque may be kept moist by keeping a damp
+flannel over it. When the modelling has been
+started, the damp cloth must not press upon
+the modelled portions, but be supported on a
+wicker frame.</p>
+
+<p>It is always better to model direct from
+nature&mdash;and for this reason. By taking a leaf
+and pressing it into a piece of clay, and marking
+it round with a darning-needle, you get
+the exact shape of the leaf, and by pulling off
+the leaf you can bend the clay impression into
+any form you like, and put it upon your clay
+plaque or vase, pressing it into the curve you
+wish it to take. A little very wet clay should
+be put on back of leaf, to ensure it sticking to
+plaque. I have taken as my illustration (<a href="#FIG_2">fig. 2</a>)
+the garden poppy, and if I were modelling it
+direct from nature, I should first of all roll out
+a strip of clay for the stem, and put this on
+the plaque so that it makes a graceful curve.
+Strip off the leaves one by one, and take impressions
+in clay, and then fasten them to
+plaque, following the natural growth, and yet
+arranging them so that the leaves fall into
+their places agreeably. The back leaves, instead
+of being modelled, might be just marked
+in outline on the plaque itself. This will give
+depth to the design. The leaves should not
+be put on the plaque flatly, but should be bent
+and twisted as is necessary to suggest the
+growth of nature. The flower will present the
+greatest difficulty, as the serrated edges of the
+petals must be carefully done.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="FIG_3" id="FIG_3"></a>
+<img src="images/gop_86_11_23_illus006.png" width="600" height="507" alt="FIG. 3.&mdash;A VASE." title="" />
+<span class="caption">FIG. 3.&mdash;A VASE.</span>
+</div>
+
+<p>In the case of flowers like chrysanthemums,
+it is necessary to build up the most prominent
+flower solidly in clay, putting on the outer
+petals separately. The back flower can have the
+near petals modelled, while the distant ones
+can be just indicated on plaque with incised
+lines. Don't attempt to copy every petal in
+clay, which is an impossibility, but try and
+get the general effect of the flower in your
+modelling. Take the prominent petals first,
+and put them on in their proper positions,
+and the less important petals can then be
+filled in in the intervening spaces. This is
+the plan to adopt in all intricate work. Put
+down your principal forms first of all, and
+you will have little difficulty in getting in the
+less important ones, for the principal forms
+act as measuring points to the rest of the
+work, and enable you to preserve that pro<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>portion
+between the various parts of the
+design which is essential in all good designs.
+It is necessary in modelling to simplify nature
+somewhat, for we cannot imitate nature in
+clay. What we have to do is to seize upon
+the principal points, the curves of the stems,
+the position, form, and characteristics of the
+flowers and leaves, and put them down intelligently
+and in as telling a manner as possible.
+Let the work dry carefully before having it
+fired, and you can either finish it up in colours,
+and have it glazed, or let it remain as it is.
+I often used to use my Barbotine colours (see
+articles on "Barbotine Painting," in Nos. 440
+and 584, vol. iv., of the G.O.P.) for colouring
+modelled work and glazed it with my soft
+glaze. I have also sent some work to the
+potteries, and had a coloured glaze put over
+the whole work. I may here say that much
+may be learnt by studying good modelled
+work, and even copying some stone or wood
+carving in clay. The pottery of Della Robbia
+and Palissy should be studied whenever the
+student has the opportunity of so doing.</p>
+
+<p>I need not say much as to modelled work or
+vases. You must have some shapes sent up
+from the potteries in the "green" state, for it
+is almost impossible for amateurs to "throw"
+their own vases on a wheel. Space forbids
+me to describe the potter's wheel, but visitors
+to the Health Exhibition two years ago had the
+opportunity of seeing a potter at work, which
+is much better than reading about one. Those
+adventurous spirits who wish to try "throwing"
+vases, should get a small wheel from the
+potteries (it will cost, including carriage, about
+&pound;8), and have a few lessons from a practical
+potter. In the meantime, get some firm to
+procure for you a few unbaked vases, and
+when you receive them it will be necessary to
+wrap them up in damp flannel for a day or
+two, so that the modelled work will stick on
+the vase. Let the shape of the vases be very
+plain and simple, with a good broad surface to
+receive the modelled decoration. I have chosen
+as the illustration (<a href="#FIG_3">fig. 3</a>) the blackberry, as it
+is a very ornamental plant and one familiar to
+all readers. Throw on your stalk first of all,
+letting it wrap round the vase, and so place it
+that the leaves, flowers, and fruit can spring
+from it so as to be seen to the best advantage.
+The stalks might be placed in such a way as
+to form handles. Get a certain quaintness
+into the modelling, and don't be too intent
+upon imitating nature, for, do what you will,
+you will find it impossible to accomplish this.
+Therefore, be content to decorate your vase
+with a graceful spray of bramble, with all
+essential characteristics of the plant indicated,
+and the general "swing" of the plant expressed
+in your work. Model each part separately,
+either by pressing the leaves into clay
+and marking them round, or by modelling
+pure and simple, and then fasten the various
+parts on to the vase with diluted clay. Don't
+let any part of the work stand out too prominently;
+for not only will the shape of the vase
+be destroyed, but there is always much more
+liability to damage if the design be very prominent
+than when it just lies, as it were,
+closely to the surface of the vase. And yet it
+is not necessary to put everything perfectly
+flat on the vase. The stems, for instance,
+can be raised in places, so that there is a space
+between the stem and vase; and so with leaves,
+flowers, and other details.</p>
+
+<p>It will be seen that I make the stems form
+an ornamental rim round the vase and also
+round the neck. Dry the vase very slowly,
+and in sending it to be fired, wrap plenty of
+cotton wool around it so that no pressure can
+be exerted upon any portion of the modelling.
+This applies with equal force to all modelled
+work. Red terra-cotta vases decorated with
+modelling, and merely baked, are most
+effective. Terra-cotta vases should not be too
+small; the larger they are the more effective is
+appearance in a room. I have some more
+than two feet high, and when filled with dried
+rushes, etc., they fill up a corner charmingly.</p>
+
+<p>As a general rule let your modelled work
+be drawn to a natural size, and let it be rather
+over than under the natural size, for if modelled
+work is smaller than nature, the effect is apt to
+be petty and insignificant. Birds and insects
+can often be introduced with advantage.</p>
+
+<p>I have recently been modelling some large
+works, using clay employed in making drain
+tiles, and having them fired in an ordinary brick
+kiln. In fact, I started some of my work with
+large size drain tiles, which I obtained when
+they were quite wet, and by pulling up the top
+and spreading it out a little, and putting a slab
+of clay on the bottom, I obtained cylindrical
+vases, upon which I modelled some decoration;
+but as the subject is one of peculiar
+interest, and is somewhat new to my readers,
+I must just reserve a few remarks upon this
+subject for another occasion, when I will give
+sketches of some of the vases I have recently
+been modelling. This work is within the
+reach of everyone, especially my country
+readers, for there are few villages of any size
+that have not a brick kiln in their vicinity,
+and for large work, such as ornamental flower-pots,
+vases for holding bulrushes, and garden
+vases, this is most admirably adapted.</p>
+
+<div class="footnotes"><h3>FOOTNOTE:</h3>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> As will be seen, the tile design, <a href="#FIG_1">fig. 1</a>, is what is
+termed a "bas relief," <i>i.e.</i>, the forms in many cases are
+only just relieved from the ground, and only here and
+there are any of the forms in entire relief.</p></div>
+</div>
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 250px;">
+<img src="images/gop_86_11_23_illus007.png" width="250" height="172" alt="" title="" />
+</div>
+
+<h2><a name="LOVE_ON_LOVE_EVER" id="LOVE_ON_LOVE_EVER"></a>LOVE ON, LOVE EVER.<br />
+<br />
+<span class="smcap" style="font-size: 75%;">By RUTH LAMB.</span></h2>
+
+<p class="center">"Love not, love not, ye hapless sons of earth."</p>
+
+
+<div class="poem"><div class="stanza">
+<span class="i0">How world-worn must have been the weary heart<br /></span>
+<span class="i0">When this sad strain belied its noblest part!<br /></span>
+<span class="i0">What! Bid us cease to love! Why life were pain<br /></span>
+<span class="i0">If this best attribute were given in vain.<br /></span>
+</div><div class="stanza">
+<span class="i0">Cease not to love. O, wherefore shouldst thou scorn<br /></span>
+<span class="i0">The flowers thy path beside, to cull the thorn?<br /></span>
+<span class="i0">Or heed the man who, all unblest with sight,<br /></span>
+<span class="i0">Counsels his fellow-man to shun the light?<br /></span>
+</div><div class="stanza">
+<span class="i0">Gazing around, 'tis ever hard to trace<br /></span>
+<span class="i0">The Maker's image in the Creature's face.<br /></span>
+<span class="i0">Seek it not there. That image wouldst thou prove,<br /></span>
+<span class="i0">Know the Divine gleams through our works of love.<br /></span>
+</div><div class="stanza">
+<span class="i0">If cruel Death a dear one rend away,<br /></span>
+<span class="i0">Let thy love follow; do not with the clay<br /></span>
+<span class="i0">Bury thy heart. Soar higher. Wherefore bow?<br /></span>
+<span class="i0">Yesterday's mortal is immortal now.<br /></span>
+</div><div class="stanza">
+<span class="i0">If thy life's labour meet with scant return,<br /></span>
+<span class="i0">Thou who hast wrought it should'st be last to mourn.<br /></span>
+<span class="i0">Nay more, rejoice. Each unpaid debt of love<br /></span>
+<span class="i0">Is so much treasure garnered up above.<br /></span>
+</div><div class="stanza">
+<span class="i0">Let cold ingratitude bring no dismay,<br /></span>
+<span class="i0">But rather aid thee on thy heavenward way.<br /></span>
+<span class="i0">Work on, love on, aye to increase the debt;<br /></span>
+<span class="i0">Thy God is not unrighteous to forget.<br /></span>
+<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span></div></div>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="DRESS_IN_SEASON_AND_IN_REASON" id="DRESS_IN_SEASON_AND_IN_REASON"></a>DRESS: IN SEASON AND IN REASON.<br />
+<br />
+<span class="smcap" style="font-size: 75%;">By A LADY DRESSMAKER.</span></h2>
+
+
+<p>The extreme warmth of September has naturally postponed
+ideas of winter, and our preparations are generally very backward.
+In fact, at the end of September many people would
+have said that they knew nothing whatever about new things,
+and that they did not want them either, and the secret of this
+indifference would have been attributable to the weather. It is
+to be hoped that we shall have a seasonable winter, less cold
+and disagreeable than the last.</p>
+
+<p>During my visit to Paris I found but little to chronicle
+in the way of winter novelties. The chief changes seemed to
+be in materials and their designs. Checks are in high favour,
+and it is said they will supersede stripes; and last year, when
+I was there at this season, they said much the same thing,
+but this year they seemed more determined to vote stripes old-fashioned.
+To tell the truth, I think the Parisians, and the
+women in France generally, are great admirers of plaids, and do
+not find stripes becoming, simply because they are usually very
+short and stout. Englishwomen, who are tall and stout, like
+them because they decrease their apparent size, and give an effect
+of length while decreasing breadth. On tall people plaids have
+a bad effect.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/gop_86_11_23_illus008.png" width="600" height="807" alt="AUTUMN CLOAKS, ULSTERS, AND GOWNS." title="" />
+<span class="caption">AUTUMN CLOAKS, ULSTERS, AND GOWNS.</span>
+</div><p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<p>Rough-faced materials constitute the majority
+of those prepared, and plain stuffs
+are still united with plaided and striped ones
+in the same dress; but this is not an absolute
+rule this year, for some dresses are
+entirely of either plaids or stripes, or else
+are of plain material only. Many of the
+materials are plain, with a bordering at one
+edge of plaid. For instance, a grey of rough-faced
+stuff had a bordering of a large check in
+lines of a paler grey, a little relief being given
+by pale lines of a clear Naples-yellow. The
+effect was quiet and subdued by the roughness
+of the surface of the cloth. With this
+gown the underskirt was made of the plaid
+material, quite plain, and the overskirt of the
+bordered part was draped above it in simple
+straight long folds, the plaid part being at the
+lower edge of the overskirt. The bodice was
+of the plain, and it had a plastron, or waistcoat
+front, of the plaid. The buttons (as are
+many in use this year) are of smoked pearl,
+and are very small for the fronts of gowns and
+larger for the jacket-bodices. Bretelles of
+velvet are used as trimmings to the bodices of
+these rough woollens, and the collars and
+cuffs are almost invariably of the same
+material, which seems likely to retain its
+popularity through the winter. The velvet
+collars are both useful and becoming, and, in
+addition, they save white trimmings at the
+neck. We rather rejoice in our emancipation
+from that bondage, and I hear many people
+say they will never resume it again, now they
+have once found that they can look well without
+the once inevitable white collar or frill.
+The tendency in every woman's mind who is
+possessed of ordinary good sense is to simplify
+everything connected with clothes, and I feel
+sure we shall all be healthier and happier
+when we have banished many things from our
+wardrobes which we now think absolutely
+needful.</p>
+
+<p>"Dr. Jaeger's sanitary woollen clothing,"
+about which I have so often written in praise,
+has raised up some rival manufactures
+amongst our English makers, who have long
+been famous for their merino or lambswool
+stuffs. Pure woollen under-garments in
+England have always been thought to wear
+and to wash badly, and much of this has
+probably been owing to the fact that the
+washing was very bad and that no one before
+Dr. Jaeger ever tried washing woollens scientifically,
+so as to take out the grease and
+perspiration, and not to harden the material
+at the same time. By Jaeger's method this
+is done with lump ammonia and soap. The
+soap is cut into small pieces and boiled into a
+lather with water, and the lump ammonia is
+then added. This lather is used at about
+100&deg; Fahrenheit, and the clothes must not be
+rubbed, but allowed to soak for about an hour
+in the water, and must then be drawn backwards
+and forwards repeatedly in the bath till
+clean. Three waters are to be used, the two
+after the first lather being of the same heat,
+and of pure clean water. This leaves the
+clothes delightfully soft and supple, and their
+wearing qualities suggest nothing further as
+an improvement.</p>
+
+<p>Some of the new English underclothing is
+very light and good, and claims to be of pure
+merino-wool. It is of varying thickness, and
+many ladies, both young and old, are adopting
+it for combinations; these and one petticoat
+forming the whole of the clothing. Of
+course, the thickness of these garments is to
+be suited to the season, and the gossamer
+clothing manufactured for the warm season
+leaves nothing to be desired in its lightness
+and apparent coolness.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/gop_86_11_23_illus009.png" width="600" height="545" alt="BY THE LAKE SIDE WITH THE BOATS." title="" />
+<span class="caption">BY THE LAKE SIDE WITH THE BOATS.</span>
+</div>
+
+<p>One does not associate thick materials with
+great heat, and the mere look of thick wool<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+would make one begin to feel hot, however foolish
+it may sound to say so. When the skin becomes
+used to wearing wool it will be found
+more comfortable than either cotton or linen,
+and we, moreover, avoid the chance of chills
+after being over-heated. I know several
+people who date their almost perfect immunity
+from colds to the use of woollen underclothing,
+who previously had been martyrs to colds and
+coughs, and had been constantly imprisoned
+in the house during quite mild seasons. In
+England the climate (need I say so?) is fickle
+and changeable, and, singular to say, we may
+be, and many people are, apparently wrapped
+up carefully and seasonably, and yet we may
+all err on every hygienic point, in regard to the
+weight and porosity of materials.</p>
+
+<p>So far as I can see in the newest styles, the
+loose-fronted bodices have it all their own
+way. Many of them only fasten at the throat
+and waist, either large buttons or handsome
+clasps being used. These jackets stretch open
+over the front to show a full waistcoat, this
+latter being a scarf long enough to continue
+below the waist and round it at either side, so
+as to form a sort of sash, showing under the
+edge of the bodice and ending under the long
+coat-tails at the back in ends or a bow.</p>
+
+<p>The newest bonnets are still high in the
+front, or, if not high themselves, the trimmings
+are high. The horseshoe crowns which
+were introduced in the summer bid fair to
+become extremely popular, and the stringless
+bonnet will be in vogue as long as possible,
+and I have no doubt many people will wear
+it through the winter, too. Beaver bonnets
+are announced to take the place of kid or felt,
+and I have seen some black beaver crowns
+with open-work jet fronts, which appeared
+incongruous.</p>
+
+<p>Leaves of all bright hues, the bramble and
+its berries, the blackberry, and the virginian-creeper,
+are likely to be in great favour for
+trimmings this autumn. These will be used
+even upon velvet and beaver bonnets.</p>
+
+<p>There is a very strong feeling in many
+quarters in favour of restoring the "princess"
+cut of dress to favour. In a letter from a lady,
+it is very wisely said, in writing to a contemporary,
+"For active exercise, a dress ought to
+be cut all in one&mdash;'princess,' as the milliners
+call it&mdash;and so arranged in the skirt that there
+is no drapery which will catch in things, come
+unstitched, and look untidy; everything wants
+to be taut and trim, like tailor's work. But
+even the ladies' tailors will insist upon making
+a skirt and little jacket-bodice, instead of a
+dress in one piece. It is almost impossible to
+use the arms freely&mdash;to go out in a sailing-boat,
+for instance, and help in its management&mdash;or,
+in fact, to raise the arms high,
+without causing a hiatus between the two
+parts of the garment at the sides of the waist.
+I have noticed this happen so often, even with
+smart tailor-made gowns, the wearer being
+generally blissfully unconscious of the accident,
+that I feel bound to draw attention to it.</p>
+
+<p>"It was curious to note the awful revelations
+made recently by a storm of wind on an elevated
+promenade by the sea. Every steel
+stood out in bold relief even under the most
+<i>bouffante</i> drapery. Upper-skirts broke away
+from the under, and displayed the sorry fact
+that the latter were only shams, formed of
+lining-calico, with patches of good material
+put in here and there, where the over-garment
+was cut open. One neat tailor-gown revealed
+the cotton back to the pretty waistcoat, a
+pretence which is carried out in every suit of
+clothes made for men, but which seemed an
+aggravated offence to art in a well-dressed
+woman. It was comforting to turn from such
+sartorial mistakes to a group of young girls
+sensibly clad in simple gowns, guiltless of
+pretence, of steels, or <i>tournures</i>. Gathered
+bodices and full plain skirts, confined by broad
+sashes, combined the elements of grace and
+utility, and exhibited no foolish attempt to
+distort and pervert nature."</p>
+
+<p>I have given the full extract, as it contains
+much matter for thought for my readers, both
+young and middle-aged. I suppose everyone
+read with interest the celebration of the centenary
+of M. Chevreul, the great French
+chemist, who has been for years a great
+student of colour, and to whom we owe
+many alterations, inventions, and suggestions
+in dyes and colours. Trade has been assisted
+and developed by his researches, and the
+subject of colour harmonies has been placed
+by him in the position and basis of a science.
+When we admire the loveliness of our
+coloured materials, and notice the wonderful
+improvements of late years, we women may
+thank the industry and talent of M. Chevreul.
+I put in a long quotation from him some
+months ago, and it may interest some of my
+readers to hear that M. Chevreul has attained
+his hundredth year as a total abstainer, but
+drank his own health in a glass of champagne,
+tasted for the first time!</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/gop_86_11_23_illus010.png" width="200" height="466" alt="A LADY&#39;S PYJAMA." title="" />
+<span class="caption">A LADY&#39;S PYJAMA.</span>
+</div>
+
+<p>From a recently-published book I gather
+the following ideas, and as they coincide with
+what I am always impressing on my readers
+with reference to tight dresses and stays, I
+quote them gladly, as showing that there are
+other sensible women in the world, a class
+which I hope will every day increase:&mdash;"If
+you lace tightly, nothing can save you from
+acquiring high shoulders, abnormally large
+hips, varicose veins in your legs, and a red
+nose. Surely such penalties, to say nothing
+of heart disease, spinal curvature, and worse,
+are sufficiently dreadful to deter either maids
+or matrons from unduly compressing their
+waists? No adult woman's waist ought to
+measure less in circumference than twenty-four
+inches at the smallest, and even this is permissible
+to slender figures only. The rule of
+beauty is that the waist should be twice the
+size of the throat. Therefore, if the throat
+measure twelve and a half inches, round the
+waist should measure twenty-five. The celebrated
+statue know as the 'Venus de Medici,'
+the acknowledged type of beauty and grace,
+has a waist of twenty-seven inches, the
+height of the figure being only five feet two
+inches."</p>
+
+<p>And, while on this subject, I must mention
+that some new stays, made of elastic material,
+have recently been advertised, which I should
+imagine were comfortable. Dr. Jaeger also
+has an elastic knitted bodice on his list, which
+is in reality a description of stays, and would
+afford sufficient support to a slight figure.</p>
+
+<p>The illustrations to our dress instructions of
+this month show the prevailing characteristics
+of the gowns of the month, and also demonstrate
+how little change there is in them. As
+the majority of the community is still moving
+about at this season, most of the dress thought
+about and worn is suitable for travelling, as well
+as autumn. Now that we no longer think it
+needful to put on all our old clothes and to make
+our appearance grotesque, as was formerly the
+case, we very frequently follow the French and
+American plan, and have a special dress made
+for the tour we are about to undertake, which
+will do for day wear, as well as for journeying
+while we are away; then, furnished with a
+second nice black silk or satin for very best
+occasions, we are sufficiently well clad for
+every purpose. A dust cloak, travelling cloak,
+and short jacket are added, and some wise
+people take their fur capes; in fact, for short
+expeditions of a month or six weeks we do not
+like large trunks nor encumbrances, so we
+curtail all our wants, and are so much the
+happier, having less anxiety and worry. In
+addition to all this, we save our shillings in
+fees, and charges for over-weight, very considerably,
+and, when we are rid of the heavy
+trunks, last, not least, we break no backs.</p>
+
+<p>While I am on this topic, I must mention
+that the late Exhibition (the Healtheries)
+was of great assistance to travellers in showing
+how much can be done to decrease weight
+and bulk in every way, and setting wits to
+work to improve in all directions. Thus we
+have wonderfully improved waterproofed
+cloaks, hygienic boots and shoes; and the
+improvement in trunks and bags is immense,
+in addition to their moderation in price.</p>
+
+<p>The greatest unanimity prevails with regard
+to the small jackets, which seem patronised
+by young girls, as well as married women of
+every age. They are generally loose-fronted,
+but tight-fitting at the back, the fronts being
+lined with coloured silk. Many of them are
+braided, some gold braid being used, and
+many have a flat braided plastron in the front
+to button over and give a double-breasted
+effect. Serge in all hues seems very much
+liked, but the most popular are dark navy-blue
+and cream-white. Short cloaks, with sling-sleeves
+and hoods, are very much worn, also
+short mantelettes, like our paper-pattern for
+last month. These may be made in the
+material of the dress.</p>
+
+<p>This autumn I must again mention the
+numbers of slightly full bodices of the "Garibaldi"
+and "Norfolk jacket" class that this
+season has brought out, to be worn with skirts
+of different materials. The different ladies'
+tailors of renown have taken up this idea, and
+it is probable that we shall see them greatly
+worn during the winter season. Some of
+these have a yoke, and some have a straight
+band on the shoulders, into which they are
+fulled. They are made in flannel, linen, and
+twilled silk, in all colours, striped, spotted,
+and plain, and with them the becoming
+fashion of the full basque has come in.
+Yoked bodices will be a decided winter
+style.</p>
+
+<p>With these bodices there is generally a
+turned-down collar and long cuffs of velvet,
+and the belt should be also of velvet. In
+other cases the belt matches the full bodice,
+and is of moir&eacute; or Petersham ribbon.</p>
+
+<p>The fancy for stripes as well as plaids is
+shown by the dresses in the illustration of the
+autumn fashions. The figure standing in the
+centre of our boating picture at the English
+lakes, shows a blue flannel or serge, made up
+with a striped material. The vest and revers
+show the stripe as well as the underskirt.<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+The back of this dress is shown by one of the
+distant figures. The other wears one of the
+new blouse bodices, which will be the style of
+the winter. In the larger of our illustrations is
+shown the general tendency of the day. The
+cloaks and ulsters are of plaid, and there is but
+little change in the shapes. The girl in the
+sailor's hat shows one of the full white under-vests,
+the jacket being almost of a Breton
+style. The edge is braided, and so is one
+panel at the side of the skirt. The two bonnets,
+one in each picture, show one with
+strings and one without. They are not quite
+so high, and both have the horseshoe crown,
+which, as the last summer novelty, bids fair to
+be adopted for the autumn and winter.</p>
+
+<p>The pattern for this month will, I hope, be
+a surprise, as well as a great comfort, to those
+of my readers who select it, and who wish to
+attain to the greatest amount of comfort and
+hygienic advantages in their underclothing.
+The pattern in question is a combination
+nightgown, or lady's "pyjama," and is a
+novelty which will be found of much value
+and comfort. It consists of five pieces&mdash;front,
+back, lower back, and two sleeve pieces.
+The method of putting together is carefully
+indicated by marks in the pattern, and no
+difficulty will be experienced in the making-up.
+The amount of material required will be
+from 4&frac12; to 5 yards, and calico, flannel, or
+swansdown, or the new cotton flannel, may,
+any of them, be used to make it. For the
+winter season it will be found to supply a
+great increase in warmth, and, to the invalid,
+a great comfort, as it fits closely, will not
+form creases, nor "ruck up," as the ordinary
+nightgown always does, to the discomfort of
+the wearer.</p>
+
+<p>Each of the patterns may be had of "The
+Lady Dressmaker," care of Mr. H. G. Davis,
+73, Ludgate-hill, E.C., price 1s. each. It is
+requested that the addresses be clearly given,
+and that postal notes, crossed so as to be
+eligible only to go through a bank, may be
+sent, as so many losses have occurred through
+the sending of postage stamps. The patterns
+already issued can always be obtained, as
+"The Lady Dressmaker" shows constantly
+in her articles how they can be made use of.</p>
+
+<p>The following is a list of those already
+issued:&mdash;April, braided loose-fronted jacket;
+May, velvet bodice; June, Swiss belt and
+full bodice, with plain sleeves; July, mantle;
+August, Norfolk or pleated jacket; September,
+housemaid's or plain skirt; October,
+combination garment (underlinen); November,
+double-breasted out-of-door jacket; December,
+zouave jacket and bodice; January,
+princess under-dress (under-linen, under-bodice,
+and skirt combined); February, polonaise with
+waterfall back; March, new spring bodice;
+April, divided skirt and Bernhardt mantle
+with sling sleeves; May, Early English bodice
+and yoke bodice for summer dress; June,
+dressing jacket, princess frock, and Normandy
+peasant's cap, for a child of four years; July,
+Princess of Wales' jacket-bodice and waistcoat
+for tailor-made gown; August, bodice
+with guimpe; September, mantle with stole
+ends and hood. October, "pyjama" or nightdress
+combination with full back.</p>
+
+<hr style="width: 65%;" />
+
+<h2><a name="THE_SHEPHERDS_FAIRY" id="THE_SHEPHERDS_FAIRY"></a>THE SHEPHERD'S FAIRY<br />
+<br />
+<span style="font-size: 75%;">A PASTORALE.<br /></span>
+
+<br />
+<span style="font-size: 75%;"><span class="smcap">By DARLEY DALE</span>, Author of "Fair Katherine," etc.</span></h2>
+
+
+<h3>CHAPTER IV.</h3>
+
+<div class="figleft" style="width: 150px;">
+<img src="images/gop_86_11_23_illus011.png" width="150" height="274" alt="M" title="" />
+</div>
+<p>eanwhile,
+Mrs. Shelley
+had washed and
+dressed her own
+three boys, and
+had introduced
+the little
+stranger to the
+two elder,
+Charlie, the
+baby, being already
+on intimate
+terms with his
+foster sister, for whose
+sake he had to submit
+to much less attention
+than had hitherto
+fallen to his share,
+for which reason he
+was unusually cross
+this morning. Willie, the second boy,
+the living image of his father, was barely
+three years old, and too young to pay
+much attention to the baby, or to understand
+that it had arrived in an unusual
+way; but Jack, the eldest boy, quite
+took it in, and stood lost in admiration
+of the wonderful baby with its beautiful
+clothes, so unlike Charlie's, and the
+lovely coral and bells, as his mother
+showed them all to him. Jack was five
+years old, a tall, strong child for his
+age, and very like his mother in face;
+he had her quick temper, too, though
+Mrs. Shelley had hers pretty well under
+control, while little Jack often got into
+trouble by giving way to his. Nothing
+ever escaped Jack's notice; he was
+always all ears and eyes, and he took in
+every detail of the strange baby's
+belongings as intelligently as his mother
+could have done, and, to her joy, for she
+was by no means sure what kind of a
+welcome Jack, who resented the arrival
+of little Charlie, saying, "Mother didn't
+want anyone else to love her when she
+had him," would give to the strange
+baby, he was enchanted with it, and
+was as anxious as Mrs. Shelley herself
+to keep it.</p>
+
+<p>"It is the fairies' baby; they brought
+it, didn't they, mother? We will always,
+always keep it, won't we?"</p>
+
+<p>"I don't quite know yet, Jack; father
+says perhaps we shall have to send it
+away," said Mrs. Shelley.</p>
+
+<p>"It shan't go away. How dare
+father say so? He is a wicked man to
+want to send it away," cried the boy,
+with flashing eyes and crimson cheeks.</p>
+
+<p>"Jack, I am ashamed of you; you
+must not speak of your father in that
+way; if he says it is to go away it must
+go, whether we like it or no."</p>
+
+<p>Jack hung his head and hid his face
+on his mother's shoulder, while she,
+remembering how indignant she had
+been with the shepherd for hinting at
+sending it away the night before,
+stooped and kissed her boy's curly head,
+and Jack raised his head again and
+renewed his attentions to the baby.</p>
+
+<p>"What a pretty little thing it is; see
+how it holds my finger. I think it will
+love me, mother, though it is not my real
+sister. Oh! do make father keep it, will
+you?"</p>
+
+<p>For the first time since Mrs. Shelley
+had had the baby, she now hesitated
+about keeping it; the boy had unconsciously
+struck a wrong chord, and his
+mother, with a prophetic instinct,
+coupled with a quick imagination, for a
+moment saw that it was possible this
+little stranger who, as Jack had already
+grasped, was not his real sister, might,
+in future years, destroy the harmony and
+peace of the home circle. But it was
+only a momentary hesitation; the thought
+flashed across her mind and vanished
+again, almost as quickly as it had come.
+Could she have known how true that
+prophetic instinct was, would she not
+have gone counter to all her own inclinations,
+and disregarded all Jack's
+wishes and prayers, rather than
+have run the risk of introducing strife
+into her peaceful household? As it
+was, the motherly pity she felt for the
+baby was stronger at the moment than
+the foreboding light which had flashed
+across the distant future, and she
+answered hurriedly&mdash;</p>
+
+<p>"I must go and see Mr. Leslie first,
+dear, and hear what he says; do you
+think you could take care of Charlie
+while I am gone with the baby? I shall
+take Willie with me, or he will be getting
+into mischief."</p>
+
+<p>Jack, proud to be of use to his mother,
+professed his ability to look after
+Charlie, privately regretting it was not
+the beautiful strange fairies' baby which
+was to be left under his charge.</p>
+
+<p>"Jack, I can't be back before the
+clock has struck twelve; it is now half-past
+ten, so it will strike twice before I
+come back, do you understand; and
+both the hands will have to be on the
+twelve at the top, do you see? So now,
+if it seems a long time, do not be frightened,
+I shall be back soon after twelve.
+If baby cries, rock the cradle, but don't
+try to take him out; if he sleeps you may
+wash the potatoes for dinner. Now,
+good-bye," and Mrs. Shelley, with the
+infant in her arms and Willie running
+by her side, set off to the Rectory, while
+Jack stood at the door watching her out
+of sight.</p>
+
+<p>The first half-hour passed quickly
+enough. The baby slept, and Jack
+washed the potatoes, and was delighted
+when the clock struck eleven. But the
+next hour was interminably long, and
+little Jack got very tired of rocking
+Charlie, who was awake now, and would<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+scream every time his brother stopped
+rocking. Every few minutes Jack ran
+to the door to see if his mother was
+coming, and then ran back and rocked
+violently at the cradle. At last he
+thought he heard footsteps, and, running
+to look, saw, not his mother, but Dame
+Hursey, making her way towards the
+house.</p>
+
+<p>Now, Jack did not care about Dame
+Hursey's visits even when his mother
+was at home. He was half afraid of the
+witch-like old woman, and to have a
+visit from her while he was alone was
+the last thing he desired, so he came in
+quickly and banged the door, hoping
+she would think they were all out and
+go away, if only he could keep Charlie
+quiet. But Dame Hursey had seen and
+heard the door shut, and so, after knocking
+two or three times without any
+result, she quietly lifted the latch and
+walked in, while Jack, who was kneeling
+by the cradle, looked up, half defiantly,
+half frightened.</p>
+
+<p>"Mother is out; there is no one at
+home but me," said Jack, sharply.</p>
+
+<p>"Oh, is she? Well, I'll sit and rest a
+bit till she comes in. Who have you got
+there in that cradle?"</p>
+
+<p>"Charlie, my new brother," said
+Jack.</p>
+
+<p>"And where is the fairies' baby? Ah!
+you see, I know all about it. I know
+everything; there is no keeping secrets
+from me. That is the shawl it was
+brought in, isn't it, now?" said
+Dame Hursey, rising and examining
+minutely the Indian shawl in which the
+baron had wrapped his daughter, and
+which was lying on a chair.</p>
+
+<p>Jack, more convinced than ever that
+Dame Hursey was a witch, thought
+perhaps she might be able to tell him
+where the fairies had brought the baby
+from if he were civil to her, so he
+answered all her questions and described
+minutely all the baby's belongings.</p>
+
+<p>"Ah! well, it is the Pharisees you
+have to thank for bringing her here.
+Mind you all take care of her, and one
+of these fine days she'll turn into a
+beautiful princess and make you all
+very rich; but if you talk much about
+her the fairies will be angry and take
+her away. You tell your mother I said
+so; I can't wait any longer."</p>
+
+<p>And Dame Hursey, who had been
+prying about the kitchen to see if she
+could find any other belongings of this
+mysterious baby, took her departure,
+much to Jack's joy.</p>
+
+<p>Shortly after she left Mrs. Shelley
+came home, and Jack was so full of
+Dame Hursey's visit and her account of
+the fairies' child that he forgot to ask
+the result of his mother's interview with
+the rector, while Mrs. Shelley, on the
+other hand, was not at all pleased to
+find Dame Hursey had been prying
+about her cottage in her absence, and
+congratulated herself on not having left
+any of the baby's little garments about,
+for she might never have found them
+again if she had.</p>
+
+<p>The next day the rector called and had
+a long talk with the shepherd and his
+wife about the baby, though he could
+throw but little light upon it, except, of
+course, to utterly discredit the ridiculous
+notion that the fairies had brought it.
+That it belonged to rich people was clear
+from its clothes; and to foreigners, from
+the coronet, which was certainly not
+English. More the rector could not say,
+except that its parents evidently wanted
+to get rid of it, and had connived at
+placing it on the shepherd's doorstep.</p>
+
+<p>As to keeping it, that was a point
+entirely for the shepherd and his wife to
+decide. If they chose to send it to the
+workhouse, no one could blame them for
+doing so. He doubted exceedingly anyone
+ever claiming it, but he advised
+Mrs. Shelley to lock up all its clothes
+and things in case of their being needed
+for identification at any future period.
+He also counselled them, if they thought
+of keeping the child, to weigh the matter
+well before they decided, as it would be
+cruel kindness to take it in for a time and
+then tire of it and send it to the union.</p>
+
+<p>But John Shelley was not a man to
+do this, as his wife well knew. If he
+decided to keep the child he would do
+his duty by it, and go to the workhouse
+himself before he suffered that to do so.
+All that day John was very thoughtful,
+but when he came in to supper that
+night he told Mrs. Shelley he had made
+up his mind, and they would keep the
+baby and bring it up as their own
+daughter. Here, however, Mrs. Shelley
+raised an objection.</p>
+
+<p>"We will keep it, by all means, John,
+but we can't bring a delicate little thing
+like this up as we shall our own strong
+boys, who must work for their living.
+This child may be claimed any day by
+its parents, so we must try and have it
+educated like a lady when it gets old
+enough."</p>
+
+<p>John was inclined to dispute the wisdom
+of this; but as its education was a
+thing of the far future, he very wisely
+thought it was useless to discuss it, and
+resolved to let matters shape themselves,
+feeling sure the baby would take its own
+place as it grew older. One matter
+puzzled the good shepherd sorely. He
+was most particular in having his own
+children baptised when they were a
+month old, and they could not tell
+whether this baby had been baptised or
+no, though the rector thought its parents
+were most likely Roman Catholics, in
+which case it would be sure to have been
+christened, as it was two or three months
+old.</p>
+
+<p>The next question was, what was it to
+be called? For, if baptised, they had
+no means of discovering its name. But
+here Jack came to the rescue.</p>
+
+<p>"Let's call her Fairy, mother. Dame
+Hursey says she is a fairy, and it is a
+pretty name."</p>
+
+<p>"So it is, my son; and though she is
+no fairy, but a real child like you, we
+will call her Fairy. It is a very good
+name for her, and when she is old
+enough we will tell her why," said the
+shepherd.</p>
+
+<p>And so Fairy was the little stranger
+called as long as she lived in the shepherd's
+family.</p>
+
+<p class="center">(<i>To be continued.</i>)</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="A_PRINCESS_WHO_LIVED_TWO_LIVES" id="A_PRINCESS_WHO_LIVED_TWO_LIVES"></a>A PRINCESS WHO LIVED TWO LIVES.<br />
+<br />
+<span style="font-size: 75%;">A ROMANCE OF HISTORY.</span></h2>
+
+<div class="figleft" style="width: 100px;">
+<img src="images/gop_86_11_23_illus012.png" width="100" height="281" alt="T" title="" />
+</div>
+<p>here was no lovelier woman in
+all the Russias than Carolina,
+the wife of Alexis, eldest son and
+presumptive heir to Peter the
+Great. Her beauty was not only
+that of the body, for her sweet
+temper and gentle disposition
+made her beloved by all who
+were brought in contact with
+her. The only being who did
+not yield to the charms of her
+surpassing beauty and amiability
+was the one who ought to have
+prized her above all others&mdash;her
+husband. His nature was
+far too coarse and brutal to
+appreciate the treasure that he possessed, and
+the more he saw how universally beloved his
+wife was, the more did she become an object
+of aversion to him. For some time he treated
+her with cold neglect, but by degrees he became
+more brutal in his behaviour, until one
+day, when she offended him in some trifling
+respect, he dealt her an inhuman blow which
+stretched her, apparently lifeless, at his feet.
+Well pleased at being delivered so easily from
+what he only regarded as a hateful burden, he
+gave orders that she should be buried with all
+due pomp, and hastened away to another part
+of the kingdom.</p>
+
+<p>But when her ladies of honour came to raise
+the unhappy princess, they found that she still
+breathed. Under the devoted attention of
+the Countess of Konigsmark, who had always
+been her confidential attendant, she slowly
+won her way back to life, and this while her
+funeral obsequies were being celebrated with
+the greatest pomp throughout the length and
+breadth of Russia, while the principal courts
+of Europe were mourning her premature decease,
+and while her unnatural husband was
+drowning the remembrance of his horrible
+crime in revelries and excesses of all kinds.
+None knew that she was still alive but the
+Countess of Konigsmark and one or two other
+of her most devoted adherents. They kept
+her concealed from everyone; for well they
+knew that Alexis, should he hear of her recovery,
+would take measures to rid himself of her
+effectually. Acting under their advice, the
+princess collected all the valuables she was
+able to lay her hands on, and, in company with
+an old domestic, who assumed the character
+of her father, set out for Paris. Here, however,
+she felt still within reach of Alexis, and
+so, with her supposed father, she set sail for
+Louisiana, where the French had lately formed
+extensive colonies. They settled down in New
+Orleans, and Carolina began to rapidly recover
+her health and beauty.</p>
+
+<p>A young man, by name Moldask, who held
+a Government appointment in New Orleans
+and who had spent many years in Russia<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+thought that he recognised in the beautiful
+stranger the princess who had been the
+brightest star of the Muscovite Court. However,
+he could not believe that the highborn
+lady of whose death he had heard and the
+daughter of the feeble old man who had lately
+arrived from France were the same person,
+wonderful though the resemblance between
+them might be. He kept his ideas secret, but
+made himself so useful and agreeable to the
+strangers, that finally they settled to cast in
+their lot with his, and live under the same roof.
+Before the lapse of many months the news of
+Alexis' death reached New Orleans. Moldask
+noticed the agitation with which his friends
+received it, and told them that their secret
+was his. They did not attempt a denial; so
+he offered to sacrifice his private fortune,
+throw up his position in New Orleans, and
+take Carolina back to Moscow. This offer
+she would hear nothing of. She thanked
+Moldask again and again for his noble generosity,
+but expressed her fixed determination
+not to revisit the scene of all that had been
+most unpleasant in her life. She begged him
+not to betray her secret, and he readily promised
+to keep it inviolate. The truth was
+that he had lost his heart to the widow of
+Czar Peter's son. Respect, however, controlled
+his feelings. He knew how exalted
+was her real station compared to his, and
+resolved to conceal his love.</p>
+
+<p>Time passed on, and one autumn evening a
+pararalytic stroke carried off Carolina's pseudo-father.
+After this it was, of course, impossible
+that she and Moldask should continue to
+inhabit the same house. He came to her on
+the morning after her faithful old friend's
+funeral, and explained that he must seek a
+new abode unless she would so far cast away
+all thoughts of her former station as to consent
+to call him husband. The princess, who
+had long regarded him with feelings warmer
+than those of mere friendship, agreed to link
+her fate with his, and from now began the
+happiest period of her so far troubled life.
+Their union was blessed by the advent of a
+little girl; nothing seemed wanting to render
+her happiness complete.</p>
+
+<p>Years rolled by, and Moldask was attacked
+by a disease which baffled the skill of the New
+Orleans doctors. His wife was determined
+that he should have the best medical advice,
+and so persuaded him to sell all his possessions
+and embark for Paris. Their journey
+was not in vain; the skill of the Parisian physicians
+restored Moldask to good health, and
+he obtained employment in a department of
+the French Government.</p>
+
+<p>One day, as Carolina was walking in the
+public gardens with her little girl, she met the
+son of her faithful friend, the Countess of
+Konigsmark. She recognised him instantly,
+and, fearing that he might know her, tried to
+brush past him with averted head. The
+Marshal, however, was struck with her appearance,
+and, turning round, followed her until
+she sat down beneath some trees. The instant
+that he caught a fair sight of her he recognised
+his former mistress, and quickly approaching,
+bent his knee and carried her hand to his
+lips. She implored him not to divulge her
+secret, but to come with her to her home, and
+hear how she had fared since Alexis had, as
+he thought, killed her. The Marshal consented
+to accompany her; he listened with
+interest to her tale, and when he had heard it to
+the end announced his intention of informing
+the King of France, that her highness might be
+restored to her proper position and honours.
+Carolina, however, was quite determined that
+this should not be. She begged the Marshal
+to keep her secret for one week, as her husband
+had certain negotiations, which would be
+ruined if her identity were disclosed. This he
+consented to do, and Carolina dismissed him,
+with the assurance that on that day week he
+should be definitely informed of her wishes in
+the matter.</p>
+
+<p>On the appointed day the Marshal found
+that the princess and her husband had left
+their home. However, he succeeded in tracing
+them, and told the king of the noble lady
+who was then in his dominions. His Majesty
+entered into negotiations with the Empress
+Maria Theresa, with a view to deciding upon the
+manner in which her august aunt should be
+treated. The upshot of these negotiations was
+a most tender letter from the Empress to
+Carolina, asking her to make the Austrian
+court her home, and promising to load her
+husband and herself with honours and distinctions.
+But the happy wife and mother felt
+that the life she had been leading for the last
+few years was preferable in every way to the
+artificial existence of a court, and refused her
+niece's generous offer. It was renewed again
+and again; but nothing could shake her determination.</p>
+
+<p>For many years she led a life of the utmost
+happiness, and then death deprived her of
+both husband and daughter. Maria Theresa
+renewed her offers; but Carolina preferred to
+pass the rest of her days in solitude. She
+accepted a small pension from the Empress, and
+retired to a small cottage at Vitry, near Paris.
+After a quiet existence here for some few years
+more she passed away, without ever having
+regretted her refusal to rejoin the brilliant
+circle of a court.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VARIETIES" id="VARIETIES"></a>VARIETIES.</h2>
+
+
+<p class="center"><span class="smcap">Curious Fresco.</span></p>
+
+<p>In the Carthusian Monastery of Garignano,
+a few miles from Milan, are some frescoes by
+Daniel Crespi, of Busto, which are said to be
+marvels of art and imagination. One of them
+is grim enough, at any rate, and awful. It
+represents a dead person rising from his bier,
+to announce to all whom it might concern
+that, although they were burying him in the
+abode of holiness, and were now adoring
+him as a saint, he was, as a fact, condemned
+to hell.</p>
+
+<p>Perhaps one of our own famous modern
+divines was thinking of this fresco when he
+declared that one great source of surprise, to
+those who went to heaven, would be to find
+so many there they had not expected to see,
+and to <i>miss</i> so many they had thought to
+meet.</p>
+
+
+<p class="center"><span class="smcap">"No' the day, honest woman!"</span></p>
+
+<p>Dr. John Erskine, a well-known Scottish
+divine, was remarkable for his simplicity of
+manner and gentle temper. He returned so
+often from the pulpit minus his pockethandkerchief
+that Mrs. Erskine at last began to
+suspect that the handkerchiefs were stolen by
+some of the old women who lined the pulpit
+stairs. So both to baulk and detect the
+culprit she sewed a corner of the handkerchief
+to one of the pockets of his coat tails. Half
+way up the pulpit stairs the good doctor felt
+a tug, whereupon he turned round to the old
+woman whose was the guilty hand, to say, with
+great gentleness and simplicity:&mdash;</p>
+
+<p>"No' the day, honest woman, no' the day.
+Mrs. Erskine has sewed it in!"</p>
+
+
+<p class="center"><span class="smcap">A Brave Wife.</span></p>
+
+<p>In 1872 a storm overtook a Boston ship on
+the banks of Newfoundland. The captain&mdash;Captain
+Wilson&mdash;had his shoulder-blade
+broken by the fall of a mast, and the first
+mate and part of the crew were at the same
+time disabled.</p>
+
+<p>No sooner, however, had the captain
+been carried to his cabin than his wife, a
+woman of one-and-twenty, hurried on deck,
+told the men to work with a will, and she
+would take them into port. The wreckage
+was cleared, the pumps manned, and the gale
+was weathered. Then a jury-mast was rigged,
+the ship put before the wind, and in twenty-one
+days she reached St. Thomas. After
+repairing damages there, finding her husband
+still helpless, the indomitable woman navigated
+the ship to Liverpool.</p>
+
+<p>Captain Wilson was never able to resume
+work, and for seven years his brave wife supported
+him and their only child by working as
+clerk in a dry goods store. Then he died, and
+Mrs. Wilson was deservedly appointed to a
+custom-house inspectorship by the American
+Government.</p>
+
+
+<p><span class="smcap">Old Friends.</span>&mdash;The world has few greater
+pleasures than that which two friends enjoy in
+tracing back, at some distant time, those
+transactions and events through which they
+have passed together.&mdash;<i>Dr. Johnson.</i></p>
+
+
+<p><span class="smcap">A Rare Companion.</span>&mdash;She whom you
+can treat with unreserved familiarity, at the
+same time preserving your dignity and her
+respect, is a rare companion, and her acquaintance
+should be cultivated.</p>
+
+
+<p class="center"><span class="smcap">Things of Value.</span></p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">What shines and glitters has its birth<br /></span>
+<span class="i2">But for the present hour alone;<br /></span>
+<span class="i0">The real&mdash;the thing of truth and worth&mdash;<br /></span>
+<span class="i2">To all posterity goes down.<br /></span>
+</div><div class="stanza">
+<span class="i0"><i>&mdash;Goethe.</i><br /></span>
+</div></div>
+
+<p><span class="smcap">Beethoven in Germany.</span>&mdash;When the
+German talks of symphonies he means Beethoven;
+the two names are to him one and
+indivisible; his joy, his pride. As Italy has
+its Naples, France its Revolution, England its
+Navigation, so Germany has its Beethoven
+symphonies. The German forgets in his
+Beethoven that he has no school of painting;
+with Beethoven he imagines that he has again
+won the battles that he lost under Napoleon;
+he even dares to place him on a level with
+Shakespeare.&mdash;<i>Robert Schumann.</i></p>
+
+
+<p><span class="smcap">A New Use for a Dog.</span>&mdash;A farmer's
+daughter in the West of England received a
+hairy poodle dog from a friend in town. The
+unsophisticated damsel wrote back thanking
+her friend for the present, and saying that she
+found it very handy, when tied to a stick, to
+clean windows with.</p>
+
+
+<p><span class="smcap">The Worst of Success.</span>&mdash;She that has
+never known adversity is but half acquainted
+with others or with herself. Constant success
+shows us but one side of the world, for, as it
+surrounds us with friends who will tell us only
+our merits, so it silences those enemies from
+whom alone we can learn our defects.</p>
+
+
+<p><span class="smcap">Rights and Duties.</span>&mdash;There is no right
+without its duties, and no duty without its
+rights.<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2><a name="MERLES_CRUSADE" id="MERLES_CRUSADE"></a>MERLE'S CRUSADE.<br />
+<br />
+<span style="font-size: 75%;"><span class="smcap">By ROSA NOUCHETTE CAREY</span>, Author of "Aunt Diana," "For Lilias," etc.</span></h2>
+
+
+<h3>CHAPTER IV.<br />
+
+<span style="font-size: 75%;">MERLE'S LAST EVENING AT HOME.</span></h3>
+
+<div class="figleft" style="width: 150px;">
+<img src="images/gop_86_11_23_illus014.png" width="150" height="151" alt="&quot;S" title="" />
+</div>
+<p>o it is all settled,
+Merle."</p>
+
+<p>"Yes, Aunt
+Agatha," I returned,
+briskly, for
+she spoke in a
+lugubrious voice,
+and as one sad
+face is enough
+beside the family
+hearth, I assumed
+a tolerably cheerful aspect. If only Aunt
+Agatha's eyes would not look at me so
+tenderly!</p>
+
+<p>"Poor child!" she sighed; and then,
+as I remained silent, she continued in a
+few minutes, "I wish I could reconcile
+myself more to the idea, but I cannot
+help feeling a presentiment that you will
+live to repent this strange step you are
+taking."</p>
+
+<p>I found this speech a little damping,
+but I bore it without flinching. One can
+never set out down some new road without
+a few friendly missiles flying about
+one's ears. "Remember, I told you
+such and such a thing would happen if
+you did not take my advice. I am only
+warning you for your good." Alas!
+that one's dearest friend should be
+transformed into a teasing gad-fly!
+What can one do but go straight across
+the enemy's country when the boats
+are destroyed behind one? I always did
+think that a grand action on Xenophon's
+part.</p>
+
+<p>"You have not given me your opinion
+of my new mistress," was my wicked
+rejoinder.</p>
+
+<p>Aunt Agatha drew herself up at this
+and put on her grandest manner. "You
+need not go out of your way to vex me,
+Merle. I am sufficiently humiliated
+without that."</p>
+
+<p>"Aunt Agatha," I remonstrated; for
+this was too much for my forbearance,
+"do you think I would do anything to
+vex you when we are to part in a few
+days? Oh, you dear, silly woman!" for
+she was actually crying, "I am only
+longing to know what you think of Mrs.
+Morton."</p>
+
+<p>"She is perfectly lovely, Merle," she
+returned, drying her eyes, as I kissed
+and coaxed her. "I very nearly fell in
+love with her myself. I liked the simple
+way in which she sat down and talked
+to me about my old pupils, making herself
+quite at home in our little drawing-room,
+and I was much pleased with her
+manner when she spoke about you; it
+was almost a pity you came into the
+room just then."</p>
+
+<p>"I left you alone for nearly half an
+hour; please to remember that."</p>
+
+<p>"Indeed! it did not seem nearly so
+long. Half an hour! and it passed so
+quickly, too. Well, I must say Mrs.
+Morton is a most interesting woman;
+she is full of intelligence, and yet so
+gentle. She has lost her baby&mdash;did she
+tell you that? only four months ago, and
+her husband does not like her to wear
+mourning. She is a devoted wife, I can
+see that, but I have a notion that you
+will have some difficulty in satisfying
+Mr. Morton; he is very particular and
+hard to please."</p>
+
+<p>"I have found out that for myself; he
+is a man of strong prejudices."</p>
+
+<p>"Well, you must do your best to conciliate
+him; tact goes a long way in
+these cases. Mrs. Morton has evidently
+taken a fancy to you, Merle. She told
+me over again how her baby boy had
+made friends with you at once; she said
+your manner was very frank and winning,
+and though you looked young you
+seemed very staid and self-reliant."</p>
+
+<p>"I wish Uncle Keith had heard that.
+Did she say any more about me, Aunt
+Agatha?"</p>
+
+<p>"No, you interrupted us at that point,
+and the conversation became more
+general; but, my dear, I must scold you
+about one thing: how absurd you were to
+insist on wearing caps. Mrs. Morton was
+quite embarrassed; she said she would
+never have mentioned such a thing."</p>
+
+<p>"But I have set my heart on wearing
+them, Aunt Agatha," I returned, very
+quickly; "you have no idea how nice I
+shall look in a neat bib apron over my
+dark print gown, and a regular cap such
+as hospital nurses wear. I should be quite
+disappointed if I did not carry out that
+part of my programme; the only thing
+that troubles me is the smallness of my
+salary&mdash;I mean wages. Thirty pounds
+a year will never make my fortune."</p>
+
+<p>"You cannot ask more with a good
+conscience, Merle; you have never been
+out before, and have no experience.
+Mrs. Morton said herself that her husband
+had promised to raise it at the end
+of six months if you proved yourself competent;
+it is quite as much as a nursery
+governess's salary."</p>
+
+<p>"Oh, I am not mercenary," I replied,
+hastily, "and I shall save out of thirty
+pounds a year. I must keep a nice
+dress for my home visits and for Sundays,
+though it is dreadful to think that I
+shall not always go to church every
+Sunday until little Joyce is older; that
+will be a sad deprivation."</p>
+
+<p>"Yes, my poor child, but you must
+not speak as though this were the only
+serious drawback; you will find plenty
+of difficulties in your position; even Mrs.
+Morton confessed that."</p>
+
+<p>"The world is full of difficulties," I
+returned, loftily; "there have been
+thorns and briars ever since Adam's
+time. Do you remember your favourite
+fable of the old man and the bundle of
+sticks, Aunt Agatha? I mean to treat my
+difficulties in the same way he managed
+his. I shall break each stick singly."</p>
+
+<p>She smiled approvingly at this, and
+then, as Uncle Keith's knock reached
+her ear, she rose quickly and went out of
+the room.</p>
+
+<p>The moment I was left alone my
+assumed briskness of manner dropped
+into the mental dishabille that we wear
+for our own private use and comfort.
+Those two had always so much to say to
+each other that I was sure of at least
+half an hour's solitude, and in some
+moods self is the finest company. Yes,
+I had destroyed my boats, and now my
+motto must be "Forward!" This afternoon
+I had pledged myself to a new
+service&mdash;a service of self-renunciation
+and patient labour, undertaken&mdash;yes, I
+dare to say it&mdash;for the welfare of the
+large sisterhood of waiting and working
+women. A servant? No, a soldier; for I
+should be one among the vanguard,
+who strive to make a breach in the
+great fortress of conventionality. Not
+that I feared the word service, considering
+what Divine lips had said on that
+subject&mdash;"I am among you as one who
+serveth&mdash;" but I knew how the world
+shrank from such terms.</p>
+
+<p>I have always maintained that half
+the so-called difficulties of life consist
+mainly in our dread of other people's
+opinions; women are especially trammelled
+by this bondage. They breathe
+the atmosphere of their own special
+world, and the chill wind of popular
+opinion blows coldly over them; like the
+sensitive plant, they shiver and wither
+up at a touch. I believe the master
+minds that achieve great things have
+created their own atmosphere, else how
+can they appear so impervious to criticism?
+How can they carry themselves
+so calmly, when their contemporaries are
+sneering round them? We must live
+above ourselves and each other; there is
+no other way of getting rid of the shams
+and disguises of life; and yet how is one
+who has been born in slavery to be absolutely
+true? How is an English gentlewoman
+to shake off the prejudices of
+caste and declare herself free?</p>
+
+<p>Ah, well! this was the enigma I had
+set myself to solve. And now the old
+life&mdash;the protected girl's life&mdash;was receding
+from me; the old guards, the old
+landmarks were to be removed by my
+own hands. Should I live to repent my
+rash act, as Aunt Agatha predicted, or
+should I at some future time, when I
+looked back upon this wintry day, thank
+God, humbly and with tears of gratitude,
+that I had courage given me to see the
+right and do it, "ad finem fidelis,"
+faithful to the last?</p>
+
+<hr style='width: 45%;' />
+
+<p>I found those last few days of home-life
+singularly trying. Indeed, I am not
+sure that I was not distinctly grateful
+when the final evening arrived. When
+one has to perform a painful duty there
+is no use in lingering over it; and when
+one is secretly troubled, a spoken and
+too discursive sympathy only irritates
+our mental membrane. How could Job,
+for example, tolerate the sackcloth and
+ashes, and, worse still, the combative
+eloquence of his friends?<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+<p>Aunt Agatha's pathetic looks and
+pitying words fretted me to the very
+verge of endurance. I wished she
+would have been less mindful of my
+comforts, that she would not have
+insisted on helping me with my sewing,
+and loading me with little surprises in the
+shape of gifts. But for the bitter cold
+that kept me an unwilling prisoner by
+the fireside, I would have escaped into
+my own room to avoid the looks that
+seemed to follow me everywhere.</p>
+
+<p>But I would not yield to my inward
+irritability; I hummed a tune; I even
+sang to myself, as I hemmed my new
+bib aprons, or quilled the neat border for
+my cap. Nay, I became recklessly gay
+the last night, and dressed myself in
+what I termed my nurse's uniform, a
+dark-navy blue cambric, and then went
+down to show myself to Uncle Keith,
+who was reading aloud the paper
+to Aunt Agatha. I could see him
+start as I entered; but Aunt Agatha's
+first words made me blush, and in
+a moment I repented my misplaced
+spirit of fun.</p>
+
+<p>"Why, Merle, how pretty you look!
+Does not the child look almost pretty,
+Ezra, though that cap does hide her nice
+smooth hair? I had no idea that dress
+would be so becoming." But the rest of
+Aunt Agatha's speech was lost upon me,
+for I ran out of the room. Why, they
+seemed actually to believe that I was
+play-acting, that my part was a becoming
+one! Pretty, indeed! And here such
+a strange revulsion of feeling took
+possession of me that I absolutely shed
+a few tears, though none but myself was
+witness to this humiliating fact.</p>
+
+<p>I did not go downstairs for a long
+time after that, and then, to my relief, I
+found Uncle Keith alone; for men are
+less sharp in some matters than women,
+and he would never find out that I had
+been crying, as Aunt Agatha would; but
+I was a little taken aback when he put
+down his paper, and asked, in a kind
+voice, why I had stayed so long in the
+cold, and if I had not finished my packing.</p>
+
+<p>"Oh, yes," I returned, promptly,
+"everything was done, and my trunk
+was only waiting to be strapped down."</p>
+
+<p>"That is right," he said, quite
+heartily, "always be beforehand with
+your duties, Merle; your aunt tells me
+you have made up your mind to leave us
+in the morning. I should have thought
+the afternoon or early evening would
+have been better."</p>
+
+<p>"Oh, no, Uncle Keith," I exclaimed,
+and then, oddly enough, I began to
+laugh, and yet the provoking tears
+would come to my eyes, for a vision of
+sundry school domestics arriving towards
+night with their goods and chattels,
+and the remembrance of their shy faces
+in the morning light seemed to evoke a
+sort of dreary mirth; but to my infinite
+surprise and embarrassment, Uncle
+Keith patted me on the shoulder as
+though I were a child.</p>
+
+<p>"There, there; never mind showing
+a bit of natural feeling that does you
+credit; your aunt is fretting herself to
+death over losing you&mdash;Hir-rumph; and
+I do not mind owning that the house
+will be a trifle dull without you; and, of
+course, a young creature like you must
+feel it, too." And with that he took my
+hands, awkwardly enough, and began
+warming them in his own, for they
+were blue with cold. If Aunt Agatha
+had only seen him doing it, and me,
+with the babyish tears running down my
+face.</p>
+
+<p>"Why, look here," continued Uncle
+Keith, cheerily, with a sort of cricket-like
+chirp, "we are all as down as
+possible, just because you are leaving
+us, and yet you will only be two or three
+miles away, and any day if you want us
+we can be with you. Why, there is no
+difficulty, really; you are trying your
+little experiment, and I will say you are
+a brave girl for venturing on such a
+brave scheme. Well, if it does not
+answer, here is your home, and your
+own corner by the fireside, and an old
+uncle ready to work for you. I can't say
+more than that, Merle."</p>
+
+<p>"Oh, Uncle Keith," I returned, sobbing
+remorsefully, "why are you so good
+to me, when I have always been so ungrateful
+for your kindness?"</p>
+
+<p>"Nay, nay, we will leave bygones
+alone," he answered, a little huskily.
+"I never minded your tandrums, knowing
+there was a good heart at the bottom.
+I only wished I was not such a dry old
+fellow, and that you could have been
+fonder of me. Perhaps you will understand
+me better some day, and&mdash;&mdash;" Here
+he stopped and cleared his throat, and
+said "hir-rumph" once or twice, and
+then I felt a thin crackling bit of paper
+underneath my palm. "It will buy you
+something useful, my dear," he finished,
+getting up in a hurry. A five-pound
+note, and he had lost so much money
+and had to do without so many comforts!
+Who can wonder that I jumped up and
+gave him a penitent hug.</p>
+
+<p>It was long before I slept that night,
+and my first waking thoughts the next
+morning were hardly as pleasant as
+usual. A premonitory symptom of homesickness
+seized me as I glanced round
+my little room in the dim, winter light.
+Aunt Agatha had made it so pretty; but
+here a certain suspicious moisture stole
+under my eyelids, and I gave myself a
+resolute shake, and commenced my
+toilet in a business-like way that chased
+away gloomy thoughts.</p>
+
+<p>Never had the little dining-room
+looked more inviting than when I
+entered it that morning. One of Uncle
+Keith's carefully hoarded logs blazed
+and crackled in the roomy fireplace, a
+delicious aroma of coffee and smoking
+ham pervaded the room. Aunt Agatha,
+in her pretty morning cap, was placing
+a vase of hothouse flowers some old
+pupil had sent her in the centre of the
+table, and the bullfinch was whistling as
+merrily as ever, while old Tom watched
+him, sleepily, from the rug. I was
+rather long warming my hands and
+stroking his sleek fur, for somehow I
+could not bring myself to look or speak
+in quite my ordinary manner; and
+though Uncle Keith did his best to
+enliven us by reading out scraps from
+his newspaper, I am afraid we gave him
+only a partial attention. When Uncle
+Keith had bade me a husky good-bye,
+and had gone to his office, Aunt Agatha
+and I made a grand feint of being busy.
+There was very little to do, really, but I
+considered it incumbent to be in a great
+state of activity. I am afraid to say
+how many times I ran up and down
+stairs for articles that were safely
+deposited at the bottom of my box.
+Aunt Agatha put a stop to it at last by
+taking my hand and putting me forcibly
+in Uncle Keith's big chair.</p>
+
+<p>"Sit there and keep warm, Merle;
+the cab will not be here for another
+half hour; what is the use of our
+pretending that we are not exceedingly
+unhappy? My dear, you are leaving
+us with a sore heart, I can see that,
+and it only makes me love you all the
+better. Yes, indeed, Merle," for I was
+clinging to her now and sobbing softly
+under my breath; "and however things
+may turn out, whether this step be a failure
+or not, I will always say that you are a
+brave girl, who tried to do her duty."</p>
+
+<p>"Are you sure you think that, Aunt
+Agatha?"</p>
+
+<p>Then she smiled to herself a little
+sadly.</p>
+
+<p>"You remind me of the baby Merle
+who was so anxious to help everyone.
+I remember you such a little creature,
+trying to lift the nursery chair, because
+your mother was tired; and how you
+dragged it across the room until you
+were red in the face, and came to me
+rubbing your little fat hands, and looking
+so important. 'The chair hurted
+baby drefful, but it might hurted poor
+mammy worser:' that was what you
+said. I think you would still hurt yourself
+'drefful' if you could help someone
+else."</p>
+
+<p>It was nice to hear this. What can
+be sweeter or less harmful than praise
+from one we love? It was nice to sit
+there with Aunt Agatha's soft hand in
+mine, and be petted. It would be long
+before I should have a cosy time with
+her again. It put fresh heart in me
+somehow; like Jonathan's taste of
+honey, "it lightened my eyes," so that
+when the final good-bye came, I could
+smile as I said it, and carry away an
+impression of Aunt Agatha's smile too,
+as she stood on the steps, with Patience
+behind her, watching until I was out of
+sight. I am afraid I am different to
+most young women of my age&mdash;more
+imaginative, and perhaps a little morbid.
+Many things in everyday life came
+to me in the guise of symbols or signs&mdash;a
+good-bye, for example. A parting
+even for a short time always appears to
+me a faint type of that last solemn parting
+when we bid good-bye to temporal
+things. I suppose kind eyes will watch
+us then, kind hands clasp ours; as we
+start on that long journey they will bid
+God help us, as with failing breath and,
+perhaps, some natural longings for the
+friends we love, we go out into the great
+unknown, waiting until a Diviner Guide
+take us by the hand. "God help you,
+poor soul," we seem to hear them say,
+and perhaps we hear the drip of their
+tears as they say it; but in that other
+room, who can tell how gently those
+human drops will be wiped away, in that
+place where pain and trouble are unknown?</p>
+
+<p class="center">(<i>To be continued.</i>)<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ANSWERS_TO_CORRESPONDENTS" id="ANSWERS_TO_CORRESPONDENTS"></a>ANSWERS TO CORRESPONDENTS.</h2>
+
+<h3>MISCELLANEOUS.</h3>
+
+
+<p><span class="smcap">Imperium et Libertas.</span>&mdash;There is no question of
+etiquette in the matter of the Highland friends of
+the bridegroom appearing at the wedding in their
+national costume. It is only a matter for their own
+decision and their friends' permission.</p>
+
+<p><span class="smcap">V. D. V.</span>&mdash;You were exceedingly wrong in taking
+walks with any man without your parents' permission,
+and you degraded yourself by enlisting the
+aid of a servant to get letters from him unknown to
+them, and so led her to do wrong and to act in an
+untrustworthy way to her master and mistress. You
+ought to tell her that you regret having so done, and
+will do so no more.</p>
+
+<p><span class="smcap">A Devonshire Dumpling</span> says: "I would rather not
+drink vinegar or raw lemon-juice, if you do not mind,
+please." Dear little reader, pray do not feel uneasy
+on that score; nothing is further from our wishes!
+If your health be so good, leave yourself and your
+wholesome fat alone. If out of health, the case is
+otherwise. Dropsical puffing should be prescribed
+for by a doctor.</p>
+
+<p><span class="smcap">Ross-shire Lassie.</span>&mdash;The 5th October, 1869, was a
+Tuesday; the 25th March, 1865, was a Saturday.</p>
+
+<p><span class="smcap">Lily.</span>&mdash;The passage you quote may mean that the
+blessed ones who have attained to perfect purity in
+the kingdom of their Father above were greater than
+the greatest still on earth.</p>
+
+<p><span class="smcap">A Lively Girl</span> is not likely to "get
+too stout." She inquires, "What
+is the best kind of a <i>fianc&eacute;</i> to
+have?" Judging of her suitability
+for assuming the responsibility of
+selecting one, and of leaving her
+mother's sheltering wing, we should
+reply&mdash;a gilt gingerbread man.</p>
+
+<p><span class="smcap">A Meteor.</span>&mdash;The Rosicrucians were
+a mystic brotherhood, made known
+to the outer world in certain books
+published in 1614-15-16. The last
+book, published in 1616, was acknowledged
+by Johann Valentine
+Andre&aelig;, and entitled "The Chymische
+Hochzeit Christiani Rosenkreuz."
+The former works are likewise
+described by him. From these
+we learn that one Christian Rosenkreuz,
+a German noble of the fourteenth
+century, founded a brotherhood
+of seven adepts on his return
+from the East, and that among their
+laws was one that they should each
+heal the sick gratis (or, at least,
+endeavour to do so), should meet
+annually at a certain secret place,
+and adopt the symbol of the <i>Rose
+Crux</i>, or rose springing from a
+cross, the device on Luther's seal.
+In 1622 societies of alchymists at
+The Hague and elsewhere assumed
+this title, and the tenets of the community
+were held by Cabalists,
+Freemasons, and Illuminati, and
+professed also by Cagliostro. It is
+said that a Lodge of Rosicrucians
+now exists in London.</p>
+
+<p><span class="smcap">Tumpy.</span>&mdash;Our answers depend on the
+questions and style of the letters
+addressed to us. You were right in
+your surmise. Your writing is
+legible, but not sufficiently regular.
+If you write us a ridiculous letter
+we promise you a suitable answer.
+We are so sorry for your poor father.
+Could he not subscribe for <i>Punch</i>,
+or procure a few copies of the
+famous "Mrs. Brown" series?</p>
+
+<p><span class="smcap">Highland Mary</span> inquires, "Who was the author of
+the first settler, and where is it?" How can we tell
+"where it is"? There have been "first settlers" in
+every part of the globe. The first part of your letter
+is better written than the concluding portion, and
+gives good promise for a good running hand by-and-by.</p>
+
+<p><span class="smcap">C. Horsell.</span>&mdash;The lines you send us are very faulty;
+in fact, are only badly-rhymed prose; but if it amuses
+you to write such, do not desist, as outlets are useful
+to very young people, and it seems desirable for
+them to give vent to their feelings a little.</p>
+
+<p><span class="smcap">Nolens Volens.</span>&mdash;Many people do not begin "My
+dear So-and-So," nor end with "Yours sincerely,"
+etc., on a postcard, but merely write their address
+in full at the top, and the message signed beneath it,
+with initials only. But you can do as you like in the
+matter; there is no rule. We wonder that, having
+such suspicions of our honesty, you continued to read
+our paper.</p>
+
+<p><span class="smcap">Rousseau</span> and <span class="smcap">Flossy</span>.&mdash;We know of no cure for mere
+nervousness, unless, as sometimes happens, it passes
+into a disease, when a doctor should be consulted.
+Try to forget yourself in the pleasure of adding to
+the enjoyment of others.</p>
+
+<p><span class="smcap">Hope Atheling.</span>&mdash;<i>A.E.I.</i> means "for ever." "I don't
+think" is a common colloquialism used by everyone,
+and is not more incorrect than such expressions
+generally are.</p>
+
+<p><span class="smcap">J. S. F.</span>&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Not even the tenderest heart, and next our own,<br /></span>
+<span class="i0">Knows half the reasons why we smile and sigh,"<br /></span>
+</div></div>
+
+<p>is from Keble's "Christian Year," 24th Sunday after
+Trinity, verse 1.</p>
+
+<p><span class="smcap">Marie.</span>&mdash;The quotation&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"A primrose by a river's brim<br /></span>
+<span class="i0">A yellow primrose was to him,<br /></span>
+<span class="i2">And it was nothing more,"<br /></span>
+</div></div>
+
+<p>is from Wordsworth's poem, "Peter Bell," part i.;
+stanza 12.</p>
+
+<p><span class="smcap">Era.</span>&mdash;The signification of the bee appearing on the
+monument of the Prince Imperial, is that the French
+royal mantle and standard were thickly sown with
+golden bees instead of "Louis flowers" or <i>Fleurs de
+lys</i>. The origin dates back to the time of the early
+Egyptians, who symbolised their kings under this
+emblem, the honey indicating the reward they gave
+to the well-doers, and the sting the punishment
+they inflicted on the evil. More than 300 golden
+bees were found in the tomb of Childeric, <span class="smcap">a.d.</span> 1653.
+Offer your song to some composer. Sometimes they
+are in request; more frequently there are more
+offered than are required. All depends on the fancy
+of the composer. Only two questions are allowed,
+and the answers
+given at the discretion
+of the
+Editor. We regret
+that you have
+been disappointed.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/gop_86_11_23_illus016.png" width="400" height="398" alt="" title="" />
+</div>
+
+<p><span class="smcap">Cissie.</span>&mdash;You cannot
+interfere with
+the laudable work of the rector in building a school-house
+for the use of his parishioners; it is his duty.
+But the parents of the children will have the right
+of choice between this school and your private one.
+Mourning for a parent lasts a year; but you are
+free to wear it longer if you like.</p>
+
+<p><span class="smcap">Winnie E. L.</span>&mdash;You should consult a doctor. We
+cannot usurp his place, though we are always willing
+to give sensible advice on hygienic and sanitary
+matters.</p>
+
+<p><span class="smcap">Polly</span> and <span class="smcap">Others</span>.&mdash;The measurements of a classic
+figure, as given on authority, are: height, 5 feet
+4&frac12; inches; bust, 32 inches; waist, 24 inches;
+9 inches from under the arm to the waist, with long
+arms and neck. The proportions of a larger and
+more stately woman or girl would be: height, 5 feet
+5 or 6 inches; bust, 36 inches; waist 26&frac12; inches;
+hips 35 inches; thick part of arm, 11&frac12; inches;
+wrist, 6&frac12; inches. The hands and feet should not be
+too small. "Polly" will see that no arrangements
+are made by judges of true beauty and its lines for
+waists of 15 or 16 inches. They are simply deformities.</p>
+
+<p><span class="smcap">Buddie.</span>&mdash;The book was published anonymously.</p>
+
+<p><span class="smcap">C. B. Gloucester.</span>&mdash;Easter Day fell on the 25th March,
+in 1546, 1641, 1736, 1886, and will fall next time in 1943.
+Tram, used as a prefix to way and road, is the last
+syllable of the name of their inventor, Mr. Benjamin
+Outram, who in 1800 made improvements in the
+system of railways for common roads, then in use in
+the North of England. The first iron tramroad from
+Croydon to Wandsworth was completed July 24th,
+1801. Mr. Outram was the father of the celebrated
+Indian general, Sir James Outram.</p>
+
+<p><span class="smcap">Wild Hyacinth.</span>&mdash;We know of nothing save to benefit
+your general health. The intense perspiration is
+evidently an effort of nature. Do you take a tepid
+bath every morning, and as much exercise as possible?
+You have doubtless received your book.</p>
+
+<p><span class="smcap">R. H. P.</span>&mdash;We do not think cold and haughty people
+are at all nice, nor do we think they could be happy
+themselves, or make others happy. The Christian
+ideal is neither coldness nor haughtiness, but sympathy
+and love. You must take care of those long
+tails at the end of your words in writing. Better tie
+them up as the Dutch farmers do the tails of their
+cows. They are in writing ugly and useless appendages.</p>
+
+<p><span class="smcap">Nannie B.</span> and <span class="smcap">Fiddlesticks</span> have our best thanks
+for their letters.</p>
+
+<p><span class="smcap">Isis.</span>&mdash;We are much obliged for the account of your
+visit to the Temple, and we regret we can make no
+use of it. You will acquire more ease in writing by
+constant practice.</p>
+
+<p><span class="smcap">Gertrude.</span>&mdash;We think the first year you must take
+what is offered to you in the way of salary.</p>
+
+<p><span class="smcap">A Field Officer's Daughter.</span>&mdash;We
+have perused the two poems,
+and consider that they hold some
+promise of better things, though
+both are faulty in construction and
+rhyme.</p>
+
+<p><span class="smcap">Inconsistency's</span> paper is too much
+like a schoolgirl's composition for
+our pages; but she evidently tries
+to think, which is more than many
+people do.</p>
+
+<p><span class="smcap">Elsie.</span>&mdash;We never heard any more of
+the saying about Brighton, than "a
+country without trees and a sea
+without ships," and we have looked
+for the original authorship in vain.</p>
+
+<p><span class="smcap">Sweet Violets.</span>&mdash;We know of nothing
+but constant rubbing and the
+practice of gymnastics to do your
+shoulders good. You probably have
+some trick of standing crookedly
+that has helped to make it grow out,
+such as standing on one leg, or giving
+down on one side.</p>
+
+<p><span class="smcap">Forever and Ever</span> writes English
+very well, though her writing is
+rather too pointed to suit English
+tastes. But at 16 she has plenty of
+time to alter it if she likes.</p>
+
+<p><span class="smcap">B. H. M. W.</span>&mdash;The lines show much
+good feeling and affection, but no
+poetic talent.</p>
+
+<p><span class="smcap">A Well Wisher.</span>&mdash;Rydal and Loughrigg,
+a township of England, Co.
+Westmoreland, on the Leven, two
+miles N.W. of Ambleside, celebrated
+for its beautiful lake, on the
+banks of which stands Rydal
+Mount, long the residence of the
+poet Wordsworth.</p>
+
+<p><span class="smcap">Madge.</span>&mdash;We think "Madge" must not worry herself,
+as she certainly cannot help people who will not
+allow themselves to be helped, in her way at least of
+assisting them; good advice is generally unpalatable.
+She must look on the best side of the matter, and
+hope that her friend may be happy and comfortable
+in her own way. We doubt that you could have
+prevented the marriage, as your friend is very
+likely tired of the trouble of earning her living, and
+thinks of marriage as a way of escape. You must
+commend both her and her affairs to God, and cease
+worrying yourself.</p>
+
+<p><span class="smcap">Nell.</span>&mdash;Your mother's brother is your uncle, no matter
+whether by the father or the mother. To put the
+case in another way, your grandfather's son is your
+uncle by whatever wife he had, first or fourth. Of
+course you could not marry him. See the "table
+of degrees of affinity" in the Book of Common
+Prayer.</p>
+
+<p><span class="smcap">One of our Girls.</span>&mdash;We think that men not much
+exposed to cold and damp, and night work, such as
+sailors and soldiers, do not need the warmth nor
+stimulant obtained by smoking any more than
+women do. Nevertheless, a single cigar or pipe
+daily would not be injurious to a grown man, though
+much so to a young lad in his teens. Men are so
+careless about cleansing their pipes from that
+poisonous nicotine, that multitudes have found their
+habit of excessive smoking a highly provoking cause
+of cancer in the mouth.</p>
+
+<p><span class="smcap">Hebridean.</span>&mdash;We think some foolish person has been
+worrying you with nonsensical fault-finding. We can
+not see that you were wrong in any way. You were
+with other girls and with your brothers, and that
+should be sufficient protection, whoever you were
+walking with. Do not allow yourself to be teased.</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No.
+356, October 23, 1886., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. ***
+
+***** This file should be named 18395-h.htm or 18395-h.zip *****
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+</body>
+</html>
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@@ -0,0 +1,2419 @@
+The Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. 356,
+October 23, 1886., by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Girl's Own Paper, Vol. VIII: No. 356, October 23, 1886.
+
+Author: Various
+
+Release Date: May 15, 2006 [EBook #18395]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. ***
+
+
+
+
+Produced by Susan Skinner and the Online Distributed
+Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+THE GIRL'S OWN PAPER
+
+VOL. VIII.--NO. 356.
+
+OCTOBER 23, 1886.
+
+PRICE ONE PENNY.
+
+
+
+
+A DREAM OF QUEENS' GARDENS.[1]
+
+A STORY FOR GIRLS.--IN TWO PARTS.
+
+BY DANIEL DORMER. Author of "Out of the Mists."
+
+
+PART II.
+
+A QUEEN'S DREAM.
+
+[Illustration: "LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND."]
+
+Yet the recollection of that book is helping to soften Hazel. There is a
+tender bit of writing at the close of the lecture which can hardly fail
+to reach any woman's heart, unless it be wholly hardened; and Hazel's is
+not a hard heart. So she muses on it, growing gradually calmer and
+happier. After all, she might be of some use in the world if she were to
+try, and if One Divine would be with her.
+
+She stoops down to throw some coal on the fire. She is too much
+exhausted physically to make it up carefully; but with an effort piles
+on large blocks and small indiscriminately, then throws in a handful of
+matches from a box within reach. What strange chaos there seems to be in
+the grate after a little while! One after another the matches go off
+with a phiz and short-lived flare, and each seems to light up a more
+curious scene than the last. From being mere piled-up blocks of coal in
+a grate, they grow to be a half blocked up entrance to some unknown
+place. There is a large shining black portal, half ruined, surrounded
+with _debris_. By degrees Hazel's languid curiosity is excited, and she
+wonders whither it leads. Why should she not explore?... The next match
+which takes fire lights up the slight form leaning far back in the big
+chair, with the soft, golden brown hair half loosened, and the dark,
+shadowed eyes fast closed. And Hazel has passed through the dark
+gateway, and is in a wonderful world.
+
+What a strange black gateway to have led into so fair a garden! Hazel
+pauses at the entrance, her eyes glistening, her breath taken away with
+delight at the beauty of the scene before her. A paradise of fresh green
+shade and exquisite light and colouring. Wide-spreading chestnuts,
+graceful, feathery birches, and a hundred other trees, clothed and robed
+in their tender young leaves, mingle with a glory of pink and white
+spring blossom, which seems to fill the air like a snowstorm in the
+clear, blue sky. The South wind blows and fans Hazel's cheek, and wafts
+delicious breath of flowers and sweet-brier around her. Beneath the
+shower of snowy blossom stretches smooth, green grass, and masses of
+brilliant flowers glow, expanding their petals up towards the sun.
+
+After a while Hazel wanders forward in a dreamy intoxication of delight,
+every moment discovering fresh beauties. She finds a beautiful grotto,
+where are large rocks and cascades and running streams and fountains.
+She enters by a low archway of stone, covered with drooping ferns, and
+there, right before her, is a large clear pool at the foot of a huge
+rock. She flushes with the prettiest of shy pleasure and frank
+admiration at sight of her own reflection.
+
+How beautiful! A girl in a long, white robe, with a sweet, dark-eyed
+face, which she knows to be her own. She is leaning slightly forward,
+and the eyes--so often heavy and weary--are brimming with happiness, the
+lips parted in a smile. Her hair, with its pretty, sunny ripples, is
+unbound, and the wind blows it slightly back from her shoulders. And,
+most wonderful and striking of all, a circlet of pure gold rests upon
+the shapely head, and a second circlet is clasped round the waist. Then
+she is a queen? No doubt of it. And then comes, to the joy of admiration
+of all she has seen, the added joy of certainty that all is her own.
+This is a queen's garden, and she is the happy queen!
+
+More and more dawns gradually upon her. There are those near at hand
+dear to her, to whom she is also dear, whose queen she is. Oh the joy of
+it all! She clasps her hands in ecstasy, and the pretty reflection in
+the pool is more than ever lovely, only she has forgotten it now.
+
+A serious thought must have come into Hazel's mind, for suddenly a
+different expression appears in her eyes; a look of perplexity and shade
+of sorrow. The consciousness in her new life is growing, and, alas! it
+is not unmixed with pain. This garden is not all the world, then? She
+puts her hand to her brow, trying to recall something. Slowly it comes
+back to her in words, noble words, spoken by one whose face is a
+darkness to her. And she listens--
+
+"It is you queens only who can feel the depths of pain, and conceive the
+way to its healing."
+
+Ah! that is enough. She has lost her desire to recall more. She would
+fain turn back to the former delight and forget the existence of pain.
+But the steady voice persists, and will not be quenched.
+
+"Instead of trying to do this, you turn away from it; you shut
+yourselves within your park walls and garden gates; and you are content
+to know that there is beyond them a whole world in wilderness, a world
+of secrets which you dare not penetrate, and of suffering which you dare
+not conceive."
+
+Hazel looks round on the garden. How pleasant it is! Why should she
+leave it? Why should she concern herself with what may lie outside this
+home-kingdom of hers? She tries again to banish the voice, yet she knows
+in her heart, if she would only look for its knowledge, that, outside of
+that little rose-covered wall, the wild grass, to the horizon, is torn
+up by the agony of men, and beat level by the drift of their life-blood.
+
+Yes, it is useless; there is no escaping the truth the voice tells. So
+Hazel yields herself to listen as it goes on.
+
+"I knew you would like that to be true; you would think it a pleasant
+magic if you could flush your flowers into brighter bloom by a kind look
+upon them; nay, more, if your look had the power, not only to cheer, but
+to guard.... This you would think a great thing! And do you not think it
+a greater thing that all this (and how much more than this) you can do
+for fairer flowers than these, flowers that could bless you for having
+blessed them, and will love you for having loved them; flowers that have
+thoughts like yours, and lives like yours, and which, once saved, you
+save for ever? Is this only a little power? Far among the moorlands and
+the rocks, far in the darkness of the terrible streets, these feeble
+florets are lying, with all their fresh leaves torn and their stems
+broken; will you never go down to them, nor set them in order in their
+little fragrant beds, nor fence them, in their trembling, from the
+fierce wind?"
+
+Engrossed with the voice, Hazel has been walking on, little heeding
+whither she goes, when, as its tones die away, a groan startles her. How
+terrible its sound; how incongruous, interrupting the soft harmonious
+chorus of the soaring, singing birds! So painfully near it seemed, too,
+it could but have been a very little distance off outside that gate
+which she sees before her. Her first impulse is to draw back and retire,
+shuddering, far into the garden. But, behold! the gate swings back of
+its own accord, and in the face of that fact, and with the remembrance
+of the words she has heard, she dare not do other than pass through the
+open way.
+
+What a strange, wide world, and how dreary! A great, mad battle is
+raging; the grass, sloping up to the horizon, is scorched with the heat
+of the sun--the sun which only made a pleasant warmth in the shady
+garden. There is the fierce galloping of horses, and wrestling and
+fighting of men. Shouts and groans fill the air and drown the song of
+the birds. There are heaps of dying and wounded. Ah! there is one man
+not a stone's throw from her; his must have been the voice that reached
+her within her gates. How remarkable that she should have heard nothing
+before of all the great din. Another groan, followed by some inaudible
+words, causes Hazel timidly to approach the wounded man. He is evidently
+one of the very poorest of the "common" soldiers; and there is a look in
+his face which speaks the word death with a shudder in the girl's heart.
+A gleam lightens the agony in the man's eyes as he sees the white form
+and gentle face above him. He gazes steadily a moment, as though to make
+sure his vision is not a passing illusion; then Hazel catches the words,
+"Were you sent to me?"
+
+Very quietly she tells him in whose name she comes. Then, with a long,
+struggling sigh of satisfaction, without a shadow of further questioning
+in the dying eyes or voice, he whispers--"Hope even for me in Him, then,
+since He sent you!"
+
+So the low, flickering flame of life, set free, leaps up to its source;
+and the forsaken home rests in unbroken peace.
+
+Saddened, and yet peaceful, too, Hazel turns slowly away from the
+battle-field, and walks on, not noticing whither she goes. Jarring
+sounds recall her, and she finds herself in a narrow valley, surrounded
+by noisy children and brawling women. No one seems conscious of her
+presence. A lot of men are lounging against the wall of a public-house.
+The low building is conspicuous by its being in good repair, while its
+neighbours are all in a shattered condition. The window-frames are
+painted and varnished, and the open entrance discloses a smart interior.
+A few doors beyond this the houses reach the climax of desolate
+disorder. The whole place is tumbling down; the window is broken; the
+battered door is off its hinges, propped up against the wall. A cripple
+girl is sitting on a broken box, turned upside down, immediately outside
+this miserable hovel. Her face is a greater shock to Hazel than any of
+the other wretchedness around. There is a desperation of bitterness in
+that set, white face, with its hollow eyes and cheeks, which is
+absolutely appalling. Hazel had always imagined that suffering must of
+necessity, by its own inherent nature, bring with it a patience which
+would be reflected in a sweet face. Slowly, as she scans those immovable
+features, full of pain, and still more full of dogged rebellion, this
+idea has to be abandoned. Here obviously is a human being in the midst
+of a noisy squalor, whose physical disease and torture is unlightened by
+one softening ray of hope; whose misery is too sullen and dull to rise
+even to the hope of putting an end to itself.
+
+One moment and the deformed girl starts apprehensively. A sob has
+sounded in her ear, and some one, unlike any she has ever seen
+heretofore, stands beside her, taking her hand in mute, unspeakable
+compassion. She cowers back against the wall and drags away her hand;
+Hazel's purity and loveliness raises in her only a shrinking dislike and
+dread of contact.
+
+It is long before the pleading, loving voice gains any hearing; but at
+last, before the two part, some faint expression of intelligent thought
+has dawned on the lame girl's brow; and in her mind a question has been
+raised, "Can it be that there is one who loves me and has need of me?"
+
+The evening sunlight is falling through the birches in the beautiful
+garden; the air is full of fragrance and harmony; the queen is
+returning. Wearily she opens the gate to enter. She is filled with pain,
+for the many sadnesses to which she has drawn near have touched her own
+soul with the shadow of suffering.
+
+Suddenly, in the chequered shade of the trees at the entrance of the
+garden, she stops and turns round, for a bright radiance envelops her.
+And, lo! there stands One, in glorious light--One in whose Divine face
+love is shining. Hazel bows down, her whole soul overwhelmed with
+reverent awe. Then her hand is taken and held with a touch which thrills
+her with exquisite rapture, and a voice in her ears says--
+
+"Come, see with Me My garden."
+
+And the air, which is filled with light, grows buoyant, and, while her
+hand is still clasped by the Divine Guide, she is wafted upwards.
+
+Stretched out below, the hills and vales of the earth are one vast
+garden. All is indistinct at first; expanses of misty colour and tint;
+but by degrees the scene resolves itself into more definite form. The
+whole is intersected and watered with streams, more or less clear and
+pure, which arise and are replenished from a bright vapour, the Spirit
+of Life, which shines, issuing forth from an empty tomb in a rock in the
+East. There are banks of wild violets and primroses, and woods filled
+with anemones and hyacinths--myriads of beautiful flowers, reaching over
+all the world.
+
+Hazel has hardly taken in anything of the wonder of the scene, when her
+attention is attracted by an arch of white mist above the earth, and, as
+it seems, but a few paces from her. Gradually this path of mist grows
+clear as crystal, and the colours glancing in it take shape, and form a
+clear, transparent picture.
+
+A cornfield on a summer evening, filled with blossoms of poppies and
+corn-flowers. A wild storm sweeps over the field; the corn is broken
+down; the flowers are crushed beneath its weight, draggled and withered.
+A poppy, torn up by its roots, is whirled through the air.
+
+A mist sweeps over the crystalline cloud, and where it grows clear again
+the scene is changed to a wild hill-side. Scarlet and blue flowers
+intermingle in the distance; in the foreground lies a single poppy,
+withered and dying. Slowly, beside it a lily grows up; as it grows the
+fading poppy is stirred, touched by its leaves; and the tiny bells
+waving over it inspire new life and vigour, till at length, grown whole
+and fresh, it is loosened from the brown uptorn roots, and floats
+upwards, to bloom more beautiful in Paradise.
+
+Again the mist passes over the light picture and changes it. A woodland
+scene is painted there now. Amid the fern and moss and twigs under the
+trees, wild flowers are blowing. A pathway intersects the little wood,
+and across it shadows of the trees fall, with sunlight between. In the
+foremost patch of sunshine, at the edge of the path, is a sprinkling of
+anemone leaves. And there amongst them a delicate blossom, half crushed
+by the superincumbent weight of moss, the fallen leaves of last year,
+and tiny, lichen-covered twigs. The white, transparent petals are soiled
+and deformed, thrust down to the earth. As Hazel looks, regretting that
+she has not the power to stretch forth her hand and clear away the
+destructive weight, the leaves and twigs tremble, and are uplifted, and
+fall away from the slender plant, for close beside it a hardy little
+fern frond slowly uncurls itself and arises. The frail blossom stirs
+slightly, released from the overwhelming pressure; but has no strength
+to do more. Oh, for water to revive it! And, lo! from the fair green
+fern drops of dew embosomed there are shed and scattered over the
+downcast head. They are drunk in, and by degrees the drooping cup is
+raised to the friendly fern. And then, the straight young frond, itself
+ever growing, waves aside in a natural, graceful sweep, and allows the
+sunshine in all its strong radiance and reviving force to fall full on
+the flower. And the half-closed bell joyously expanding, grows white and
+strong and beautiful.
+
+And so the crystal pictures change and change, till Hazel's every
+helpful act has been set forth. Then, as the last fades, and the arch of
+storied light itself dissolves and melts, with one all-absorbing passion
+of eternal devotion flooding her whole being, Hazel turns to Him who has
+kept her beside Him throughout, her hand retained in His. For one moment
+she beholds Him, the Unutterable One; and in His Sacred Face she reads,
+amid ineffable love and infinite majesty, a look of gratitude. And once
+more the Divine accents fall on her ear, saying--
+
+"'Inasmuch as thou didst it unto one of these My brethren, even these
+least, thou didst it unto Me.'
+
+"Let not those, the queens of the earth, to whom I have given the
+priceless gifts of life and leisure, hold either lightly. Life, with its
+sorrows and its joys, is but the education time fitting them to live for
+ever with Me. The leisure I have bestowed may be used for Me, in doing
+work in My garden--work which I have prepared for them to do, and which
+I long to see done. Let them see to it that they waste not the
+opportunity in fretful discontent and idleness--'And whosoever shall
+give to drink unto one of these little ones, a cup of cold water only,
+in the name of a disciple, verily I say unto you, she shall in no wise
+lose her reward.'"
+
+       *       *       *       *       *
+
+Hazel awoke. The moon was streaming in through the window. The grate was
+filled with shining blocks of coal, and a few half-burnt matches. Aching
+all over, and shivering with cold, she closed her eyes once more, and a
+period of insensibility followed.
+
+Many days and nights of feverish illness ensued--days and nights in
+which Hazel had much to suffer, and was only from time to time
+conscious of the loving, unceasing care which watched over her. In those
+intervals when her mind was not dazed and confused, she saw a face, old
+and plain and wrinkled, which was to her as the face of an angel, for
+Miss Bright tended and watched her with all the self-sacrifice of a
+noble, true woman.
+
+At length, after a weary, weary time of pain, Hazel fell asleep once
+more. Her dream came back to her, for she thought she was resting in the
+warm sunshine on a bed of lilies in the same beautiful garden. And when
+she opened her eyes she found her room was really bright and warm with a
+fire and sunshine, and fresh and sweet with the fragrance of lilies of
+the valley, a large bunch of them standing beside her, and more lying on
+the white coverlid of her bed. Her eyes filled and her heart swelled
+with gratitude. Softly she whispered, as though she spoke to someone
+close beside her, "Dear Lord, I am so thankful to Thee for making me
+better. I so longed to live a little while more to do some work for Thee
+in Thy garden. I bless Thee so!"
+
+The door opened, and Brightie came in. The brave old woman broke down as
+she clasped Hazel in her joy at the improvement in her. The two cried
+together for a little while; there was so very much to be glad about
+that the gladness was too great for self-control.
+
+A few days later, a girl with a white but radiantly happy face is
+resting in a cane armchair, her feet supported by a footstool, in the
+garden of a pretty country house at Fridorf. The sunshine is hot, but
+she is shaded from it by a trellis work of young-leaved creepers
+overhead. Lilacs and laburnum trees bloom abundantly around. The lawn
+before her is smooth and green, and beyond is the sea.
+
+"How wonderful God's love is!" the girl says, presently, reaching out
+her hand to an old woman with a peaceful face who shortly joins her, and
+who clasps and retains the hand with an answering look more eloquent
+than speech.
+
+THE END
+
+FOOTNOTE:
+
+[1] Sesame and Lilies. By John Ruskin LL.D. 1. Of Kings' Treasuries. 2.
+Of Queens' Gardens.
+
+
+
+
+HINTS ON MODELLING IN CLAY.
+
+BY FRED MILLER.
+
+
+Modelling in clay is a very agreeable change in one's artistic
+occupation, for it is quite unlike other branches of art, and calls into
+play a different set of faculties for its performance. It needs a
+greater amount of "hand cunning" than does painting, and is in that
+sense akin to wood carving, to which delightful craft it is, indeed,
+almost indispensable, and, I might add, part of the necessary training
+one has to undergo to become a carver in wood. And as on another
+occasion I am going to write a few hints on wood carving, the present
+article may be taken as a prelude to the one on that subject.
+
+The materials necessary to try one's hand at modelling are very
+inexpensive. The clay is the most essential thing, and this can be
+purchased at one or two artists' colourmen, or, better still, at any
+pottery. I have had clay sent me from the potteries in Staffordshire,
+and those of my readers who live near a pottery would have no difficulty
+in supplying themselves with clay. The clay used for flower-pots does
+for coarse work, but is not sufficiently carefully prepared for fine
+work. It burns a rich red colour, and is, of course, terra-cotta. The
+clay used in making the terra-cotta plaques and vases is what you
+require for fine work. There are two or three firms who supply London
+shops with terra-cotta vases, etc., and I have no doubt that clay might
+be purchased of them.
+
+The clay used in making tiles does for modelling, but perhaps the best
+is that which burns a cream colour. It is a dull grey colour, rather
+dark before it is fired, and it should be noticed that it is difficult
+to tell the colour clay will burn by its appearance when unbaked. Thus a
+grey clay may burn a rich red or pale cream. The qualities necessary in
+clay for modelling are plasticity, which enables it to be worked without
+falling to pieces, and fineness--a perfect freedom from grit, small
+stones, and other impurities. It should be quite soft to the touch, and
+when pressed and kneaded should feel smooth and silky. Old clay is more
+plastic as well as being tougher than new, and in potteries clay is
+often kept a considerable time before it is used. The clay should not be
+allowed to dry when it is not in use, and to prevent this it must be
+wrapped in wet flannel. Should it dry quite hard, there is nothing to do
+but to put it into a vessel and pour water on it, allowing it to stand
+until the clay becomes soft. Some of the moisture must then be allowed
+to evaporate, otherwise it is too soft for use. This is another point to
+be observed in clay used for modelling. It must not be too damp. If it
+sticks to the fingers it is too wet, and if it resists the pressure of
+the fingers, too dry. The state between stickiness and stubbornness is
+what is wanted.
+
+Now as to the tools. Wooden modelling tools can be purchased at some
+artists' colourmen, and also at some tool shops. You must choose those
+tools you think look handiest. A little practice will soon show you
+which are the best to have.
+
+Each modeller has a predilection for certain tools, and it will take my
+readers very little time to find out which tools give the best results.
+I often shape those I buy myself to fit them for particular work. In
+addition to these wooden tools, it is necessary to have a fine steel one
+to work the clay when it is dry. Modelling tools are very inexpensive.
+You really require no other tools but these wooden ones and a steel one,
+but it is necessary to have a few boards to work your clay upon. They
+should be strong, with battens at the back to prevent them warping,
+which they are liable to do owing to the dampness of the clay.
+
+We will start our work with a very simple design, for our aim should be
+to overcome the difficulties by degrees. The design I have chosen (fig.
+1) was modelled as a tile about eight inches square, and the first thing
+to be done is to roll out a piece of clay about half an inch thick, and
+fairly flat all over. It is as well to work the clay up in one's hands,
+damping it occasionally if too dry. If clay be allowed to remain
+untouched for any length of time it gets set, and does not work easily;
+therefore, thoroughly work it up with the hands. It may be made into a
+ball, and can be rolled out flat with a thick ruler or rolling pin. The
+clay has a tendency to curl up round the rolling pin, and care must be
+taken to prevent this. If the rolling pin be covered with leather, this
+is to a great extent prevented. The design can be made on tracing paper,
+and by marking over the tracing paper placed over the clay with a hard
+point, an impression sufficiently distinct will be left to guide one in
+doing the actual modelling. The first thing is to build up the oranges,
+which can be done by sticking little pellets of clay on to the slab,
+pressing them down with the fingers, and rounding the oranges roughly
+into shape.
+
+[Illustration: FIG. 1.--A TILE.
+
+_Our First Experiment._]
+
+Don't be too particular about this part of the work; be content to get
+some approximation to the shape, leaving the finishing to be done with
+the tools. Build up the stem in like manner, or you might roll out a
+thin piece of clay and stick this on to the slab. In sticking clay on to
+clay, it is always advisable to wet both the clay and the slab to
+ensure thorough adhesion, and in working the design into shape it is
+even a good plan to dip the fingers into water, as the extra moisture
+makes it easier to press the clay into the requisite shape.
+
+The leaves can be modelled separately, and stuck on to the clay slab one
+by one. Do as much of the work as you can with the fingers. In
+modelling, the fingers are the best tools, after all. They do their work
+so much more expeditiously and effectively than the so-called "tools"
+do, and, depend upon it, the more the preliminary work is done with the
+fingers the better, as the use of the fingers tends towards boldness of
+design and vigour of execution. People, in starting a new employment,
+are very apt to be finiking owing to timidity, and this must be overcome
+from the outset--this tendency to pettiness--and in the case of
+modelling, the best way to overcome it is to do all the preliminary work
+with the fingers. Build up the design boldly and freely, studying only
+the principal masses and most important forms. When this is
+accomplished, let the clay stand a little time uncovered, as the use of
+water will have made it very sticky, and the modelling tools cannot be
+used as efficiently when the clay is in this state as when it is drier.
+
+The modelling tools will enable you to begin to finish up the design,
+for at present the design exists only in its rough state. Pick the clay
+out of the interstices of the design, and begin to refine the different
+forms by putting in the more delicate curves. It very much depends upon
+the nature of the design as to how far in the direction of finish you
+carry the work, but as your modelled tile will not be exposed to rough
+usage, you may under-cut it, as modellers say. Under-cutting is the
+taking of the clay away from the back of the various forms. In the
+leaves, for instance, instead of leaving a solid mass of clay at the
+back, this should be carefully cut away underneath, or under-cut, so as
+to give lightness and delicacy to the work. Of course, it is necessary
+to leave some clay here and there to attach the various forms to the
+slab. The under-cutting may be carried to such a pitch as to make the
+design look weak, and as though it would fall to pieces with a puff of
+wind. When this is the case, I reckon the finishing has been carried too
+far. Clay should always look strong enough to hold together, and I may
+say I never thought much of that fancy china one sees which is covered
+with flowers and foliage modelled as delicately as though wrought in
+some precious metal. Sooner or later the edges get chipped off, and the
+charm of such work is immediately gone. Of course we know that an
+accident may destroy work that is not wrought in this delicate manner,
+but modelled clay should be delicate without being weak--it should at
+least look as though it could hold its own with fair usage.
+
+Get as much of the work done as possible while the clay is plastic, and
+with a little practice a modelled design can be finished entirely while
+the clay is damp. In fact, the work is better when wrought from the
+plastic clay than when finished up with steel tools after the clay is
+dry. There is a certain crispness about the modelling when wrought from
+plastic clay, which is often wanting in work tooled up when the clay is
+hard. To my thinking, the best work is always that which looks as though
+it had been thrown off in a happy moment, and which has a certain number
+of the tool marks showing, as though the worker were not ashamed to let
+his craftsmanship be seen. Work which has been touch and retouched, and
+rubbed down and smoothed until all life, vigour, and crispness have
+departed from it, looks what it is, amateurish (in the worse sense) and
+weak.
+
+I have had many opportunities of seeing amateurs work during the years I
+have been teaching, and I have noticed that they have a mistaken notion
+of what finish really is. It certainly does not consist in smoothing the
+work until it has the texture of a wax doll, and I have often noticed
+that work is often wholly spoilt in the so-called finishing.
+
+In the subject I am dealing with--modelling in clay--this is
+particularly the case, and, reader, I pray you avoid it. I would sooner
+you leave the work rough, with all the marks of the tools showing, so
+that you get vigour and crispness in your work, than that you should in
+your endeavour to efface the marks of the tools make your work tame and
+effeminate.
+
+[Illustration: FIG. 2.--A PLAQUE.]
+
+In working up the leaves, don't attempt to put many veins in them.
+Hardly do more than indicate the centre vein. Nothing looks worse than
+to see the various forms covered with a network of minute markings. You
+will find, if you try and put in the veins in your modelled tile, your
+leaves will not look as though they were veined, but as though some
+stiff-legged insect had crawled over the damp clay, and had left its
+trail behind it. In putting in the stamens in flowers, you will have to
+have recourse to an expedient, for it is evident that you cannot copy
+every individual stamen in clay any more than you can make your clay
+petals as thin and delicate as nature. You must translate the effect of
+nature into clay, and in the case of the stamens you will find it a good
+plan to build up the centre of the flower, and then press into it a
+pointed stick, repeating the operation until the whole of the centre is
+perforated, as it were, like a grater.
+
+In order to make a contrast between the design and the background, you
+can dot or line over the slab upon which the design is lying, so as to
+make the surface rough in texture. When the clay is quite dry, which
+will take some week or more to effect, you can put any further work
+into the design with the steel tool, which must be used to scrape the
+clay; for if you exert any pressure upon the dry clay it very soon
+chips, and it is almost impossible to repair such damage, and for this
+reason: that if you stick on a piece of wet clay to the dry clay, the
+moisture of the wet clay is soon absorbed by the dry, and the piece
+stuck on immediately falls off. The only chance is to keep damping the
+part damaged until the clay all round gets quite moist again, and you
+must then model another piece on to the broken part. Dry your work very
+slowly at first, to prevent it cracking or warping, and when it seems
+quite hard put it into a warmer place, for, though clay may appear hard
+on the surface, there is sure to be a good deal of moisture inside,
+especially if the clay be thick, and should it be put into a kiln before
+the moisture is entirely evaporated, the modelled clay will fly into
+minute fragments, and cause incalculable damage to other work in the
+kiln. I recommend my readers to put their work into a hot oven two or
+three times after it has been drying for two or three weeks, so as to
+insure the clay being quite hard. I lost several works through firing
+them before they were dry enough.[2]
+
+The heat that china is put to fix the colours is not sufficient for
+baking clay, and it must be sent to some place where underglaze pottery
+is fired. This first firing turns the clay into "biscuit," and if any
+painting is to be done on it, now is the time to do it. Underglaze or
+Barbotine colours should be used, and they should be put on in thin
+washes. The whole work must then be glazed and fired. But I shall not
+touch further on this part of the subject here, for I must say something
+about modelled decoration applied to vases and plaques.
+
+The plaque or vase to receive modelled decoration must be of the same
+degree of dampness, or nearly the same degree of dampness, as the clay
+used in modelling, for reasons already stated. You cannot put modelled
+decoration on to clay that is dry, or ware that has been fired. To make
+a plaque, it is almost necessary to have a plaster mould. You might make
+this for yourself by buying a china plaque the shape and size you
+require, and filling this plaque with plaster-of-Paris, being careful to
+let the plaster come to edge of plaque all round. When the plaster is
+dry, trim the edge round, and take it out of plaque. You must now roll
+out a flat sheet of clay sufficiently large to cover this plaster mould,
+and, by pressing the clay evenly all over the mould, and trimming round
+the edges with a knife, you will get a clay plaque sufficiently good to
+answer your purpose. Don't attempt to remove the clay immediately from
+the plaster, but let it remain on a few hours, to enable the clay to
+set. The surface of this plaque may be kept moist by keeping a damp
+flannel over it. When the modelling has been started, the damp cloth
+must not press upon the modelled portions, but be supported on a wicker
+frame.
+
+It is always better to model direct from nature--and for this reason. By
+taking a leaf and pressing it into a piece of clay, and marking it round
+with a darning-needle, you get the exact shape of the leaf, and by
+pulling off the leaf you can bend the clay impression into any form you
+like, and put it upon your clay plaque or vase, pressing it into the
+curve you wish it to take. A little very wet clay should be put on back
+of leaf, to ensure it sticking to plaque. I have taken as my
+illustration (fig. 2) the garden poppy, and if I were modelling it
+direct from nature, I should first of all roll out a strip of clay for
+the stem, and put this on the plaque so that it makes a graceful curve.
+Strip off the leaves one by one, and take impressions in clay, and then
+fasten them to plaque, following the natural growth, and yet arranging
+them so that the leaves fall into their places agreeably. The back
+leaves, instead of being modelled, might be just marked in outline on
+the plaque itself. This will give depth to the design. The leaves should
+not be put on the plaque flatly, but should be bent and twisted as is
+necessary to suggest the growth of nature. The flower will present the
+greatest difficulty, as the serrated edges of the petals must be
+carefully done.
+
+[Illustration: FIG. 3.--A VASE.]
+
+In the case of flowers like chrysanthemums, it is necessary to build up
+the most prominent flower solidly in clay, putting on the outer petals
+separately. The back flower can have the near petals modelled, while the
+distant ones can be just indicated on plaque with incised lines. Don't
+attempt to copy every petal in clay, which is an impossibility, but try
+and get the general effect of the flower in your modelling. Take the
+prominent petals first, and put them on in their proper positions, and
+the less important petals can then be filled in in the intervening
+spaces. This is the plan to adopt in all intricate work. Put down your
+principal forms first of all, and you will have little difficulty in
+getting in the less important ones, for the principal forms act as
+measuring points to the rest of the work, and enable you to preserve
+that proportion between the various parts of the design which is
+essential in all good designs. It is necessary in modelling to simplify
+nature somewhat, for we cannot imitate nature in clay. What we have to
+do is to seize upon the principal points, the curves of the stems, the
+position, form, and characteristics of the flowers and leaves, and put
+them down intelligently and in as telling a manner as possible. Let the
+work dry carefully before having it fired, and you can either finish it
+up in colours, and have it glazed, or let it remain as it is. I often
+used to use my Barbotine colours (see articles on "Barbotine Painting,"
+in Nos. 440 and 584, vol. iv., of the G.O.P.) for colouring modelled
+work and glazed it with my soft glaze. I have also sent some work to the
+potteries, and had a coloured glaze put over the whole work. I may here
+say that much may be learnt by studying good modelled work, and even
+copying some stone or wood carving in clay. The pottery of Della Robbia
+and Palissy should be studied whenever the student has the opportunity
+of so doing.
+
+I need not say much as to modelled work or vases. You must have some
+shapes sent up from the potteries in the "green" state, for it is almost
+impossible for amateurs to "throw" their own vases on a wheel. Space
+forbids me to describe the potter's wheel, but visitors to the Health
+Exhibition two years ago had the opportunity of seeing a potter at work,
+which is much better than reading about one. Those adventurous spirits
+who wish to try "throwing" vases, should get a small wheel from the
+potteries (it will cost, including carriage, about L8), and have a few
+lessons from a practical potter. In the meantime, get some firm to
+procure for you a few unbaked vases, and when you receive them it will
+be necessary to wrap them up in damp flannel for a day or two, so that
+the modelled work will stick on the vase. Let the shape of the vases be
+very plain and simple, with a good broad surface to receive the modelled
+decoration. I have chosen as the illustration (fig. 3) the blackberry,
+as it is a very ornamental plant and one familiar to all readers. Throw
+on your stalk first of all, letting it wrap round the vase, and so place
+it that the leaves, flowers, and fruit can spring from it so as to be
+seen to the best advantage. The stalks might be placed in such a way as
+to form handles. Get a certain quaintness into the modelling, and don't
+be too intent upon imitating nature, for, do what you will, you will
+find it impossible to accomplish this. Therefore, be content to decorate
+your vase with a graceful spray of bramble, with all essential
+characteristics of the plant indicated, and the general "swing" of the
+plant expressed in your work. Model each part separately, either by
+pressing the leaves into clay and marking them round, or by modelling
+pure and simple, and then fasten the various parts on to the vase with
+diluted clay. Don't let any part of the work stand out too prominently;
+for not only will the shape of the vase be destroyed, but there is
+always much more liability to damage if the design be very prominent
+than when it just lies, as it were, closely to the surface of the vase.
+And yet it is not necessary to put everything perfectly flat on the
+vase. The stems, for instance, can be raised in places, so that there is
+a space between the stem and vase; and so with leaves, flowers, and
+other details.
+
+It will be seen that I make the stems form an ornamental rim round the
+vase and also round the neck. Dry the vase very slowly, and in sending
+it to be fired, wrap plenty of cotton wool around it so that no pressure
+can be exerted upon any portion of the modelling. This applies with
+equal force to all modelled work. Red terra-cotta vases decorated with
+modelling, and merely baked, are most effective. Terra-cotta vases
+should not be too small; the larger they are the more effective is
+appearance in a room. I have some more than two feet high, and when
+filled with dried rushes, etc., they fill up a corner charmingly.
+
+As a general rule let your modelled work be drawn to a natural size, and
+let it be rather over than under the natural size, for if modelled work
+is smaller than nature, the effect is apt to be petty and insignificant.
+Birds and insects can often be introduced with advantage.
+
+I have recently been modelling some large works, using clay employed in
+making drain tiles, and having them fired in an ordinary brick kiln. In
+fact, I started some of my work with large size drain tiles, which I
+obtained when they were quite wet, and by pulling up the top and
+spreading it out a little, and putting a slab of clay on the bottom, I
+obtained cylindrical vases, upon which I modelled some decoration; but
+as the subject is one of peculiar interest, and is somewhat new to my
+readers, I must just reserve a few remarks upon this subject for another
+occasion, when I will give sketches of some of the vases I have recently
+been modelling. This work is within the reach of everyone, especially my
+country readers, for there are few villages of any size that have not a
+brick kiln in their vicinity, and for large work, such as ornamental
+flower-pots, vases for holding bulrushes, and garden vases, this is most
+admirably adapted.
+
+FOOTNOTE:
+
+[2] As will be seen, the tile design, fig. 1, is what is termed a "bas
+relief," _i.e._, the forms in many cases are only just relieved from the
+ground, and only here and there are any of the forms in entire relief.
+
+[Illustration]
+
+
+
+
+LOVE ON, LOVE EVER.
+
+BY RUTH LAMB.
+
+"Love not, love not, ye hapless sons of earth."
+
+
+    How world-worn must have been the weary heart
+    When this sad strain belied its noblest part!
+    What! Bid us cease to love! Why life were pain
+    If this best attribute were given in vain.
+
+    Cease not to love. O, wherefore shouldst thou scorn
+    The flowers thy path beside, to cull the thorn?
+    Or heed the man who, all unblest with sight,
+    Counsels his fellow-man to shun the light?
+
+    Gazing around, 'tis ever hard to trace
+    The Maker's image in the Creature's face.
+    Seek it not there. That image wouldst thou prove,
+    Know the Divine gleams through our works of love.
+
+    If cruel Death a dear one rend away,
+    Let thy love follow; do not with the clay
+    Bury thy heart. Soar higher. Wherefore bow?
+    Yesterday's mortal is immortal now.
+
+    If thy life's labour meet with scant return,
+    Thou who hast wrought it should'st be last to mourn.
+    Nay more, rejoice. Each unpaid debt of love
+    Is so much treasure garnered up above.
+
+    Let cold ingratitude bring no dismay,
+    But rather aid thee on thy heavenward way.
+    Work on, love on, aye to increase the debt;
+    Thy God is not unrighteous to forget.
+
+
+
+
+DRESS: IN SEASON AND IN REASON.
+
+BY A LADY DRESSMAKER.
+
+
+The extreme warmth of September has naturally postponed ideas of winter,
+and our preparations are generally very backward. In fact, at the end of
+September many people would have said that they knew nothing whatever
+about new things, and that they did not want them either, and the secret
+of this indifference would have been attributable to the weather. It is
+to be hoped that we shall have a seasonable winter, less cold and
+disagreeable than the last.
+
+During my visit to Paris I found but little to chronicle in the way of
+winter novelties. The chief changes seemed to be in materials and their
+designs. Checks are in high favour, and it is said they will supersede
+stripes; and last year, when I was there at this season, they said much
+the same thing, but this year they seemed more determined to vote
+stripes old-fashioned. To tell the truth, I think the Parisians, and the
+women in France generally, are great admirers of plaids, and do not find
+stripes becoming, simply because they are usually very short and stout.
+Englishwomen, who are tall and stout, like them because they decrease
+their apparent size, and give an effect of length while decreasing
+breadth. On tall people plaids have a bad effect.
+
+[Illustration: AUTUMN CLOAKS, ULSTERS, AND GOWNS.]
+
+Rough-faced materials constitute the majority of those prepared, and
+plain stuffs are still united with plaided and striped ones in the same
+dress; but this is not an absolute rule this year, for some dresses are
+entirely of either plaids or stripes, or else are of plain material
+only. Many of the materials are plain, with a bordering at one edge of
+plaid. For instance, a grey of rough-faced stuff had a bordering of a
+large check in lines of a paler grey, a little relief being given by
+pale lines of a clear Naples-yellow. The effect was quiet and subdued by
+the roughness of the surface of the cloth. With this gown the underskirt
+was made of the plaid material, quite plain, and the overskirt of the
+bordered part was draped above it in simple straight long folds, the
+plaid part being at the lower edge of the overskirt. The bodice was of
+the plain, and it had a plastron, or waistcoat front, of the plaid. The
+buttons (as are many in use this year) are of smoked pearl, and are very
+small for the fronts of gowns and larger for the jacket-bodices.
+Bretelles of velvet are used as trimmings to the bodices of these rough
+woollens, and the collars and cuffs are almost invariably of the same
+material, which seems likely to retain its popularity through the
+winter. The velvet collars are both useful and becoming, and, in
+addition, they save white trimmings at the neck. We rather rejoice in
+our emancipation from that bondage, and I hear many people say they will
+never resume it again, now they have once found that they can look well
+without the once inevitable white collar or frill. The tendency in every
+woman's mind who is possessed of ordinary good sense is to simplify
+everything connected with clothes, and I feel sure we shall all be
+healthier and happier when we have banished many things from our
+wardrobes which we now think absolutely needful.
+
+"Dr. Jaeger's sanitary woollen clothing," about which I have so often
+written in praise, has raised up some rival manufactures amongst our
+English makers, who have long been famous for their merino or lambswool
+stuffs. Pure woollen under-garments in England have always been thought
+to wear and to wash badly, and much of this has probably been owing to
+the fact that the washing was very bad and that no one before Dr. Jaeger
+ever tried washing woollens scientifically, so as to take out the grease
+and perspiration, and not to harden the material at the same time. By
+Jaeger's method this is done with lump ammonia and soap. The soap is cut
+into small pieces and boiled into a lather with water, and the lump
+ammonia is then added. This lather is used at about 100 deg. Fahrenheit, and
+the clothes must not be rubbed, but allowed to soak for about an hour in
+the water, and must then be drawn backwards and forwards repeatedly in
+the bath till clean. Three waters are to be used, the two after the
+first lather being of the same heat, and of pure clean water. This
+leaves the clothes delightfully soft and supple, and their wearing
+qualities suggest nothing further as an improvement.
+
+Some of the new English underclothing is very light and good, and claims
+to be of pure merino-wool. It is of varying thickness, and many ladies,
+both young and old, are adopting it for combinations; these and one
+petticoat forming the whole of the clothing. Of course, the thickness of
+these garments is to be suited to the season, and the gossamer clothing
+manufactured for the warm season leaves nothing to be desired in its
+lightness and apparent coolness.
+
+[Illustration: BY THE LAKE SIDE WITH THE BOATS.]
+
+One does not associate thick materials with great heat, and the mere
+look of thick wool would make one begin to feel hot, however foolish
+it may sound to say so. When the skin becomes used to wearing wool it
+will be found more comfortable than either cotton or linen, and we,
+moreover, avoid the chance of chills after being over-heated. I know
+several people who date their almost perfect immunity from colds to the
+use of woollen underclothing, who previously had been martyrs to colds
+and coughs, and had been constantly imprisoned in the house during quite
+mild seasons. In England the climate (need I say so?) is fickle and
+changeable, and, singular to say, we may be, and many people are,
+apparently wrapped up carefully and seasonably, and yet we may all err
+on every hygienic point, in regard to the weight and porosity of
+materials.
+
+So far as I can see in the newest styles, the loose-fronted bodices have
+it all their own way. Many of them only fasten at the throat and waist,
+either large buttons or handsome clasps being used. These jackets
+stretch open over the front to show a full waistcoat, this latter being
+a scarf long enough to continue below the waist and round it at either
+side, so as to form a sort of sash, showing under the edge of the bodice
+and ending under the long coat-tails at the back in ends or a bow.
+
+The newest bonnets are still high in the front, or, if not high
+themselves, the trimmings are high. The horseshoe crowns which were
+introduced in the summer bid fair to become extremely popular, and the
+stringless bonnet will be in vogue as long as possible, and I have no
+doubt many people will wear it through the winter, too. Beaver bonnets
+are announced to take the place of kid or felt, and I have seen some
+black beaver crowns with open-work jet fronts, which appeared
+incongruous.
+
+Leaves of all bright hues, the bramble and its berries, the blackberry,
+and the virginian-creeper, are likely to be in great favour for
+trimmings this autumn. These will be used even upon velvet and beaver
+bonnets.
+
+There is a very strong feeling in many quarters in favour of restoring
+the "princess" cut of dress to favour. In a letter from a lady, it is
+very wisely said, in writing to a contemporary, "For active exercise, a
+dress ought to be cut all in one--'princess,' as the milliners call
+it--and so arranged in the skirt that there is no drapery which will
+catch in things, come unstitched, and look untidy; everything wants to
+be taut and trim, like tailor's work. But even the ladies' tailors will
+insist upon making a skirt and little jacket-bodice, instead of a dress
+in one piece. It is almost impossible to use the arms freely--to go out
+in a sailing-boat, for instance, and help in its management--or, in
+fact, to raise the arms high, without causing a hiatus between the two
+parts of the garment at the sides of the waist. I have noticed this
+happen so often, even with smart tailor-made gowns, the wearer being
+generally blissfully unconscious of the accident, that I feel bound to
+draw attention to it.
+
+"It was curious to note the awful revelations made recently by a storm
+of wind on an elevated promenade by the sea. Every steel stood out in
+bold relief even under the most _bouffante_ drapery. Upper-skirts broke
+away from the under, and displayed the sorry fact that the latter were
+only shams, formed of lining-calico, with patches of good material put
+in here and there, where the over-garment was cut open. One neat
+tailor-gown revealed the cotton back to the pretty waistcoat, a pretence
+which is carried out in every suit of clothes made for men, but which
+seemed an aggravated offence to art in a well-dressed woman. It was
+comforting to turn from such sartorial mistakes to a group of young
+girls sensibly clad in simple gowns, guiltless of pretence, of steels,
+or _tournures_. Gathered bodices and full plain skirts, confined by
+broad sashes, combined the elements of grace and utility, and exhibited
+no foolish attempt to distort and pervert nature."
+
+I have given the full extract, as it contains much matter for thought
+for my readers, both young and middle-aged. I suppose everyone read with
+interest the celebration of the centenary of M. Chevreul, the great
+French chemist, who has been for years a great student of colour, and to
+whom we owe many alterations, inventions, and suggestions in dyes and
+colours. Trade has been assisted and developed by his researches, and
+the subject of colour harmonies has been placed by him in the position
+and basis of a science. When we admire the loveliness of our coloured
+materials, and notice the wonderful improvements of late years, we women
+may thank the industry and talent of M. Chevreul. I put in a long
+quotation from him some months ago, and it may interest some of my
+readers to hear that M. Chevreul has attained his hundredth year as a
+total abstainer, but drank his own health in a glass of champagne,
+tasted for the first time!
+
+[Illustration: A LADY'S PYJAMA.]
+
+From a recently-published book I gather the following ideas, and as they
+coincide with what I am always impressing on my readers with reference
+to tight dresses and stays, I quote them gladly, as showing that there
+are other sensible women in the world, a class which I hope will every
+day increase:--"If you lace tightly, nothing can save you from acquiring
+high shoulders, abnormally large hips, varicose veins in your legs, and
+a red nose. Surely such penalties, to say nothing of heart disease,
+spinal curvature, and worse, are sufficiently dreadful to deter either
+maids or matrons from unduly compressing their waists? No adult woman's
+waist ought to measure less in circumference than twenty-four inches at
+the smallest, and even this is permissible to slender figures only. The
+rule of beauty is that the waist should be twice the size of the throat.
+Therefore, if the throat measure twelve and a half inches, round the
+waist should measure twenty-five. The celebrated statue know as the
+'Venus de Medici,' the acknowledged type of beauty and grace, has a
+waist of twenty-seven inches, the height of the figure being only five
+feet two inches."
+
+And, while on this subject, I must mention that some new stays, made of
+elastic material, have recently been advertised, which I should imagine
+were comfortable. Dr. Jaeger also has an elastic knitted bodice on his
+list, which is in reality a description of stays, and would afford
+sufficient support to a slight figure.
+
+The illustrations to our dress instructions of this month show the
+prevailing characteristics of the gowns of the month, and also
+demonstrate how little change there is in them. As the majority of the
+community is still moving about at this season, most of the dress
+thought about and worn is suitable for travelling, as well as autumn.
+Now that we no longer think it needful to put on all our old clothes and
+to make our appearance grotesque, as was formerly the case, we very
+frequently follow the French and American plan, and have a special dress
+made for the tour we are about to undertake, which will do for day wear,
+as well as for journeying while we are away; then, furnished with a
+second nice black silk or satin for very best occasions, we are
+sufficiently well clad for every purpose. A dust cloak, travelling
+cloak, and short jacket are added, and some wise people take their fur
+capes; in fact, for short expeditions of a month or six weeks we do not
+like large trunks nor encumbrances, so we curtail all our wants, and are
+so much the happier, having less anxiety and worry. In addition to all
+this, we save our shillings in fees, and charges for over-weight, very
+considerably, and, when we are rid of the heavy trunks, last, not least,
+we break no backs.
+
+While I am on this topic, I must mention that the late Exhibition (the
+Healtheries) was of great assistance to travellers in showing how much
+can be done to decrease weight and bulk in every way, and setting wits
+to work to improve in all directions. Thus we have wonderfully improved
+waterproofed cloaks, hygienic boots and shoes; and the improvement in
+trunks and bags is immense, in addition to their moderation in price.
+
+The greatest unanimity prevails with regard to the small jackets, which
+seem patronised by young girls, as well as married women of every age.
+They are generally loose-fronted, but tight-fitting at the back, the
+fronts being lined with coloured silk. Many of them are braided, some
+gold braid being used, and many have a flat braided plastron in the
+front to button over and give a double-breasted effect. Serge in all
+hues seems very much liked, but the most popular are dark navy-blue and
+cream-white. Short cloaks, with sling-sleeves and hoods, are very much
+worn, also short mantelettes, like our paper-pattern for last month.
+These may be made in the material of the dress.
+
+This autumn I must again mention the numbers of slightly full bodices of
+the "Garibaldi" and "Norfolk jacket" class that this season has brought
+out, to be worn with skirts of different materials. The different
+ladies' tailors of renown have taken up this idea, and it is probable
+that we shall see them greatly worn during the winter season. Some of
+these have a yoke, and some have a straight band on the shoulders, into
+which they are fulled. They are made in flannel, linen, and twilled
+silk, in all colours, striped, spotted, and plain, and with them the
+becoming fashion of the full basque has come in. Yoked bodices will be a
+decided winter style.
+
+With these bodices there is generally a turned-down collar and long
+cuffs of velvet, and the belt should be also of velvet. In other cases
+the belt matches the full bodice, and is of moire or Petersham ribbon.
+
+The fancy for stripes as well as plaids is shown by the dresses in the
+illustration of the autumn fashions. The figure standing in the centre
+of our boating picture at the English lakes, shows a blue flannel or
+serge, made up with a striped material. The vest and revers show the
+stripe as well as the underskirt. The back of this dress is shown by
+one of the distant figures. The other wears one of the new blouse
+bodices, which will be the style of the winter. In the larger of our
+illustrations is shown the general tendency of the day. The cloaks and
+ulsters are of plaid, and there is but little change in the shapes. The
+girl in the sailor's hat shows one of the full white under-vests, the
+jacket being almost of a Breton style. The edge is braided, and so is
+one panel at the side of the skirt. The two bonnets, one in each
+picture, show one with strings and one without. They are not quite so
+high, and both have the horseshoe crown, which, as the last summer
+novelty, bids fair to be adopted for the autumn and winter.
+
+The pattern for this month will, I hope, be a surprise, as well as a
+great comfort, to those of my readers who select it, and who wish to
+attain to the greatest amount of comfort and hygienic advantages in
+their underclothing. The pattern in question is a combination nightgown,
+or lady's "pyjama," and is a novelty which will be found of much value
+and comfort. It consists of five pieces--front, back, lower back, and
+two sleeve pieces. The method of putting together is carefully indicated
+by marks in the pattern, and no difficulty will be experienced in the
+making-up. The amount of material required will be from 41/2 to 5 yards,
+and calico, flannel, or swansdown, or the new cotton flannel, may, any
+of them, be used to make it. For the winter season it will be found to
+supply a great increase in warmth, and, to the invalid, a great comfort,
+as it fits closely, will not form creases, nor "ruck up," as the
+ordinary nightgown always does, to the discomfort of the wearer.
+
+Each of the patterns may be had of "The Lady Dressmaker," care of Mr. H.
+G. Davis, 73, Ludgate-hill, E.C., price 1s. each. It is requested that
+the addresses be clearly given, and that postal notes, crossed so as to
+be eligible only to go through a bank, may be sent, as so many losses
+have occurred through the sending of postage stamps. The patterns
+already issued can always be obtained, as "The Lady Dressmaker" shows
+constantly in her articles how they can be made use of.
+
+The following is a list of those already issued:--April, braided
+loose-fronted jacket; May, velvet bodice; June, Swiss belt and full
+bodice, with plain sleeves; July, mantle; August, Norfolk or pleated
+jacket; September, housemaid's or plain skirt; October, combination
+garment (underlinen); November, double-breasted out-of-door jacket;
+December, zouave jacket and bodice; January, princess under-dress
+(under-linen, under-bodice, and skirt combined); February, polonaise
+with waterfall back; March, new spring bodice; April, divided skirt and
+Bernhardt mantle with sling sleeves; May, Early English bodice and yoke
+bodice for summer dress; June, dressing jacket, princess frock, and
+Normandy peasant's cap, for a child of four years; July, Princess of
+Wales' jacket-bodice and waistcoat for tailor-made gown; August, bodice
+with guimpe; September, mantle with stole ends and hood. October,
+"pyjama" or nightdress combination with full back.
+
+
+
+
+THE SHEPHERD'S FAIRY.
+
+A PASTORALE.
+
+BY DARLEY DALE, Author of "Fair Katherine," etc.
+
+
+CHAPTER IV.
+
+Meanwhile, Mrs. Shelley had washed and dressed her own three boys, and
+had introduced the little stranger to the two elder, Charlie, the baby,
+being already on intimate terms with his foster sister, for whose sake
+he had to submit to much less attention than had hitherto fallen to his
+share, for which reason he was unusually cross this morning. Willie, the
+second boy, the living image of his father, was barely three years old,
+and too young to pay much attention to the baby, or to understand that
+it had arrived in an unusual way; but Jack, the eldest boy, quite took
+it in, and stood lost in admiration of the wonderful baby with its
+beautiful clothes, so unlike Charlie's, and the lovely coral and bells,
+as his mother showed them all to him. Jack was five years old, a tall,
+strong child for his age, and very like his mother in face; he had her
+quick temper, too, though Mrs. Shelley had hers pretty well under
+control, while little Jack often got into trouble by giving way to his.
+Nothing ever escaped Jack's notice; he was always all ears and eyes, and
+he took in every detail of the strange baby's belongings as
+intelligently as his mother could have done, and, to her joy, for she
+was by no means sure what kind of a welcome Jack, who resented the
+arrival of little Charlie, saying, "Mother didn't want anyone else to
+love her when she had him," would give to the strange baby, he was
+enchanted with it, and was as anxious as Mrs. Shelley herself to keep
+it.
+
+"It is the fairies' baby; they brought it, didn't they, mother? We will
+always, always keep it, won't we?"
+
+"I don't quite know yet, Jack; father says perhaps we shall have to send
+it away," said Mrs. Shelley.
+
+"It shan't go away. How dare father say so? He is a wicked man to want
+to send it away," cried the boy, with flashing eyes and crimson cheeks.
+
+"Jack, I am ashamed of you; you must not speak of your father in that
+way; if he says it is to go away it must go, whether we like it or no."
+
+Jack hung his head and hid his face on his mother's shoulder, while she,
+remembering how indignant she had been with the shepherd for hinting at
+sending it away the night before, stooped and kissed her boy's curly
+head, and Jack raised his head again and renewed his attentions to the
+baby.
+
+"What a pretty little thing it is; see how it holds my finger. I think
+it will love me, mother, though it is not my real sister. Oh! do make
+father keep it, will you?"
+
+For the first time since Mrs. Shelley had had the baby, she now
+hesitated about keeping it; the boy had unconsciously struck a wrong
+chord, and his mother, with a prophetic instinct, coupled with a quick
+imagination, for a moment saw that it was possible this little stranger
+who, as Jack had already grasped, was not his real sister, might, in
+future years, destroy the harmony and peace of the home circle. But it
+was only a momentary hesitation; the thought flashed across her mind and
+vanished again, almost as quickly as it had come. Could she have known
+how true that prophetic instinct was, would she not have gone counter to
+all her own inclinations, and disregarded all Jack's wishes and prayers,
+rather than have run the risk of introducing strife into her peaceful
+household? As it was, the motherly pity she felt for the baby was
+stronger at the moment than the foreboding light which had flashed
+across the distant future, and she answered hurriedly--
+
+"I must go and see Mr. Leslie first, dear, and hear what he says; do you
+think you could take care of Charlie while I am gone with the baby? I
+shall take Willie with me, or he will be getting into mischief."
+
+Jack, proud to be of use to his mother, professed his ability to look
+after Charlie, privately regretting it was not the beautiful strange
+fairies' baby which was to be left under his charge.
+
+"Jack, I can't be back before the clock has struck twelve; it is now
+half-past ten, so it will strike twice before I come back, do you
+understand; and both the hands will have to be on the twelve at the top,
+do you see? So now, if it seems a long time, do not be frightened, I
+shall be back soon after twelve. If baby cries, rock the cradle, but
+don't try to take him out; if he sleeps you may wash the potatoes for
+dinner. Now, good-bye," and Mrs. Shelley, with the infant in her arms
+and Willie running by her side, set off to the Rectory, while Jack stood
+at the door watching her out of sight.
+
+The first half-hour passed quickly enough. The baby slept, and Jack
+washed the potatoes, and was delighted when the clock struck eleven. But
+the next hour was interminably long, and little Jack got very tired of
+rocking Charlie, who was awake now, and would scream every time his
+brother stopped rocking. Every few minutes Jack ran to the door to see
+if his mother was coming, and then ran back and rocked violently at the
+cradle. At last he thought he heard footsteps, and, running to look,
+saw, not his mother, but Dame Hursey, making her way towards the house.
+
+Now, Jack did not care about Dame Hursey's visits even when his mother
+was at home. He was half afraid of the witch-like old woman, and to have
+a visit from her while he was alone was the last thing he desired, so he
+came in quickly and banged the door, hoping she would think they were
+all out and go away, if only he could keep Charlie quiet. But Dame
+Hursey had seen and heard the door shut, and so, after knocking two or
+three times without any result, she quietly lifted the latch and walked
+in, while Jack, who was kneeling by the cradle, looked up, half
+defiantly, half frightened.
+
+"Mother is out; there is no one at home but me," said Jack, sharply.
+
+"Oh, is she? Well, I'll sit and rest a bit till she comes in. Who have
+you got there in that cradle?"
+
+"Charlie, my new brother," said Jack.
+
+"And where is the fairies' baby? Ah! you see, I know all about it. I
+know everything; there is no keeping secrets from me. That is the shawl
+it was brought in, isn't it, now?" said Dame Hursey, rising and
+examining minutely the Indian shawl in which the baron had wrapped his
+daughter, and which was lying on a chair.
+
+Jack, more convinced than ever that Dame Hursey was a witch, thought
+perhaps she might be able to tell him where the fairies had brought the
+baby from if he were civil to her, so he answered all her questions and
+described minutely all the baby's belongings.
+
+"Ah! well, it is the Pharisees you have to thank for bringing her here.
+Mind you all take care of her, and one of these fine days she'll turn
+into a beautiful princess and make you all very rich; but if you talk
+much about her the fairies will be angry and take her away. You tell
+your mother I said so; I can't wait any longer."
+
+And Dame Hursey, who had been prying about the kitchen to see if she
+could find any other belongings of this mysterious baby, took her
+departure, much to Jack's joy.
+
+Shortly after she left Mrs. Shelley came home, and Jack was so full of
+Dame Hursey's visit and her account of the fairies' child that he forgot
+to ask the result of his mother's interview with the rector, while Mrs.
+Shelley, on the other hand, was not at all pleased to find Dame Hursey
+had been prying about her cottage in her absence, and congratulated
+herself on not having left any of the baby's little garments about, for
+she might never have found them again if she had.
+
+The next day the rector called and had a long talk with the shepherd and
+his wife about the baby, though he could throw but little light upon it,
+except, of course, to utterly discredit the ridiculous notion that the
+fairies had brought it. That it belonged to rich people was clear from
+its clothes; and to foreigners, from the coronet, which was certainly
+not English. More the rector could not say, except that its parents
+evidently wanted to get rid of it, and had connived at placing it on the
+shepherd's doorstep.
+
+As to keeping it, that was a point entirely for the shepherd and his
+wife to decide. If they chose to send it to the workhouse, no one could
+blame them for doing so. He doubted exceedingly anyone ever claiming it,
+but he advised Mrs. Shelley to lock up all its clothes and things in
+case of their being needed for identification at any future period. He
+also counselled them, if they thought of keeping the child, to weigh the
+matter well before they decided, as it would be cruel kindness to take
+it in for a time and then tire of it and send it to the union.
+
+But John Shelley was not a man to do this, as his wife well knew. If he
+decided to keep the child he would do his duty by it, and go to the
+workhouse himself before he suffered that to do so. All that day John
+was very thoughtful, but when he came in to supper that night he told
+Mrs. Shelley he had made up his mind, and they would keep the baby and
+bring it up as their own daughter. Here, however, Mrs. Shelley raised an
+objection.
+
+"We will keep it, by all means, John, but we can't bring a delicate
+little thing like this up as we shall our own strong boys, who must work
+for their living. This child may be claimed any day by its parents, so
+we must try and have it educated like a lady when it gets old enough."
+
+John was inclined to dispute the wisdom of this; but as its education
+was a thing of the far future, he very wisely thought it was useless to
+discuss it, and resolved to let matters shape themselves, feeling sure
+the baby would take its own place as it grew older. One matter puzzled
+the good shepherd sorely. He was most particular in having his own
+children baptised when they were a month old, and they could not tell
+whether this baby had been baptised or no, though the rector thought its
+parents were most likely Roman Catholics, in which case it would be sure
+to have been christened, as it was two or three months old.
+
+The next question was, what was it to be called? For, if baptised, they
+had no means of discovering its name. But here Jack came to the rescue.
+
+"Let's call her Fairy, mother. Dame Hursey says she is a fairy, and it
+is a pretty name."
+
+"So it is, my son; and though she is no fairy, but a real child like
+you, we will call her Fairy. It is a very good name for her, and when
+she is old enough we will tell her why," said the shepherd.
+
+And so Fairy was the little stranger called as long as she lived in the
+shepherd's family.
+
+(_To be continued._)
+
+
+
+
+A PRINCESS WHO LIVED TWO LIVES.
+
+A ROMANCE OF HISTORY.
+
+
+There was no lovelier woman in all the Russias than Carolina, the wife
+of Alexis, eldest son and presumptive heir to Peter the Great. Her
+beauty was not only that of the body, for her sweet temper and gentle
+disposition made her beloved by all who were brought in contact with
+her. The only being who did not yield to the charms of her surpassing
+beauty and amiability was the one who ought to have prized her above all
+others--her husband. His nature was far too coarse and brutal to
+appreciate the treasure that he possessed, and the more he saw how
+universally beloved his wife was, the more did she become an object of
+aversion to him. For some time he treated her with cold neglect, but by
+degrees he became more brutal in his behaviour, until one day, when she
+offended him in some trifling respect, he dealt her an inhuman blow
+which stretched her, apparently lifeless, at his feet. Well pleased at
+being delivered so easily from what he only regarded as a hateful
+burden, he gave orders that she should be buried with all due pomp, and
+hastened away to another part of the kingdom.
+
+But when her ladies of honour came to raise the unhappy princess, they
+found that she still breathed. Under the devoted attention of the
+Countess of Konigsmark, who had always been her confidential attendant,
+she slowly won her way back to life, and this while her funeral
+obsequies were being celebrated with the greatest pomp throughout the
+length and breadth of Russia, while the principal courts of Europe were
+mourning her premature decease, and while her unnatural husband was
+drowning the remembrance of his horrible crime in revelries and
+excesses of all kinds. None knew that she was still alive but the
+Countess of Konigsmark and one or two other of her most devoted
+adherents. They kept her concealed from everyone; for well they knew
+that Alexis, should he hear of her recovery, would take measures to rid
+himself of her effectually. Acting under their advice, the princess
+collected all the valuables she was able to lay her hands on, and, in
+company with an old domestic, who assumed the character of her father,
+set out for Paris. Here, however, she felt still within reach of Alexis,
+and so, with her supposed father, she set sail for Louisiana, where the
+French had lately formed extensive colonies. They settled down in New
+Orleans, and Carolina began to rapidly recover her health and beauty.
+
+A young man, by name Moldask, who held a Government appointment in New
+Orleans and who had spent many years in Russia thought that he
+recognised in the beautiful stranger the princess who had been the
+brightest star of the Muscovite Court. However, he could not believe
+that the highborn lady of whose death he had heard and the daughter of
+the feeble old man who had lately arrived from France were the same
+person, wonderful though the resemblance between them might be. He kept
+his ideas secret, but made himself so useful and agreeable to the
+strangers, that finally they settled to cast in their lot with his, and
+live under the same roof. Before the lapse of many months the news of
+Alexis' death reached New Orleans. Moldask noticed the agitation with
+which his friends received it, and told them that their secret was his.
+They did not attempt a denial; so he offered to sacrifice his private
+fortune, throw up his position in New Orleans, and take Carolina back to
+Moscow. This offer she would hear nothing of. She thanked Moldask again
+and again for his noble generosity, but expressed her fixed
+determination not to revisit the scene of all that had been most
+unpleasant in her life. She begged him not to betray her secret, and he
+readily promised to keep it inviolate. The truth was that he had lost
+his heart to the widow of Czar Peter's son. Respect, however, controlled
+his feelings. He knew how exalted was her real station compared to his,
+and resolved to conceal his love.
+
+Time passed on, and one autumn evening a pararalytic stroke carried off
+Carolina's pseudo-father. After this it was, of course, impossible that
+she and Moldask should continue to inhabit the same house. He came to
+her on the morning after her faithful old friend's funeral, and
+explained that he must seek a new abode unless she would so far cast
+away all thoughts of her former station as to consent to call him
+husband. The princess, who had long regarded him with feelings warmer
+than those of mere friendship, agreed to link her fate with his, and
+from now began the happiest period of her so far troubled life. Their
+union was blessed by the advent of a little girl; nothing seemed wanting
+to render her happiness complete.
+
+Years rolled by, and Moldask was attacked by a disease which baffled the
+skill of the New Orleans doctors. His wife was determined that he should
+have the best medical advice, and so persuaded him to sell all his
+possessions and embark for Paris. Their journey was not in vain; the
+skill of the Parisian physicians restored Moldask to good health, and he
+obtained employment in a department of the French Government.
+
+One day, as Carolina was walking in the public gardens with her little
+girl, she met the son of her faithful friend, the Countess of
+Konigsmark. She recognised him instantly, and, fearing that he might
+know her, tried to brush past him with averted head. The Marshal,
+however, was struck with her appearance, and, turning round, followed
+her until she sat down beneath some trees. The instant that he caught a
+fair sight of her he recognised his former mistress, and quickly
+approaching, bent his knee and carried her hand to his lips. She
+implored him not to divulge her secret, but to come with her to her
+home, and hear how she had fared since Alexis had, as he thought, killed
+her. The Marshal consented to accompany her; he listened with interest
+to her tale, and when he had heard it to the end announced his intention
+of informing the King of France, that her highness might be restored to
+her proper position and honours. Carolina, however, was quite
+determined that this should not be. She begged the Marshal to keep her
+secret for one week, as her husband had certain negotiations, which
+would be ruined if her identity were disclosed. This he consented to do,
+and Carolina dismissed him, with the assurance that on that day week he
+should be definitely informed of her wishes in the matter.
+
+On the appointed day the Marshal found that the princess and her husband
+had left their home. However, he succeeded in tracing them, and told the
+king of the noble lady who was then in his dominions. His Majesty
+entered into negotiations with the Empress Maria Theresa, with a view to
+deciding upon the manner in which her august aunt should be treated. The
+upshot of these negotiations was a most tender letter from the Empress
+to Carolina, asking her to make the Austrian court her home, and
+promising to load her husband and herself with honours and distinctions.
+But the happy wife and mother felt that the life she had been leading
+for the last few years was preferable in every way to the artificial
+existence of a court, and refused her niece's generous offer. It was
+renewed again and again; but nothing could shake her determination.
+
+For many years she led a life of the utmost happiness, and then death
+deprived her of both husband and daughter. Maria Theresa renewed her
+offers; but Carolina preferred to pass the rest of her days in solitude.
+She accepted a small pension from the Empress, and retired to a small
+cottage at Vitry, near Paris. After a quiet existence here for some few
+years more she passed away, without ever having regretted her refusal to
+rejoin the brilliant circle of a court.
+
+
+
+
+VARIETIES.
+
+
+CURIOUS FRESCO.
+
+In the Carthusian Monastery of Garignano, a few miles from Milan, are
+some frescoes by Daniel Crespi, of Busto, which are said to be marvels
+of art and imagination. One of them is grim enough, at any rate, and
+awful. It represents a dead person rising from his bier, to announce to
+all whom it might concern that, although they were burying him in the
+abode of holiness, and were now adoring him as a saint, he was, as a
+fact, condemned to hell.
+
+Perhaps one of our own famous modern divines was thinking of this fresco
+when he declared that one great source of surprise, to those who went to
+heaven, would be to find so many there they had not expected to see, and
+to _miss_ so many they had thought to meet.
+
+
+"NO' THE DAY, HONEST WOMAN!"
+
+Dr. John Erskine, a well-known Scottish divine, was remarkable for his
+simplicity of manner and gentle temper. He returned so often from the
+pulpit minus his pockethandkerchief that Mrs. Erskine at last began to
+suspect that the handkerchiefs were stolen by some of the old women who
+lined the pulpit stairs. So both to baulk and detect the culprit she
+sewed a corner of the handkerchief to one of the pockets of his coat
+tails. Half way up the pulpit stairs the good doctor felt a tug,
+whereupon he turned round to the old woman whose was the guilty hand, to
+say, with great gentleness and simplicity:--
+
+"No' the day, honest woman, no' the day. Mrs. Erskine has sewed it in!"
+
+
+A BRAVE WIFE.
+
+In 1872 a storm overtook a Boston ship on the banks of Newfoundland. The
+captain--Captain Wilson--had his shoulder-blade broken by the fall of a
+mast, and the first mate and part of the crew were at the same time
+disabled.
+
+No sooner, however, had the captain been carried to his cabin than his
+wife, a woman of one-and-twenty, hurried on deck, told the men to work
+with a will, and she would take them into port. The wreckage was
+cleared, the pumps manned, and the gale was weathered. Then a jury-mast
+was rigged, the ship put before the wind, and in twenty-one days she
+reached St. Thomas. After repairing damages there, finding her husband
+still helpless, the indomitable woman navigated the ship to Liverpool.
+
+Captain Wilson was never able to resume work, and for seven years his
+brave wife supported him and their only child by working as clerk in a
+dry goods store. Then he died, and Mrs. Wilson was deservedly appointed
+to a custom-house inspectorship by the American Government.
+
+
+OLD FRIENDS.--The world has few greater pleasures than that which two
+friends enjoy in tracing back, at some distant time, those transactions
+and events through which they have passed together.--_Dr. Johnson._
+
+
+A RARE COMPANION.--She whom you can treat with unreserved familiarity,
+at the same time preserving your dignity and her respect, is a rare
+companion, and her acquaintance should be cultivated.
+
+
+THINGS OF VALUE.
+
+    What shines and glitters has its birth
+      But for the present hour alone;
+    The real--the thing of truth and worth--
+      To all posterity goes down.
+
+    _--Goethe._
+
+BEETHOVEN IN GERMANY.--When the German talks of symphonies he means
+Beethoven; the two names are to him one and indivisible; his joy, his
+pride. As Italy has its Naples, France its Revolution, England its
+Navigation, so Germany has its Beethoven symphonies. The German forgets
+in his Beethoven that he has no school of painting; with Beethoven he
+imagines that he has again won the battles that he lost under Napoleon;
+he even dares to place him on a level with Shakespeare.--_Robert
+Schumann._
+
+
+A NEW USE FOR A DOG.--A farmer's daughter in the West of England
+received a hairy poodle dog from a friend in town. The unsophisticated
+damsel wrote back thanking her friend for the present, and saying that
+she found it very handy, when tied to a stick, to clean windows with.
+
+
+THE WORST OF SUCCESS.--She that has never known adversity is but half
+acquainted with others or with herself. Constant success shows us but
+one side of the world, for, as it surrounds us with friends who will
+tell us only our merits, so it silences those enemies from whom alone we
+can learn our defects.
+
+
+RIGHTS AND DUTIES.--There is no right without its duties, and no duty
+without its rights.
+
+
+
+
+MERLE'S CRUSADE.
+
+BY ROSA NOUCHETTE CAREY, Author of "Aunt Diana," "For Lilias," etc.
+
+
+CHAPTER IV.
+
+MERLE'S LAST EVENING AT HOME.
+
+
+"So it is all settled, Merle."
+
+"Yes, Aunt Agatha," I returned, briskly, for she spoke in a lugubrious
+voice, and as one sad face is enough beside the family hearth, I assumed
+a tolerably cheerful aspect. If only Aunt Agatha's eyes would not look
+at me so tenderly!
+
+"Poor child!" she sighed; and then, as I remained silent, she continued
+in a few minutes, "I wish I could reconcile myself more to the idea, but
+I cannot help feeling a presentiment that you will live to repent this
+strange step you are taking."
+
+I found this speech a little damping, but I bore it without flinching.
+One can never set out down some new road without a few friendly missiles
+flying about one's ears. "Remember, I told you such and such a thing
+would happen if you did not take my advice. I am only warning you for
+your good." Alas! that one's dearest friend should be transformed into a
+teasing gad-fly! What can one do but go straight across the enemy's
+country when the boats are destroyed behind one? I always did think that
+a grand action on Xenophon's part.
+
+"You have not given me your opinion of my new mistress," was my wicked
+rejoinder.
+
+Aunt Agatha drew herself up at this and put on her grandest manner. "You
+need not go out of your way to vex me, Merle. I am sufficiently
+humiliated without that."
+
+"Aunt Agatha," I remonstrated; for this was too much for my forbearance,
+"do you think I would do anything to vex you when we are to part in a
+few days? Oh, you dear, silly woman!" for she was actually crying, "I am
+only longing to know what you think of Mrs. Morton."
+
+"She is perfectly lovely, Merle," she returned, drying her eyes, as I
+kissed and coaxed her. "I very nearly fell in love with her myself. I
+liked the simple way in which she sat down and talked to me about my old
+pupils, making herself quite at home in our little drawing-room, and I
+was much pleased with her manner when she spoke about you; it was almost
+a pity you came into the room just then."
+
+"I left you alone for nearly half an hour; please to remember that."
+
+"Indeed! it did not seem nearly so long. Half an hour! and it passed so
+quickly, too. Well, I must say Mrs. Morton is a most interesting woman;
+she is full of intelligence, and yet so gentle. She has lost her
+baby--did she tell you that? only four months ago, and her husband does
+not like her to wear mourning. She is a devoted wife, I can see that,
+but I have a notion that you will have some difficulty in satisfying Mr.
+Morton; he is very particular and hard to please."
+
+"I have found out that for myself; he is a man of strong prejudices."
+
+"Well, you must do your best to conciliate him; tact goes a long way in
+these cases. Mrs. Morton has evidently taken a fancy to you, Merle. She
+told me over again how her baby boy had made friends with you at once;
+she said your manner was very frank and winning, and though you looked
+young you seemed very staid and self-reliant."
+
+"I wish Uncle Keith had heard that. Did she say any more about me, Aunt
+Agatha?"
+
+"No, you interrupted us at that point, and the conversation became more
+general; but, my dear, I must scold you about one thing: how absurd you
+were to insist on wearing caps. Mrs. Morton was quite embarrassed; she
+said she would never have mentioned such a thing."
+
+"But I have set my heart on wearing them, Aunt Agatha," I returned, very
+quickly; "you have no idea how nice I shall look in a neat bib apron
+over my dark print gown, and a regular cap such as hospital nurses wear.
+I should be quite disappointed if I did not carry out that part of my
+programme; the only thing that troubles me is the smallness of my
+salary--I mean wages. Thirty pounds a year will never make my fortune."
+
+"You cannot ask more with a good conscience, Merle; you have never been
+out before, and have no experience. Mrs. Morton said herself that her
+husband had promised to raise it at the end of six months if you proved
+yourself competent; it is quite as much as a nursery governess's
+salary."
+
+"Oh, I am not mercenary," I replied, hastily, "and I shall save out of
+thirty pounds a year. I must keep a nice dress for my home visits and
+for Sundays, though it is dreadful to think that I shall not always go
+to church every Sunday until little Joyce is older; that will be a sad
+deprivation."
+
+"Yes, my poor child, but you must not speak as though this were the only
+serious drawback; you will find plenty of difficulties in your position;
+even Mrs. Morton confessed that."
+
+"The world is full of difficulties," I returned, loftily; "there have
+been thorns and briars ever since Adam's time. Do you remember your
+favourite fable of the old man and the bundle of sticks, Aunt Agatha? I
+mean to treat my difficulties in the same way he managed his. I shall
+break each stick singly."
+
+She smiled approvingly at this, and then, as Uncle Keith's knock reached
+her ear, she rose quickly and went out of the room.
+
+The moment I was left alone my assumed briskness of manner dropped into
+the mental dishabille that we wear for our own private use and comfort.
+Those two had always so much to say to each other that I was sure of at
+least half an hour's solitude, and in some moods self is the finest
+company. Yes, I had destroyed my boats, and now my motto must be
+"Forward!" This afternoon I had pledged myself to a new service--a
+service of self-renunciation and patient labour, undertaken--yes, I dare
+to say it--for the welfare of the large sisterhood of waiting and
+working women. A servant? No, a soldier; for I should be one among the
+vanguard, who strive to make a breach in the great fortress of
+conventionality. Not that I feared the word service, considering what
+Divine lips had said on that subject--"I am among you as one who
+serveth--" but I knew how the world shrank from such terms.
+
+I have always maintained that half the so-called difficulties of life
+consist mainly in our dread of other people's opinions; women are
+especially trammelled by this bondage. They breathe the atmosphere of
+their own special world, and the chill wind of popular opinion blows
+coldly over them; like the sensitive plant, they shiver and wither up at
+a touch. I believe the master minds that achieve great things have
+created their own atmosphere, else how can they appear so impervious to
+criticism? How can they carry themselves so calmly, when their
+contemporaries are sneering round them? We must live above ourselves and
+each other; there is no other way of getting rid of the shams and
+disguises of life; and yet how is one who has been born in slavery to be
+absolutely true? How is an English gentlewoman to shake off the
+prejudices of caste and declare herself free?
+
+Ah, well! this was the enigma I had set myself to solve. And now the old
+life--the protected girl's life--was receding from me; the old guards,
+the old landmarks were to be removed by my own hands. Should I live to
+repent my rash act, as Aunt Agatha predicted, or should I at some future
+time, when I looked back upon this wintry day, thank God, humbly and
+with tears of gratitude, that I had courage given me to see the right
+and do it, "ad finem fidelis," faithful to the last?
+
+       *       *       *       *       *
+
+I found those last few days of home-life singularly trying. Indeed, I am
+not sure that I was not distinctly grateful when the final evening
+arrived. When one has to perform a painful duty there is no use in
+lingering over it; and when one is secretly troubled, a spoken and too
+discursive sympathy only irritates our mental membrane. How could Job,
+for example, tolerate the sackcloth and ashes, and, worse still, the
+combative eloquence of his friends?
+
+Aunt Agatha's pathetic looks and pitying words fretted me to the very
+verge of endurance. I wished she would have been less mindful of my
+comforts, that she would not have insisted on helping me with my sewing,
+and loading me with little surprises in the shape of gifts. But for the
+bitter cold that kept me an unwilling prisoner by the fireside, I would
+have escaped into my own room to avoid the looks that seemed to follow
+me everywhere.
+
+But I would not yield to my inward irritability; I hummed a tune; I even
+sang to myself, as I hemmed my new bib aprons, or quilled the neat
+border for my cap. Nay, I became recklessly gay the last night, and
+dressed myself in what I termed my nurse's uniform, a dark-navy blue
+cambric, and then went down to show myself to Uncle Keith, who was
+reading aloud the paper to Aunt Agatha. I could see him start as I
+entered; but Aunt Agatha's first words made me blush, and in a moment I
+repented my misplaced spirit of fun.
+
+"Why, Merle, how pretty you look! Does not the child look almost pretty,
+Ezra, though that cap does hide her nice smooth hair? I had no idea that
+dress would be so becoming." But the rest of Aunt Agatha's speech was
+lost upon me, for I ran out of the room. Why, they seemed actually to
+believe that I was play-acting, that my part was a becoming one! Pretty,
+indeed! And here such a strange revulsion of feeling took possession of
+me that I absolutely shed a few tears, though none but myself was
+witness to this humiliating fact.
+
+I did not go downstairs for a long time after that, and then, to my
+relief, I found Uncle Keith alone; for men are less sharp in some
+matters than women, and he would never find out that I had been crying,
+as Aunt Agatha would; but I was a little taken aback when he put down
+his paper, and asked, in a kind voice, why I had stayed so long in the
+cold, and if I had not finished my packing.
+
+"Oh, yes," I returned, promptly, "everything was done, and my trunk was
+only waiting to be strapped down."
+
+"That is right," he said, quite heartily, "always be beforehand with
+your duties, Merle; your aunt tells me you have made up your mind to
+leave us in the morning. I should have thought the afternoon or early
+evening would have been better."
+
+"Oh, no, Uncle Keith," I exclaimed, and then, oddly enough, I began to
+laugh, and yet the provoking tears would come to my eyes, for a vision
+of sundry school domestics arriving towards night with their goods and
+chattels, and the remembrance of their shy faces in the morning light
+seemed to evoke a sort of dreary mirth; but to my infinite surprise and
+embarrassment, Uncle Keith patted me on the shoulder as though I were a
+child.
+
+"There, there; never mind showing a bit of natural feeling that does you
+credit; your aunt is fretting herself to death over losing
+you--Hir-rumph; and I do not mind owning that the house will be a trifle
+dull without you; and, of course, a young creature like you must feel
+it, too." And with that he took my hands, awkwardly enough, and began
+warming them in his own, for they were blue with cold. If Aunt Agatha
+had only seen him doing it, and me, with the babyish tears running down
+my face.
+
+"Why, look here," continued Uncle Keith, cheerily, with a sort of
+cricket-like chirp, "we are all as down as possible, just because you
+are leaving us, and yet you will only be two or three miles away, and
+any day if you want us we can be with you. Why, there is no difficulty,
+really; you are trying your little experiment, and I will say you are a
+brave girl for venturing on such a brave scheme. Well, if it does not
+answer, here is your home, and your own corner by the fireside, and an
+old uncle ready to work for you. I can't say more than that, Merle."
+
+"Oh, Uncle Keith," I returned, sobbing remorsefully, "why are you so
+good to me, when I have always been so ungrateful for your kindness?"
+
+"Nay, nay, we will leave bygones alone," he answered, a little huskily.
+"I never minded your tandrums, knowing there was a good heart at the
+bottom. I only wished I was not such a dry old fellow, and that you
+could have been fonder of me. Perhaps you will understand me better some
+day, and----" Here he stopped and cleared his throat, and said
+"hir-rumph" once or twice, and then I felt a thin crackling bit of paper
+underneath my palm. "It will buy you something useful, my dear," he
+finished, getting up in a hurry. A five-pound note, and he had lost so
+much money and had to do without so many comforts! Who can wonder that I
+jumped up and gave him a penitent hug.
+
+It was long before I slept that night, and my first waking thoughts the
+next morning were hardly as pleasant as usual. A premonitory symptom of
+homesickness seized me as I glanced round my little room in the dim,
+winter light. Aunt Agatha had made it so pretty; but here a certain
+suspicious moisture stole under my eyelids, and I gave myself a resolute
+shake, and commenced my toilet in a business-like way that chased away
+gloomy thoughts.
+
+Never had the little dining-room looked more inviting than when I
+entered it that morning. One of Uncle Keith's carefully hoarded logs
+blazed and crackled in the roomy fireplace, a delicious aroma of coffee
+and smoking ham pervaded the room. Aunt Agatha, in her pretty morning
+cap, was placing a vase of hothouse flowers some old pupil had sent her
+in the centre of the table, and the bullfinch was whistling as merrily
+as ever, while old Tom watched him, sleepily, from the rug. I was rather
+long warming my hands and stroking his sleek fur, for somehow I could
+not bring myself to look or speak in quite my ordinary manner; and
+though Uncle Keith did his best to enliven us by reading out scraps from
+his newspaper, I am afraid we gave him only a partial attention. When
+Uncle Keith had bade me a husky good-bye, and had gone to his office,
+Aunt Agatha and I made a grand feint of being busy. There was very
+little to do, really, but I considered it incumbent to be in a great
+state of activity. I am afraid to say how many times I ran up and down
+stairs for articles that were safely deposited at the bottom of my box.
+Aunt Agatha put a stop to it at last by taking my hand and putting me
+forcibly in Uncle Keith's big chair.
+
+"Sit there and keep warm, Merle; the cab will not be here for another
+half hour; what is the use of our pretending that we are not exceedingly
+unhappy? My dear, you are leaving us with a sore heart, I can see that,
+and it only makes me love you all the better. Yes, indeed, Merle," for I
+was clinging to her now and sobbing softly under my breath; "and however
+things may turn out, whether this step be a failure or not, I will
+always say that you are a brave girl, who tried to do her duty."
+
+"Are you sure you think that, Aunt Agatha?"
+
+Then she smiled to herself a little sadly.
+
+"You remind me of the baby Merle who was so anxious to help everyone. I
+remember you such a little creature, trying to lift the nursery chair,
+because your mother was tired; and how you dragged it across the room
+until you were red in the face, and came to me rubbing your little fat
+hands, and looking so important. 'The chair hurted baby drefful, but it
+might hurted poor mammy worser:' that was what you said. I think you
+would still hurt yourself 'drefful' if you could help someone else."
+
+It was nice to hear this. What can be sweeter or less harmful than
+praise from one we love? It was nice to sit there with Aunt Agatha's
+soft hand in mine, and be petted. It would be long before I should have
+a cosy time with her again. It put fresh heart in me somehow; like
+Jonathan's taste of honey, "it lightened my eyes," so that when the
+final good-bye came, I could smile as I said it, and carry away an
+impression of Aunt Agatha's smile too, as she stood on the steps, with
+Patience behind her, watching until I was out of sight. I am afraid I am
+different to most young women of my age--more imaginative, and perhaps a
+little morbid. Many things in everyday life came to me in the guise of
+symbols or signs--a good-bye, for example. A parting even for a short
+time always appears to me a faint type of that last solemn parting when
+we bid good-bye to temporal things. I suppose kind eyes will watch us
+then, kind hands clasp ours; as we start on that long journey they will
+bid God help us, as with failing breath and, perhaps, some natural
+longings for the friends we love, we go out into the great unknown,
+waiting until a Diviner Guide take us by the hand. "God help you, poor
+soul," we seem to hear them say, and perhaps we hear the drip of their
+tears as they say it; but in that other room, who can tell how gently
+those human drops will be wiped away, in that place where pain and
+trouble are unknown?
+
+(_To be continued._)
+
+
+
+
+ANSWERS TO CORRESPONDENTS.
+
+
+MISCELLANEOUS.
+
+IMPERIUM ET LIBERTAS.--There is no question of etiquette in the matter
+of the Highland friends of the bridegroom appearing at the wedding in
+their national costume. It is only a matter for their own decision and
+their friends' permission.
+
+V. D. V.--You were exceedingly wrong in taking walks with any man
+without your parents' permission, and you degraded yourself by enlisting
+the aid of a servant to get letters from him unknown to them, and so led
+her to do wrong and to act in an untrustworthy way to her master and
+mistress. You ought to tell her that you regret having so done, and will
+do so no more.
+
+A DEVONSHIRE DUMPLING says: "I would rather not drink vinegar or raw
+lemon-juice, if you do not mind, please." Dear little reader, pray do
+not feel uneasy on that score; nothing is further from our wishes! If
+your health be so good, leave yourself and your wholesome fat alone. If
+out of health, the case is otherwise. Dropsical puffing should be
+prescribed for by a doctor.
+
+ROSS-SHIRE LASSIE.--The 5th October, 1869, was a Tuesday; the 25th
+March, 1865, was a Saturday.
+
+LILY.--The passage you quote may mean that the blessed ones who have
+attained to perfect purity in the kingdom of their Father above were
+greater than the greatest still on earth.
+
+A LIVELY GIRL is not likely to "get too stout." She inquires, "What is
+the best kind of a _fiance_ to have?" Judging of her suitability for
+assuming the responsibility of selecting one, and of leaving her
+mother's sheltering wing, we should reply--a gilt gingerbread man.
+
+A METEOR.--The Rosicrucians were a mystic brotherhood, made known to the
+outer world in certain books published in 1614-15-16. The last book,
+published in 1616, was acknowledged by Johann Valentine Andreae, and
+entitled "The Chymische Hochzeit Christiani Rosenkreuz." The former
+works are likewise described by him. From these we learn that one
+Christian Rosenkreuz, a German noble of the fourteenth century, founded
+a brotherhood of seven adepts on his return from the East, and that
+among their laws was one that they should each heal the sick gratis (or,
+at least, endeavour to do so), should meet annually at a certain secret
+place, and adopt the symbol of the _Rose Crux_, or rose springing from a
+cross, the device on Luther's seal. In 1622 societies of alchymists at
+The Hague and elsewhere assumed this title, and the tenets of the
+community were held by Cabalists, Freemasons, and Illuminati, and
+professed also by Cagliostro. It is said that a Lodge of Rosicrucians
+now exists in London.
+
+TUMPY.--Our answers depend on the questions and style of the letters
+addressed to us. You were right in your surmise. Your writing is
+legible, but not sufficiently regular. If you write us a ridiculous
+letter we promise you a suitable answer. We are so sorry for your poor
+father. Could he not subscribe for _Punch_, or procure a few copies of
+the famous "Mrs. Brown" series?
+
+HIGHLAND MARY inquires, "Who was the author of the first settler, and
+where is it?" How can we tell "where it is"? There have been "first
+settlers" in every part of the globe. The first part of your letter is
+better written than the concluding portion, and gives good promise for a
+good running hand by-and-by.
+
+C. HORSELL.--The lines you send us are very faulty; in fact, are only
+badly-rhymed prose; but if it amuses you to write such, do not desist,
+as outlets are useful to very young people, and it seems desirable for
+them to give vent to their feelings a little.
+
+NOLENS VOLENS.--Many people do not begin "My dear So-and-So," nor end
+with "Yours sincerely," etc., on a postcard, but merely write their
+address in full at the top, and the message signed beneath it, with
+initials only. But you can do as you like in the matter; there is no
+rule. We wonder that, having such suspicions of our honesty, you
+continued to read our paper.
+
+ROUSSEAU and FLOSSY.--We know of no cure for mere nervousness, unless,
+as sometimes happens, it passes into a disease, when a doctor should be
+consulted. Try to forget yourself in the pleasure of adding to the
+enjoyment of others.
+
+HOPE ATHELING.--_A.E.I._ means "for ever." "I don't think" is a common
+colloquialism used by everyone, and is not more incorrect than such
+expressions generally are.
+
+J. S. F.--
+
+    "Not even the tenderest heart, and next our own,
+    Knows half the reasons why we smile and sigh,"
+
+is from Keble's "Christian Year," 24th Sunday after Trinity, verse 1.
+
+MARIE.--The quotation--
+
+    "A primrose by a river's brim
+    A yellow primrose was to him,
+      And it was nothing more,"
+
+is from Wordsworth's poem, "Peter Bell," part i.; stanza 12.
+
+ERA.--The signification of the bee appearing on the monument of the
+Prince Imperial, is that the French royal mantle and standard were
+thickly sown with golden bees instead of "Louis flowers" or _Fleurs de
+lys_. The origin dates back to the time of the early Egyptians, who
+symbolised their kings under this emblem, the honey indicating the
+reward they gave to the well-doers, and the sting the punishment they
+inflicted on the evil. More than 300 golden bees were found in the tomb
+of Childeric, A.D. 1653. Offer your song to some composer. Sometimes
+they are in request; more frequently there are more offered than are
+required. All depends on the fancy of the composer. Only two questions
+are allowed, and the answers given at the discretion of the Editor. We
+regret that you have been disappointed.
+
+[Illustration]
+
+CISSIE.--You cannot interfere with the laudable work of the rector in
+building a school-house for the use of his parishioners; it is his duty.
+But the parents of the children will have the right of choice between
+this school and your private one. Mourning for a parent lasts a year;
+but you are free to wear it longer if you like.
+
+WINNIE E. L.--You should consult a doctor. We cannot usurp his place,
+though we are always willing to give sensible advice on hygienic and
+sanitary matters.
+
+POLLY and OTHERS.--The measurements of a classic figure, as given on
+authority, are: height, 5 feet 41/2 inches; bust, 32 inches; waist, 24
+inches; 9 inches from under the arm to the waist, with long arms and
+neck. The proportions of a larger and more stately woman or girl would
+be: height, 5 feet 5 or 6 inches; bust, 36 inches; waist 261/2 inches;
+hips 35 inches; thick part of arm, 111/2 inches; wrist, 61/2 inches. The
+hands and feet should not be too small. "Polly" will see that no
+arrangements are made by judges of true beauty and its lines for waists
+of 15 or 16 inches. They are simply deformities.
+
+BUDDIE.--The book was published anonymously.
+
+C. B. GLOUCESTER.--Easter Day fell on the 25th March, in 1546, 1641,
+1736, 1886, and will fall next time in 1943. Tram, used as a prefix to
+way and road, is the last syllable of the name of their inventor, Mr.
+Benjamin Outram, who in 1800 made improvements in the system of
+railways for common roads, then in use in the North of England. The
+first iron tramroad from Croydon to Wandsworth was completed July 24th,
+1801. Mr. Outram was the father of the celebrated Indian general, Sir
+James Outram.
+
+WILD HYACINTH.--We know of nothing save to benefit your general health.
+The intense perspiration is evidently an effort of nature. Do you take a
+tepid bath every morning, and as much exercise as possible? You have
+doubtless received your book.
+
+R. H. P.--We do not think cold and haughty people are at all nice, nor
+do we think they could be happy themselves, or make others happy. The
+Christian ideal is neither coldness nor haughtiness, but sympathy and
+love. You must take care of those long tails at the end of your words in
+writing. Better tie them up as the Dutch farmers do the tails of their
+cows. They are in writing ugly and useless appendages.
+
+NANNIE B. and FIDDLESTICKS have our best thanks for their letters.
+
+ISIS.--We are much obliged for the account of your visit to the Temple,
+and we regret we can make no use of it. You will acquire more ease in
+writing by constant practice.
+
+GERTRUDE.--We think the first year you must take what is offered to you
+in the way of salary.
+
+A FIELD OFFICER'S DAUGHTER.--We have perused the two poems, and consider
+that they hold some promise of better things, though both are faulty in
+construction and rhyme.
+
+INCONSISTENCY'S paper is too much like a schoolgirl's composition for
+our pages; but she evidently tries to think, which is more than many
+people do.
+
+ELSIE.--We never heard any more of the saying about Brighton, than "a
+country without trees and a sea without ships," and we have looked for
+the original authorship in vain.
+
+SWEET VIOLETS.--We know of nothing but constant rubbing and the practice
+of gymnastics to do your shoulders good. You probably have some trick of
+standing crookedly that has helped to make it grow out, such as standing
+on one leg, or giving down on one side.
+
+FOREVER AND EVER writes English very well, though her writing is rather
+too pointed to suit English tastes. But at 16 she has plenty of time to
+alter it if she likes.
+
+B. H. M. W.--The lines show much good feeling and affection, but no
+poetic talent.
+
+A WELL WISHER.--Rydal and Loughrigg, a township of England, Co.
+Westmoreland, on the Leven, two miles N.W. of Ambleside, celebrated for
+its beautiful lake, on the banks of which stands Rydal Mount, long the
+residence of the poet Wordsworth.
+
+MADGE.--We think "Madge" must not worry herself, as she certainly cannot
+help people who will not allow themselves to be helped, in her way at
+least of assisting them; good advice is generally unpalatable. She must
+look on the best side of the matter, and hope that her friend may be
+happy and comfortable in her own way. We doubt that you could have
+prevented the marriage, as your friend is very likely tired of the
+trouble of earning her living, and thinks of marriage as a way of
+escape. You must commend both her and her affairs to God, and cease
+worrying yourself.
+
+NELL.--Your mother's brother is your uncle, no matter whether by the
+father or the mother. To put the case in another way, your grandfather's
+son is your uncle by whatever wife he had, first or fourth. Of course
+you could not marry him. See the "table of degrees of affinity" in the
+Book of Common Prayer.
+
+ONE OF OUR GIRLS.--We think that men not much exposed to cold and damp,
+and night work, such as sailors and soldiers, do not need the warmth nor
+stimulant obtained by smoking any more than women do. Nevertheless, a
+single cigar or pipe daily would not be injurious to a grown man, though
+much so to a young lad in his teens. Men are so careless about cleansing
+their pipes from that poisonous nicotine, that multitudes have found
+their habit of excessive smoking a highly provoking cause of cancer in
+the mouth.
+
+HEBRIDEAN.--We think some foolish person has been worrying you with
+nonsensical fault-finding. We can not see that you were wrong in any
+way. You were with other girls and with your brothers, and that should
+be sufficient protection, whoever you were walking with. Do not allow
+yourself to be teased.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No.
+356, October 23, 1886., by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. ***
+
+***** This file should be named 18395.txt or 18395.zip *****
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