diff options
Diffstat (limited to '18395.txt')
| -rw-r--r-- | 18395.txt | 2419 |
1 files changed, 2419 insertions, 0 deletions
diff --git a/18395.txt b/18395.txt new file mode 100644 index 0000000..31ce31d --- /dev/null +++ b/18395.txt @@ -0,0 +1,2419 @@ +The Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. 356, +October 23, 1886., by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Girl's Own Paper, Vol. VIII: No. 356, October 23, 1886. + +Author: Various + +Release Date: May 15, 2006 [EBook #18395] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. *** + + + + +Produced by Susan Skinner and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + +THE GIRL'S OWN PAPER + +VOL. VIII.--NO. 356. + +OCTOBER 23, 1886. + +PRICE ONE PENNY. + + + + +A DREAM OF QUEENS' GARDENS.[1] + +A STORY FOR GIRLS.--IN TWO PARTS. + +BY DANIEL DORMER. Author of "Out of the Mists." + + +PART II. + +A QUEEN'S DREAM. + +[Illustration: "LILACS AND LABURNUM TREES BLOOM ABUNDANTLY AROUND."] + +Yet the recollection of that book is helping to soften Hazel. There is a +tender bit of writing at the close of the lecture which can hardly fail +to reach any woman's heart, unless it be wholly hardened; and Hazel's is +not a hard heart. So she muses on it, growing gradually calmer and +happier. After all, she might be of some use in the world if she were to +try, and if One Divine would be with her. + +She stoops down to throw some coal on the fire. She is too much +exhausted physically to make it up carefully; but with an effort piles +on large blocks and small indiscriminately, then throws in a handful of +matches from a box within reach. What strange chaos there seems to be in +the grate after a little while! One after another the matches go off +with a phiz and short-lived flare, and each seems to light up a more +curious scene than the last. From being mere piled-up blocks of coal in +a grate, they grow to be a half blocked up entrance to some unknown +place. There is a large shining black portal, half ruined, surrounded +with _debris_. By degrees Hazel's languid curiosity is excited, and she +wonders whither it leads. Why should she not explore?... The next match +which takes fire lights up the slight form leaning far back in the big +chair, with the soft, golden brown hair half loosened, and the dark, +shadowed eyes fast closed. And Hazel has passed through the dark +gateway, and is in a wonderful world. + +What a strange black gateway to have led into so fair a garden! Hazel +pauses at the entrance, her eyes glistening, her breath taken away with +delight at the beauty of the scene before her. A paradise of fresh green +shade and exquisite light and colouring. Wide-spreading chestnuts, +graceful, feathery birches, and a hundred other trees, clothed and robed +in their tender young leaves, mingle with a glory of pink and white +spring blossom, which seems to fill the air like a snowstorm in the +clear, blue sky. The South wind blows and fans Hazel's cheek, and wafts +delicious breath of flowers and sweet-brier around her. Beneath the +shower of snowy blossom stretches smooth, green grass, and masses of +brilliant flowers glow, expanding their petals up towards the sun. + +After a while Hazel wanders forward in a dreamy intoxication of delight, +every moment discovering fresh beauties. She finds a beautiful grotto, +where are large rocks and cascades and running streams and fountains. +She enters by a low archway of stone, covered with drooping ferns, and +there, right before her, is a large clear pool at the foot of a huge +rock. She flushes with the prettiest of shy pleasure and frank +admiration at sight of her own reflection. + +How beautiful! A girl in a long, white robe, with a sweet, dark-eyed +face, which she knows to be her own. She is leaning slightly forward, +and the eyes--so often heavy and weary--are brimming with happiness, the +lips parted in a smile. Her hair, with its pretty, sunny ripples, is +unbound, and the wind blows it slightly back from her shoulders. And, +most wonderful and striking of all, a circlet of pure gold rests upon +the shapely head, and a second circlet is clasped round the waist. Then +she is a queen? No doubt of it. And then comes, to the joy of admiration +of all she has seen, the added joy of certainty that all is her own. +This is a queen's garden, and she is the happy queen! + +More and more dawns gradually upon her. There are those near at hand +dear to her, to whom she is also dear, whose queen she is. Oh the joy of +it all! She clasps her hands in ecstasy, and the pretty reflection in +the pool is more than ever lovely, only she has forgotten it now. + +A serious thought must have come into Hazel's mind, for suddenly a +different expression appears in her eyes; a look of perplexity and shade +of sorrow. The consciousness in her new life is growing, and, alas! it +is not unmixed with pain. This garden is not all the world, then? She +puts her hand to her brow, trying to recall something. Slowly it comes +back to her in words, noble words, spoken by one whose face is a +darkness to her. And she listens-- + +"It is you queens only who can feel the depths of pain, and conceive the +way to its healing." + +Ah! that is enough. She has lost her desire to recall more. She would +fain turn back to the former delight and forget the existence of pain. +But the steady voice persists, and will not be quenched. + +"Instead of trying to do this, you turn away from it; you shut +yourselves within your park walls and garden gates; and you are content +to know that there is beyond them a whole world in wilderness, a world +of secrets which you dare not penetrate, and of suffering which you dare +not conceive." + +Hazel looks round on the garden. How pleasant it is! Why should she +leave it? Why should she concern herself with what may lie outside this +home-kingdom of hers? She tries again to banish the voice, yet she knows +in her heart, if she would only look for its knowledge, that, outside of +that little rose-covered wall, the wild grass, to the horizon, is torn +up by the agony of men, and beat level by the drift of their life-blood. + +Yes, it is useless; there is no escaping the truth the voice tells. So +Hazel yields herself to listen as it goes on. + +"I knew you would like that to be true; you would think it a pleasant +magic if you could flush your flowers into brighter bloom by a kind look +upon them; nay, more, if your look had the power, not only to cheer, but +to guard.... This you would think a great thing! And do you not think it +a greater thing that all this (and how much more than this) you can do +for fairer flowers than these, flowers that could bless you for having +blessed them, and will love you for having loved them; flowers that have +thoughts like yours, and lives like yours, and which, once saved, you +save for ever? Is this only a little power? Far among the moorlands and +the rocks, far in the darkness of the terrible streets, these feeble +florets are lying, with all their fresh leaves torn and their stems +broken; will you never go down to them, nor set them in order in their +little fragrant beds, nor fence them, in their trembling, from the +fierce wind?" + +Engrossed with the voice, Hazel has been walking on, little heeding +whither she goes, when, as its tones die away, a groan startles her. How +terrible its sound; how incongruous, interrupting the soft harmonious +chorus of the soaring, singing birds! So painfully near it seemed, too, +it could but have been a very little distance off outside that gate +which she sees before her. Her first impulse is to draw back and retire, +shuddering, far into the garden. But, behold! the gate swings back of +its own accord, and in the face of that fact, and with the remembrance +of the words she has heard, she dare not do other than pass through the +open way. + +What a strange, wide world, and how dreary! A great, mad battle is +raging; the grass, sloping up to the horizon, is scorched with the heat +of the sun--the sun which only made a pleasant warmth in the shady +garden. There is the fierce galloping of horses, and wrestling and +fighting of men. Shouts and groans fill the air and drown the song of +the birds. There are heaps of dying and wounded. Ah! there is one man +not a stone's throw from her; his must have been the voice that reached +her within her gates. How remarkable that she should have heard nothing +before of all the great din. Another groan, followed by some inaudible +words, causes Hazel timidly to approach the wounded man. He is evidently +one of the very poorest of the "common" soldiers; and there is a look in +his face which speaks the word death with a shudder in the girl's heart. +A gleam lightens the agony in the man's eyes as he sees the white form +and gentle face above him. He gazes steadily a moment, as though to make +sure his vision is not a passing illusion; then Hazel catches the words, +"Were you sent to me?" + +Very quietly she tells him in whose name she comes. Then, with a long, +struggling sigh of satisfaction, without a shadow of further questioning +in the dying eyes or voice, he whispers--"Hope even for me in Him, then, +since He sent you!" + +So the low, flickering flame of life, set free, leaps up to its source; +and the forsaken home rests in unbroken peace. + +Saddened, and yet peaceful, too, Hazel turns slowly away from the +battle-field, and walks on, not noticing whither she goes. Jarring +sounds recall her, and she finds herself in a narrow valley, surrounded +by noisy children and brawling women. No one seems conscious of her +presence. A lot of men are lounging against the wall of a public-house. +The low building is conspicuous by its being in good repair, while its +neighbours are all in a shattered condition. The window-frames are +painted and varnished, and the open entrance discloses a smart interior. +A few doors beyond this the houses reach the climax of desolate +disorder. The whole place is tumbling down; the window is broken; the +battered door is off its hinges, propped up against the wall. A cripple +girl is sitting on a broken box, turned upside down, immediately outside +this miserable hovel. Her face is a greater shock to Hazel than any of +the other wretchedness around. There is a desperation of bitterness in +that set, white face, with its hollow eyes and cheeks, which is +absolutely appalling. Hazel had always imagined that suffering must of +necessity, by its own inherent nature, bring with it a patience which +would be reflected in a sweet face. Slowly, as she scans those immovable +features, full of pain, and still more full of dogged rebellion, this +idea has to be abandoned. Here obviously is a human being in the midst +of a noisy squalor, whose physical disease and torture is unlightened by +one softening ray of hope; whose misery is too sullen and dull to rise +even to the hope of putting an end to itself. + +One moment and the deformed girl starts apprehensively. A sob has +sounded in her ear, and some one, unlike any she has ever seen +heretofore, stands beside her, taking her hand in mute, unspeakable +compassion. She cowers back against the wall and drags away her hand; +Hazel's purity and loveliness raises in her only a shrinking dislike and +dread of contact. + +It is long before the pleading, loving voice gains any hearing; but at +last, before the two part, some faint expression of intelligent thought +has dawned on the lame girl's brow; and in her mind a question has been +raised, "Can it be that there is one who loves me and has need of me?" + +The evening sunlight is falling through the birches in the beautiful +garden; the air is full of fragrance and harmony; the queen is +returning. Wearily she opens the gate to enter. She is filled with pain, +for the many sadnesses to which she has drawn near have touched her own +soul with the shadow of suffering. + +Suddenly, in the chequered shade of the trees at the entrance of the +garden, she stops and turns round, for a bright radiance envelops her. +And, lo! there stands One, in glorious light--One in whose Divine face +love is shining. Hazel bows down, her whole soul overwhelmed with +reverent awe. Then her hand is taken and held with a touch which thrills +her with exquisite rapture, and a voice in her ears says-- + +"Come, see with Me My garden." + +And the air, which is filled with light, grows buoyant, and, while her +hand is still clasped by the Divine Guide, she is wafted upwards. + +Stretched out below, the hills and vales of the earth are one vast +garden. All is indistinct at first; expanses of misty colour and tint; +but by degrees the scene resolves itself into more definite form. The +whole is intersected and watered with streams, more or less clear and +pure, which arise and are replenished from a bright vapour, the Spirit +of Life, which shines, issuing forth from an empty tomb in a rock in the +East. There are banks of wild violets and primroses, and woods filled +with anemones and hyacinths--myriads of beautiful flowers, reaching over +all the world. + +Hazel has hardly taken in anything of the wonder of the scene, when her +attention is attracted by an arch of white mist above the earth, and, as +it seems, but a few paces from her. Gradually this path of mist grows +clear as crystal, and the colours glancing in it take shape, and form a +clear, transparent picture. + +A cornfield on a summer evening, filled with blossoms of poppies and +corn-flowers. A wild storm sweeps over the field; the corn is broken +down; the flowers are crushed beneath its weight, draggled and withered. +A poppy, torn up by its roots, is whirled through the air. + +A mist sweeps over the crystalline cloud, and where it grows clear again +the scene is changed to a wild hill-side. Scarlet and blue flowers +intermingle in the distance; in the foreground lies a single poppy, +withered and dying. Slowly, beside it a lily grows up; as it grows the +fading poppy is stirred, touched by its leaves; and the tiny bells +waving over it inspire new life and vigour, till at length, grown whole +and fresh, it is loosened from the brown uptorn roots, and floats +upwards, to bloom more beautiful in Paradise. + +Again the mist passes over the light picture and changes it. A woodland +scene is painted there now. Amid the fern and moss and twigs under the +trees, wild flowers are blowing. A pathway intersects the little wood, +and across it shadows of the trees fall, with sunlight between. In the +foremost patch of sunshine, at the edge of the path, is a sprinkling of +anemone leaves. And there amongst them a delicate blossom, half crushed +by the superincumbent weight of moss, the fallen leaves of last year, +and tiny, lichen-covered twigs. The white, transparent petals are soiled +and deformed, thrust down to the earth. As Hazel looks, regretting that +she has not the power to stretch forth her hand and clear away the +destructive weight, the leaves and twigs tremble, and are uplifted, and +fall away from the slender plant, for close beside it a hardy little +fern frond slowly uncurls itself and arises. The frail blossom stirs +slightly, released from the overwhelming pressure; but has no strength +to do more. Oh, for water to revive it! And, lo! from the fair green +fern drops of dew embosomed there are shed and scattered over the +downcast head. They are drunk in, and by degrees the drooping cup is +raised to the friendly fern. And then, the straight young frond, itself +ever growing, waves aside in a natural, graceful sweep, and allows the +sunshine in all its strong radiance and reviving force to fall full on +the flower. And the half-closed bell joyously expanding, grows white and +strong and beautiful. + +And so the crystal pictures change and change, till Hazel's every +helpful act has been set forth. Then, as the last fades, and the arch of +storied light itself dissolves and melts, with one all-absorbing passion +of eternal devotion flooding her whole being, Hazel turns to Him who has +kept her beside Him throughout, her hand retained in His. For one moment +she beholds Him, the Unutterable One; and in His Sacred Face she reads, +amid ineffable love and infinite majesty, a look of gratitude. And once +more the Divine accents fall on her ear, saying-- + +"'Inasmuch as thou didst it unto one of these My brethren, even these +least, thou didst it unto Me.' + +"Let not those, the queens of the earth, to whom I have given the +priceless gifts of life and leisure, hold either lightly. Life, with its +sorrows and its joys, is but the education time fitting them to live for +ever with Me. The leisure I have bestowed may be used for Me, in doing +work in My garden--work which I have prepared for them to do, and which +I long to see done. Let them see to it that they waste not the +opportunity in fretful discontent and idleness--'And whosoever shall +give to drink unto one of these little ones, a cup of cold water only, +in the name of a disciple, verily I say unto you, she shall in no wise +lose her reward.'" + + * * * * * + +Hazel awoke. The moon was streaming in through the window. The grate was +filled with shining blocks of coal, and a few half-burnt matches. Aching +all over, and shivering with cold, she closed her eyes once more, and a +period of insensibility followed. + +Many days and nights of feverish illness ensued--days and nights in +which Hazel had much to suffer, and was only from time to time +conscious of the loving, unceasing care which watched over her. In those +intervals when her mind was not dazed and confused, she saw a face, old +and plain and wrinkled, which was to her as the face of an angel, for +Miss Bright tended and watched her with all the self-sacrifice of a +noble, true woman. + +At length, after a weary, weary time of pain, Hazel fell asleep once +more. Her dream came back to her, for she thought she was resting in the +warm sunshine on a bed of lilies in the same beautiful garden. And when +she opened her eyes she found her room was really bright and warm with a +fire and sunshine, and fresh and sweet with the fragrance of lilies of +the valley, a large bunch of them standing beside her, and more lying on +the white coverlid of her bed. Her eyes filled and her heart swelled +with gratitude. Softly she whispered, as though she spoke to someone +close beside her, "Dear Lord, I am so thankful to Thee for making me +better. I so longed to live a little while more to do some work for Thee +in Thy garden. I bless Thee so!" + +The door opened, and Brightie came in. The brave old woman broke down as +she clasped Hazel in her joy at the improvement in her. The two cried +together for a little while; there was so very much to be glad about +that the gladness was too great for self-control. + +A few days later, a girl with a white but radiantly happy face is +resting in a cane armchair, her feet supported by a footstool, in the +garden of a pretty country house at Fridorf. The sunshine is hot, but +she is shaded from it by a trellis work of young-leaved creepers +overhead. Lilacs and laburnum trees bloom abundantly around. The lawn +before her is smooth and green, and beyond is the sea. + +"How wonderful God's love is!" the girl says, presently, reaching out +her hand to an old woman with a peaceful face who shortly joins her, and +who clasps and retains the hand with an answering look more eloquent +than speech. + +THE END + +FOOTNOTE: + +[1] Sesame and Lilies. By John Ruskin LL.D. 1. Of Kings' Treasuries. 2. +Of Queens' Gardens. + + + + +HINTS ON MODELLING IN CLAY. + +BY FRED MILLER. + + +Modelling in clay is a very agreeable change in one's artistic +occupation, for it is quite unlike other branches of art, and calls into +play a different set of faculties for its performance. It needs a +greater amount of "hand cunning" than does painting, and is in that +sense akin to wood carving, to which delightful craft it is, indeed, +almost indispensable, and, I might add, part of the necessary training +one has to undergo to become a carver in wood. And as on another +occasion I am going to write a few hints on wood carving, the present +article may be taken as a prelude to the one on that subject. + +The materials necessary to try one's hand at modelling are very +inexpensive. The clay is the most essential thing, and this can be +purchased at one or two artists' colourmen, or, better still, at any +pottery. I have had clay sent me from the potteries in Staffordshire, +and those of my readers who live near a pottery would have no difficulty +in supplying themselves with clay. The clay used for flower-pots does +for coarse work, but is not sufficiently carefully prepared for fine +work. It burns a rich red colour, and is, of course, terra-cotta. The +clay used in making the terra-cotta plaques and vases is what you +require for fine work. There are two or three firms who supply London +shops with terra-cotta vases, etc., and I have no doubt that clay might +be purchased of them. + +The clay used in making tiles does for modelling, but perhaps the best +is that which burns a cream colour. It is a dull grey colour, rather +dark before it is fired, and it should be noticed that it is difficult +to tell the colour clay will burn by its appearance when unbaked. Thus a +grey clay may burn a rich red or pale cream. The qualities necessary in +clay for modelling are plasticity, which enables it to be worked without +falling to pieces, and fineness--a perfect freedom from grit, small +stones, and other impurities. It should be quite soft to the touch, and +when pressed and kneaded should feel smooth and silky. Old clay is more +plastic as well as being tougher than new, and in potteries clay is +often kept a considerable time before it is used. The clay should not be +allowed to dry when it is not in use, and to prevent this it must be +wrapped in wet flannel. Should it dry quite hard, there is nothing to do +but to put it into a vessel and pour water on it, allowing it to stand +until the clay becomes soft. Some of the moisture must then be allowed +to evaporate, otherwise it is too soft for use. This is another point to +be observed in clay used for modelling. It must not be too damp. If it +sticks to the fingers it is too wet, and if it resists the pressure of +the fingers, too dry. The state between stickiness and stubbornness is +what is wanted. + +Now as to the tools. Wooden modelling tools can be purchased at some +artists' colourmen, and also at some tool shops. You must choose those +tools you think look handiest. A little practice will soon show you +which are the best to have. + +Each modeller has a predilection for certain tools, and it will take my +readers very little time to find out which tools give the best results. +I often shape those I buy myself to fit them for particular work. In +addition to these wooden tools, it is necessary to have a fine steel one +to work the clay when it is dry. Modelling tools are very inexpensive. +You really require no other tools but these wooden ones and a steel one, +but it is necessary to have a few boards to work your clay upon. They +should be strong, with battens at the back to prevent them warping, +which they are liable to do owing to the dampness of the clay. + +We will start our work with a very simple design, for our aim should be +to overcome the difficulties by degrees. The design I have chosen (fig. +1) was modelled as a tile about eight inches square, and the first thing +to be done is to roll out a piece of clay about half an inch thick, and +fairly flat all over. It is as well to work the clay up in one's hands, +damping it occasionally if too dry. If clay be allowed to remain +untouched for any length of time it gets set, and does not work easily; +therefore, thoroughly work it up with the hands. It may be made into a +ball, and can be rolled out flat with a thick ruler or rolling pin. The +clay has a tendency to curl up round the rolling pin, and care must be +taken to prevent this. If the rolling pin be covered with leather, this +is to a great extent prevented. The design can be made on tracing paper, +and by marking over the tracing paper placed over the clay with a hard +point, an impression sufficiently distinct will be left to guide one in +doing the actual modelling. The first thing is to build up the oranges, +which can be done by sticking little pellets of clay on to the slab, +pressing them down with the fingers, and rounding the oranges roughly +into shape. + +[Illustration: FIG. 1.--A TILE. + +_Our First Experiment._] + +Don't be too particular about this part of the work; be content to get +some approximation to the shape, leaving the finishing to be done with +the tools. Build up the stem in like manner, or you might roll out a +thin piece of clay and stick this on to the slab. In sticking clay on to +clay, it is always advisable to wet both the clay and the slab to +ensure thorough adhesion, and in working the design into shape it is +even a good plan to dip the fingers into water, as the extra moisture +makes it easier to press the clay into the requisite shape. + +The leaves can be modelled separately, and stuck on to the clay slab one +by one. Do as much of the work as you can with the fingers. In +modelling, the fingers are the best tools, after all. They do their work +so much more expeditiously and effectively than the so-called "tools" +do, and, depend upon it, the more the preliminary work is done with the +fingers the better, as the use of the fingers tends towards boldness of +design and vigour of execution. People, in starting a new employment, +are very apt to be finiking owing to timidity, and this must be overcome +from the outset--this tendency to pettiness--and in the case of +modelling, the best way to overcome it is to do all the preliminary work +with the fingers. Build up the design boldly and freely, studying only +the principal masses and most important forms. When this is +accomplished, let the clay stand a little time uncovered, as the use of +water will have made it very sticky, and the modelling tools cannot be +used as efficiently when the clay is in this state as when it is drier. + +The modelling tools will enable you to begin to finish up the design, +for at present the design exists only in its rough state. Pick the clay +out of the interstices of the design, and begin to refine the different +forms by putting in the more delicate curves. It very much depends upon +the nature of the design as to how far in the direction of finish you +carry the work, but as your modelled tile will not be exposed to rough +usage, you may under-cut it, as modellers say. Under-cutting is the +taking of the clay away from the back of the various forms. In the +leaves, for instance, instead of leaving a solid mass of clay at the +back, this should be carefully cut away underneath, or under-cut, so as +to give lightness and delicacy to the work. Of course, it is necessary +to leave some clay here and there to attach the various forms to the +slab. The under-cutting may be carried to such a pitch as to make the +design look weak, and as though it would fall to pieces with a puff of +wind. When this is the case, I reckon the finishing has been carried too +far. Clay should always look strong enough to hold together, and I may +say I never thought much of that fancy china one sees which is covered +with flowers and foliage modelled as delicately as though wrought in +some precious metal. Sooner or later the edges get chipped off, and the +charm of such work is immediately gone. Of course we know that an +accident may destroy work that is not wrought in this delicate manner, +but modelled clay should be delicate without being weak--it should at +least look as though it could hold its own with fair usage. + +Get as much of the work done as possible while the clay is plastic, and +with a little practice a modelled design can be finished entirely while +the clay is damp. In fact, the work is better when wrought from the +plastic clay than when finished up with steel tools after the clay is +dry. There is a certain crispness about the modelling when wrought from +plastic clay, which is often wanting in work tooled up when the clay is +hard. To my thinking, the best work is always that which looks as though +it had been thrown off in a happy moment, and which has a certain number +of the tool marks showing, as though the worker were not ashamed to let +his craftsmanship be seen. Work which has been touch and retouched, and +rubbed down and smoothed until all life, vigour, and crispness have +departed from it, looks what it is, amateurish (in the worse sense) and +weak. + +I have had many opportunities of seeing amateurs work during the years I +have been teaching, and I have noticed that they have a mistaken notion +of what finish really is. It certainly does not consist in smoothing the +work until it has the texture of a wax doll, and I have often noticed +that work is often wholly spoilt in the so-called finishing. + +In the subject I am dealing with--modelling in clay--this is +particularly the case, and, reader, I pray you avoid it. I would sooner +you leave the work rough, with all the marks of the tools showing, so +that you get vigour and crispness in your work, than that you should in +your endeavour to efface the marks of the tools make your work tame and +effeminate. + +[Illustration: FIG. 2.--A PLAQUE.] + +In working up the leaves, don't attempt to put many veins in them. +Hardly do more than indicate the centre vein. Nothing looks worse than +to see the various forms covered with a network of minute markings. You +will find, if you try and put in the veins in your modelled tile, your +leaves will not look as though they were veined, but as though some +stiff-legged insect had crawled over the damp clay, and had left its +trail behind it. In putting in the stamens in flowers, you will have to +have recourse to an expedient, for it is evident that you cannot copy +every individual stamen in clay any more than you can make your clay +petals as thin and delicate as nature. You must translate the effect of +nature into clay, and in the case of the stamens you will find it a good +plan to build up the centre of the flower, and then press into it a +pointed stick, repeating the operation until the whole of the centre is +perforated, as it were, like a grater. + +In order to make a contrast between the design and the background, you +can dot or line over the slab upon which the design is lying, so as to +make the surface rough in texture. When the clay is quite dry, which +will take some week or more to effect, you can put any further work +into the design with the steel tool, which must be used to scrape the +clay; for if you exert any pressure upon the dry clay it very soon +chips, and it is almost impossible to repair such damage, and for this +reason: that if you stick on a piece of wet clay to the dry clay, the +moisture of the wet clay is soon absorbed by the dry, and the piece +stuck on immediately falls off. The only chance is to keep damping the +part damaged until the clay all round gets quite moist again, and you +must then model another piece on to the broken part. Dry your work very +slowly at first, to prevent it cracking or warping, and when it seems +quite hard put it into a warmer place, for, though clay may appear hard +on the surface, there is sure to be a good deal of moisture inside, +especially if the clay be thick, and should it be put into a kiln before +the moisture is entirely evaporated, the modelled clay will fly into +minute fragments, and cause incalculable damage to other work in the +kiln. I recommend my readers to put their work into a hot oven two or +three times after it has been drying for two or three weeks, so as to +insure the clay being quite hard. I lost several works through firing +them before they were dry enough.[2] + +The heat that china is put to fix the colours is not sufficient for +baking clay, and it must be sent to some place where underglaze pottery +is fired. This first firing turns the clay into "biscuit," and if any +painting is to be done on it, now is the time to do it. Underglaze or +Barbotine colours should be used, and they should be put on in thin +washes. The whole work must then be glazed and fired. But I shall not +touch further on this part of the subject here, for I must say something +about modelled decoration applied to vases and plaques. + +The plaque or vase to receive modelled decoration must be of the same +degree of dampness, or nearly the same degree of dampness, as the clay +used in modelling, for reasons already stated. You cannot put modelled +decoration on to clay that is dry, or ware that has been fired. To make +a plaque, it is almost necessary to have a plaster mould. You might make +this for yourself by buying a china plaque the shape and size you +require, and filling this plaque with plaster-of-Paris, being careful to +let the plaster come to edge of plaque all round. When the plaster is +dry, trim the edge round, and take it out of plaque. You must now roll +out a flat sheet of clay sufficiently large to cover this plaster mould, +and, by pressing the clay evenly all over the mould, and trimming round +the edges with a knife, you will get a clay plaque sufficiently good to +answer your purpose. Don't attempt to remove the clay immediately from +the plaster, but let it remain on a few hours, to enable the clay to +set. The surface of this plaque may be kept moist by keeping a damp +flannel over it. When the modelling has been started, the damp cloth +must not press upon the modelled portions, but be supported on a wicker +frame. + +It is always better to model direct from nature--and for this reason. By +taking a leaf and pressing it into a piece of clay, and marking it round +with a darning-needle, you get the exact shape of the leaf, and by +pulling off the leaf you can bend the clay impression into any form you +like, and put it upon your clay plaque or vase, pressing it into the +curve you wish it to take. A little very wet clay should be put on back +of leaf, to ensure it sticking to plaque. I have taken as my +illustration (fig. 2) the garden poppy, and if I were modelling it +direct from nature, I should first of all roll out a strip of clay for +the stem, and put this on the plaque so that it makes a graceful curve. +Strip off the leaves one by one, and take impressions in clay, and then +fasten them to plaque, following the natural growth, and yet arranging +them so that the leaves fall into their places agreeably. The back +leaves, instead of being modelled, might be just marked in outline on +the plaque itself. This will give depth to the design. The leaves should +not be put on the plaque flatly, but should be bent and twisted as is +necessary to suggest the growth of nature. The flower will present the +greatest difficulty, as the serrated edges of the petals must be +carefully done. + +[Illustration: FIG. 3.--A VASE.] + +In the case of flowers like chrysanthemums, it is necessary to build up +the most prominent flower solidly in clay, putting on the outer petals +separately. The back flower can have the near petals modelled, while the +distant ones can be just indicated on plaque with incised lines. Don't +attempt to copy every petal in clay, which is an impossibility, but try +and get the general effect of the flower in your modelling. Take the +prominent petals first, and put them on in their proper positions, and +the less important petals can then be filled in in the intervening +spaces. This is the plan to adopt in all intricate work. Put down your +principal forms first of all, and you will have little difficulty in +getting in the less important ones, for the principal forms act as +measuring points to the rest of the work, and enable you to preserve +that proportion between the various parts of the design which is +essential in all good designs. It is necessary in modelling to simplify +nature somewhat, for we cannot imitate nature in clay. What we have to +do is to seize upon the principal points, the curves of the stems, the +position, form, and characteristics of the flowers and leaves, and put +them down intelligently and in as telling a manner as possible. Let the +work dry carefully before having it fired, and you can either finish it +up in colours, and have it glazed, or let it remain as it is. I often +used to use my Barbotine colours (see articles on "Barbotine Painting," +in Nos. 440 and 584, vol. iv., of the G.O.P.) for colouring modelled +work and glazed it with my soft glaze. I have also sent some work to the +potteries, and had a coloured glaze put over the whole work. I may here +say that much may be learnt by studying good modelled work, and even +copying some stone or wood carving in clay. The pottery of Della Robbia +and Palissy should be studied whenever the student has the opportunity +of so doing. + +I need not say much as to modelled work or vases. You must have some +shapes sent up from the potteries in the "green" state, for it is almost +impossible for amateurs to "throw" their own vases on a wheel. Space +forbids me to describe the potter's wheel, but visitors to the Health +Exhibition two years ago had the opportunity of seeing a potter at work, +which is much better than reading about one. Those adventurous spirits +who wish to try "throwing" vases, should get a small wheel from the +potteries (it will cost, including carriage, about L8), and have a few +lessons from a practical potter. In the meantime, get some firm to +procure for you a few unbaked vases, and when you receive them it will +be necessary to wrap them up in damp flannel for a day or two, so that +the modelled work will stick on the vase. Let the shape of the vases be +very plain and simple, with a good broad surface to receive the modelled +decoration. I have chosen as the illustration (fig. 3) the blackberry, +as it is a very ornamental plant and one familiar to all readers. Throw +on your stalk first of all, letting it wrap round the vase, and so place +it that the leaves, flowers, and fruit can spring from it so as to be +seen to the best advantage. The stalks might be placed in such a way as +to form handles. Get a certain quaintness into the modelling, and don't +be too intent upon imitating nature, for, do what you will, you will +find it impossible to accomplish this. Therefore, be content to decorate +your vase with a graceful spray of bramble, with all essential +characteristics of the plant indicated, and the general "swing" of the +plant expressed in your work. Model each part separately, either by +pressing the leaves into clay and marking them round, or by modelling +pure and simple, and then fasten the various parts on to the vase with +diluted clay. Don't let any part of the work stand out too prominently; +for not only will the shape of the vase be destroyed, but there is +always much more liability to damage if the design be very prominent +than when it just lies, as it were, closely to the surface of the vase. +And yet it is not necessary to put everything perfectly flat on the +vase. The stems, for instance, can be raised in places, so that there is +a space between the stem and vase; and so with leaves, flowers, and +other details. + +It will be seen that I make the stems form an ornamental rim round the +vase and also round the neck. Dry the vase very slowly, and in sending +it to be fired, wrap plenty of cotton wool around it so that no pressure +can be exerted upon any portion of the modelling. This applies with +equal force to all modelled work. Red terra-cotta vases decorated with +modelling, and merely baked, are most effective. Terra-cotta vases +should not be too small; the larger they are the more effective is +appearance in a room. I have some more than two feet high, and when +filled with dried rushes, etc., they fill up a corner charmingly. + +As a general rule let your modelled work be drawn to a natural size, and +let it be rather over than under the natural size, for if modelled work +is smaller than nature, the effect is apt to be petty and insignificant. +Birds and insects can often be introduced with advantage. + +I have recently been modelling some large works, using clay employed in +making drain tiles, and having them fired in an ordinary brick kiln. In +fact, I started some of my work with large size drain tiles, which I +obtained when they were quite wet, and by pulling up the top and +spreading it out a little, and putting a slab of clay on the bottom, I +obtained cylindrical vases, upon which I modelled some decoration; but +as the subject is one of peculiar interest, and is somewhat new to my +readers, I must just reserve a few remarks upon this subject for another +occasion, when I will give sketches of some of the vases I have recently +been modelling. This work is within the reach of everyone, especially my +country readers, for there are few villages of any size that have not a +brick kiln in their vicinity, and for large work, such as ornamental +flower-pots, vases for holding bulrushes, and garden vases, this is most +admirably adapted. + +FOOTNOTE: + +[2] As will be seen, the tile design, fig. 1, is what is termed a "bas +relief," _i.e._, the forms in many cases are only just relieved from the +ground, and only here and there are any of the forms in entire relief. + +[Illustration] + + + + +LOVE ON, LOVE EVER. + +BY RUTH LAMB. + +"Love not, love not, ye hapless sons of earth." + + + How world-worn must have been the weary heart + When this sad strain belied its noblest part! + What! Bid us cease to love! Why life were pain + If this best attribute were given in vain. + + Cease not to love. O, wherefore shouldst thou scorn + The flowers thy path beside, to cull the thorn? + Or heed the man who, all unblest with sight, + Counsels his fellow-man to shun the light? + + Gazing around, 'tis ever hard to trace + The Maker's image in the Creature's face. + Seek it not there. That image wouldst thou prove, + Know the Divine gleams through our works of love. + + If cruel Death a dear one rend away, + Let thy love follow; do not with the clay + Bury thy heart. Soar higher. Wherefore bow? + Yesterday's mortal is immortal now. + + If thy life's labour meet with scant return, + Thou who hast wrought it should'st be last to mourn. + Nay more, rejoice. Each unpaid debt of love + Is so much treasure garnered up above. + + Let cold ingratitude bring no dismay, + But rather aid thee on thy heavenward way. + Work on, love on, aye to increase the debt; + Thy God is not unrighteous to forget. + + + + +DRESS: IN SEASON AND IN REASON. + +BY A LADY DRESSMAKER. + + +The extreme warmth of September has naturally postponed ideas of winter, +and our preparations are generally very backward. In fact, at the end of +September many people would have said that they knew nothing whatever +about new things, and that they did not want them either, and the secret +of this indifference would have been attributable to the weather. It is +to be hoped that we shall have a seasonable winter, less cold and +disagreeable than the last. + +During my visit to Paris I found but little to chronicle in the way of +winter novelties. The chief changes seemed to be in materials and their +designs. Checks are in high favour, and it is said they will supersede +stripes; and last year, when I was there at this season, they said much +the same thing, but this year they seemed more determined to vote +stripes old-fashioned. To tell the truth, I think the Parisians, and the +women in France generally, are great admirers of plaids, and do not find +stripes becoming, simply because they are usually very short and stout. +Englishwomen, who are tall and stout, like them because they decrease +their apparent size, and give an effect of length while decreasing +breadth. On tall people plaids have a bad effect. + +[Illustration: AUTUMN CLOAKS, ULSTERS, AND GOWNS.] + +Rough-faced materials constitute the majority of those prepared, and +plain stuffs are still united with plaided and striped ones in the same +dress; but this is not an absolute rule this year, for some dresses are +entirely of either plaids or stripes, or else are of plain material +only. Many of the materials are plain, with a bordering at one edge of +plaid. For instance, a grey of rough-faced stuff had a bordering of a +large check in lines of a paler grey, a little relief being given by +pale lines of a clear Naples-yellow. The effect was quiet and subdued by +the roughness of the surface of the cloth. With this gown the underskirt +was made of the plaid material, quite plain, and the overskirt of the +bordered part was draped above it in simple straight long folds, the +plaid part being at the lower edge of the overskirt. The bodice was of +the plain, and it had a plastron, or waistcoat front, of the plaid. The +buttons (as are many in use this year) are of smoked pearl, and are very +small for the fronts of gowns and larger for the jacket-bodices. +Bretelles of velvet are used as trimmings to the bodices of these rough +woollens, and the collars and cuffs are almost invariably of the same +material, which seems likely to retain its popularity through the +winter. The velvet collars are both useful and becoming, and, in +addition, they save white trimmings at the neck. We rather rejoice in +our emancipation from that bondage, and I hear many people say they will +never resume it again, now they have once found that they can look well +without the once inevitable white collar or frill. The tendency in every +woman's mind who is possessed of ordinary good sense is to simplify +everything connected with clothes, and I feel sure we shall all be +healthier and happier when we have banished many things from our +wardrobes which we now think absolutely needful. + +"Dr. Jaeger's sanitary woollen clothing," about which I have so often +written in praise, has raised up some rival manufactures amongst our +English makers, who have long been famous for their merino or lambswool +stuffs. Pure woollen under-garments in England have always been thought +to wear and to wash badly, and much of this has probably been owing to +the fact that the washing was very bad and that no one before Dr. Jaeger +ever tried washing woollens scientifically, so as to take out the grease +and perspiration, and not to harden the material at the same time. By +Jaeger's method this is done with lump ammonia and soap. The soap is cut +into small pieces and boiled into a lather with water, and the lump +ammonia is then added. This lather is used at about 100 deg. Fahrenheit, and +the clothes must not be rubbed, but allowed to soak for about an hour in +the water, and must then be drawn backwards and forwards repeatedly in +the bath till clean. Three waters are to be used, the two after the +first lather being of the same heat, and of pure clean water. This +leaves the clothes delightfully soft and supple, and their wearing +qualities suggest nothing further as an improvement. + +Some of the new English underclothing is very light and good, and claims +to be of pure merino-wool. It is of varying thickness, and many ladies, +both young and old, are adopting it for combinations; these and one +petticoat forming the whole of the clothing. Of course, the thickness of +these garments is to be suited to the season, and the gossamer clothing +manufactured for the warm season leaves nothing to be desired in its +lightness and apparent coolness. + +[Illustration: BY THE LAKE SIDE WITH THE BOATS.] + +One does not associate thick materials with great heat, and the mere +look of thick wool would make one begin to feel hot, however foolish +it may sound to say so. When the skin becomes used to wearing wool it +will be found more comfortable than either cotton or linen, and we, +moreover, avoid the chance of chills after being over-heated. I know +several people who date their almost perfect immunity from colds to the +use of woollen underclothing, who previously had been martyrs to colds +and coughs, and had been constantly imprisoned in the house during quite +mild seasons. In England the climate (need I say so?) is fickle and +changeable, and, singular to say, we may be, and many people are, +apparently wrapped up carefully and seasonably, and yet we may all err +on every hygienic point, in regard to the weight and porosity of +materials. + +So far as I can see in the newest styles, the loose-fronted bodices have +it all their own way. Many of them only fasten at the throat and waist, +either large buttons or handsome clasps being used. These jackets +stretch open over the front to show a full waistcoat, this latter being +a scarf long enough to continue below the waist and round it at either +side, so as to form a sort of sash, showing under the edge of the bodice +and ending under the long coat-tails at the back in ends or a bow. + +The newest bonnets are still high in the front, or, if not high +themselves, the trimmings are high. The horseshoe crowns which were +introduced in the summer bid fair to become extremely popular, and the +stringless bonnet will be in vogue as long as possible, and I have no +doubt many people will wear it through the winter, too. Beaver bonnets +are announced to take the place of kid or felt, and I have seen some +black beaver crowns with open-work jet fronts, which appeared +incongruous. + +Leaves of all bright hues, the bramble and its berries, the blackberry, +and the virginian-creeper, are likely to be in great favour for +trimmings this autumn. These will be used even upon velvet and beaver +bonnets. + +There is a very strong feeling in many quarters in favour of restoring +the "princess" cut of dress to favour. In a letter from a lady, it is +very wisely said, in writing to a contemporary, "For active exercise, a +dress ought to be cut all in one--'princess,' as the milliners call +it--and so arranged in the skirt that there is no drapery which will +catch in things, come unstitched, and look untidy; everything wants to +be taut and trim, like tailor's work. But even the ladies' tailors will +insist upon making a skirt and little jacket-bodice, instead of a dress +in one piece. It is almost impossible to use the arms freely--to go out +in a sailing-boat, for instance, and help in its management--or, in +fact, to raise the arms high, without causing a hiatus between the two +parts of the garment at the sides of the waist. I have noticed this +happen so often, even with smart tailor-made gowns, the wearer being +generally blissfully unconscious of the accident, that I feel bound to +draw attention to it. + +"It was curious to note the awful revelations made recently by a storm +of wind on an elevated promenade by the sea. Every steel stood out in +bold relief even under the most _bouffante_ drapery. Upper-skirts broke +away from the under, and displayed the sorry fact that the latter were +only shams, formed of lining-calico, with patches of good material put +in here and there, where the over-garment was cut open. One neat +tailor-gown revealed the cotton back to the pretty waistcoat, a pretence +which is carried out in every suit of clothes made for men, but which +seemed an aggravated offence to art in a well-dressed woman. It was +comforting to turn from such sartorial mistakes to a group of young +girls sensibly clad in simple gowns, guiltless of pretence, of steels, +or _tournures_. Gathered bodices and full plain skirts, confined by +broad sashes, combined the elements of grace and utility, and exhibited +no foolish attempt to distort and pervert nature." + +I have given the full extract, as it contains much matter for thought +for my readers, both young and middle-aged. I suppose everyone read with +interest the celebration of the centenary of M. Chevreul, the great +French chemist, who has been for years a great student of colour, and to +whom we owe many alterations, inventions, and suggestions in dyes and +colours. Trade has been assisted and developed by his researches, and +the subject of colour harmonies has been placed by him in the position +and basis of a science. When we admire the loveliness of our coloured +materials, and notice the wonderful improvements of late years, we women +may thank the industry and talent of M. Chevreul. I put in a long +quotation from him some months ago, and it may interest some of my +readers to hear that M. Chevreul has attained his hundredth year as a +total abstainer, but drank his own health in a glass of champagne, +tasted for the first time! + +[Illustration: A LADY'S PYJAMA.] + +From a recently-published book I gather the following ideas, and as they +coincide with what I am always impressing on my readers with reference +to tight dresses and stays, I quote them gladly, as showing that there +are other sensible women in the world, a class which I hope will every +day increase:--"If you lace tightly, nothing can save you from acquiring +high shoulders, abnormally large hips, varicose veins in your legs, and +a red nose. Surely such penalties, to say nothing of heart disease, +spinal curvature, and worse, are sufficiently dreadful to deter either +maids or matrons from unduly compressing their waists? No adult woman's +waist ought to measure less in circumference than twenty-four inches at +the smallest, and even this is permissible to slender figures only. The +rule of beauty is that the waist should be twice the size of the throat. +Therefore, if the throat measure twelve and a half inches, round the +waist should measure twenty-five. The celebrated statue know as the +'Venus de Medici,' the acknowledged type of beauty and grace, has a +waist of twenty-seven inches, the height of the figure being only five +feet two inches." + +And, while on this subject, I must mention that some new stays, made of +elastic material, have recently been advertised, which I should imagine +were comfortable. Dr. Jaeger also has an elastic knitted bodice on his +list, which is in reality a description of stays, and would afford +sufficient support to a slight figure. + +The illustrations to our dress instructions of this month show the +prevailing characteristics of the gowns of the month, and also +demonstrate how little change there is in them. As the majority of the +community is still moving about at this season, most of the dress +thought about and worn is suitable for travelling, as well as autumn. +Now that we no longer think it needful to put on all our old clothes and +to make our appearance grotesque, as was formerly the case, we very +frequently follow the French and American plan, and have a special dress +made for the tour we are about to undertake, which will do for day wear, +as well as for journeying while we are away; then, furnished with a +second nice black silk or satin for very best occasions, we are +sufficiently well clad for every purpose. A dust cloak, travelling +cloak, and short jacket are added, and some wise people take their fur +capes; in fact, for short expeditions of a month or six weeks we do not +like large trunks nor encumbrances, so we curtail all our wants, and are +so much the happier, having less anxiety and worry. In addition to all +this, we save our shillings in fees, and charges for over-weight, very +considerably, and, when we are rid of the heavy trunks, last, not least, +we break no backs. + +While I am on this topic, I must mention that the late Exhibition (the +Healtheries) was of great assistance to travellers in showing how much +can be done to decrease weight and bulk in every way, and setting wits +to work to improve in all directions. Thus we have wonderfully improved +waterproofed cloaks, hygienic boots and shoes; and the improvement in +trunks and bags is immense, in addition to their moderation in price. + +The greatest unanimity prevails with regard to the small jackets, which +seem patronised by young girls, as well as married women of every age. +They are generally loose-fronted, but tight-fitting at the back, the +fronts being lined with coloured silk. Many of them are braided, some +gold braid being used, and many have a flat braided plastron in the +front to button over and give a double-breasted effect. Serge in all +hues seems very much liked, but the most popular are dark navy-blue and +cream-white. Short cloaks, with sling-sleeves and hoods, are very much +worn, also short mantelettes, like our paper-pattern for last month. +These may be made in the material of the dress. + +This autumn I must again mention the numbers of slightly full bodices of +the "Garibaldi" and "Norfolk jacket" class that this season has brought +out, to be worn with skirts of different materials. The different +ladies' tailors of renown have taken up this idea, and it is probable +that we shall see them greatly worn during the winter season. Some of +these have a yoke, and some have a straight band on the shoulders, into +which they are fulled. They are made in flannel, linen, and twilled +silk, in all colours, striped, spotted, and plain, and with them the +becoming fashion of the full basque has come in. Yoked bodices will be a +decided winter style. + +With these bodices there is generally a turned-down collar and long +cuffs of velvet, and the belt should be also of velvet. In other cases +the belt matches the full bodice, and is of moire or Petersham ribbon. + +The fancy for stripes as well as plaids is shown by the dresses in the +illustration of the autumn fashions. The figure standing in the centre +of our boating picture at the English lakes, shows a blue flannel or +serge, made up with a striped material. The vest and revers show the +stripe as well as the underskirt. The back of this dress is shown by +one of the distant figures. The other wears one of the new blouse +bodices, which will be the style of the winter. In the larger of our +illustrations is shown the general tendency of the day. The cloaks and +ulsters are of plaid, and there is but little change in the shapes. The +girl in the sailor's hat shows one of the full white under-vests, the +jacket being almost of a Breton style. The edge is braided, and so is +one panel at the side of the skirt. The two bonnets, one in each +picture, show one with strings and one without. They are not quite so +high, and both have the horseshoe crown, which, as the last summer +novelty, bids fair to be adopted for the autumn and winter. + +The pattern for this month will, I hope, be a surprise, as well as a +great comfort, to those of my readers who select it, and who wish to +attain to the greatest amount of comfort and hygienic advantages in +their underclothing. The pattern in question is a combination nightgown, +or lady's "pyjama," and is a novelty which will be found of much value +and comfort. It consists of five pieces--front, back, lower back, and +two sleeve pieces. The method of putting together is carefully indicated +by marks in the pattern, and no difficulty will be experienced in the +making-up. The amount of material required will be from 41/2 to 5 yards, +and calico, flannel, or swansdown, or the new cotton flannel, may, any +of them, be used to make it. For the winter season it will be found to +supply a great increase in warmth, and, to the invalid, a great comfort, +as it fits closely, will not form creases, nor "ruck up," as the +ordinary nightgown always does, to the discomfort of the wearer. + +Each of the patterns may be had of "The Lady Dressmaker," care of Mr. H. +G. Davis, 73, Ludgate-hill, E.C., price 1s. each. It is requested that +the addresses be clearly given, and that postal notes, crossed so as to +be eligible only to go through a bank, may be sent, as so many losses +have occurred through the sending of postage stamps. The patterns +already issued can always be obtained, as "The Lady Dressmaker" shows +constantly in her articles how they can be made use of. + +The following is a list of those already issued:--April, braided +loose-fronted jacket; May, velvet bodice; June, Swiss belt and full +bodice, with plain sleeves; July, mantle; August, Norfolk or pleated +jacket; September, housemaid's or plain skirt; October, combination +garment (underlinen); November, double-breasted out-of-door jacket; +December, zouave jacket and bodice; January, princess under-dress +(under-linen, under-bodice, and skirt combined); February, polonaise +with waterfall back; March, new spring bodice; April, divided skirt and +Bernhardt mantle with sling sleeves; May, Early English bodice and yoke +bodice for summer dress; June, dressing jacket, princess frock, and +Normandy peasant's cap, for a child of four years; July, Princess of +Wales' jacket-bodice and waistcoat for tailor-made gown; August, bodice +with guimpe; September, mantle with stole ends and hood. October, +"pyjama" or nightdress combination with full back. + + + + +THE SHEPHERD'S FAIRY. + +A PASTORALE. + +BY DARLEY DALE, Author of "Fair Katherine," etc. + + +CHAPTER IV. + +Meanwhile, Mrs. Shelley had washed and dressed her own three boys, and +had introduced the little stranger to the two elder, Charlie, the baby, +being already on intimate terms with his foster sister, for whose sake +he had to submit to much less attention than had hitherto fallen to his +share, for which reason he was unusually cross this morning. Willie, the +second boy, the living image of his father, was barely three years old, +and too young to pay much attention to the baby, or to understand that +it had arrived in an unusual way; but Jack, the eldest boy, quite took +it in, and stood lost in admiration of the wonderful baby with its +beautiful clothes, so unlike Charlie's, and the lovely coral and bells, +as his mother showed them all to him. Jack was five years old, a tall, +strong child for his age, and very like his mother in face; he had her +quick temper, too, though Mrs. Shelley had hers pretty well under +control, while little Jack often got into trouble by giving way to his. +Nothing ever escaped Jack's notice; he was always all ears and eyes, and +he took in every detail of the strange baby's belongings as +intelligently as his mother could have done, and, to her joy, for she +was by no means sure what kind of a welcome Jack, who resented the +arrival of little Charlie, saying, "Mother didn't want anyone else to +love her when she had him," would give to the strange baby, he was +enchanted with it, and was as anxious as Mrs. Shelley herself to keep +it. + +"It is the fairies' baby; they brought it, didn't they, mother? We will +always, always keep it, won't we?" + +"I don't quite know yet, Jack; father says perhaps we shall have to send +it away," said Mrs. Shelley. + +"It shan't go away. How dare father say so? He is a wicked man to want +to send it away," cried the boy, with flashing eyes and crimson cheeks. + +"Jack, I am ashamed of you; you must not speak of your father in that +way; if he says it is to go away it must go, whether we like it or no." + +Jack hung his head and hid his face on his mother's shoulder, while she, +remembering how indignant she had been with the shepherd for hinting at +sending it away the night before, stooped and kissed her boy's curly +head, and Jack raised his head again and renewed his attentions to the +baby. + +"What a pretty little thing it is; see how it holds my finger. I think +it will love me, mother, though it is not my real sister. Oh! do make +father keep it, will you?" + +For the first time since Mrs. Shelley had had the baby, she now +hesitated about keeping it; the boy had unconsciously struck a wrong +chord, and his mother, with a prophetic instinct, coupled with a quick +imagination, for a moment saw that it was possible this little stranger +who, as Jack had already grasped, was not his real sister, might, in +future years, destroy the harmony and peace of the home circle. But it +was only a momentary hesitation; the thought flashed across her mind and +vanished again, almost as quickly as it had come. Could she have known +how true that prophetic instinct was, would she not have gone counter to +all her own inclinations, and disregarded all Jack's wishes and prayers, +rather than have run the risk of introducing strife into her peaceful +household? As it was, the motherly pity she felt for the baby was +stronger at the moment than the foreboding light which had flashed +across the distant future, and she answered hurriedly-- + +"I must go and see Mr. Leslie first, dear, and hear what he says; do you +think you could take care of Charlie while I am gone with the baby? I +shall take Willie with me, or he will be getting into mischief." + +Jack, proud to be of use to his mother, professed his ability to look +after Charlie, privately regretting it was not the beautiful strange +fairies' baby which was to be left under his charge. + +"Jack, I can't be back before the clock has struck twelve; it is now +half-past ten, so it will strike twice before I come back, do you +understand; and both the hands will have to be on the twelve at the top, +do you see? So now, if it seems a long time, do not be frightened, I +shall be back soon after twelve. If baby cries, rock the cradle, but +don't try to take him out; if he sleeps you may wash the potatoes for +dinner. Now, good-bye," and Mrs. Shelley, with the infant in her arms +and Willie running by her side, set off to the Rectory, while Jack stood +at the door watching her out of sight. + +The first half-hour passed quickly enough. The baby slept, and Jack +washed the potatoes, and was delighted when the clock struck eleven. But +the next hour was interminably long, and little Jack got very tired of +rocking Charlie, who was awake now, and would scream every time his +brother stopped rocking. Every few minutes Jack ran to the door to see +if his mother was coming, and then ran back and rocked violently at the +cradle. At last he thought he heard footsteps, and, running to look, +saw, not his mother, but Dame Hursey, making her way towards the house. + +Now, Jack did not care about Dame Hursey's visits even when his mother +was at home. He was half afraid of the witch-like old woman, and to have +a visit from her while he was alone was the last thing he desired, so he +came in quickly and banged the door, hoping she would think they were +all out and go away, if only he could keep Charlie quiet. But Dame +Hursey had seen and heard the door shut, and so, after knocking two or +three times without any result, she quietly lifted the latch and walked +in, while Jack, who was kneeling by the cradle, looked up, half +defiantly, half frightened. + +"Mother is out; there is no one at home but me," said Jack, sharply. + +"Oh, is she? Well, I'll sit and rest a bit till she comes in. Who have +you got there in that cradle?" + +"Charlie, my new brother," said Jack. + +"And where is the fairies' baby? Ah! you see, I know all about it. I +know everything; there is no keeping secrets from me. That is the shawl +it was brought in, isn't it, now?" said Dame Hursey, rising and +examining minutely the Indian shawl in which the baron had wrapped his +daughter, and which was lying on a chair. + +Jack, more convinced than ever that Dame Hursey was a witch, thought +perhaps she might be able to tell him where the fairies had brought the +baby from if he were civil to her, so he answered all her questions and +described minutely all the baby's belongings. + +"Ah! well, it is the Pharisees you have to thank for bringing her here. +Mind you all take care of her, and one of these fine days she'll turn +into a beautiful princess and make you all very rich; but if you talk +much about her the fairies will be angry and take her away. You tell +your mother I said so; I can't wait any longer." + +And Dame Hursey, who had been prying about the kitchen to see if she +could find any other belongings of this mysterious baby, took her +departure, much to Jack's joy. + +Shortly after she left Mrs. Shelley came home, and Jack was so full of +Dame Hursey's visit and her account of the fairies' child that he forgot +to ask the result of his mother's interview with the rector, while Mrs. +Shelley, on the other hand, was not at all pleased to find Dame Hursey +had been prying about her cottage in her absence, and congratulated +herself on not having left any of the baby's little garments about, for +she might never have found them again if she had. + +The next day the rector called and had a long talk with the shepherd and +his wife about the baby, though he could throw but little light upon it, +except, of course, to utterly discredit the ridiculous notion that the +fairies had brought it. That it belonged to rich people was clear from +its clothes; and to foreigners, from the coronet, which was certainly +not English. More the rector could not say, except that its parents +evidently wanted to get rid of it, and had connived at placing it on the +shepherd's doorstep. + +As to keeping it, that was a point entirely for the shepherd and his +wife to decide. If they chose to send it to the workhouse, no one could +blame them for doing so. He doubted exceedingly anyone ever claiming it, +but he advised Mrs. Shelley to lock up all its clothes and things in +case of their being needed for identification at any future period. He +also counselled them, if they thought of keeping the child, to weigh the +matter well before they decided, as it would be cruel kindness to take +it in for a time and then tire of it and send it to the union. + +But John Shelley was not a man to do this, as his wife well knew. If he +decided to keep the child he would do his duty by it, and go to the +workhouse himself before he suffered that to do so. All that day John +was very thoughtful, but when he came in to supper that night he told +Mrs. Shelley he had made up his mind, and they would keep the baby and +bring it up as their own daughter. Here, however, Mrs. Shelley raised an +objection. + +"We will keep it, by all means, John, but we can't bring a delicate +little thing like this up as we shall our own strong boys, who must work +for their living. This child may be claimed any day by its parents, so +we must try and have it educated like a lady when it gets old enough." + +John was inclined to dispute the wisdom of this; but as its education +was a thing of the far future, he very wisely thought it was useless to +discuss it, and resolved to let matters shape themselves, feeling sure +the baby would take its own place as it grew older. One matter puzzled +the good shepherd sorely. He was most particular in having his own +children baptised when they were a month old, and they could not tell +whether this baby had been baptised or no, though the rector thought its +parents were most likely Roman Catholics, in which case it would be sure +to have been christened, as it was two or three months old. + +The next question was, what was it to be called? For, if baptised, they +had no means of discovering its name. But here Jack came to the rescue. + +"Let's call her Fairy, mother. Dame Hursey says she is a fairy, and it +is a pretty name." + +"So it is, my son; and though she is no fairy, but a real child like +you, we will call her Fairy. It is a very good name for her, and when +she is old enough we will tell her why," said the shepherd. + +And so Fairy was the little stranger called as long as she lived in the +shepherd's family. + +(_To be continued._) + + + + +A PRINCESS WHO LIVED TWO LIVES. + +A ROMANCE OF HISTORY. + + +There was no lovelier woman in all the Russias than Carolina, the wife +of Alexis, eldest son and presumptive heir to Peter the Great. Her +beauty was not only that of the body, for her sweet temper and gentle +disposition made her beloved by all who were brought in contact with +her. The only being who did not yield to the charms of her surpassing +beauty and amiability was the one who ought to have prized her above all +others--her husband. His nature was far too coarse and brutal to +appreciate the treasure that he possessed, and the more he saw how +universally beloved his wife was, the more did she become an object of +aversion to him. For some time he treated her with cold neglect, but by +degrees he became more brutal in his behaviour, until one day, when she +offended him in some trifling respect, he dealt her an inhuman blow +which stretched her, apparently lifeless, at his feet. Well pleased at +being delivered so easily from what he only regarded as a hateful +burden, he gave orders that she should be buried with all due pomp, and +hastened away to another part of the kingdom. + +But when her ladies of honour came to raise the unhappy princess, they +found that she still breathed. Under the devoted attention of the +Countess of Konigsmark, who had always been her confidential attendant, +she slowly won her way back to life, and this while her funeral +obsequies were being celebrated with the greatest pomp throughout the +length and breadth of Russia, while the principal courts of Europe were +mourning her premature decease, and while her unnatural husband was +drowning the remembrance of his horrible crime in revelries and +excesses of all kinds. None knew that she was still alive but the +Countess of Konigsmark and one or two other of her most devoted +adherents. They kept her concealed from everyone; for well they knew +that Alexis, should he hear of her recovery, would take measures to rid +himself of her effectually. Acting under their advice, the princess +collected all the valuables she was able to lay her hands on, and, in +company with an old domestic, who assumed the character of her father, +set out for Paris. Here, however, she felt still within reach of Alexis, +and so, with her supposed father, she set sail for Louisiana, where the +French had lately formed extensive colonies. They settled down in New +Orleans, and Carolina began to rapidly recover her health and beauty. + +A young man, by name Moldask, who held a Government appointment in New +Orleans and who had spent many years in Russia thought that he +recognised in the beautiful stranger the princess who had been the +brightest star of the Muscovite Court. However, he could not believe +that the highborn lady of whose death he had heard and the daughter of +the feeble old man who had lately arrived from France were the same +person, wonderful though the resemblance between them might be. He kept +his ideas secret, but made himself so useful and agreeable to the +strangers, that finally they settled to cast in their lot with his, and +live under the same roof. Before the lapse of many months the news of +Alexis' death reached New Orleans. Moldask noticed the agitation with +which his friends received it, and told them that their secret was his. +They did not attempt a denial; so he offered to sacrifice his private +fortune, throw up his position in New Orleans, and take Carolina back to +Moscow. This offer she would hear nothing of. She thanked Moldask again +and again for his noble generosity, but expressed her fixed +determination not to revisit the scene of all that had been most +unpleasant in her life. She begged him not to betray her secret, and he +readily promised to keep it inviolate. The truth was that he had lost +his heart to the widow of Czar Peter's son. Respect, however, controlled +his feelings. He knew how exalted was her real station compared to his, +and resolved to conceal his love. + +Time passed on, and one autumn evening a pararalytic stroke carried off +Carolina's pseudo-father. After this it was, of course, impossible that +she and Moldask should continue to inhabit the same house. He came to +her on the morning after her faithful old friend's funeral, and +explained that he must seek a new abode unless she would so far cast +away all thoughts of her former station as to consent to call him +husband. The princess, who had long regarded him with feelings warmer +than those of mere friendship, agreed to link her fate with his, and +from now began the happiest period of her so far troubled life. Their +union was blessed by the advent of a little girl; nothing seemed wanting +to render her happiness complete. + +Years rolled by, and Moldask was attacked by a disease which baffled the +skill of the New Orleans doctors. His wife was determined that he should +have the best medical advice, and so persuaded him to sell all his +possessions and embark for Paris. Their journey was not in vain; the +skill of the Parisian physicians restored Moldask to good health, and he +obtained employment in a department of the French Government. + +One day, as Carolina was walking in the public gardens with her little +girl, she met the son of her faithful friend, the Countess of +Konigsmark. She recognised him instantly, and, fearing that he might +know her, tried to brush past him with averted head. The Marshal, +however, was struck with her appearance, and, turning round, followed +her until she sat down beneath some trees. The instant that he caught a +fair sight of her he recognised his former mistress, and quickly +approaching, bent his knee and carried her hand to his lips. She +implored him not to divulge her secret, but to come with her to her +home, and hear how she had fared since Alexis had, as he thought, killed +her. The Marshal consented to accompany her; he listened with interest +to her tale, and when he had heard it to the end announced his intention +of informing the King of France, that her highness might be restored to +her proper position and honours. Carolina, however, was quite +determined that this should not be. She begged the Marshal to keep her +secret for one week, as her husband had certain negotiations, which +would be ruined if her identity were disclosed. This he consented to do, +and Carolina dismissed him, with the assurance that on that day week he +should be definitely informed of her wishes in the matter. + +On the appointed day the Marshal found that the princess and her husband +had left their home. However, he succeeded in tracing them, and told the +king of the noble lady who was then in his dominions. His Majesty +entered into negotiations with the Empress Maria Theresa, with a view to +deciding upon the manner in which her august aunt should be treated. The +upshot of these negotiations was a most tender letter from the Empress +to Carolina, asking her to make the Austrian court her home, and +promising to load her husband and herself with honours and distinctions. +But the happy wife and mother felt that the life she had been leading +for the last few years was preferable in every way to the artificial +existence of a court, and refused her niece's generous offer. It was +renewed again and again; but nothing could shake her determination. + +For many years she led a life of the utmost happiness, and then death +deprived her of both husband and daughter. Maria Theresa renewed her +offers; but Carolina preferred to pass the rest of her days in solitude. +She accepted a small pension from the Empress, and retired to a small +cottage at Vitry, near Paris. After a quiet existence here for some few +years more she passed away, without ever having regretted her refusal to +rejoin the brilliant circle of a court. + + + + +VARIETIES. + + +CURIOUS FRESCO. + +In the Carthusian Monastery of Garignano, a few miles from Milan, are +some frescoes by Daniel Crespi, of Busto, which are said to be marvels +of art and imagination. One of them is grim enough, at any rate, and +awful. It represents a dead person rising from his bier, to announce to +all whom it might concern that, although they were burying him in the +abode of holiness, and were now adoring him as a saint, he was, as a +fact, condemned to hell. + +Perhaps one of our own famous modern divines was thinking of this fresco +when he declared that one great source of surprise, to those who went to +heaven, would be to find so many there they had not expected to see, and +to _miss_ so many they had thought to meet. + + +"NO' THE DAY, HONEST WOMAN!" + +Dr. John Erskine, a well-known Scottish divine, was remarkable for his +simplicity of manner and gentle temper. He returned so often from the +pulpit minus his pockethandkerchief that Mrs. Erskine at last began to +suspect that the handkerchiefs were stolen by some of the old women who +lined the pulpit stairs. So both to baulk and detect the culprit she +sewed a corner of the handkerchief to one of the pockets of his coat +tails. Half way up the pulpit stairs the good doctor felt a tug, +whereupon he turned round to the old woman whose was the guilty hand, to +say, with great gentleness and simplicity:-- + +"No' the day, honest woman, no' the day. Mrs. Erskine has sewed it in!" + + +A BRAVE WIFE. + +In 1872 a storm overtook a Boston ship on the banks of Newfoundland. The +captain--Captain Wilson--had his shoulder-blade broken by the fall of a +mast, and the first mate and part of the crew were at the same time +disabled. + +No sooner, however, had the captain been carried to his cabin than his +wife, a woman of one-and-twenty, hurried on deck, told the men to work +with a will, and she would take them into port. The wreckage was +cleared, the pumps manned, and the gale was weathered. Then a jury-mast +was rigged, the ship put before the wind, and in twenty-one days she +reached St. Thomas. After repairing damages there, finding her husband +still helpless, the indomitable woman navigated the ship to Liverpool. + +Captain Wilson was never able to resume work, and for seven years his +brave wife supported him and their only child by working as clerk in a +dry goods store. Then he died, and Mrs. Wilson was deservedly appointed +to a custom-house inspectorship by the American Government. + + +OLD FRIENDS.--The world has few greater pleasures than that which two +friends enjoy in tracing back, at some distant time, those transactions +and events through which they have passed together.--_Dr. Johnson._ + + +A RARE COMPANION.--She whom you can treat with unreserved familiarity, +at the same time preserving your dignity and her respect, is a rare +companion, and her acquaintance should be cultivated. + + +THINGS OF VALUE. + + What shines and glitters has its birth + But for the present hour alone; + The real--the thing of truth and worth-- + To all posterity goes down. + + _--Goethe._ + +BEETHOVEN IN GERMANY.--When the German talks of symphonies he means +Beethoven; the two names are to him one and indivisible; his joy, his +pride. As Italy has its Naples, France its Revolution, England its +Navigation, so Germany has its Beethoven symphonies. The German forgets +in his Beethoven that he has no school of painting; with Beethoven he +imagines that he has again won the battles that he lost under Napoleon; +he even dares to place him on a level with Shakespeare.--_Robert +Schumann._ + + +A NEW USE FOR A DOG.--A farmer's daughter in the West of England +received a hairy poodle dog from a friend in town. The unsophisticated +damsel wrote back thanking her friend for the present, and saying that +she found it very handy, when tied to a stick, to clean windows with. + + +THE WORST OF SUCCESS.--She that has never known adversity is but half +acquainted with others or with herself. Constant success shows us but +one side of the world, for, as it surrounds us with friends who will +tell us only our merits, so it silences those enemies from whom alone we +can learn our defects. + + +RIGHTS AND DUTIES.--There is no right without its duties, and no duty +without its rights. + + + + +MERLE'S CRUSADE. + +BY ROSA NOUCHETTE CAREY, Author of "Aunt Diana," "For Lilias," etc. + + +CHAPTER IV. + +MERLE'S LAST EVENING AT HOME. + + +"So it is all settled, Merle." + +"Yes, Aunt Agatha," I returned, briskly, for she spoke in a lugubrious +voice, and as one sad face is enough beside the family hearth, I assumed +a tolerably cheerful aspect. If only Aunt Agatha's eyes would not look +at me so tenderly! + +"Poor child!" she sighed; and then, as I remained silent, she continued +in a few minutes, "I wish I could reconcile myself more to the idea, but +I cannot help feeling a presentiment that you will live to repent this +strange step you are taking." + +I found this speech a little damping, but I bore it without flinching. +One can never set out down some new road without a few friendly missiles +flying about one's ears. "Remember, I told you such and such a thing +would happen if you did not take my advice. I am only warning you for +your good." Alas! that one's dearest friend should be transformed into a +teasing gad-fly! What can one do but go straight across the enemy's +country when the boats are destroyed behind one? I always did think that +a grand action on Xenophon's part. + +"You have not given me your opinion of my new mistress," was my wicked +rejoinder. + +Aunt Agatha drew herself up at this and put on her grandest manner. "You +need not go out of your way to vex me, Merle. I am sufficiently +humiliated without that." + +"Aunt Agatha," I remonstrated; for this was too much for my forbearance, +"do you think I would do anything to vex you when we are to part in a +few days? Oh, you dear, silly woman!" for she was actually crying, "I am +only longing to know what you think of Mrs. Morton." + +"She is perfectly lovely, Merle," she returned, drying her eyes, as I +kissed and coaxed her. "I very nearly fell in love with her myself. I +liked the simple way in which she sat down and talked to me about my old +pupils, making herself quite at home in our little drawing-room, and I +was much pleased with her manner when she spoke about you; it was almost +a pity you came into the room just then." + +"I left you alone for nearly half an hour; please to remember that." + +"Indeed! it did not seem nearly so long. Half an hour! and it passed so +quickly, too. Well, I must say Mrs. Morton is a most interesting woman; +she is full of intelligence, and yet so gentle. She has lost her +baby--did she tell you that? only four months ago, and her husband does +not like her to wear mourning. She is a devoted wife, I can see that, +but I have a notion that you will have some difficulty in satisfying Mr. +Morton; he is very particular and hard to please." + +"I have found out that for myself; he is a man of strong prejudices." + +"Well, you must do your best to conciliate him; tact goes a long way in +these cases. Mrs. Morton has evidently taken a fancy to you, Merle. She +told me over again how her baby boy had made friends with you at once; +she said your manner was very frank and winning, and though you looked +young you seemed very staid and self-reliant." + +"I wish Uncle Keith had heard that. Did she say any more about me, Aunt +Agatha?" + +"No, you interrupted us at that point, and the conversation became more +general; but, my dear, I must scold you about one thing: how absurd you +were to insist on wearing caps. Mrs. Morton was quite embarrassed; she +said she would never have mentioned such a thing." + +"But I have set my heart on wearing them, Aunt Agatha," I returned, very +quickly; "you have no idea how nice I shall look in a neat bib apron +over my dark print gown, and a regular cap such as hospital nurses wear. +I should be quite disappointed if I did not carry out that part of my +programme; the only thing that troubles me is the smallness of my +salary--I mean wages. Thirty pounds a year will never make my fortune." + +"You cannot ask more with a good conscience, Merle; you have never been +out before, and have no experience. Mrs. Morton said herself that her +husband had promised to raise it at the end of six months if you proved +yourself competent; it is quite as much as a nursery governess's +salary." + +"Oh, I am not mercenary," I replied, hastily, "and I shall save out of +thirty pounds a year. I must keep a nice dress for my home visits and +for Sundays, though it is dreadful to think that I shall not always go +to church every Sunday until little Joyce is older; that will be a sad +deprivation." + +"Yes, my poor child, but you must not speak as though this were the only +serious drawback; you will find plenty of difficulties in your position; +even Mrs. Morton confessed that." + +"The world is full of difficulties," I returned, loftily; "there have +been thorns and briars ever since Adam's time. Do you remember your +favourite fable of the old man and the bundle of sticks, Aunt Agatha? I +mean to treat my difficulties in the same way he managed his. I shall +break each stick singly." + +She smiled approvingly at this, and then, as Uncle Keith's knock reached +her ear, she rose quickly and went out of the room. + +The moment I was left alone my assumed briskness of manner dropped into +the mental dishabille that we wear for our own private use and comfort. +Those two had always so much to say to each other that I was sure of at +least half an hour's solitude, and in some moods self is the finest +company. Yes, I had destroyed my boats, and now my motto must be +"Forward!" This afternoon I had pledged myself to a new service--a +service of self-renunciation and patient labour, undertaken--yes, I dare +to say it--for the welfare of the large sisterhood of waiting and +working women. A servant? No, a soldier; for I should be one among the +vanguard, who strive to make a breach in the great fortress of +conventionality. Not that I feared the word service, considering what +Divine lips had said on that subject--"I am among you as one who +serveth--" but I knew how the world shrank from such terms. + +I have always maintained that half the so-called difficulties of life +consist mainly in our dread of other people's opinions; women are +especially trammelled by this bondage. They breathe the atmosphere of +their own special world, and the chill wind of popular opinion blows +coldly over them; like the sensitive plant, they shiver and wither up at +a touch. I believe the master minds that achieve great things have +created their own atmosphere, else how can they appear so impervious to +criticism? How can they carry themselves so calmly, when their +contemporaries are sneering round them? We must live above ourselves and +each other; there is no other way of getting rid of the shams and +disguises of life; and yet how is one who has been born in slavery to be +absolutely true? How is an English gentlewoman to shake off the +prejudices of caste and declare herself free? + +Ah, well! this was the enigma I had set myself to solve. And now the old +life--the protected girl's life--was receding from me; the old guards, +the old landmarks were to be removed by my own hands. Should I live to +repent my rash act, as Aunt Agatha predicted, or should I at some future +time, when I looked back upon this wintry day, thank God, humbly and +with tears of gratitude, that I had courage given me to see the right +and do it, "ad finem fidelis," faithful to the last? + + * * * * * + +I found those last few days of home-life singularly trying. Indeed, I am +not sure that I was not distinctly grateful when the final evening +arrived. When one has to perform a painful duty there is no use in +lingering over it; and when one is secretly troubled, a spoken and too +discursive sympathy only irritates our mental membrane. How could Job, +for example, tolerate the sackcloth and ashes, and, worse still, the +combative eloquence of his friends? + +Aunt Agatha's pathetic looks and pitying words fretted me to the very +verge of endurance. I wished she would have been less mindful of my +comforts, that she would not have insisted on helping me with my sewing, +and loading me with little surprises in the shape of gifts. But for the +bitter cold that kept me an unwilling prisoner by the fireside, I would +have escaped into my own room to avoid the looks that seemed to follow +me everywhere. + +But I would not yield to my inward irritability; I hummed a tune; I even +sang to myself, as I hemmed my new bib aprons, or quilled the neat +border for my cap. Nay, I became recklessly gay the last night, and +dressed myself in what I termed my nurse's uniform, a dark-navy blue +cambric, and then went down to show myself to Uncle Keith, who was +reading aloud the paper to Aunt Agatha. I could see him start as I +entered; but Aunt Agatha's first words made me blush, and in a moment I +repented my misplaced spirit of fun. + +"Why, Merle, how pretty you look! Does not the child look almost pretty, +Ezra, though that cap does hide her nice smooth hair? I had no idea that +dress would be so becoming." But the rest of Aunt Agatha's speech was +lost upon me, for I ran out of the room. Why, they seemed actually to +believe that I was play-acting, that my part was a becoming one! Pretty, +indeed! And here such a strange revulsion of feeling took possession of +me that I absolutely shed a few tears, though none but myself was +witness to this humiliating fact. + +I did not go downstairs for a long time after that, and then, to my +relief, I found Uncle Keith alone; for men are less sharp in some +matters than women, and he would never find out that I had been crying, +as Aunt Agatha would; but I was a little taken aback when he put down +his paper, and asked, in a kind voice, why I had stayed so long in the +cold, and if I had not finished my packing. + +"Oh, yes," I returned, promptly, "everything was done, and my trunk was +only waiting to be strapped down." + +"That is right," he said, quite heartily, "always be beforehand with +your duties, Merle; your aunt tells me you have made up your mind to +leave us in the morning. I should have thought the afternoon or early +evening would have been better." + +"Oh, no, Uncle Keith," I exclaimed, and then, oddly enough, I began to +laugh, and yet the provoking tears would come to my eyes, for a vision +of sundry school domestics arriving towards night with their goods and +chattels, and the remembrance of their shy faces in the morning light +seemed to evoke a sort of dreary mirth; but to my infinite surprise and +embarrassment, Uncle Keith patted me on the shoulder as though I were a +child. + +"There, there; never mind showing a bit of natural feeling that does you +credit; your aunt is fretting herself to death over losing +you--Hir-rumph; and I do not mind owning that the house will be a trifle +dull without you; and, of course, a young creature like you must feel +it, too." And with that he took my hands, awkwardly enough, and began +warming them in his own, for they were blue with cold. If Aunt Agatha +had only seen him doing it, and me, with the babyish tears running down +my face. + +"Why, look here," continued Uncle Keith, cheerily, with a sort of +cricket-like chirp, "we are all as down as possible, just because you +are leaving us, and yet you will only be two or three miles away, and +any day if you want us we can be with you. Why, there is no difficulty, +really; you are trying your little experiment, and I will say you are a +brave girl for venturing on such a brave scheme. Well, if it does not +answer, here is your home, and your own corner by the fireside, and an +old uncle ready to work for you. I can't say more than that, Merle." + +"Oh, Uncle Keith," I returned, sobbing remorsefully, "why are you so +good to me, when I have always been so ungrateful for your kindness?" + +"Nay, nay, we will leave bygones alone," he answered, a little huskily. +"I never minded your tandrums, knowing there was a good heart at the +bottom. I only wished I was not such a dry old fellow, and that you +could have been fonder of me. Perhaps you will understand me better some +day, and----" Here he stopped and cleared his throat, and said +"hir-rumph" once or twice, and then I felt a thin crackling bit of paper +underneath my palm. "It will buy you something useful, my dear," he +finished, getting up in a hurry. A five-pound note, and he had lost so +much money and had to do without so many comforts! Who can wonder that I +jumped up and gave him a penitent hug. + +It was long before I slept that night, and my first waking thoughts the +next morning were hardly as pleasant as usual. A premonitory symptom of +homesickness seized me as I glanced round my little room in the dim, +winter light. Aunt Agatha had made it so pretty; but here a certain +suspicious moisture stole under my eyelids, and I gave myself a resolute +shake, and commenced my toilet in a business-like way that chased away +gloomy thoughts. + +Never had the little dining-room looked more inviting than when I +entered it that morning. One of Uncle Keith's carefully hoarded logs +blazed and crackled in the roomy fireplace, a delicious aroma of coffee +and smoking ham pervaded the room. Aunt Agatha, in her pretty morning +cap, was placing a vase of hothouse flowers some old pupil had sent her +in the centre of the table, and the bullfinch was whistling as merrily +as ever, while old Tom watched him, sleepily, from the rug. I was rather +long warming my hands and stroking his sleek fur, for somehow I could +not bring myself to look or speak in quite my ordinary manner; and +though Uncle Keith did his best to enliven us by reading out scraps from +his newspaper, I am afraid we gave him only a partial attention. When +Uncle Keith had bade me a husky good-bye, and had gone to his office, +Aunt Agatha and I made a grand feint of being busy. There was very +little to do, really, but I considered it incumbent to be in a great +state of activity. I am afraid to say how many times I ran up and down +stairs for articles that were safely deposited at the bottom of my box. +Aunt Agatha put a stop to it at last by taking my hand and putting me +forcibly in Uncle Keith's big chair. + +"Sit there and keep warm, Merle; the cab will not be here for another +half hour; what is the use of our pretending that we are not exceedingly +unhappy? My dear, you are leaving us with a sore heart, I can see that, +and it only makes me love you all the better. Yes, indeed, Merle," for I +was clinging to her now and sobbing softly under my breath; "and however +things may turn out, whether this step be a failure or not, I will +always say that you are a brave girl, who tried to do her duty." + +"Are you sure you think that, Aunt Agatha?" + +Then she smiled to herself a little sadly. + +"You remind me of the baby Merle who was so anxious to help everyone. I +remember you such a little creature, trying to lift the nursery chair, +because your mother was tired; and how you dragged it across the room +until you were red in the face, and came to me rubbing your little fat +hands, and looking so important. 'The chair hurted baby drefful, but it +might hurted poor mammy worser:' that was what you said. I think you +would still hurt yourself 'drefful' if you could help someone else." + +It was nice to hear this. What can be sweeter or less harmful than +praise from one we love? It was nice to sit there with Aunt Agatha's +soft hand in mine, and be petted. It would be long before I should have +a cosy time with her again. It put fresh heart in me somehow; like +Jonathan's taste of honey, "it lightened my eyes," so that when the +final good-bye came, I could smile as I said it, and carry away an +impression of Aunt Agatha's smile too, as she stood on the steps, with +Patience behind her, watching until I was out of sight. I am afraid I am +different to most young women of my age--more imaginative, and perhaps a +little morbid. Many things in everyday life came to me in the guise of +symbols or signs--a good-bye, for example. A parting even for a short +time always appears to me a faint type of that last solemn parting when +we bid good-bye to temporal things. I suppose kind eyes will watch us +then, kind hands clasp ours; as we start on that long journey they will +bid God help us, as with failing breath and, perhaps, some natural +longings for the friends we love, we go out into the great unknown, +waiting until a Diviner Guide take us by the hand. "God help you, poor +soul," we seem to hear them say, and perhaps we hear the drip of their +tears as they say it; but in that other room, who can tell how gently +those human drops will be wiped away, in that place where pain and +trouble are unknown? + +(_To be continued._) + + + + +ANSWERS TO CORRESPONDENTS. + + +MISCELLANEOUS. + +IMPERIUM ET LIBERTAS.--There is no question of etiquette in the matter +of the Highland friends of the bridegroom appearing at the wedding in +their national costume. It is only a matter for their own decision and +their friends' permission. + +V. D. V.--You were exceedingly wrong in taking walks with any man +without your parents' permission, and you degraded yourself by enlisting +the aid of a servant to get letters from him unknown to them, and so led +her to do wrong and to act in an untrustworthy way to her master and +mistress. You ought to tell her that you regret having so done, and will +do so no more. + +A DEVONSHIRE DUMPLING says: "I would rather not drink vinegar or raw +lemon-juice, if you do not mind, please." Dear little reader, pray do +not feel uneasy on that score; nothing is further from our wishes! If +your health be so good, leave yourself and your wholesome fat alone. If +out of health, the case is otherwise. Dropsical puffing should be +prescribed for by a doctor. + +ROSS-SHIRE LASSIE.--The 5th October, 1869, was a Tuesday; the 25th +March, 1865, was a Saturday. + +LILY.--The passage you quote may mean that the blessed ones who have +attained to perfect purity in the kingdom of their Father above were +greater than the greatest still on earth. + +A LIVELY GIRL is not likely to "get too stout." She inquires, "What is +the best kind of a _fiance_ to have?" Judging of her suitability for +assuming the responsibility of selecting one, and of leaving her +mother's sheltering wing, we should reply--a gilt gingerbread man. + +A METEOR.--The Rosicrucians were a mystic brotherhood, made known to the +outer world in certain books published in 1614-15-16. The last book, +published in 1616, was acknowledged by Johann Valentine Andreae, and +entitled "The Chymische Hochzeit Christiani Rosenkreuz." The former +works are likewise described by him. From these we learn that one +Christian Rosenkreuz, a German noble of the fourteenth century, founded +a brotherhood of seven adepts on his return from the East, and that +among their laws was one that they should each heal the sick gratis (or, +at least, endeavour to do so), should meet annually at a certain secret +place, and adopt the symbol of the _Rose Crux_, or rose springing from a +cross, the device on Luther's seal. In 1622 societies of alchymists at +The Hague and elsewhere assumed this title, and the tenets of the +community were held by Cabalists, Freemasons, and Illuminati, and +professed also by Cagliostro. It is said that a Lodge of Rosicrucians +now exists in London. + +TUMPY.--Our answers depend on the questions and style of the letters +addressed to us. You were right in your surmise. Your writing is +legible, but not sufficiently regular. If you write us a ridiculous +letter we promise you a suitable answer. We are so sorry for your poor +father. Could he not subscribe for _Punch_, or procure a few copies of +the famous "Mrs. Brown" series? + +HIGHLAND MARY inquires, "Who was the author of the first settler, and +where is it?" How can we tell "where it is"? There have been "first +settlers" in every part of the globe. The first part of your letter is +better written than the concluding portion, and gives good promise for a +good running hand by-and-by. + +C. HORSELL.--The lines you send us are very faulty; in fact, are only +badly-rhymed prose; but if it amuses you to write such, do not desist, +as outlets are useful to very young people, and it seems desirable for +them to give vent to their feelings a little. + +NOLENS VOLENS.--Many people do not begin "My dear So-and-So," nor end +with "Yours sincerely," etc., on a postcard, but merely write their +address in full at the top, and the message signed beneath it, with +initials only. But you can do as you like in the matter; there is no +rule. We wonder that, having such suspicions of our honesty, you +continued to read our paper. + +ROUSSEAU and FLOSSY.--We know of no cure for mere nervousness, unless, +as sometimes happens, it passes into a disease, when a doctor should be +consulted. Try to forget yourself in the pleasure of adding to the +enjoyment of others. + +HOPE ATHELING.--_A.E.I._ means "for ever." "I don't think" is a common +colloquialism used by everyone, and is not more incorrect than such +expressions generally are. + +J. S. F.-- + + "Not even the tenderest heart, and next our own, + Knows half the reasons why we smile and sigh," + +is from Keble's "Christian Year," 24th Sunday after Trinity, verse 1. + +MARIE.--The quotation-- + + "A primrose by a river's brim + A yellow primrose was to him, + And it was nothing more," + +is from Wordsworth's poem, "Peter Bell," part i.; stanza 12. + +ERA.--The signification of the bee appearing on the monument of the +Prince Imperial, is that the French royal mantle and standard were +thickly sown with golden bees instead of "Louis flowers" or _Fleurs de +lys_. The origin dates back to the time of the early Egyptians, who +symbolised their kings under this emblem, the honey indicating the +reward they gave to the well-doers, and the sting the punishment they +inflicted on the evil. More than 300 golden bees were found in the tomb +of Childeric, A.D. 1653. Offer your song to some composer. Sometimes +they are in request; more frequently there are more offered than are +required. All depends on the fancy of the composer. Only two questions +are allowed, and the answers given at the discretion of the Editor. We +regret that you have been disappointed. + +[Illustration] + +CISSIE.--You cannot interfere with the laudable work of the rector in +building a school-house for the use of his parishioners; it is his duty. +But the parents of the children will have the right of choice between +this school and your private one. Mourning for a parent lasts a year; +but you are free to wear it longer if you like. + +WINNIE E. L.--You should consult a doctor. We cannot usurp his place, +though we are always willing to give sensible advice on hygienic and +sanitary matters. + +POLLY and OTHERS.--The measurements of a classic figure, as given on +authority, are: height, 5 feet 41/2 inches; bust, 32 inches; waist, 24 +inches; 9 inches from under the arm to the waist, with long arms and +neck. The proportions of a larger and more stately woman or girl would +be: height, 5 feet 5 or 6 inches; bust, 36 inches; waist 261/2 inches; +hips 35 inches; thick part of arm, 111/2 inches; wrist, 61/2 inches. The +hands and feet should not be too small. "Polly" will see that no +arrangements are made by judges of true beauty and its lines for waists +of 15 or 16 inches. They are simply deformities. + +BUDDIE.--The book was published anonymously. + +C. B. GLOUCESTER.--Easter Day fell on the 25th March, in 1546, 1641, +1736, 1886, and will fall next time in 1943. Tram, used as a prefix to +way and road, is the last syllable of the name of their inventor, Mr. +Benjamin Outram, who in 1800 made improvements in the system of +railways for common roads, then in use in the North of England. The +first iron tramroad from Croydon to Wandsworth was completed July 24th, +1801. Mr. Outram was the father of the celebrated Indian general, Sir +James Outram. + +WILD HYACINTH.--We know of nothing save to benefit your general health. +The intense perspiration is evidently an effort of nature. Do you take a +tepid bath every morning, and as much exercise as possible? You have +doubtless received your book. + +R. H. P.--We do not think cold and haughty people are at all nice, nor +do we think they could be happy themselves, or make others happy. The +Christian ideal is neither coldness nor haughtiness, but sympathy and +love. You must take care of those long tails at the end of your words in +writing. Better tie them up as the Dutch farmers do the tails of their +cows. They are in writing ugly and useless appendages. + +NANNIE B. and FIDDLESTICKS have our best thanks for their letters. + +ISIS.--We are much obliged for the account of your visit to the Temple, +and we regret we can make no use of it. You will acquire more ease in +writing by constant practice. + +GERTRUDE.--We think the first year you must take what is offered to you +in the way of salary. + +A FIELD OFFICER'S DAUGHTER.--We have perused the two poems, and consider +that they hold some promise of better things, though both are faulty in +construction and rhyme. + +INCONSISTENCY'S paper is too much like a schoolgirl's composition for +our pages; but she evidently tries to think, which is more than many +people do. + +ELSIE.--We never heard any more of the saying about Brighton, than "a +country without trees and a sea without ships," and we have looked for +the original authorship in vain. + +SWEET VIOLETS.--We know of nothing but constant rubbing and the practice +of gymnastics to do your shoulders good. You probably have some trick of +standing crookedly that has helped to make it grow out, such as standing +on one leg, or giving down on one side. + +FOREVER AND EVER writes English very well, though her writing is rather +too pointed to suit English tastes. But at 16 she has plenty of time to +alter it if she likes. + +B. H. M. W.--The lines show much good feeling and affection, but no +poetic talent. + +A WELL WISHER.--Rydal and Loughrigg, a township of England, Co. +Westmoreland, on the Leven, two miles N.W. of Ambleside, celebrated for +its beautiful lake, on the banks of which stands Rydal Mount, long the +residence of the poet Wordsworth. + +MADGE.--We think "Madge" must not worry herself, as she certainly cannot +help people who will not allow themselves to be helped, in her way at +least of assisting them; good advice is generally unpalatable. She must +look on the best side of the matter, and hope that her friend may be +happy and comfortable in her own way. We doubt that you could have +prevented the marriage, as your friend is very likely tired of the +trouble of earning her living, and thinks of marriage as a way of +escape. You must commend both her and her affairs to God, and cease +worrying yourself. + +NELL.--Your mother's brother is your uncle, no matter whether by the +father or the mother. To put the case in another way, your grandfather's +son is your uncle by whatever wife he had, first or fourth. Of course +you could not marry him. See the "table of degrees of affinity" in the +Book of Common Prayer. + +ONE OF OUR GIRLS.--We think that men not much exposed to cold and damp, +and night work, such as sailors and soldiers, do not need the warmth nor +stimulant obtained by smoking any more than women do. Nevertheless, a +single cigar or pipe daily would not be injurious to a grown man, though +much so to a young lad in his teens. Men are so careless about cleansing +their pipes from that poisonous nicotine, that multitudes have found +their habit of excessive smoking a highly provoking cause of cancer in +the mouth. + +HEBRIDEAN.--We think some foolish person has been worrying you with +nonsensical fault-finding. We can not see that you were wrong in any +way. You were with other girls and with your brothers, and that should +be sufficient protection, whoever you were walking with. Do not allow +yourself to be teased. + + + + + + +End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. VIII: No. +356, October 23, 1886., by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. *** + +***** This file should be named 18395.txt or 18395.zip ***** +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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |