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+    <title>
+      The Project Gutenberg eBook of Joseph Pennell's Pictures Of the Panama Canal,
+      by Joseph Pennell.
+    </title>
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+<body>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 48924 ***</div>
+
+<p class="ac larger">JOSEPH PENNELL'S PICTURES<br />
+OF THE PANAMA CANAL</p>
+
+<p class="ac smaller">FOURTH EDITION</p>
+
+<hr class="chap" />
+
+<h1>
+<span class="sc">Joseph Pennell's Pictures<br />
+of the Panama Canal</span></h1>
+
+<p class="ac">
+REPRODUCTIONS OF A SERIES OF<br />
+LITHOGRAPHS MADE BY HIM ON THE<br />
+ISTHMUS OF PANAMA, JANUARY&mdash;MARCH,<br />
+1912, TOGETHER WITH IMPRESSIONS<br />
+AND NOTES BY THE ARTIST</p>
+
+<div class="p6">
+  <div class="figcenter"><a name="i003.jpg" id="i003.jpg"></a>
+    <img src="images/i003.jpg"
+        alt="" />
+  </div>
+</div>
+
+<p class="ac p6">
+PHILADELPHIA AND LONDON<br />
+<span class="larger">J. B. LIPPINCOTT COMPANY</span><br />
+1913</p>
+
+<hr class="chap" />
+
+<p class="ac smaller">
+COPYRIGHT, 1912, BY JOSEPH PENNELL<br />
+<br />
+PUBLISHED, SEPTEMBER, 1912</p>
+
+<p class="ac p6 xx-smaller">PRINTED BY J. B. LIPPINCOTT COMPANY<br />
+AT THE WASHINGTON SQUARE PRESS<br />
+PHILADELPHIA, U.S.A.</p>
+
+<hr class="chap" />
+
+<p class="ac">
+TO<br />
+<span class="larger">J. B. BISHOP</span><br />
+<br />
+SECRETARY OF THE ISTHMIAN<br />
+CANAL COMMISSION<br />
+<br />
+<span class="larger">WHO</span><br />
+<br />
+MADE IT POSSIBLE<br />
+FOR ME TO DRAW<br />
+THESE LITHOGRAPHS<br />
+<br />
+<span class="larger">AND</span><br />
+<br />
+WHO WAS ALSO GOOD<br />
+ENOUGH TO ACCEDE<br />
+TO MY REQUEST AND<br />
+READ AND CORRECT<br />
+THE PROOFS FOR ME<br />
+</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+
+<h2><a name="INTRODUCTION_MY_LITHOGRAPHS_OF_THE_PANAMA_CANAL"
+  id="INTRODUCTION_MY_LITHOGRAPHS_OF_THE_PANAMA_CANAL"></a>
+  <span class="smaller">INTRODUCTION&mdash;MY LITHOGRAPHS OF THE PANAMA
+  CANAL</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THE idea of going to Panama to make lithographs of the Canal
+was mine. I suggested it, and the <i>Century Magazine</i> and <i>Illustrated
+London News</i> offered to print some of the drawings I might
+make.</p>
+
+<p>Though I suggested the scheme a couple of years ago, it was not
+until January, 1912, that I was able to go&mdash;and then I was afraid
+it was too late&mdash;afraid the work was finished and that there would
+be nothing to see, for photographs taken a year or eighteen months
+before, showed some of the locks built and their gates partly in place.</p>
+
+<p>Still I started, and after nearly three weeks of voyaging found,
+one January morning, the Isthmus of Panama ahead of the steamer,
+a mountainous country, showing deep valleys filled with mist, like
+snow fields, as I have often seen them from Montepulciano looking
+over Lake Thrasymene, in Italy. Beyond were higher peaks,
+strange yet familiar, Japanese prints, and as we came into the
+harbor the near hills and distant mountains were silhouetted with
+Japanese trees and even the houses were Japanese, and when we
+at length landed, the town was full of character reminiscent of Spain,
+yet the local character came out in the Cathedral, the tower of which&mdash;a
+pyramid&mdash;was covered with a shimmering, glittering mosaic of
+pearl oyster shells. The people, not Americans, were primitive, and
+the children, mostly as in Spain, were not bothered with clothes.</p>
+
+<p>I followed my instinct, which took me at once to the great
+swamp near the town of Mount Hope, where so many of De Lesseps'
+plans lie buried. Here are locomotives, dredges, lock-gates, huge
+bulks of iron, great wheels, nameless, shapeless masses&mdash;half under
+water, half covered with vines&mdash;the end of a great work. I came
+back to Colon by the side of the French Canal, completed and
+working up to, I believe, Gatun Lock and Dam, and spent the afternoon
+in the American town, every house Japanese in feeling, French
+or American in construction, screened with black wire gauze, divided
+by white wood lines&mdash;most decorative&mdash;and all shaded by a forest of
+palms. Through these wandered well-made roads, and on them were
+walking and driving well-made Americans. There were no mosquitoes,
+<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+no flies, no smells, none of the usual adjuncts of a tropical town.</p>
+
+<p>At the end of the town was a monument, a nondescript
+Columbus, facing nowhere, at his feet an Indian; but it seemed to
+me, if any monument was wanted at Colon, it should be a great
+light-house or a great statue towering aloft in the harbor, a memorial
+to the men who, French and American, have made the Canal.</p>
+
+<p>Next day I started across the Continent to Panama, for I learned
+the Government headquarters were there, and, until I had seen the
+officials, I did not know if I should be allowed to work or even stay
+on the Isthmus. But at Gatun I got off the train, determining to do
+all I could before I was stopped&mdash;as I was quite sure I should be. I
+saw the tops of the locks only a few hundred yards away, and, turning
+my back on the stunning town piled up on the hillside, walked
+over to them; from a bridge bearing a sign that all who used it did
+so at their own risk I looked down into a yawning gulf stretching
+to right and left, the bottom filled with crowds of tiny men and tiny
+trains&mdash;all in a maze of work; to the right the gulf reached to a
+lake, to the left to mighty gates which mounted from the bottom to
+my feet. Overhead, huge iron buckets flew to and fro, great cranes
+raised or lowered huge masses of material. As I looked, a bell rang,
+the men dropped their tools, and lines of little figures marched away,
+or climbed wooden stairs and iron ladders to the surface. The engines
+whistled, the buckets paused, everything stopped instantly, save that
+from the depths a long chain came quickly up, and clinging to the
+end of it, as Cellini would have grouped them, were a dozen men&mdash;a
+living design&mdash;the most decorative motive I have ever seen in the
+Wonder of Work. I could not have imagined it, and in all the time
+I was on the Isthmus I never saw it but once again. For a second
+only they were posed, and then the huge crane swung the group to
+ground and the design fell to pieces as they dropped off.</p>
+
+<p>Across the bridge was a telephone station and beyond and below
+it the great approaches to the locks along which electric locomotives
+will draw the ships that pass through. There was a subject,
+and I tackled it at once. In the distance the already filling lake&mdash;among
+islands, but the highland still above the water, dotting it,
+crowned with palms and strange trees; dredgers slowly moved, native
+<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+canoes paddled rapidly, over all hovered great birds. To the right
+was the long line of the French Canal, almost submerged, stretching
+to the distance, against which, blue and misty and flat, were
+strange-shaped mountains, outlined with strange-shaped trees.
+Bridges like those of Hiroshigi connected island with island or with
+the mainland. It was perfect, the apotheosis of the Wonder of Work,
+and as I looked the whole rocked as with an earthquake&mdash;and then
+another. I was dragged into the hut as showers of stones rattled
+on the roof as blast after blast went off near by. Soon people in
+authority came up&mdash;I supposed to stop me; instead it was only to show
+pleasure that I found their work worth drawing. These men were all
+Americans, all so proud of their part in the Canal, and so strong and
+healthy&mdash;most of them trained and educated, I knew as soon as they
+opened their mouths&mdash;the greatest contrast to the crowd on the
+steamer, who now were all tamely following a guide and listening to
+what they could neither understand nor see during their only day
+ashore. These engineers and workmen are the sort of Americans
+worth knowing, and yet I did not see any golf links at Gatun. The
+day was spent in that telephone box and on the Spillway of the Dam&mdash;a
+semicircle of cyclopean concrete, backed by a bridge finer than
+Hokusai ever imagined, yet built to carry the huge engines that drag
+the long trains of dirt and rock across it, to make the dam. The dam,
+to me, was too big and too vague to draw. And all this is the work
+of my countrymen, and they are so proud of their work. Yet the
+men who have done this great work will tell you that we owe much
+to the French, and that if the engineers and the Commission at
+Panama had not the Government, with unlimited men and money,
+behind them, and the discoveries in sanitary science of which the
+French were ignorant, we, too, would have failed. They tell you,
+and show you how, the French worked on the Canal right across the
+Isthmus, and we are carrying out the great project they were unable
+to complete. And we have won the admiration of the world.</p>
+
+<p>The sanitary problem is solved, but they tell you under the
+French, fever carried off a man for every tie that was laid on the
+Panama Railroad. This is a legend, but a true story is, that the
+French cared so little for their lives that with every shipload of
+<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+machinery came boxes of champagne, and those who received them
+asked their friends to dinner&mdash;finished the bottles&mdash;and were buried
+in the empty box in the morning. Now there is no fever in the
+Canal Zone, but there is plenty of drink in and outside of it, but, I
+am told, "indulged in with wonderful moderation." I certainly
+never saw an American under the influence of it.</p>
+
+<p>In the evening a ride of two hours took me over the thirty
+miles to Panama&mdash;one of the last passengers over the old line of the
+Panama Railway, now buried under the waters of the growing lake.
+From the railroad I saw for the first time the primeval forest, the
+tropical jungle, which I had never believed in, never believed that it
+could not be penetrated save with an axe or a machete; but it is so,
+and the richness of it, the riot of it, the variety of it, is incredible and
+endless. The train puffed along, in that time-taking fashion of the
+tropics I should soon be familiar with, passing points of view I
+made notes of, for first impressions are for me always the best,
+and one trip like this gives me more ideas than days of personal
+pointing out. Finally Panama was reached in the dark; all I saw
+was a great hill lit up with rows of lights, one above the other, in
+the night.</p>
+
+<p>The day had not been hot, the sky was not blue or black&mdash;it was
+white, and filled with white clouds, though they were dark against it.
+There was no glare&mdash;and I had forgotten my sketching umbrella; but
+I never needed it. So far as I know, there is always a breeze&mdash;it is
+never really hot in the day&mdash;and as soon as the sun sets the trade
+wind rises&mdash;if it has not been blowing all day&mdash;and I could always
+sleep at night. It is all so unlike other hot countries&mdash;but, then,
+Panama is unlike other places: the sun rises and sets in the Pacific,
+and the city of Panama, though on the Pacific, is east of Colon, on
+the Atlantic.</p>
+
+<p>There was not a smell, or a mosquito, or a fly on Ancon Hill,
+but over it all was the odor of petroleum, with which the streams
+and marshes of the whole zone are sprayed almost daily; and this
+has made the Canal and saved the workers.</p>
+
+<p>Next morning I went to the Administration Building and presented
+my letters, though I did not know if I should be allowed to
+<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+draw. But it seemed that everything had been arranged for me by
+the Commission, who, it also seemed, had been doing nothing for
+weeks but waiting my coming. I was clothed, fed, taken about in
+motor cars and steam launches, given passes on the railroad, and
+finally turned loose to go where I wanted and draw what I liked&mdash;and
+if anything happened or did not happen I was just to telephone
+to headquarters.</p>
+
+<p>The following day, donning my khaki, which I wore only once,
+and pocketing my pass and some oranges, I started for the locks at
+Pedro Miguel&mdash;pronounced, in American, Peter Megil, just as
+Miraflores is called Millflowers. We were all down, had breakfast,
+and off in the train&mdash;a jim-crow one&mdash;before the sun was up, and at
+Pedro Miguel station I found myself one of a horde of niggers, Greeks,
+Hindoos, Slovaks, Spaniards, Americans and engineers, bound for
+the lock, half a mile away. Here I went down to the bottom to get
+a drawing of the great walls that lead up to the great gates, now
+nearly finished. I had come at exactly the right time. These walls
+are surmounted with great arches and buttresses&mdash;the most decorative
+subject, the most stupendous motive I have ever seen&mdash;almost
+too great to draw. Unlike my experiences of a lifetime at
+other Government works, I was asked for no permit. I was allowed
+to go where I wanted, draw what I liked; when any attention was paid
+to me, it was to ask what I was working for&mdash;give me a glass of ice
+water&mdash;precious, out of the breeze at the bottom of a lock&mdash;offer to
+get me a photograph or make one, to suggest points of view, or
+tell me to clear out when a blast was to be fired. And the interest of
+these Americans in my work and in their work was something I
+had never seen before. A man in huge boots, overalls and ragged
+shirt, an apology for a hat, his sleeves up to his shoulders, proved
+himself in a minute a graduate of a great school of engineering, and
+proved as well his understanding of the importance of the work I
+was trying to do, and his regret that most painters could not see the
+splendid motives all about; and the greatest compliment I ever received
+came from one of these men, who told me my drawings
+"would work."</p>
+
+<p>Day after day it was the same&mdash;everything, including government
+<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+hotels and labor trains, open to me. The only things to look out for
+were the blasts, the slips of dirt in the cut, and the trains, which
+rushed and switched about without any reference to those who might
+get in front of them. If one got run over, as was not usual; or
+blown up, which was unusual; or malaria, which few escaped
+among the workmen, there were plenty of hospitals, lots of nurses
+and sufficient doctors. Each railroad switch was attended by a little
+darkey with a big flag; of one of whom it was said he was seen to be
+asleep, with his head on the rails one day. The engineer of an
+approaching dirt train actually pulled up, and he was kicked awake
+and asked why he was taking a nap there. The boy replied he was
+"'termined no train go by, boss, widout me knowin' it"; and of
+another who, awaking suddenly and seeing half a train past his
+switch, pulled it open and wrecked all the trains, tracks and switches
+within a quarter of a mile; or the third, a Jamaican, a new hand,
+who, being told he was not to let a train go by, promptly signalled
+a locomotive to come on, and when he was hauled up, smilingly said:
+"Dat wan't no train wat yer tole me to stop; dat's a enjine."</p>
+
+<p>Drawing had other interesting episodes connected with it, as
+when I sat at work in Culebra Cut the leading man of a file of niggers,
+carrying on his head a wooden box, would approach, stop beside
+me and look at the drawing. As I happened to look up I would notice
+the box was labelled, <i>Explosives, Highly dangerous</i>. Then, with his
+hands in his pockets, he and the rest of the gang would stumble along
+over the half-laid ties, slippery boulders and through the mud, trying
+to avoid the endless trains and balance the boxes on their heads at the
+same time. I must say, when I read the legend on the box the sensation
+was peculiar. They tell you, too, that when President Taft
+came down to the Cut all dynamiting gangs were ordered out; but
+one gang of blacks was forgotten, and as the train with the President
+and Colonel Goethals in it passed, the leader cheered so hard that he
+dropped his box, which somehow didn't go off. It was interesting,
+too, when one had been working steadily for some time, to find oneself
+surrounded, on getting up, by little flags, to announce that the
+whole place had been mined and should not be approached; or to
+find oneself entangled in a network of live wires ready to touch off
+<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+the blasts from hundreds of yards away, and to remember that I was
+behind a boulder about to be blown to pieces, and might be overlooked;
+or to be told I had better get out, as they were ready to blast,
+after a white man had got done chucking from one rock, to a black
+man on another, sticks of melanite, as the easiest way of getting them
+to him; or ramming in, with long poles, charges so big that trains, steam
+shovels and tracks had to be moved to keep them from being "shot
+up." I always kept out of the way as far as possible after the
+day at Bas Obispo when, standing some hundreds of yards from
+a blast watching the effect of showers of rocks falling like shells in
+the river, I heard wild yells, and, looking up, saw a rock as big as a
+foot-ball sailing toward me. I have heard one can see shells coming
+and dodge them. I know now that this is so, though I had to drop
+everything and roll to do it. But I don't like it; and accidents do
+happen, and there are hospitals all across the Isthmus with men, to
+whom accidents have happened, in them. But nothing happened
+to me. I did not get malaria or fever, or bitten or run over. I was
+very well all the time&mdash;and I walked in the sun and worked in the
+sun, and sat in the swamps and the bottoms of locks and at the edge
+of the dam, and nothing but drawings happened; but I should not
+advise others to try these things, nor to get too near steam shovels,
+which "pick up anything, from an elephant to a red-bug," but sometimes
+drop a ton rock; nor play around near track-lifters and dirt-train
+emptiers&mdash;for the things are small respecters of persons. But
+most people do not get hurt, and I never met anyone who wanted
+to leave; and I believe the threat to send the men home broke the
+only strike on the Canal.</p>
+
+<p>I did not go to Panama to study engineering&mdash;which I know
+nothing about; or social problems&mdash;which I had not time to master;
+or Central American politics&mdash;which we are in for; but to draw the
+Canal as it is, and the drawings are done.</p>
+
+<p>I was there at the psychological moment, and am glad I went.
+It is not my business to answer the question: When will the Canal
+be opened?&mdash;though they say it will be open within a year.</p>
+
+<p>Will the dam stand? Those who have built it say so.</p>
+
+<p>Which is better, a sea level or a lock? The lock canal is built.</p>
+
+<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+<p>I did not bother myself about these things, nor about lengths
+and breadths and heights and depths. I went to see and draw the
+Canal, and during all the time I was there I was afforded every
+facility for seeing the construction of the Panama Canal, and from
+my point of view it is the most wonderful thing in the world; and I
+have tried to express this in my drawings at the moment before it
+was opened, for when it is opened, and the water turned in, half
+the amazing masses of masonry will be beneath the waters on one
+side and filled in with earth on the other, and the picturesqueness will
+have vanished. The Culebra Cut will be finer, and from great
+steamers passing through the gorge, worth going 15,000 miles, as I
+have done, to see. But I saw it at the right time, and have tried to
+show what I saw. And it is American&mdash;the work of my countrymen.</p>
+
+<p class="ar">
+<span class="sc">Joseph Pennell</span><br />
+</p>
+
+<hr class="chap" />
+
+<div class="chapter"></div>
+<h2>LIST OF ILLUSTRATIONS</h2>
+
+<p><span class="sc">The Illustrations begin with Colon and proceed in
+regular sequence across the Isthmus to Panama.</span></p>
+
+<table id="ILLUSTRATIONS" summary="ILLUSTRATIONS">
+  <tr>
+    <td class="c1">I</td>
+    <td class="c2"><span class="sc"><a href="#I_COLON_THE_AMERICAN_QUARTER">
+      Colon: The American Quarter</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">II</td>
+    <td class="c2"><span class="sc"><a href="#II_MOUNT_HOPE">Mount Hope</a>
+  </span></td>
+  </tr>
+  <tr>
+    <td class="c1">III</td>
+    <td class="c2"><span class="sc"><a href="#III_GATUN_DINNER_TIME">
+	  Gatun: Dinner Time</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">IV</td>
+    <td class="c2"><span class="sc"><a href="#IV_AT_THE_BOTTOM_OF_GATUN_LOCK">
+  At the Bottom of Gatun Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">V</td>
+    <td class="c2"><span class="sc"><a href="#V_THE_GUARD_GATE_GATUN">
+  The Guard Gate, Gatun</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">VI</td>
+    <td class="c2"><span class="sc"><a href="#VI_APPROACHES_TO_GATUN_LOCK">
+  Approaches to Gatun Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">VII</td>
+    <td class="c2"><span class="sc"><a href="#VII_END_OF_THE_DAY_GATUN_LOCK">
+  End of the Day: Gatun Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">VIII</td>
+    <td class="c2"><span class="sc">
+  <a href="#VIII_THE_JUNGLE">The Jungle: The Old Railroad from the New
+  </a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">IX</td>
+    <td class="c2"><span class="sc"><a href="#IX_THE_NATIVE_VILLAGE">
+  The Native Village</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">X</td>
+    <td class="c2"><span class="sc"><a href="#X_THE_AMERICAN_VILLAGE">
+  The American Village</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XI</td>
+    <td class="c2"><span class="sc"><a href="#XI_THE_CUT_AT_BAS_OBISPO">
+  The Cut at Bas Obispo</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XII</td>
+    <td class="c2"><span class="sc"><a href="#XII_IN_THE_CUT_AT_LAS_CASCADAS">
+  In the Cut at Las Cascadas</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XIII</td>
+    <td class="c2"><span class="sc"><a href="#XIII_THE_CUT_FROM_CULEBRA">
+  The Cut from Culebra</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XIV</td>
+    <td class="c2"><span class="sc">
+  <a href="#XIV_STEAM_SHOVEL_AT_WORK_IN_THE_CULEBRA_CUT">
+  Steam Shovel at Work in the Culebra Cut</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XV</td>
+    <td class="c2"><span class="sc"><a href="#XV_THE_CUT_LOOKING_TOWARD_CULEBRA">
+  The Cut: Looking Toward Culebra</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XVI</td>
+    <td class="c2"><span class="sc"><a href="#XVI_THE_CUT_AT_PARAISO">
+  The Cut at Paraiso</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XVII</td>
+    <td class="c2"><span class="sc"><a href="#XVII_THE_CUT_LOOKING_TOWARD_ANCON_HILL">
+  The Cut Looking Toward Ancon Hill</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XVIII</td>
+    <td class="c2"><span class="sc">
+  <a href="#XVIII_LAYING_THE_FLOOR_OF_PEDRO_MIGUEL_LOCK">
+  Laying the Floor of Pedro Miguel Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XIX</td>
+    <td class="c2"><span class="sc"><a href="#XIX_THE_GATES_OF_PEDRO_MIGUEL">
+  The Gates of Pedro Miguel</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XX</td>
+    <td class="c2"><span class="sc"><a href="#XX_THE_WALLS_OF_PEDRO_MIGUEL">
+  The Walls of Pedro Miguel</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXI</td>
+    <td class="c2"><span class="sc"><a href="#XXI_BUILDING_MIRAFLORES_LOCK">
+  Building Miraflores Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXII</td>
+    <td class="c2"><span class="sc"><a href="#XXII_CRANES_MIRAFLORES_LOCK">
+  Cranes: Miraflores Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXIII</td>
+    <td class="c2"><span class="sc"><a href="#XXIII_WALLS_OF_MIRAFLORES_LOCK">
+  Walls of Miraflores Lock</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXIV</td>
+    <td class="c2"><span class="sc"><a href="#XXIV_OFFICIAL_ANCON">
+  Official Ancon</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXV</td>
+    <td class="c2"><span class="sc"><a href="#XXV_FROM_ANCON_HILL">
+  From Ancon Hill</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXVI</td>
+    <td class="c2"><span class="sc"><a href="#XXVI_THE_CATHEDRAL_PANAMA">
+  The Cathedral, Panama</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXVII</td>
+    <td class="c2"><span class="sc">
+<a href="#XXVII_THE_CITY_OF_PANAMA">The City of Panama from the Tivoli
+  Hotel, Ancon</a></span></td>
+  </tr>
+  <tr>
+    <td class="c1">XXVIII</td>
+    <td class="c2"><span class="sc"><a href="#XXVIII_THE_MOUTH_OF_THE_CANAL">
+  The Mouth of the Canal from the Sea</a></span></td>
+  </tr>
+</table>
+
+<hr class="chap" />
+
+<h2><a name="I_COLON_THE_AMERICAN_QUARTER" id="I_COLON_THE_AMERICAN_QUARTER"></a>
+  <span class="smaller">I<br /> COLON: THE AMERICAN QUARTER</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THE city of Colon is divided into two quarters&mdash;the
+native, or Panamanian, and the American. The former
+is picturesque, but has nothing to do with the Canal and is
+some distance from it. The Canal cannot be seen from the
+city. The American quarter, in which the Canal employees
+live, stands on the sea shore, and is made up of bungalows,
+shops, hotels, hospitals&mdash;all that goes to make up a city&mdash;save
+saloons. All are built of wood, painted white, and completely
+screened with wire gauze, rusted black by the dampness,
+a protection from mosquitoes and other beasts, bugs
+and vermin. Raised on concrete supports mostly with long,
+gently sloping roofs, and buried in a forest of palms, the
+town, the first the visitor will see, seems absolutely Japanese,
+is very pictorial and full of character. The design,
+I believe, of the houses was made by the American engineers
+or architects.</p>
+
+<p>Very few of the higher Canal officers live at Colon, which
+is the Atlantic seaport of the Isthmus, the eastern mouth
+of the Canal, though Colon is west of Panama&mdash;such is the
+geography of the country.</p>
+
+<p>The mouth of the Canal will be fortified; breakwaters
+and light-houses are being built.</p>
+
+<p>For authorities on fortification it may be interesting to
+state that the forts will be so situated that the locks will be
+completely out of range of an enemy's guns. Personally I
+am not a believer in wars or navies. If my theories were
+practised there would be no need for fortifications.</p>
+
+<div class="figcenter"><a name="i019.jpg" id="i019.jpg"></a>
+  <img src="images/i019.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+<h2><a name="II_MOUNT_HOPE" id="II_MOUNT_HOPE"></a>
+  <span class="smaller">II<br /> MOUNT HOPE</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_n.jpg" alt="" />
+</div>
+<p class="drop-cap">NEAR Mount Hope, which&mdash;for the French&mdash;should be
+called the Slough of Despond, or the Lake of Despair,
+is a huge swamp about a mile or so from Colon, on the left
+bank of the French Canal, seen on the right of the lithograph.
+This swamp is now filled with all sorts of abandoned
+French machinery. Dredges, locomotives, and even
+what seem to be lock gates, show amid the palms in the
+distance. Huge American cranes for raising this French
+material&mdash;which the American engineers have made use
+of&mdash;and discharging cargo from the ships in the French
+Canal&mdash;which is here finished and in use&mdash;loom over the
+swamp, the banks of which are lined with piers and
+workshops full of life&mdash;a curious contrast to the dead swamp
+in which not a mosquito lives, nor a smell breathes.</p>
+
+<div class="figcenter"><a name="i023.jpg" id="i023.jpg"></a>
+  <img src="images/i023.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+<h2><a name="III_GATUN_DINNER_TIME" id="III_GATUN_DINNER_TIME"></a>
+  <span class="smaller">III<br /> GATUN: DINNER TIME</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_b.jpg" alt="" />
+</div>
+<p class="drop-cap">BETWEEN Mount Hope and Gatun is much more of
+the swamp and much more abandoned machinery, but
+the Canal is not to be seen from the railroad, or any evidence
+of it, till the train stops at the station of Old Gatun, with
+its workmen's dwellings crowning the hillside. I regret I
+made no drawing of these, so picturesquely perched. At
+the station of Gatun&mdash;the first time I stopped&mdash;I saw the
+workmen&mdash;in decorative fashion&mdash;coming to the surface
+for dinner. The lithograph was made from a temporary
+bridge spanning the locks and looking toward Colon. The
+great machines on each side of the locks are for mixing
+and carrying to their place, in huge buckets, the cement
+and concrete, of which the locks are built. The French
+Canal is in the extreme distance, now used by our engineers.</p>
+
+<div class="figcenter"><a name="i027.jpg" id="i027.jpg"></a>
+  <img src="images/i027.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="IV_AT_THE_BOTTOM_OF_GATUN_LOCK"
+  id="IV_AT_THE_BOTTOM_OF_GATUN_LOCK"></a>
+  <span class="smaller">IV<br /> AT THE BOTTOM OF GATUN LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THERE is a flight of three double locks at Gatun by which
+ships will be raised eighty-five feet to the level of Gatun
+Lake. From the gates of the upper lock&mdash;the nearest to
+the Pacific&mdash;they will sail across the now-forming lake
+some miles (about twenty, I believe) to the Culebra Cut;
+through this, nine miles long, they will pass, and then descend
+by three other flights of locks, at Pedro Miguel and
+Miraflores, to the Pacific, which is twenty feet higher, I believe,
+than the Atlantic. The great height, eighty-five feet,
+was agreed upon so as to save excavation in the Cut and
+time in completion&mdash;one of those magnificent labor-saving
+devices of the moment&mdash;which I, not being an engineer, see
+no necessity for&mdash;having waited four hundred years for the
+Canal, we might, as an outsider, it seems to me, have
+waited four more years and got rid of a number of the locks,
+even if it cost more money.</p>
+
+<p>The lithograph made in the middle lock shows the gates
+towering on either side. These gates were covered, when
+I made the drawing, with their armor plates. The lower
+parts, I was told, are to be filled with air, and the gates,
+worked by electricity, will virtually float. The scaffolding is
+only temporary, and so is the opening at the bottom and the
+railroad tracks, which were filled up and discarded while I
+was there. So huge are the locks&mdash;the three, I think, a mile
+long, each one thousand feet between the gates, and about
+ninety feet deep&mdash;that, until the men knock off, there scarce
+seems anyone around.</p>
+
+<div class="figcenter"><a name="i031.jpg" id="i031.jpg"></a>
+  <img src="images/i031.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="V_THE_GUARD_GATE_GATUN" id="V_THE_GUARD_GATE_GATUN"></a>
+  <span class="smaller">V<br /> THE GUARD GATE, GATUN</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THERE is a safety gate in each lock, to protect, in case
+of accident, the main lock gate, just suggested, with
+the figures working at the armor-plate facing, on the extreme
+right. Beyond are the outer walls and approaches
+of the upper lock, and beyond these, but unseen, the lake.
+At the bottom is the railroad and the temporary opening
+shown in the previous drawing. The scale, the immensity
+of the whole may be judged by the size of the engines and
+figures. I have never seen such a magnificent arrangement
+of line, light and mass, and yet those were the last things
+the engineers thought of. But great work is great art, and
+always was and will be. This is the Wonder of Work.</p>
+
+<div class="figcenter"><a name="i035.jpg" id="i035.jpg"></a>
+  <img src="images/i035.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="VI_APPROACHES_TO_GATUN_LOCK" id="VI_APPROACHES_TO_GATUN_LOCK"></a>
+  <span class="smaller">VI<br /> APPROACHES TO GATUN LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THESE huge arches, only made as arches to save concrete
+and to break the waves of the lake, are mightier
+than any Roman aqueduct, and more pictorial, yet soon they
+will be hidden almost to the top by the waters of the lake.
+Electric locomotives will run out to the farthest point, and
+from it, tow the ships into the lock. Beyond is Gatun Lake,
+and to the right the lines of the French Canal and Chagres
+River stretch to the horizon. Even while I was on the
+Isthmus the river and canal disappeared forever before the
+waters of the rapidly rising flood. All evidence of the
+French work beyond Gatun has vanished under water. I
+did not draw the Dam or the Spillway simply because I
+could not find a subject to draw, or could not draw it.</p>
+
+<div class="figcenter"><a name="i039.jpg" id="i039.jpg"></a>
+  <img src="images/i039.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="VII_END_OF_THE_DAY_GATUN_LOCK"
+  id="VII_END_OF_THE_DAY_GATUN_LOCK"></a>
+  <span class="smaller">VII<br /> END OF THE DAY&mdash;GATUN LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS was another subject I saw as the men stopped
+work in the evening. On the left is the stairway which
+most of them use, and on both sides are iron ladders which
+a few climb. The semicircular openings are for mooring
+the ships.</p>
+
+<div class="figcenter"><a name="i043.jpg" id="i043.jpg"></a>
+  <img src="images/i043.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="VIII_THE_JUNGLE" id="VIII_THE_JUNGLE"></a>
+  <span class="smaller">VIII<br /> THE JUNGLE<br />
+  THE OLD RAILROAD FROM THE NEW</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_w.jpg" alt="" />
+</div>
+<p class="drop-cap">WHILE I was on the Isthmus the old line from Gatun
+to the Culebra Cut at Bas Obispo was abandoned,
+owing to the rising waters of the lake, which will soon cover
+towns, and swamps, and hills, and forests. This drawing
+was made looking across the lake near Gatun, with the
+dam in the distance, and I have tried to show the rich riot
+of the jungle. Below, on the old road, is a steam shovel
+digging dirt. The little islands, charming in line, are little
+hills still showing above the waters of the forming lake.</p>
+
+<div class="figcenter"><a name="i047.jpg" id="i047.jpg"></a>
+  <img src="images/i047.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+<h2><a name="IX_THE_NATIVE_VILLAGE" id="IX_THE_NATIVE_VILLAGE"></a>
+  <span class="smaller">IX<br /> THE NATIVE VILLAGE</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS lithograph was made on the new line, which discovered
+to the visitor primitive Panama, its swamps,
+jungles and native villages; but, owing to Colonel Gorgas,
+native no longer, as they are odorless and clean; but the
+natives, with their transformation, seem to prefer to the palm-leaf
+roof, corrugated iron and tin, and abandoned freight
+cars to live in. The huts are mostly built on piles near the
+rivers. In the background can be seen the strange-shaped
+mountains and strange-shaped trees. The white tree&mdash;I
+don't know its name&mdash;with the bushy top has no bark,
+and is not dead, but puts out leaves, Mrs. Colonel Gaillard
+tells me, in summer; and she also tells me the jungle is full
+of the most wonderful orchids, birds, snakes, monkeys and
+natives, and offered to take me to see them. I saw her
+splendid collection of orchids at Culebra, through the
+luxuriance of which Colonel Gaillard says he has to hew his
+way with a machete every morning to breakfast, so fast do
+plants grow on the Isthmus. Advantage of this rapidity of
+jungle growth has been taken to bind together the completed
+parts of the surface of the dam, which are covered
+with so much vegetation that I could not tell Nature's work
+from that of the engineers.</p>
+
+<div class="figcenter"><a name="i051.jpg" id="i051.jpg"></a>
+  <img src="images/i051.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="X_THE_AMERICAN_VILLAGE" id="X_THE_AMERICAN_VILLAGE"></a>
+  <span class="smaller">X<br /> THE AMERICAN VILLAGE</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THESE are scattered all across the Continent, hemmed in
+by the tropical jungle or placed on the high, cool
+hill. In all there is, first, the news-stand at the station;
+then, the hotel&mdash;really restaurants&mdash;where on one side the
+Americans "gold employees" dine for thirty cents, better than
+they could for a dollar at home&mdash;and more decently; men,
+women and children. On the other, in a separate building,
+usually, the "silver employees" foreigners; and there are
+separate dining and sleeping places and cars for negroes,
+even on workmen's trains. The Indian has the sense
+and pride to live his own life down there, apart, as at
+home in India. There are many in the Zone.</p>
+
+<p>The head men in each of these towns have their own
+houses; the lesser lights share double ones; and I believe
+the least of all, bunks; but these matters didn't interest
+me, nor did sanitary conditions or social evils or advantages.</p>
+
+<p>There are also clubs, I believe, social centres, mothers'
+meetings, churches, art galleries and museums on the
+Isthmus, but I never saw them. I was after picturesqueness.
+Still, it is no wonder, under present conditions, that I
+never found a man who wanted to "go home"&mdash;and some
+hadn't been home for seven years, and dreaded going&mdash;and
+rightly. The Canal Zone is the best governed section
+of the United States.</p>
+
+<div class="figcenter"><a name="i055.jpg" id="i055.jpg"></a>
+  <img src="images/i055.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XI_THE_CUT_AT_BAS_OBISPO" id="XI_THE_CUT_AT_BAS_OBISPO"></a>
+  <span class="smaller">XI<br /> THE CUT AT BAS OBISPO</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THE Culebra Cut commences near Bas Obispo&mdash;from
+this place&mdash;where the Chagres River enters Gatun Lake,
+the cut extends for nine miles, to Pedro Miguel. All between
+here and Gatun will be under water. The drawing
+was made at the bottom of the cut, and the various levels
+on which the excavations are made may be seen. The dirt
+trains, one above the other, are loading up from the steam
+shovels on each side of the old river bed in the centre. The
+machinery for shifting tracks and unloading trains is wonderful,
+but not very picturesque.</p>
+
+<div class="figcenter"><a name="i059.jpg" id="i059.jpg"></a>
+  <img src="images/i059.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XII_IN_THE_CUT_AT_LAS_CASCADAS"
+  id="XII_IN_THE_CUT_AT_LAS_CASCADAS"></a>
+  <span class="smaller">XII<br /> IN THE CUT AT LAS CASCADAS</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS drawing shows the cut and gives from above some
+idea of the different levels on which the work is carried
+out. It is on some of these levels that slides have occurred
+and wrecked the work. The slides move slowly, not like
+avalanches, but have caused endless complications; but
+Colonel Gaillard, the engineer in charge, believes he will
+triumph over all his difficulties&mdash;which include even a small
+volcano&mdash;there is a newspaper story&mdash;but no earthquakes.</p>
+
+<div class="figcenter"><a name="i063.jpg" id="i063.jpg"></a>
+  <img src="images/i063.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XIII_THE_CUT_FROM_CULEBRA" id="XIII_THE_CUT_FROM_CULEBRA"></a>
+  <span class="smaller">XIII<br /> THE CUT FROM CULEBRA</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_a.jpg" alt="" />
+</div>
+<p class="drop-cap">AT this point the cut is far the deepest at the continental
+divide, and here the French did their greatest work, and
+here this is recorded by the United States on a placque high
+up on the left-hand bare mountain face of Gold Hill. The
+drawing was made looking towards Pedro Miguel.</p>
+
+<div class="figcenter"><a name="i067.jpg" id="i067.jpg"></a>
+  <img src="images/i067.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XIV_STEAM_SHOVEL_AT_WORK_IN_THE_CULEBRA_CUT"
+  id="XIV_STEAM_SHOVEL_AT_WORK_IN_THE_CULEBRA_CUT"></a>
+  <span class="smaller">XIV<br /> STEAM SHOVEL AT WORK IN THE CULEBRA CUT</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS beast, as they say down there, "can pick up
+anything from an elephant to a red-bug"&mdash;the smallest
+thing on the Isthmus. They also say the shovel "would
+look just like Teddy if it only had glasses." It does the
+work of digging the Canal and filling the trains, and does it
+amazingly&mdash;under the amazing direction of its amazing
+crews.</p>
+
+<div class="figcenter"><a name="i071.jpg" id="i071.jpg"></a>
+  <img src="images/i071.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XV_THE_CUT_LOOKING_TOWARD_CULEBRA"
+  id="XV_THE_CUT_LOOKING_TOWARD_CULEBRA"></a>
+  <span class="smaller">XV<br /> THE CUT&mdash;LOOKING TOWARD CULEBRA</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS is the most pictorial as well as the most profound
+part of the cut. Culebra, the town, is high above&mdash;some
+of it has fallen in&mdash;on the edge in the distance&mdash;on
+the left. The white tower is an observatory from near which
+the lithograph No. XIII of the cut was made. The drawing
+is looking toward the Atlantic. The engineer of the dirt
+train&mdash;the smoke of which is so black because the engines
+burn oil&mdash;climbed up to see what I was at, and incidentally
+told me he was paid $3,600 a year, had a house free and two
+months' holiday. It is scarcely wonderful he has little interest
+in home, but the greatest pride in "our canal," and
+his only hope was to be "kept on the job" and run an
+electric locomotive for the rest of his life.</p>
+
+<div class="figcenter"><a name="i075.jpg" id="i075.jpg"></a>
+  <img src="images/i075.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XVI_THE_CUT_AT_PARAISO" id="XVI_THE_CUT_AT_PARAISO"></a>
+  <span class="smaller">XVI<br /> THE CUT AT PARAISO</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_a.jpg" alt="" />
+</div>
+<p class="drop-cap">AT this point the old railroad crosses the Canal bed, and
+there is a splendid view in both directions. This is
+looking toward the same mountains as in the previous
+drawing, early in the morning. The mountains are covered
+with long lines of mist, under which nestles the American-Japanese
+town of Paraiso. The new line of railroad never
+crosses the Canal, but passes behind the mountain on the
+right. The scheme of having it follow the Canal through
+Culebra Cut has been abandoned, owing to the slides.</p>
+
+<div class="figcenter"><a name="i079.jpg" id="i079.jpg"></a>
+  <img src="images/i079.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XVII_THE_CUT_LOOKING_TOWARD_ANCON_HILL"
+  id="XVII_THE_CUT_LOOKING_TOWARD_ANCON_HILL"></a>
+  <span class="smaller">XVII<br /> THE CUT LOOKING TOWARD ANCON HILL</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS is the view toward the Pacific from the same spot in
+the full stress of work. The Pedro Miguel locks are
+in the distance, beyond is Ancon Hill, dominating Panama,
+miles farther on; and to the right, between the hills, but
+miles still farther, beyond Miraflores lock, the Pacific.</p>
+
+<div class="figcenter"><a name="i083.jpg" id="i083.jpg"></a>
+  <img src="images/i083.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XVIII_LAYING_THE_FLOOR_OF_PEDRO_MIGUEL_LOCK"
+  id="XVIII_LAYING_THE_FLOOR_OF_PEDRO_MIGUEL_LOCK"></a>
+  <span class="smaller">XVIII<br /> LAYING THE FLOOR OF PEDRO MIGUEL LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS is the most monumental piece of work on the Canal,
+and the most pictorial. The huge approaches, quite
+different in form from Gatun&mdash;for all the locks have character,
+and the character of their builders&mdash;are only arches
+to save concrete. Here were men enough laying the concrete
+floor&mdash;others swarming over the gates not yet covered
+with their armor plate. Beyond is the lock just shown between
+the gates.</p>
+
+<div class="figcenter"><a name="i087.jpg" id="i087.jpg"></a>
+  <img src="images/i087.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XIX_THE_GATES_OF_PEDRO_MIGUEL"
+  id="XIX_THE_GATES_OF_PEDRO_MIGUEL"></a>
+  <span class="smaller">XIX<br /> THE GATES OF PEDRO MIGUEL</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS is the same lock nearer the gates, and shows the
+great length of it from gate to gate and something of its
+building and construction, from my point of view.</p>
+
+<div class="figcenter"><a name="i091.jpg" id="i091.jpg"></a>
+  <img src="images/i091.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XX_THE_WALLS_OF_PEDRO_MIGUEL"
+  id="XX_THE_WALLS_OF_PEDRO_MIGUEL"></a>
+  <span class="smaller">XX<br /> THE WALLS OF PEDRO MIGUEL</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS was drawn from the opposite end of the lock and
+the great side walls topped with their concrete-making
+crenellations and cranes are seen. In the foreground, on
+the left, is one of the side openings for emptying the water
+from one lock to another&mdash;for all the locks are double, side
+by side, and ships will not have to wait until a lock is empty,
+as is usual, before they can enter, but, as one empties, the
+same water partly fills the one beside it, and so steamers will
+pass without waiting. Two or three small vessels can go
+through at the same time, as well as the largest with room
+to spare.</p>
+
+<div class="figcenter"><a name="i095.jpg" id="i095.jpg"></a>
+  <img src="images/i095.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXI_BUILDING_MIRAFLORES_LOCK"
+  id="XXI_BUILDING_MIRAFLORES_LOCK"></a>
+  <span class="smaller">XXI<br /> BUILDING MIRAFLORES LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS lock, the nearest the Pacific, is again quite different
+and is the work of a civil engineer, Mr. Williamson,
+and not of army officers, like the rest. Between the two
+forces, I believe, the most fierce harmony exists. The drawing
+shows the two locks side by side, the great cranes&mdash;they
+are different, too&mdash;towering above. All the ground here
+will be filled by a small lake between this lock and Pedro
+Miguel.</p>
+
+<div class="figcenter"><a name="i099.jpg" id="i099.jpg"></a>
+  <img src="images/i099.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXII_CRANES_MIRAFLORES_LOCK" id="XXII_CRANES_MIRAFLORES_LOCK"></a>
+  <span class="smaller">XXII<br /> CRANES&mdash;MIRAFLORES LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THESE great cranes travel to and fro, and as I drew the
+nearest I found the lines changing, but thought there
+was something wrong with me. So huge were they, and so
+silently and solemnly did they move, that I could not believe
+they were moving. This is the Pacific end of the lock&mdash;the
+last on the Canal.</p>
+
+<div class="figcenter"><a name="i103.jpg" id="i103.jpg"></a>
+  <img src="images/i103.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXIII_WALLS_OF_MIRAFLORES_LOCK"
+  id="XXIII_WALLS_OF_MIRAFLORES_LOCK"></a>
+  <span class="smaller">XXIII<br /> WALLS OF MIRAFLORES LOCK</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THE only wall in March of the approach to Miraflores
+may be contrasted with the similar subject No. XX&mdash;Pedro
+Miguel.</p>
+
+<p>Much as there was to be done in March, the engineer,
+Mr. Williamson, had no doubt it would be finished this
+fall; for as fast as the other locks were completed, men
+and machines were to be put on this.</p>
+
+<div class="figcenter"><a name="i107.jpg" id="i107.jpg"></a>
+  <img src="images/i107.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXIV_OFFICIAL_ANCON" id="XXIV_OFFICIAL_ANCON"></a>
+  <span class="smaller">XXIV<br /> OFFICIAL ANCON</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_a.jpg" alt="" />
+</div>
+<p class="drop-cap">AMID these royal palm groves work and live many of the
+members of the Isthmian Canal Commission&mdash;the rest
+are on the high hill at Culebra. To the secretary, Mr. J. B.
+Bishop, and to his family, I am endlessly indebted for endless
+help while on the Zone.</p>
+
+<p>Ancon is a perfect Japanese town&mdash;built by Americans&mdash;and
+the interiors of the houses here and at Culebra are
+as delightful as their owners are charming&mdash;and I know of
+what I speak. The large building against the ocean is the
+Administration Office of the Isthmian Canal Commission.</p>
+
+<div class="figcenter"><a name="i111.jpg" id="i111.jpg"></a>
+  <img src="images/i111.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXV_FROM_ANCON_HILL" id="XXV_FROM_ANCON_HILL"></a>
+  <span class="smaller">XXV<br /> FROM ANCON HILL</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_a.jpg" alt="" />
+</div>
+<p class="drop-cap">A ROAD winds up Ancon Hill, passing the official residences
+and the hospitals, finally reaching a terrace
+bordered with royal palms. Below to the left is the Tivoli
+Hotel, and still lower and farther away, the city, while the
+Pacific fills the distance. This is the most beautiful spot I
+saw on the Isthmus.</p>
+
+<div class="figcenter"><a name="i115.jpg" id="i115.jpg"></a>
+  <img src="images/i115.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXVI_THE_CATHEDRAL_PANAMA" id="XXVI_THE_CATHEDRAL_PANAMA"></a>
+  <span class="smaller">XXVI<br /> THE CATHEDRAL, PANAMA</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THE Cathedral, one of a number of churches in the city
+of Panama, stands in a large square. The feeling of all
+these, with their richly decorated façades and long, unbroken
+side walls, is absolutely Spanish&mdash;but the interiors are far
+more bare&mdash;much more like Italian churches.</p>
+
+<div class="figcenter"><a name="i119.jpg" id="i119.jpg"></a>
+  <img src="images/i119.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXVII_THE_CITY_OF_PANAMA" id="XXVII_THE_CITY_OF_PANAMA"></a>
+  <span class="smaller">XXVII<br />
+  THE CITY OF PANAMA FROM THE TIVOLI HOTEL, ANCON</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_f.jpg" alt="" />
+</div>
+<p class="drop-cap">FROM the wing of the Government hotel in which I
+stayed I looked out over the city of Panama to the Pacific.
+If this city were in Spain, or if even a decent description
+of it were in a European guide-book, the hordes of Americans
+who go to the Canal would rave over it. As it is, not
+many of them (not being told) ever see it, though there
+are few towns in Europe with more character. But I
+regret to say my countrymen don't know what they are
+looking at, or what to look at, till they have a guide-book,
+courier or tout to tell them. The Government provides,
+I am told, a Harvard graduate to perform the latter
+function, and sends out daily an observation car across the
+Continent.</p>
+
+<p>The two strange, flat-topped mountains, miles out at sea,
+are to be fortified, and they are so far from shore, and
+the locks so far inland, as to be out of range&mdash;as well as out
+of sight&mdash;of modern guns and gunners.</p>
+
+<div class="figcenter"><a name="i123.jpg" id="i123.jpg"></a>
+  <img src="images/i123.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+
+
+<h2><a name="XXVIII_THE_MOUTH_OF_THE_CANAL" id="XXVIII_THE_MOUTH_OF_THE_CANAL"></a>
+  <span class="smaller">XXVIII<br /> THE MOUTH OF THE CANAL FROM THE SEA</span></h2>
+
+<div>
+  <img class="drop-cap" src="images/initial_t.jpg" alt="" />
+</div>
+<p class="drop-cap">THIS drawing was made from the channel which leads
+out to the Pacific Ocean. The mouth of the Canal is
+on the left in the flat space between the mountains; on the
+right of this, the dark mass on the edge of the water is the
+docks and harbors; then comes the great, towering Ancon
+Hill, one side all dug out in terraces for dirt, much of which
+goes to fill in the outside of locks, which, however, will work
+before they are filled in. And for what other purposes the
+War Department are going to use this Gibraltar they alone
+know. The other side, a mass of palms shelters the houses
+of the officials, and at the foot of the hill, to the right, Panama&mdash;as
+beautiful as Naples or Tangier, yet hardly a tourist
+knows it; and&mdash;well, the Government is not running a tourist
+agency.</p>
+
+<p>The breakwater, which will connect the fortified islands
+miles away with the mainland, is just started in the centre.
+This is the first and last view of Panama&mdash;and of the greatest
+work of modern times, the work of the greatest engineers
+of all time.</p>
+
+<p class="ar">
+<span class="sc">Joseph Pennell</span><br />
+</p>
+
+<div class="figcenter"><a name="i127.jpg" id="i127.jpg"></a>
+  <img src="images/i127.jpg"
+        alt="" />
+</div>
+
+<hr class="chap" />
+
+
+<div class="bbox">
+<p class="ac larger">Life of James
+McNeill Whistler</p>
+
+<p class="ac"><span class="sc">By Elizabeth R. and Joseph Pennell</span></p>
+
+<hr class="ad" />
+
+<p>The Pennells have thoroughly
+revised the material in their
+Authorized Life and added much
+new matter, which for lack of
+space they were unable to incorporate
+in the elaborate two-volume
+edition now out of
+print. Fully illustrated with
+96 plates reproduced from
+Whistler's works, more than half
+reproduced for first time.</p>
+
+<hr class="ad" />
+
+<div class="ac">
+<span class="smaller">Crown 8vo., fifth and revised edition.<br />
+Whistler binding, deckle edge.<br />
+$3.50 net.</span></div>
+<div class="ac xx-smaller">Three quarters grain levant, $7.50 net.</div>
+</div>
+
+
+<hr class="chap" />
+
+<div class="chapter"></div>
+<div class="transnote">
+
+<h3>Transcriber's Note:</h3>
+
+  <ul>
+    <li>Minor typographical errors have been corrected without note.</li>
+<li>Duplicated section headings have been omitted.</li>
+  </ul>
+</div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 48924 ***</div>
+</body>
+</html>
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diff --git a/48924-h/images/initial_w.jpg b/48924-h/images/initial_w.jpg
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--- /dev/null
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