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diff --git a/18395-h/18395-h.htm b/18395-h/18395-h.htm new file mode 100644 index 0000000..dd9f18b --- /dev/null +++ b/18395-h/18395-h.htm @@ -0,0 +1,3621 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <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> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<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'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.—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.—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=""LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND."" title="" /> +<span class="caption">"LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND."</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>débris</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—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!</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—</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—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—"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—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—</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—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—</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—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.'"</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—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—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.—A TILE. + +Our First Experiment." title="" /> +<span class="caption">FIG. 1.—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—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.</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—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—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.</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.—A PLAQUE." title="" /> +<span class="caption">FIG. 2.—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—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.—A VASE." title="" /> +<span class="caption">FIG. 3.—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 +£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° 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—'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.</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'S PYJAMA." title="" /> +<span class="caption">A LADY'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:—"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 moiré 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—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.</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:—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—</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—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:—</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—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.</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>—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.—<i>Dr. Johnson.</i></p> + + +<p><span class="smcap">A Rare Companion.</span>—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—the thing of truth and worth—<br /></span> +<span class="i2">To all posterity goes down.<br /></span> +</div><div class="stanza"> +<span class="i0"><i>—Goethe.</i><br /></span> +</div></div> + +<p><span class="smcap">Beethoven in Germany.</span>—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.—<i>Robert Schumann.</i></p> + + +<p><span class="smcap">A New Use for a Dog.</span>—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>—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>—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=""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—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—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—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.</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—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?</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—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——" 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—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?</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>—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>—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>—The 5th October, 1869, was a +Tuesday; the 25th March, 1865, was a Saturday.</p> + +<p><span class="smcap">Lily.</span>—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>fiancé</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—a gilt gingerbread man.</p> + +<p><span class="smcap">A Meteor.</span>—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 <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>—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>—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>—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>.—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>—<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>—</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>—The quotation—</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>—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>—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>—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>.—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.</p> + +<p><span class="smcap">Buddie.</span>—The book was published anonymously.</p> + +<p><span class="smcap">C. B. Gloucester.</span>—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>—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>—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>—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>—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>—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>—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>—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>—The lines show much +good feeling and affection, but no +poetic talent.</p> + +<p><span class="smcap">A Well Wisher.</span>—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>—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>—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>—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>—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 ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/3/9/18395/ + +Produced by Susan Skinner and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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