diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/60023-0.txt | 2402 | ||||
| -rw-r--r-- | old/60023-0.zip | bin | 48025 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h.zip | bin | 951806 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/60023-h.htm | 3686 | ||||
| -rw-r--r-- | old/60023-h/images/cover.jpg | bin | 118019 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/header.jpg | bin | 38277 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_529.jpg | bin | 91486 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_532a.jpg | bin | 17677 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_532b.jpg | bin | 88885 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_533.jpg | bin | 101196 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_534a.jpg | bin | 16526 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_534b.jpg | bin | 12496 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_534c.jpg | bin | 9650 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_535a.jpg | bin | 7800 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_535b.jpg | bin | 12034 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_535c.jpg | bin | 7484 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_535d.jpg | bin | 31871 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_536a.jpg | bin | 23798 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_536b.jpg | bin | 88113 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_537a.jpg | bin | 50882 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_537b.jpg | bin | 49387 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_538.jpg | bin | 45513 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_540.jpg | bin | 45177 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_541.jpg | bin | 5641 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_542.jpg | bin | 12110 -> 0 bytes | |||
| -rw-r--r-- | old/60023-h/images/i_544.jpg | bin | 24553 -> 0 bytes |
29 files changed, 17 insertions, 6088 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..3fb4d9b --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #60023 (https://www.gutenberg.org/ebooks/60023) diff --git a/old/60023-0.txt b/old/60023-0.txt deleted file mode 100644 index aae8999..0000000 --- a/old/60023-0.txt +++ /dev/null @@ -1,2402 +0,0 @@ -The Project Gutenberg EBook of The Girl's Own Paper, Vol. XX. No. 1012, -May 20, 1899, by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: The Girl's Own Paper, Vol. XX. No. 1012, May 20, 1899 - -Author: Various - -Release Date: July 31, 2019 [EBook #60023] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** - - - - -Produced by Susan Skinner, Chris Curnow, Pamela Patten and -the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - - - - -[Illustration: THE GIRL’S OWN PAPER - -VOL. XX.—NO. 1012.] MAY 20, 1899. [PRICE ONE PENNY.] - - - - -THE SEA AND THE ROCKS. - -BY WILLIAM LUFF. - -[Illustration: THE OTHER SHORE.] - -_All rights reserved._] - - - I watched the waves as they kissed the rocks, - And linked their hands behind them, - As if to draw to the deep blue sea, - Where no searching eye could find them. - But rocks were firm, and the waves though strong - Were foiled in their kind endeavour; - Then what they could not change they bathed, - And rising higher ever, - They came and came, till they covered o’er - The black old rocks of that stubborn shore. - They were there the same as of old, I knew, - But hidden now with a robe of blue. - - We all find rocks on the shores of life, - Dark rocks and stubborn often. - We pray, but never a rock will move— - Hard rocks that no sea will soften; - But lo, the ocean of love and grace - Is linking its arms behind them; - The waters rise in their vast embrace, - Till troubles—we cannot find them. - I know they are there as they were before; - But we see them not, they are covered o’er. - And all that rises before our view, - Is God’s deep ocean of boundless blue. - - - - -SHEILA. - -A STORY FOR GIRLS. - -BY EVELYN EVERETT-GREEN, Author of “Greyfriars,” “Half-a-dozen -Sisters,” etc. - - -CHAPTER VII. - -IN RIVER STREET. - -“Well, Oscar, I’ve just this one bit of advice to give you,” said -North, as the pair walked homewards from the works. “Don’t you be too -easy-going.” - -“Am I too easy-going?” asked Oscar with a smile. “How?” - -“Well, I think you are a bit. It’s easier to see that sort of thing -than to define it. You don’t stick sufficiently tight to your own work. -No, no, don’t think I mean you idle; you don’t, but you’ll do the other -fellows’ work for them when they are larking, and let them take a turn -at yours when you want to be off to the electrical works. The office -was always a bit too free and easy, and we wanted to stiffen it up by -putting you in. But if anything it’s got worse.” - -Oscar laughed a little. North’s friendly manner relieved him of the -fear that he had given dissatisfaction with his own share in what was -required of him. He had been really doing his best, and had learned a -great deal during the past months. - -“It seems friendlier, somehow,” he said. “They are all nice fellows, -and we work amicably together. I didn’t know it mattered sharing the -work. They seemed used to it.” - -“It doesn’t matter in moderation,” answered North. “We’re not fussy, -my father and I. But don’t be too easy-going, Oscar. As you are one of -the family, they will look up to you, and take their cue from you more -or less. Business is business all the world over, and you’d do well to -keep that fact sternly in mind.” - -“I’ll try,” answered Oscar readily, “and I hope you’ll always tell me, -North, if you see anything in which I fail. I want to justify your -father’s opinion that I should do for the business, and I’m quite -sensible of his kindness in taking me on.” - -“Well, he’s glad enough to give you the sort of berth Cyril would have -had if he’d not turned out too much the fine gentleman,” said North -with one of his grim smiles. “My father never seriously thought of -putting Cyril into the business, he was always thought to be a cut -above it. But he often said he wished he had another son. You have come -to fill that place, Oscar.” - -The youth’s face flushed with pleasure. It was not often that North -spoke with so much friendly unreserve. In the main he was a silent, -self-contained man, though friendly enough to his younger cousin. But -to-day his reserve seemed to have evaporated, and the next minute he -spoke again. - -“Don’t let Cyril get you too much into his set, Oscar. I know, of -course, that you must have a good deal in common, being University men -and all that. But I’m not always best pleased with the sort of fellows -Cyril takes up with. I think they make him extravagant, and teach him -expensive habits. It’s all very well for him. He manages to get a large -allowance from the governor. But it wouldn’t suit your pocket or mine.” - -“I don’t think I care much for Cyril’s friends,” said Oscar slowly. -“Only when he asks me to go with him it seems churlish to refuse, when -I’ve nothing else I want to do.” - -“Well, I’d not mind seeming a bit churlish sometimes,” said North. -“Indeed I’ve put up with the accusation myself, though I was never a -fine enough gentleman for Cyril to care much for my company. But I -wouldn’t let him take you up and drag you about too much if I were you. -It won’t pay in the long run.” - -They were by this time approaching the house in River Street, so there -was no time for more discussion. It was Oscar’s temperament, as it was -Sheila’s, to float with the stream of life, and take things easily. -Perhaps it was this temperament in their father which had led to such -disastrous results at last, but it was not quite easy for Oscar to -realise this, though he was not ungrateful to North for his hint. - -“What a hullabaloo!” exclaimed North, as he put his key into the latch -and opened the door; and indeed there were sounds of very animated -discussion going on in the drawing-room, the door of which stood open. -The Cossart voices were rather loud when their owners were excited, and -it seemed as though something of an exciting nature must be going on. - -“What’s up?” asked the elder brother, pushing his way into the room, -and both sisters began talking at once, so that it was not altogether -easy to make out what either was saying. - -“Oh, such a delightful plan! It’s the Bensons who are really getting it -up—no, I should call it Mr. Ransom’s doing. But we are all to help. It -will be no end of fun. I hope there’ll be acting! Anyway we shall have -tableaux or something. And a bazaar, oh, yes, and some music. It’s to -last for three days—perhaps a week even. And everybody will come. Oh, -it will be the greatest fun! And we are to help in everything! We are -to be on the Committee. I was never on a Committee before. I do feel -so grand!” and Ray danced round her brother and made him a low curtsy, -saying: - -“We shall expect a great deal of patronage from Mr. Cossart, junior, of -the Cossart works!” - -“What’s it all about?” asked North, taking her by the shoulders and -giving her a brotherly shake. “I can’t make head or tail of all that -gabble. Now, mater, give us a cup of tea, and tell us quietly what all -this means. Ray’s off her head, and Raby looks almost as demented. Some -tomfoolery in the town, I suppose.” - -“Well, that is rather a hard name to give it,” said Mrs. Tom with -a smile. “It is like this. The new clergyman, Mr. Ransom, has, it -seems, very proper and sound ideas about debt upon a church. I am -sure your father would approve his views there. He thinks that debt -is a wrong thing, and ought never to be contracted, especially over a -house dedicated to the worship of God. He is quite shocked that in a -prosperous town like this, there should be a heavy debt on the church, -and that the mission chapel started two years ago should be almost -entirely unpaid for. He spoke very seriously to his churchwardens and -some of the leading men in the town, and he has so stirred them up to -his view of the case that they are going to make a great effort to wipe -out the whole debt immediately.” - -“Good!” said North nodding his head. “I think that’s a very right way -of looking at things. A man who lives in debt is considered to be doing -a wrong to his creditors, and why not a church too?—or at least the -people who build and use it.” - -“That is what Mr. Ransom feels. He says he does not think that we can -expect the same blessing upon the work of a church if the apostolic -precept, ‘Owe no man anything,’ is deliberately broken. Well, a -subscription list has been opened, and some really handsome sums have -been already promised. But you know what people are. They want a little -excitement and fun. And the Bensons have taken the matter up, and are -canvassing all the town for a big bazaar and some entertainments in -connection with it. The Corporation will give the Town Hall _gratis_ -for the purpose, and they are full of plans for making things go off -with great _éclat_. They have been here talking things over with the -girls this past hour. Mr. Benson is against having anything but local -talent for whatever is got up. He says, ‘Why pay professionals from a -distance when people would be much more interested in hearing their -own young people sing, or seeing them act a little play, or perform in -tableaux?’ And really I think he is right. I know I am dreadfully bored -by hearing second-rate professionals. But if one knows the performers, -why that’s quite a different matter.” - -“And it will be such a nice chance for the glee club!” cried Raby. “And -for some of us who have been having lessons. We did talk about getting -up a concert at Christmas; but somehow it did not come off. Now, this -seems the very thing, and everybody will come and hear us!” - -At that moment there was a clatter of horsehoofs outside the door, and -Ray exclaimed— - -“Why, here is Cyril, with Sheila and Effie in the new phaeton! Don’t -they cut a fine figure! What a pretty girl Sheila is! But she puts -Effie altogether in the shade, don’t you think? If Aunt Cossart finds -that out, she won’t be best pleased!” - -The Stanhope phaeton was Effie’s last new fancy. It was discovered that -Shamrock and the new cob would run together nicely in double harness; -and Sheila, who had driven all her life, managed the pair with much -skill. - -Effie really preferred these drives in a carriage, recognised as her -own, to the rides, where she was conscious of timidity and a lack of -the ease and grace which distinguished Sheila’s horsemanship. - -Cyril liked well enough to accompany his pretty cousins, as he called -them; and Mrs. Cossart was better pleased when he was there, as well as -the youthful tiger who always went with the carriage. - -Raby and Ray had heard of this new turn-out, but had not seen it -before. They ran to the window to look and admire; but in a few moments -Effie and Sheila were in the room, Cyril bringing up the rear. - -Sheila made a rush at Oscar first, but was quite ready to be -affectionate to all. She was in gay, happy spirits, and brought with -her an atmosphere of sunshine. Her sombre black was just lightened by -ruffles of white at the throat and wrists; and the soft bloom upon her -cheeks seemed set off by the darkness of her attire. - -Somehow Effie seemed a quite secondary and insignificant figure when -Sheila was present, though the best seat was given her, and her aunt -asked with interest after her well-being. But the girls could not wait -to hear Effie discourse upon herself and her symptoms, improved though -they might be. - -“Oh, Sheila, have you heard? Cyril, have you heard anything about -the bazaar and fête? We are to have such a time of it! Sheila, you -will have to help us! We shall all be as busy as bees!” and the girls -plunged into a recital of the coming excitements, to which Sheila -listened with all her ears. - -“Oof! Won’t it be fun!” she cried, with her favourite little -interjection which always made her cousins laugh. “I’m not a bit -clever. I can’t sing or play or do anything like that; but I’ll help -all I know. I shall be awfully pleased to!” - -“But if we get up some tableaux you can perform,” said Cyril. “You -could manage to stand still for two minutes at a stretch, could you -not, Sheila?” - -“Oof, yes! I could do that, only I’m afraid I should laugh in the -middle! Effie, do you hear? There are to be such goings on. You’ll -have to sing, I expect. Perhaps I’ll play for you, if I don’t get too -frightened.” - -“Are you taking up your music again, my dear?” asked Mrs. Tom. “That is -right. It will be a pleasure to you, I am sure.” - -“Yes, perhaps it will. I used to be fond of it, only I’ve not been able -to do anything for so long; and if you can’t practise, I don’t think -you ought to sing. I’ve been trying again these last few weeks. I think -I shall get my voice back in time. But my throat is so weak still; I -can’t do much at a time. I suppose it comes from being weak. If I were -to get stronger, I should have more voice. I don’t care to make an -exhibition of myself; but, of course, I’ll do anything I can to help -the girls. I think people used to like to hear me sing.” - -“And they’ll like to hear you sing again. It would be a good -opportunity for you to appear in public after being shut up so long,” -said Mrs. Tom; “and you could work for the bazaar at any rate. We must -all try to help as much as we can for a good cause such as this.” - -“Oh, I’ll try to do a little; but I never can settle long to anything. -I suppose it’s the state of my nerves. I must always be jumping up and -going off after something else. I have such a funny restless feeling. -If I were to sit long over anything I should get quite wild; and then -I should have an attack directly. That’s the worst of it. I can’t make -myself do things like other people. I get ill directly. Not that I care -so much myself; I’ve made up my mind not to care about anything; but -just to take what comes. But it worries mother, and I must think of -her; so I’ve got to take care of myself, though I do get very sick of -it!” - -Cyril had got Sheila into a quiet corner where Oscar had joined them in -response to the summons of her eyes. - -“All this will be rather a bore,” he began; but Sheila interrupted -gaily— - -“I don’t think it will at all! I think it will be great fun! I like -things to be lively! Sometimes I wish I lived in River Street. It’s -rather dull some days up there!” - -“Poor child! I expect it is,” said Cyril; “but what I was going to say -was that it would probably bring some of the better people into touch -with us, and they’ll be sure to take to you, Sheila. The Bensons are -nobodies—he’s the Mayor this year, and they have plenty of money, -and give themselves airs over it. But if the thing is taken up by the -county—as I expect it will be, for Mr. Ransom is a well-born man, and -has come with introductions to a good many of the best families—we -shall get other volunteers of a different sort, and that will be a good -thing for you and Oscar.” - -“Why for us more than other people?” asked Sheila, whilst Oscar’s face -seemed to cloud over a little. - -“Oh, don’t you see! They will see the difference at once; and I shall -see you are introduced. I know these people—most of them—though they -don’t visit much in the town, except in quite a perfunctory way. But -they are very good to me; and they will be sure to take you up; and -then things will be different.” - -“I’m not sure that Sheila and I wish any distinction made between -ourselves and our cousins,” said Oscar a little stiffly; but Cyril -laughed in his good-humoured way. - -“Oh, you needn’t be as straight-laced as all that, Oscar. People can’t -help knowing the difference between—what shall we call it?—the real -thing and the imitation! There are some really nice people I should -like Sheila to know. Their name is Lawrence, and they do call here. -They bought or took a place about five miles away some little time ago, -and the mater was induced to call. They don’t come often; but most -likely the girl would be glad to help in these goings on. Mr. Ransom -knows the Lawrences. You would quite like them if you once knew them.” - -Sheila was interested at once, and asked a good many questions. Her -life, though pleasant and easy, was rather monotonous, and, so far, she -had made no friends except her cousins, who, though very good-natured -and kind, were not particularly congenial to her. So the prospect -of a possible girl friend of a different stamp was not without its -attractions. - -“I shall try to bring that off,” said Cyril to himself as the carriage -drove off at last. “I often think that May Lawrence would be a very -good second string to my bow; for though Effie is an heiress, I -sometimes think I should soon be sick to death of her ‘I,’ ‘I,’ ‘I,’ -and should chuck up the whole thing in three months, if it ever got as -far as an engagement!” - -And perhaps Cyril never paused to ask himself how large a place in his -own vocabulary the “I” took, nor the _ego_ in his scheme of life! - -(_To be continued._) - -[Illustration] - - - - -OLD ENGLISH COTTAGE HOMES; - -OR, - -VILLAGE ARCHITECTURE OF BYGONE TIMES. - - -PART VIII. - -In the first number of these papers we pointed out the fact that the -cottages and small houses in fortified villages exhibited a totally -different character from those in open and unwalled villages. Owing -to the space being confined within the walls, any increase in the -number of inhabitants had either to be provided with accommodation -by adding to the height of the existing habitations or by setting -up dwelling-houses in out-of-the-way places. Our sketch of Lyme -Regis shows the outlet of a river which here flows into the sea; the -fortified walls are continued along the banks; the principal street of -the village is carried over the river by a bridge consisting of a lofty -and elegantly proportioned Gothic arch, evidently of thirteenth century -date. Cottages or small habitations cling to the walls supported upon -wooden corbels, and are bracketed out from the parapets of the bridge, -giving the latter more the effect of a gateway than of a bridge. The -whole scene is strange though very picturesque, and those who are -accustomed to the ordinary English village, with its detached cottages, -surrounded by gardens, are naturally surprised at the singular effect -brought about by such changed conditions. Those, however, who know -the fortified villages of Germany, France, and the Low Countries, are -quite familiar with such scenes, and regard them as usual in villages -prepared for war, as contrasted with the ordinary villages of our -country where peace was the normal condition. - -[Illustration: GEORGIAN COTTAGE, AMERSHAM.] - -It is indeed a matter of congratulation that our English ancestors were -able to live in abodes unsurrounded by fortifications, and to pursue -their humble avocations without the dread of invasion by some foreign -foe; but as it does not seem to be the design of Divine Providence -that man should pass this life without troubles and anxiety, civil -wars were not unfrequent, even in this happy isle. And even when this -affliction was absent, our towns were visited by pestilence, for our -historians tell us that in the neighbourhood of Warwick alone thirty -villages were depopulated and allowed to fall to ruin during that -fearful visitation called the “Black Death.” Their very sites cannot -now be traced, and their names are mere tradition. Even where they were -partially spared, the population of many villages was so reduced as to -cause a very singular arrangement. We refer to the distance between -the church and the village. Now there can be no doubt that parish -churches in the country were nearly always in former times erected in -the villages or towns they were intended to serve, and the only way of -accounting for their now being at a distance from one another is by -supposing that some great pestilence has at some period swept away the -population of that part of the village which adjoined the church. That -the pestilence should attack that particular portion of the village -more than another is highly probable, because its proximity to the -church and churchyard would render it more liable to infection. This, -however, is a very gloomy subject to contemplate, and we refer to it -only to account for certain peculiarities which it has introduced into -old villages. - -Our other sketch represents a cottage or village house of much later -times, probably the Hanoverian period, built of various coloured -bricks, in some places arranged in patterns. The great peculiarity of -the design, however, is its diminutive scale. Were it not for the fact -that the presence of any human being near to it immediately dwarfs it, -the front might be that of an important house. This is a well-known -fact in architecture. There is nothing for bringing down the scale of a -building like a very tall girl. An architect we know built a beautiful -little church on a small scale, but he was shocked to find that a very -tall, and it must be confessed graceful, girl sat close to the first -column of the nave. Our friend said, “Really that girl completely -dwarfs my columns. I shall have to speak to the clergyman and see -whether she can be prevailed upon to take a seat in a less conspicuous -place.” He suggested this idea to the reverend gentleman, who seemed a -little confused. - -“Well,” said he, “I fear that can scarcely be done, as that young lady -will in all probability become more closely connected with the church. -The fact is, we are going to be married next month.” - -It is rather a strange thing that a tall man does not “bring down” the -scale of a building to the same extent as a tall woman. Probably the -dress of the latter is accountable for this. - -The diminutive scale of the house at Amersham has its counterpart -in many Georgian buildings—Hamper Mill and the old school-house at -Watford, for instance. Yet we can scarcely charge the architects of -that time with an attempt to give a false scale to their buildings, as -they seem so well suited to their surroundings. - -[Illustration: COTTAGES AT LYME REGIS—A FORTIFIED VILLAGE.] - - - - -LETTERS FROM A LAWYER. - - -PART VII. - - The Temple. - -MY DEAR DOROTHY,—It is perfectly astounding to me that people not -absolutely devoid of common sense should be taken in by the so-called -confidence trick, a device so transparent that it seems incredible that -any sane man could be deceived by it. I am bound to say in justice to -your sex that I have never heard of a case when a woman was a victim to -the confidence trick. I suppose it does not appeal to them in the same -way that it seems to do to some men. - -Perhaps the true explanation of the gullibility of mankind was that -given by a rogue who was had up and convicted at the Old Bailey. When -asked what he wished to say, why he should not receive punishment for -this offence, he replied that he ought to be treated as a great moral -teacher, because the confidence trick could only succeed with people -who were covetous and desirous of acquiring other people’s money -without giving an equivalent for it, and that when they found that -they had lost their money, it taught them to be more cautious and less -grasping. - -There was some truth in what this “great moral teacher” said, but -unfortunately for him he had also a lesson to learn, and the Recorder -gave him several months in which he might give it his careful -consideration. - -The “Free Portrait” scheme is a bait which allures a good many people. -They cannot resist the temptation of getting something for nothing. -A man calling himself A. Tanquerey or F. Schneider, and giving an -address in Paris, is, I believe, the author of this ingenious system -of extracting money from the unwilling pockets of the public. He -professes in his circulars and advertisements to send you a crayon -enlargement of any photograph you send him “absolutely free of charge.” - -After you have sent him the photograph, which is generally one of -special value to yourself, being, we will suppose, the only portrait -you possess, of a deceased parent, friend or relation, you receive a -letter stating that the portrait is ready and will be forwarded to you -on the receipt of two or three guineas for the frame. - -If you decline to purchase a frame, and write telling him to return -your photograph, you receive no reply to your letter, and finally, to -recover the photograph which you value, you send the money for the -frame, and receive a fairly good crayon enlargement of your photograph -in a frame which has cost you as many guineas as it is worth shillings. - -There is a class of advertisement which may be seen in almost any -weekly paper which just borders on the fraudulent. Even if they are -genuine in themselves—and some undoubtedly are not—they open the door -to fraud. I refer to those advertisements offering articles for sale -in connection with monetary prizes to every purchaser and winner in a -competition which can be guessed at a glance. - -Every purchaser is told in the advertisement that he will be entitled -to receive a prize of £10 if he guesses rightly; but when he has made -his purchase and sent in his solution, he will find that either only -the first letter opened gets the prize, or that every competitor having -guessed correctly, he is only entitled to receive a halfpenny for -his share of the money. In this last case, of course, the thing is a -swindle because no one would have purchased the article and answered -the competition if they thought the money was going to be divided -amongst the winners. - -I tried one of these competitions myself, not because I thought it was -genuine, but because I wanted to see how it was worked. The task I had -to accomplish was something like the following: - -“Give the names of the fruits and flowers mentioned below—Soer, Reap, -Liput, Cepah, Socruc, Ragone.” - -Well, you can see at a glance they are rose, pear, tulip, peach, -crocus, orange. I sent in my answer and a shilling and a penny stamp, -and in due course received a puzzle worth about twopence. - -Later on I received a letter stating that my solution of all the words -was correct, and enclosing my share of the prize—a halfpenny stamp. - -In a similar competition I saw it stated in the papers that 6,000 -answers had been received, which shows that the game must be a very -paying one for those who issue the advertisements. - -What a number of young women there must be waiting to get married! -In answer to an advertisement which appeared the other day in the -_Exchange and Mart_, in which a lady, “disappointed in love, offered -her _trousseau_ at an enormous sacrifice,” over 1,400 replies were -received. - -But the lady “disappointed in love” disappointed also the 1,400 ladies -who wanted a _trousseau_, for her advertisement was a bogus one, and -was merely another trap to catch the unwary. - -One has to be very sharp, but the sharpest of us are sometimes taken -in, including even - - Your affectionate cousin, - BOB BRIEFLESS. - - - - -GIRLS AS I HAVE KNOWN THEM. - -BY ELSA D’ESTERRE-KEELING, Author of “Old Maids and Young.” - - -PART VI. - -THE ATHLETIC GIRL. - - WANTED: A groom, tall, good-looking, steady. - - WANTED: A housemaid, neat, respectable, no fringe. - - WANTED: A cook, good, plain. - -So run certain familiar advertisements. They are cited here as -containing the descriptive words which have a particular applicability -to the athletic girl, who, to state the general case in regard to her, -is tall, good-looking, steady; neat, respectable, with no fringe; good, -plain. - -[Illustration: The athletic girl] - -This fact notwithstanding, the average athletic girl would not make -a successful groom; still less would she give satisfaction as a -housemaid; and least of all has she in her the makings of a good cook. -Some hold that she has in her the makings of a good pianist, but that -is a mistake, for she has no _adagio_. “I call a girl like that a -fortist, not a pianist,” was said of her the other day. - -Not always, but very often, the athletic girl’s is the prosaic type of -mind, concerning which Lowell writes— - -“The danger of the prosaic type of mind lies in the stolid sense -of superiority which blinds it to everything ideal, to the use of -everything that does not serve the practical purposes of life. Do -we not remember how the all-observing and all-fathoming Shakespeare -has typified this in Bottom the Weaver? Surrounded by all the fairy -creations of fancy, he sends one to fetch him the bag of a humble-bee, -and can find no better employment for Mustard-seed than to help -Cavalero Cobweb scratch his ass’s head between the ears. When Titania, -queen of that fair, ideal world, offers him a feast of beauty, he says -he has a good stomach to a pottle of hay!” - -The athletic girl easily thus runs to prose. Sometimes her prose is -very funny. She looked up lately from a novel with the speech— - -“There’s one thing I do want to know most awfully, Daddy—how people -‘gnash’ their teeth. Is it anything like this—or this—or this?” - -Each question was accompanied by a facial illustration. Daddy is a -serious man, but he laughed heartily. - -Sometimes, however, Daddy shakes his head. The following is a case in -point. - -“Do you know, my dear,” he asked, “the difference between a soprano and -a contralto?” - -“Why, of course, Dad,” was the answer. “The one’s a squeak and the -other’s a squawk.” - -[Illustration] - -Such a girl has some knowledge, but she lacks some grace. Very often -the athletic girl lacks both knowledge and grace. Sometimes, too, she -lacks brains. The outward marks by which you shall know her in that -case are that she has large ears and a little forehead. There are -exceptions to this rule, but they are not many. - -Of accomplishments the average athletic girl has few. All the French -she knows she puts into a smile, and that smile is the one with which -she meets any references to customs of the good old time. It says— - -_Nous avons changé tout cela._ - -[Illustration: Her ancestress] - -Twenty years ago this girl was the girl who wished she was a boy. It -is one of the changes which time has wrought in her case that she no -longer wishes that. She is happy and proud to be a girl of to-day, -believing, as she does, that girls and women never had a chance to -distinguish themselves in feats of strength till to-day. Remind her of -Joan of Arc, and she will reply that that was an isolated case; draw -her attention to the passage in Motley’s _Rise and Fall of the Dutch -Republic_, referring to the garrison of Haarlem in 1572, and she will -stare. The passage in question runs— - -“The garrison at least numbered one thousand pioneers or delvers, -three thousand fighting men, and about three hundred fighting women. -This last was a most efficient corps, all females of respectable -character, armed with sword, musket, and dagger. Their chief, Frau -Kenau Hasselaer, was a widow of distinguished family and unblemished -character, about forty-seven years of age, who, at the head of her -Amazons, participated in many of the most fiercely contested actions of -the siege, both within and without the walls.” - -Elegance of speech is not, as a rule, a primary characteristic of the -athletic girl, and it has been noticed that, while she prefers the use -of any name to that of the baptismal or family one, she usually goes to -the brute creation for a substitute, selecting—in so far merciful—the -names of the pleasantly associated animals commonly called domestic. -Thus ass, goose, duck, pig, cart-horse, cow, and—lately at the zenith -of its popularity with her—_hound_, are all of her word-treasure. It -is to be expected that she will add to this list in the course of time -“barn-fowl,” and some other, and that, when she has exhausted the names -belonging to the domestic animals, she will have recourse to those -placarded at the Zoo. It does not seem probable that she will ever be -guilty of the banality attaching to the use of Christian names alone. - -As a letter-writer the average athletic girl does not shine. First, as -for her handwriting, it is perhaps best described in some words which -Goldsmith gives to Tony Lumpkin— - -“Here are such handles and shanks and dashes that one can scarcely know -the head from the tail.” - -The speed at which she writes, too, is productive of direful blunders -of the kind of _Dear Madman_ for “Dear Madam”; and the “burst of -speaking,” to use a phrase from Shakespeare, which characterises her -_vivâ voce_ manner, has its effect upon her epistolary style. It lacks -repose. Another detracting feature of it is connected with the fact -that this type of girl affects insensibility just as her ancestresses -of a hundred years ago affected sensibility. There is scarce a whit to -choose between them in their affectations. - -It is not that the athletic girl has no heart. There follows here her -description of a parting scene in which she was one of two. - -“I made an owl of myself, got the gulps, and could not even say -good-bye.” - -In other words, the athletic girl broke down. - -Books enter little into the life of this girl, yet she—may—belong -to a reading society. The following (writer, an athletic girl) bears -witness to that fact— - -“Our next Shakespeare reading is next Tuesday. Last year I never took -part in them, but am going to this year, though I rather hate them. -_Twelfth Night_ is the play chosen, and I have been given two rotten -parts where I have to say every now and then, ‘Good my lord,’ and -‘Prithee, tell me.’” - -The same girl writes— - -“I have just read a most frightfully good book, _The Prisoner of -Zenda_. It is simply the thrillingest thing that ever was written.” - -In another letter she writes— - -“Do you know the poetry of Gordon? An Australian man. All about horses. -First-class.” - -The margin-note style is in peculiar favour with the athletic girl. - -The personal note is one seldom struck by this girl, and the elegiac -note is one scarcely ever struck by her. Even when she has a grievance -she keeps a high heart. Who but she could write— - -“For some extraordinary and unknown reason my head is aching. It is -such a novel sensation that I rather like it.” - -[Illustration: A Novel Sensation] - -Her letter-endings take their colour from her character, real or -assumed. “In haste” is much in favour with her, and I have letters from -her ending “Bye, bye!” and “Ta, ta! Yours affec.” - -I will close this paper with a true story. In it will be shown how a -lady, late an athletic girl, was wooed and—not won. - -Her admirer was a widower, with one child. His home overlooked -the school of which this lady, young as she was—for she was only -six-and-twenty—was head-mistress. The widower, on re-marrying bent, -sent in his card on what was called “office day.” - -The name on the card was _Colonel Hewson_. The young head-mistress, -whose name was Alice Joyce, read it, and gave the conventional order, -“Show him in.” - -Alice Joyce had some slight acquaintance with Colonel Hewson, and had -also some slight inkling that he admired her. She did not admire him, -and would have liked to deny herself to him, but she was not authorised -to do this on “office day.” Perhaps he had come to place a pupil. His -only child was a boy, but, perhaps, he had girl-relations. “Show him -in,” said conscientious Alice Joyce, and Colonel Hewson was shown in. - -“I thought you’d be surprised to see me,” he said crisply, on entering. - -Alice smiled, and requested him to be seated. Then she left it to him -to open the talk, occupying herself with a revolving bookcase, which -she gently agitated. - -Colonel Hewson was a bronzed man of travel, who, according to rumour, -had penetrated into Asiatic jungles, and seen tigers and other -undomestic animals eye to eye without blenching. He had, however, never -before entered a lady’s school, and a terror the like unto which he had -never experienced now held him tongue-tied. - -Alice Joyce, good-naturedly racked her brains to think of something -that would set him at his ease, and ultimately put the young -head-mistress’s stock question— - -“Would you like to see our gymnasium?” - -Colonel Hewson expressed himself as not unwilling. - -The gymnasium was empty, save of apparatuses, of which, movable and -immovable, it had a great number. Alice Joyce had considerable skill in -showing these off, and handled weights and bars with a facility which -impressed her visitor. Up and down the gymnasium they went, swinging -dumb-bells. Suddenly Alice Joyce pulled up short— - -“As you are so much interested in all this, Colonel Hewson,” she said, -“do come and see the girls at it.” - -[Illustration: Entertaining a dumb beau with dumb-bells] - -“Can anyone come?” was asked. - -“No, no; only parents and anyone whom I may happen to invite. I shall -be pleased to see you, though you’re not a parent.” - -Colonel Hewson expressed his deep sense of obligation with a rather -blank face, adding, in mild protest, that he regarded himself as -a parent. Here was one result of Alice Joyce’s having become a -head-mistress. She had come to narrow the meaning of some words. She -was startled herself to find that things had come to this pass, and -said apologetically— - -“When I say ‘parent,’ I mean the person in that relationship to -girls—my girls. It is stupid of me, because, of course, there _are_” -(her voice paused on a higher note) “other parents.” - -Colonel Hewson’s face remained rather blank, and he put his hand on an -iron ring suspended from the roof. Alice Joyce the while had stationed -herself beside a trapeze bar. Colonel Hewson in a lady’s gymnasium was -not the most valiant man in the world, but he now took heart of grace -and proposed marriage to Alice Joyce. - -The end of the story is perhaps best told in the words of the heroine— - -“Of course I said ‘No’ to him. Really men are very tiresome. _Fancy a -man’s proposing when you’re showing him the gymnasium!_” - -[Illustration: CRUSHED] - -(_To be continued._) - -[Illustration] - - - - -EMBROIDERY WITH CHENILLE. - - -Chenille was, in days past, a popular material for fancy needlework. It -has recently, after a period of disuse, been restored to favour under -somewhat different conditions. Modern chenilles are obtainable in many -more soft and carefully shaded tints, and though coarse makes are still -used, some of the finer qualities are no thicker than a strand of rope -silk. - -[Illustration: FIG. 1.—PENWIPER.] - -Chenille can be used as a working thread if passed through the eye of -a chenille needle, or it can be caught down in the desired curves by -couching it in place with finer silk. - -In the little penwiper shown at Fig. 1 both these methods are -employed. The small branching pattern within the scrolls is executed -in actual stitchery with chenilles, while for the curves and along -the top some of the same materials are sewn down with stitches of -silk. As to colouring, the background is green and the chenilles are -brown, blue, pink and green in tint; the brown and green details are -secured with stitches of bright yellow crewel silk, which give little -touches of brightness at intervals. Two hints may be gleaned from this -penwiper. Firstly, that for workers with whom felt-work, on account -of its easiness of execution, is still popular, chenille has a better -appearance than flat silk embroidery; and, secondly, that on such small -articles as the one before us scraps of various colours remaining over -from larger undertakings can be profitably utilised. - -[Illustration: FIG. 2.—HANDKERCHIEF SACHET.] - -[Illustration: FIG. 3.—HINGE.] - -Work upon single thread canvas is almost as inexpensive as that upon -felt. Many shops show a large stock of sachets, such as that figured -here, and of other trifles; mats, chair-backs, cushion-covers, and so -on, similarly made, stamped with a design and bordered with satin. -To embroider these in any but a commonplace manner might be thought -impossible. Yet they can be improved and made more important-looking -by working with chenille. - -[Illustration: FIG. 4.—RETICULE.] - -[Illustration: FIG. 5.—SASH-END.] - -The handkerchief sachet at Fig. 2 is worked in brown, green, pink -and light and dark blue. There is no couching here, but the chenille -is used to make actual outline and satin stitches according to the -necessities of the pattern. The velvet-like surface of the chenille -is quite satisfactory, and the colour and substance of the canvas are -repeated, or at least suggested, in the lace edging of the sachet. This -is in reality crochet, worked with cream-coloured cotton of a rather -coarse size. - -Setting aside now such materials as felt and canvas, we come next to -consider the suitability of chenille on richer backgrounds; silk, -velvet, and so on. Here the finer qualities especially are to be -seen to full advantage. One of the newest forms of the work has -been introduced by Mrs. Brackett of 95, New Bond Street, W., and is -remarkable as including imitations of ancient Roman coins. These -are of various sizes and designs and found in two colours; gold and -“vert-de-gris,” the latter suggesting the effect of centuries of ill -usage. These “coins” are of course thin and light, and pierced with -holes at the edges so as to be easily sewn to the background. - -The designs of which they form a part are more or less in character -with them and often suggest antique metal-work. For instance, Fig. 3 -shows a specimen of such Roman embroidery where the pattern bears a -certain resemblance to a heavy hinge, the effect being lightened with a -coiled spray of highly conventional foliage. - -Attention is always paid to the colouring of this work. The foundation -material is heavy cream-coloured, or rather dark ivory moire, shot with -gold, and on this all the outlines of the pattern are followed with -gilt tinsel varying from a fine cord to the most delicate passing. -The main portions of the pattern are further emphasised within this -boundary, with fine silk chenille of several shades of dull olive green -sewn down with invisible stitches of filoselle or horse-tail. French -knots in tinsel (passing) and in shades of green embroidery silk are -employed as fillings, the silks being carefully chosen to assort with -the tints of the chenilles. All the scroll-work is worked with the -passing, the leaves being outlined with the green silks. - -The subject chosen for illustration here is a cover for a blotter, -which being raised displays the pad, while at the back of the -embroidery, which is stiffened with stout cardboard, are pockets of -pink and grey-green silk to hold letters, or paper and envelopes. The -work is finally finished off with a border of dull gold cord. - -Similar designs appear on various other articles. Blotters and -book-covers form an appropriate background, and so also do small -caskets with slightly domed tops. - -The reticule at Fig. 4 is made on quite a different principle -throughout. The front and back are formed of shield-shaped panels of -wood or strong card, covered with chenille embroidery and with brocade -respectively. The front section only concerns us here. The fabric -chosen is dark blue velvet, and on this is worked in tones of brighter -blue a very conventional flower. Long and short stitch is used for the -shading, the stitches being made, of course, with a large-eyed needle -threaded with chenille. The colouring is darkest in the centre, round a -pink circle, from which start three “stamens” of brown chenille edged -with fine tinsel. Some of the same Japanese tinsel is used for veining -the flower, and a few gilt sequins are introduced to give a little -additional brightness. The stem is of green chenille. - -To make up the reticule, the panel covered with embroidery as well as -the opposite one of pale terra cotta, blue and gold brocade were lined -with thin silk of a dull, brownish terra-cotta colour. A two-inch wide -band of some of the same silk was sewn round the curves (but not along -the tops) of both sections, thus forming the frame-work of the bag by -hinging the two parts of it together. A similar band of some of the -same silk was laid over the first one and gathered along both edges -that it might set rather fully. Above the shields a strip nearly as -high as they (four to five inches) of some of the same silk, was sewn -on. This was made of double material, that it might not be too limp, -and two lines of stitches two inches from the top formed a running -for the blue suspension cords. These were finished off with a cluster -of shaded-blue baby ribbons. Lastly an edging of gilt gimp edged the -shields and concealed their junction to the silk beyond. - -The three principal colours used, terra cotta, blue and gilt, proved -more successful than a medley of many carelessly chosen tints such as -an amateur embroideress is but too apt to display. - -It cannot be too often repeated that materials to be used together -should be first arranged and selected together, not merely worked up -because each in itself is bright or pleasing. - -As a general rule the more shades and the fewer colours, the better -will be the final effect. - -Tones of willowy green and of pink are the only colours admitted in -the sash-end seen in the illustration (Fig. 5). Here, again, is yet -another way of using chenilles, quite different from those previously -mentioned. In working the first thing to be done is to trace upon the -material, pink watered silk ribbon in this instance, the outlines -of the design. The bow and loops are formed of real ribbon folded, -gathered, and coaxed into the desired form, and secured lightly and -firmly with tacking threads. Along both edges of the ribbon, just -within the selvedge, is couched a line of chenille of a slightly darker -shade of green. This couching secures the green ribbon to the moire, -and the tacking threads can be cut and drawn out at once, before they -have had time to mark the material. The nine oval pendants issuing from -the lowest loop of ribbon are worked over with chenille of graduating -shades of green, the material being simply laid across and across the -space to be covered, and caught down with stitches of silk at the -sides. These stitches sink into the chenille and are covered, and are -further effectually concealed with a line of Japanese tinsel, carried -round each pendant and serving to keep it in a good shape. The chenille -when taken from side to side in the manner described does not in -itself define the form sufficiently clearly. The showers of sequins, -pinkish and green in colouring, must on no account be overlooked. They -are graduated in size and may vary in form, according to the worker’s -convenience, but should not be omitted altogether. - - LEIRION CLIFFORD. - - - - -“OUR HERO.” - -BY AGNES GIBERNE, Author of “Sun, Moon and Stars,” “The Girl at the -Dower House,” etc. - - -CHAPTER XXXIII. - -A WARRIOR TAKING HIS REST. - -The rapid fall of darkness made it difficult to pursue the enemy, who -at every point had been worsted. General Hope, knowing that large -reinforcements might be expected to arrive soon in the French camp, -decided to carry out Sir John Moore’s plan of immediate embarkation. - -At ten o’clock that night the march began, brigade after brigade -leaving the field of battle and silently going on board one transport -after another. So complete had been all previous arrangements that, by -morning light, almost the whole British Army was on board. - -Meanwhile, anxious consultation had taken place as to what should -be done with the beloved remains of the Commander. Colonel Anderson -settled the question by stating that Moore had often told him his -wish—“if he ever fell in battle, to be buried where he had fallen.” -It was decided that a grave should be dug on the rampart of the Coruña -citadel. - -At midnight the body was reverently borne into the citadel by Colonel -Graham, Major Colbourne and the Aides-de-camp. For a few hours it lay -in Colonel Graham’s room. - -In the early morning firing was heard. It was then determined not to -put off the funeral any longer, lest a fresh attack should be impending -and the officers be compelled to hasten away before paying the last -honours to their Chief. - -Somewhat strangely, it fell to Roy Baron to be present at this mournful -ceremony. - -It so happened that, in the early morning, Roy was sent by the Colonel -of his Regiment with a message to one of the Aides-de-camp; and as he -arrived on the spot just when the funeral was about to begin, he was -allowed to be one of the party in attendance. - -Not at dead of night, but at eight o’clock in the chill morning of a -January day, and in the grave prepared by his own men, Sir John Moore -was laid. No coffin could be procured. The body had not been undressed. -He wore still the General’s uniform in which he had fought his last -battle, and— - - “He lay like a warrior taking his rest, - With his martial cloak around him.” - -That same cloak, in which but a few days earlier he had visited Roy in -the little hut,—had laid his kind hand upon the boy’s arm,—had spoken -never-to-be-forgotten words of praise,—had smiled upon him—— - -Roy dared not let himself think of all this. Burning blinding tears -forced their way to his eyes—and not to his only—as he gazed his last -upon that perfect face in its pale sublime repose. - -Moore was carried by the “Officers of the Family,” who would allow no -other hands to do for him these last sad services. The Burial Service -was read by the Chaplain. And what was in the hearts of them all has -been told, in words that cannot be improved upon, by that noble elegy, -which is Moore’s best monument. - - “Few and short were the prayers we said, - And we spoke not a word of sorrow, - But we steadfastly gazed on the face that was dead, - And we bitterly thought of the morrow. - - We thought as we hollowed his narrow bed, - And smoothed down his lonely pillow, - That the foe and the stranger would tread o’er his head, - And we far away on the billow. - - Lightly they’ll talk of the spirit that’s gone, - And o’er his cold ashes upbraid him; - But little he’ll reck, if they’ll let him sleep on, - In the grave where a Briton has laid him. - - But half of our heavy task was done, - When the clock struck the hour for retiring, - And we heard the distant and random gun - That the foe was sullenly firing. - - Slowly and sadly we laid him down, - From the field of his fame fresh and gory, - We carved not a line, and we raised not a stone, - But we left him alone with his glory.”[1] - -For every man in the Army had lost a friend that day; and many a one -felt with passionate grief that the world, without John Moore in it, -would be for him a changed world thenceforward. - -Hard things were spoken of him after he was gone, and upbraidings, -indeed, were uttered—_not_ by his brave foe, who honoured Moore, -and wished to raise a stone to his memory—but by an ungrateful -section of his own countrymen, because, forsooth, with an Army of -only twenty-three thousand men he had not met and crushed two hundred -thousand. We know better now! In the cold clear light of history, such -fogs are driven away. - -Yet, even in these later days, have we made enough of the name of -John Moore? Have we thought enough of the man of whom Napoleon in the -zenith of his fame could declare that he was the only General left -fit to contend with himself, and against whose twenty-three thousand -men he counted it needful to bring in a fierce rush over eighty -thousand, failing even then in his purpose? Have we thought enough of -the man under whom the future Wellington wished nothing better than -to serve?—and about whose “towering fame” the sober historian of the -Peninsular War wrote in terms of unstinted praise? Have we thought -enough of the man who, while the bravest of the brave, was also the -most blameless and the most beloved of men, against whom Detraction had -no word to utter, save that he stood up almost too strenuously for his -country’s honour, and that he did not accomplish impossibilities? - -If not, it is surely time that his countrymen should begin to “do him -justice!” - -But for that fatal cannon-ball—who can say?—would Wellington have -become the foremost man in Europe, or would he have been second to -Moore? It might have been Moore, not Wellington, who turned the tide -of Napoleon’s success.[2] It was Moore who stemmed that tide, with his -spirited countermarch and splendid retreat, drawing the Enemy after -him, until he stood at bay upon the coast, and hurled back the onset of -the flower of Buonaparte’s Army. - -Of Moore’s personal valour, of his indomitable courage, of his -desperate enthusiasm, no voice was ever heard in question. To his -consummate generalship, his mingled audacity and calculation, this -marvellous Retreat bore ample witness, but for many years it was not -rightly understood by the mass of his own countrymen. Napoleon, Soult -and Ney gauged him far more truly than did the average Englishman of -his day. Not even against the future Wellington would Napoleon have -poured such an overwhelming force as he launched against Moore. - -(_To be continued._) - -FOOTNOTES: - -[1] Written in memory of Moore by the Rev. C. Wolfe, about 1817. - -[2] These sentences were written before Lord Wolseley’s speech at -Dumfries, June 15, 1898, in which he was reported as having said: -“There could be little doubt in the minds of most soldiers who knew -what Moore did, that, had he not been killed at the Battle of Coruña, -_he_ would have been the great Commander who led the Peninsular -War, and it was quite possible that that great man, whom they all -worshipped, the Duke of Wellington, would not have been heard of. He -did not say that to depreciate the services of the Duke of Wellington, -who had been a rock of strength to this country; but possibly, had Sir -John Moore lived, _his_ name would have been blazoned on the scroll -of fame, as the man who won the great battle which crushed Napoleon’s -power at Waterloo.” - - - - -OUR LILY GARDEN. - -PRACTICAL AIDS TO THE CULTURE OF LILIES. - -BY CHARLES PETERS. - - -What garden is complete without the good old tiger-lily? Other lilies -are finer and more graceful, no doubt, but the old-fashioned tiger-lily -will always hold its own in the struggle for popularity. - -Although we call it an old-fashioned flower, it has not been grown in -England for so very long, being unknown before this century. It made a -bit of a stir, too, when it first blossomed in England. And no wonder -that it did, when we see what a grand sight a bed of these lilies -really is. - -_Lilium Tigrinum_ is a native of China, but it has long been cultivated -in Japan, and it is from the latter country that we obtain most of our -foreign bulbs. - -A curious fact, which we have frequently noticed in connection with -this lily, is that the size of the annual portion of the plant seems to -bear no relation to the size of the bulb. In most lilies large bulbs -produce fine plants, though we have seen that this is by no means -always the case. But with _L. Tigrinum_ the shoot apparently bears -no relation whatever to the size of the bulb. If planted in very good -soil, all the bulbs of _L. Tigrinum_ seem to do equally well; whereas -in an unsuitable soil all seem to fare equally poorly. - -The bulbs are heavy and white, with the scales very dense and closely -packed. - -In growth this lily resembles _L. Auratum_ in some respects, and the -members of the _Isolirion_ group in others. The leaves are very green -and glossy, and are present in larger numbers than is commonly the case -with lilies. - -_L. Tigrinum_ is one of the two lilies which constantly bear bulblets -in the axils of their leaves. We have seen that under certain -circumstances several of the other lilies produce these aërial -bulblets, but the tiger-lily invariably does so. The bulblets are deep -glossy purple in colour, and are often produced in great numbers. If -planted as soon as they are ripe, they will grow freely and produce -flowering spikes in their second or third year. - -Everyone knows the blossom of the tiger-lily. The pyramidal shape of -the inflorescence, with its nodding bell-like blossoms, irresistibly -suggests a Chinese pagoda, and when looking at the plant one can almost -feel that it hails from China. - -The segments of the blossoms of the tiger-lily are much re-curved, -their tips touching their points of origin. The colour of this lily, -reddish orange, is very different from that of any that we have already -described, but as we shall see later, it is a very common colour among -the lilies. In the type of the tiger-lily the colour is a very fine -orange, and the spots, which are very numerous, are deep purple. - -The tiger-lily often bears seed in this country if the bulblets -are removed. As, however, seed is the least satisfactory mode of -propagating lilies, it is far better to utilise the bulblets for this -purpose. - -Individually, the tiger-lily is a fine plant, but its full effect -is only to be obtained by growing it in great clumps. A bed of -tiger-lilies is a grand sight, and it blossoms in September and -October, a time when showy plants are not very numerous. - -[Illustration] - -There are several varieties of the tiger-lily. That which is most -commonly grown is called _splendens_, because it is very floriferous, -and the flowers are of large size, fine colour, and are thickly spotted. - -Another variety, called _Fortunei_, is also very fine. It grows to the -height of six feet, and the stem and buds are covered with white silky -down. The flowers are very numerous, often exceeding thirty in number. -They are large, less reflexed than in the type, and only sparingly -spotted with large spots. - -The tiger is the second lily we have met with of which there is a -double-flowered variety. There are only four double lilies, and none -of them possesses the elegance of the single form. The old double -tiger-lily is very full and is interesting, though far inferior in -beauty to the type. - -There is little to be said about the cultivation of the tiger-lily. It -is perfectly hardy and will grow anywhere. It prefers a rich soil, and -in poor or damp spots it often degenerates. - -There is a lily which resembles the tiger-lily so closely that very few -people could distinguish between them unless they were placed side by -side. And yet most writers on the subject have separated this lily from -the tiger-lily and placed it among the _Martagon_ group, a group of -lilies differing extremely from the one which we are now considering. - -The lily which we refer to is called _Lilium Maximowiczii_ or -_Pseudo-Tigrinum_. It resembles the tiger-lily very closely, but is not -so sturdy in growth, and the flowers are smaller and poorer than those -of the tiger-lily. There are several named varieties known. - -Another lily of the same class is _Lilium Leichtlini_, the exact -counterpart of the last species, only differing from it in the colour -of its flowers, which are lemon yellow instead of orange. It is thickly -spotted with small mahogany spots and streaks. It is a very desirable -lily because of its uncommon colour, and it is not by any means -difficult to grow. - -Both _L. Maximowiczii_ and _L. Leichtlini_ require a moist peaty soil. -Plenty of peat, plenty of sand, plenty of water and very little direct -sunshine, are the keystones of the successful cultivation of these -lilies. - -At an auction last year we gave seven and sixpence for two very small -bulbs of _Lilium Henryi_, a lily which has only lately been introduced, -but one which is fast rising into prominence from its curious colour, -its bold growth and its hardiness. - -_Lilium Henryi_ is usually called the “orange _Speciosum_,” but in it -we can see far more resemblance to the tiger-lily than we can to _L. -Speciosum_. It seems to connect the _L. Tigrinum_ and _L. Speciosum_. -Its growth, its leaves, its flower buds and its habits suggest a close -resemblance to the tiger-lily. But the raised tubercles and spines of -the blossom recall _L. Speciosum_. The shape of the blossom is nearer -to that of _L. Tigrinum_ than it is to _L. Speciosum_, and the colour -is totally different from either. - -Dr. Henry’s lily blossoms late in September, or in the beginning of -October. Fine examples grow six to eight feet high and produce sixteen -to forty blossoms. The flowers are bright orange without spots. - -Our two specimens failed to reach the height of eighteen inches, but -both produced blossoms—one a solitary one, the other a pair. This is -all that can be expected from bulbs at three and ninepence a-piece. We -expect to do much better this year. - -The hardiness of this lily is unquestionable, and it needs no special -cultivation. - -This lily is a native of China and is at present extremely scarce. -Unless you are prepared to give ten shillings for a single bulb it is -not worth while to grow it. If the bulbs ever get to be as cheap as -a shilling or eighteenpence each, it will be well worth growing, but -at ten shillings a bulb! It is monstrous to pay such a sum for a lily -which at its best is only of inferior beauty. - -The lilies which we have considered so far are all remarkable for the -elegance of their forms and the striking colours of their flowers. If -the reader has dreamed that all lilies are equally beautiful, or, at -all events, that all are of great beauty and elegance, we are sorry to -have to awaken him to the sad reality that there are many lilies which -are not beautiful in colour and which are extremely inelegant in form. - -The next group of lilies, _Isolirion_, contains many species, in all of -which the flowers are erect and the segments little if at all reflexed. -They are of low growth, and the blossoms are mostly orange in colour. - -This group of lilies contains many old garden favourites which, though -they possess but little individual beauty, are yet pleasing in the -flower bed from the brightness and size of their blossoms, and for the -early period at which they flower. - -There is a great sameness about the members of the group _Isolirion_, -and as there are many garden varieties of most of the species, some of -which are possibly hybrids, it is a most difficult task to separate the -various species from one another. - -We associate the lily with elegance. What, then, should we imagine -_Lilium Elegans_, _the_ elegant lily to be like? And what is the -reality? A low-growing clumsy stalk bearing two or three top-heavy -enormous blossoms sticking bolt upright, chiefly of crude colours! As -inelegant a plant as it is possible to conceive, having about as much -right to the title of _elegans_ as has the hippopotamus! Where did this -lily get its name from? It has another title, _Lilium Thunbergianum_, -or Thunberg’s lily. Which of these names shall we use? Which is the -less objectionable? The name which records the chief characteristic -which the plant lacks, or that concocted of a Latinised version of -the name of a human being? Formerly this lily was called _Lilium -Lancifolium_, or the lance-leafed lily, a name which, though it might -be equally well applied to nearly every known species of lily, is yet -better than either of its modern names. But we cannot use this name, -for florists will persist in applying the name _Lancifolium_ to _L. -Speciosum_. - -_L. Elegans_ grows about a foot high, and each stem bears from one -to four blossoms. The blossoms are very large, very inelegant, and -short-lived. But they make up to a certain extent in colour what they -lack in form. - -There are innumerable varieties of _L. Elegans_, differing chiefly in -the colour of the flowers. Some of the colours are very fine, others -are harsh and crude. - -We append a table of the colours of the best known varieties. An -asterisk is placed before the most desirable forms. - -_L. Elegans_ produces both a double and a semi-double variety. We -should have thought that a “semi-double” flower was the same as a -single one. But it is not so. A semi-double equals a one-and-a-half -blossom! That is, a double corolla of which the inner part is abortive. - -_Lilium Croceum._ The old orange lily resembles _Lilium Elegans_, but -it grows taller, and produces a far larger number of blossoms. This -is the finest of the upright orange lilies. The blossoms are large and -reddish-orange in colour, spotted with black. The plant grows to about -three feet high, and is very showy. - -In Ireland this lily is the national emblem of the Orangemen; and when -travelling in that country you can tell, so we have been assured, the -political opinion of the owner of a house by observing what lilies he -grows in his garden. The Orangemen are said to grow none but the orange -lily, while the rest of the population cultivate only the Madonna lily -(_L. Candidum_). - -A variety of _L. Croceum_ named _Chauixi_ is of a bright yellow colour, -and is finer than the type. - -This lily is found wild in various parts of Central Europe. It has -been in cultivation for centuries; but lately it has almost lost its -place as a garden lily, having been discarded in favour of some of the -varieties of _L. Davuricum_, which are much cheaper, but nothing like -so fine. - -The term _L. Umbellatum_ is applied to certain varieties and possibly -hybrids of _L. Croceum_ and _L. Davuricum_. - -A very similar species is _Lilium Davuricum_, a native of Siberia. The -wild plant rarely bears more than two blossoms on each stem; but in -cultivation flower-spikes of twenty or more blossoms are not uncommon. - -_L. Davuricum_ is frequently grown in gardens. There is a large number -of named varieties of this lily, but all the forms are very similar, -and in no way deserve separate names. The plant grows to about four -feet high, and produces from four to thirty flowers of a dirty orange -colour. - -_Lilium Bulbiferum_ very much resembles the lilies we have just -mentioned, but it may be at once distinguished from any other -_Isolirion_ by the bulblets which are formed in the axils of the -leaves. These bulblets are large and purple in colour. Not very -uncommonly bulblets form in the axils of the leaves of _L. Davuricum_ -or _L. Elegans_; but when they do, they are small and green. - -The blossoms of _L. Bulbiferum_ are like those of _L. Davuricum_ on a -smaller scale. The same upright position, the same poorness of form, -and the same dirty orange colour, which is so persistent among the -members of the group _Isolirion_, are present in both. But the blossoms -of _L. Bulbiferum_ are distinctly smaller than are those of _L. -Davuricum_. - -If the lilies we have just described are not particularly remarkable -for beauty, they are, nevertheless, very desirable subjects for the -flower garden. They are showy, extremely hardy, flower in early -June, when showy flowers are rare, and readily increase when once -established. _L. Elegans_ looks best planted in rows and borders, its -low growth suiting it admirably for such treatment. - -These lilies will grow anywhere, in any soil. A little peat and sand -should be mixed with the soil in which these lilies are planted. - -Although they will grow well enough in pots, these lilies are quite -worthless for pot culture. - -One of the best of the _Isolirion_ group of lilies is _Lilium -Batemanniae_. This plant resembles _L. Elegans_ in some particulars, -but its blossoms are quite distinct. They are of a rich unspotted -apricot colour. The perianth is more reflexed than is commonly the case -in this group. It flowers in the late summer. It should be grown in a -good peaty soil. - -_Lilium Wallacei_, a very similar species, has the flowers of a rich -apricot, densely spotted with black. The bulbs of this species are very -small. It requires similar treatment to the last. - -_Lilium Philadelphicum_ is an American species, and has a rhizomotose -bulb. The stem produces a single blossom, dirty orange colour spotted -with black and yellow. It requires a wet, very peaty soil. - -Another American species is _Lilium Catesbaei_, a very curious and -interesting plant. The bulb is unlike that of any other lily except _L. -Avenaceum_. It somewhat resembles a fir-cone. This plant grows to the -height of about a foot. It produces a single blossom, about five inches -across. The segments are curiously curved and curled. Its colour is -reddish orange and yellow. It should be grown in a peaty soil, but it -is a somewhat tender species, and is not really suitable for outdoor -culture in this country. - -We have hurried through this group of lilies because the species are -not remarkable either for form or for colour. They are certainly -inferior to any other of the genus _lilium_. - ---------------------+----------------------------------+------------------------------------ - Variety. | Colour of Flower. | Other Peculiarities. ---------------------+----------------------------------+------------------------------------ - | | - Type | Dirty orange, spotted. | .. .. - | | -*_Van Houttei_ | Deep red, spotted black. | The best of the red varieties. -*_Horsmanni_ | Deep red, spotted black. | Very rare and difficult to obtain. - | | - | { Pale terra-cotta, } | -*_Aurantiacum Verum_| { very slightly spotted. } | Best of terra-cotta varieties. - | { } | - | | - _Robustum_ | Dirty orange, spotted. | { Very early. Stem covered - | | { with down. - | | -*_Atro-Sanguineum_ | Very deep red, slightly spotted. | Fine variety. - | | -*_Prince of Orange_ | Terra-cotta, slightly spotted. | Inferior to _Aurantiacum Verum_. - | | - _Wilsoni_ | Lemon-yellow, spotted. | .. .. - | | - | | -*_Alice Wilson_ | Clear lemon-yellow. | { Very curious. The best of the - | | { yellow varieties. - | | - _Bicolor_ | Orange. | A poor form. - | | - _Brevifolium_ | Dirty orange, spotted. | A poor form. - | | - | | { Inferior to the other deep red -*_Incomparabilis_ | Deep red, spotted. | { varieties, but bearing larger - | | { blossoms. - | | ---------------------+----------------------------------+------------------------------------ - -[Illustration] - - - - -THE HOUSE WITH THE VERANDAH. - -BY ISABELLA FYVIE MAYO, Author of “Other People’s Stairs,” “Her Object -in Life,” etc. - - -CHAPTER VIII. - -A FALL IN THE KITCHEN. - -Lucy felt wonderfully cheered and strengthened as Christmas approached. -She was working hard and successfully. She had completed her sketches -and had received payment for them, and she meant to give herself a -little holiday from Christmas Eve until after the New Year, so that she -might go fresh and bright to take her class at the Institute, which -would re-open on January 3rd. - -“Giving herself holiday” only signified that Lucy hoped to enjoy a week -of her old life as Hugh’s mother and as general housewife. Like many -who have special gifts, Lucy really enjoyed house-work and needlework. -She intended in this interval to so overhaul book-cases, china cupboard -and linen closet, that she might afterwards apply herself to her -“professional” work with the contented assurance that her household -would run on for awhile without other care than the worthy Mrs. Morison -seemed able and willing to give. - -Lucy felt that she had indeed found a treasure! She had not yet -despatched any letter to Charlie, as the _Slains Castle_ would not -touch at its first port for fully three months, and it was not yet -quite time for the mail which would take a letter there to await his -arrival. But though the letter was not despatched, it was begun. It had -been begun the day after she got Charlie’s farewell telegram, and a few -lines had been added every night. - -Now the letter would soon have to be despatched, and as Lucy sat down -to her desk on Christmas Eve, she felt that she could safely tell the -whole story of Pollie’s departure, and of the blessing which filled her -vacant place. Mrs. Morison had been in the kitchen nearly two months, -and every day she gave greater satisfaction. She had thrown herself -with great zest into the idea of the Christmas party, and Lucy began -to think that under this cook’s skilled fingers her festive dishes -would probably achieve perfections at which she and poor Pollie had -never aimed. As she sat writing to Charlie concerning the domestic -good fortune which had befallen her, she felt her heart grow very -soft towards this middle-aged woman who had once had a home of her -own, but who was now so contentedly and worthily serving others. What -life of her own had she? She had paid no visit since she had entered -Lucy’s service; she had had no visitor. Yes, Lucy remembered she had -had one—a middle-aged woman, who had called on her when she had been -in her situation for a month. She had volunteered to say that this -person was the wife of her cousin, the plumber at Willesden. Lucy -had asked whether she had offered her a cup of tea. No, Mrs. Morison -said; her cousin would not expect that; and Lucy had rejoined that she -hoped she would show this little hospitality on future occasions. Lucy -remembered now that Mrs. Morison had not seemed brightened by this -visit, nay, that for a day or two afterwards she had even seemed a -little depressed. It occurred to Lucy that perhaps this cousin had come -possibly seeking a little loan, or perhaps pressing for the repayment -of some trifling debt. Lucy knew that one or two of Pollie’s relatives -had not been inclined to spare her hard earnings, and that Charlie and -she had intervened to protect the girl from the weak soft-heartedness -which can be so easily wrought upon by the loafing or the greedy. - -What Christmas in any real sense would there be for this woman in the -kitchen, whose presence there yet made a social Christmas possible for -the rest of the household? If she had any old friends they must be -in the North, beyond the reach of anything but the struggling, slow -letters of the uneducated. Lucy wondered whether there was anybody -to whom Mrs. Morison would like to send some “gift from London in -kind remembrance.” She had taken quite a pathetic interest in certain -trifling gifts which Lucy had despatched that afternoon. - -“Eh, it’s bonnie!” she had said, adding with a little sigh, “It’s a -gran’ thing to gie pleasure to folk.” - -Lucy had got a nice cambric handkerchief with an “M” in the corner, -tied up with a piece of red ribbon, which was to be Mrs. Morison’s own -Christmas-box. It was all that it was reasonable to give to a servant -who had been only two months in the house, to say nothing of the fact -that Lucy was anxious to spend little this year, and had sent no -Christmas gift save what was taken out of her own stores or of her own -manufacture. - -But Lucy wondered whether she could not do something more. - -A bright idea seized her. Mrs. Morison’s next month’s wage would not -fall due till just after the New Year. Why shouldn’t Lucy advance it -to her now? That would not impoverish Lucy, who had the money in her -purse, and yet it might be a real neighbourly kindness. - -She laid down her pen, sprang up and hurried to the kitchen, which was -pervaded by festive smells of spice and stuffing herbs. - -“Mrs. Morison,” she said, “as your month’s wages are due just after the -New Year, I should like to advance them to you now. Most of us spend -a little extra at this season, and as you haven’t been earning money -for some time, you may not have much cash ready at hand. For one does -not care to disturb one’s little investments to buy Christmas cards or -comforters.” - -She laid on the table a sovereign and a little silver. - -“Oh, ma’am,” cried Mrs. Morison, “you’re far ow’re kind! You shouldn’t -ha’ thought o’ sic a thing. ’Deed, there is a thing or two one would -like to do, though there’s no many carin’ for me now. An’ you gave me -my last month’s money down on the vera day, an’ it came in handy when -my cousin’s wife called. I was glad to have a bit to help her with, -poor body, for they’d been kind to me, and they’ve got a cripple child, -and some of their customers are slow in paying bills. There’s a mighty -differ between people, as I’ve often heard my poor husband say.” - -Lucy went back to her letter as light-hearted and elate as we always -feel after doing a trifling kindness. She confided it all to her letter -to Charlie—told him why she had interrupted her writing, and how -very pleased Mrs. Morison had been, and how nicely she always spoke -about “the master.” She added that she should finish her letter on the -evening of Christmas Day after the visitors had gone, when she could -tell him how everything had passed off. “So it will seem almost as if -we had had Christmas together after all.” She had just written this -when Mrs. Morison came into the parlour, saying, - -“Please, ma’am, you won’t mind if I go out for a little? I sha’n’t be -gone more than half-an-hour. It won’t ill-convenience you?” - -“Certainly not,” Lucy answered cordially. “She is off to buy -something,” she thought to herself, and added aloud, “I’m afraid you -are rather late for most of the shops.” - -“Some of them keep open late on Christmas Eve,” said Mrs. Morison; -“not the shops you’ll know, m’m, but quiet little places where working -people go.” - -Mrs. Morison came back in about a quarter of an hour. She had a parcel -under her shawl, and in her hand was a little bright-coloured ball. - -“If you please, m’m,” she said, “I’ll make bold to drop that into the -stocking that I see you’ve hung outside Master Hugh’s door. And I’m -sure I’m sending my good Christmas wishes to the master, if the winds -will carry them. And please, ma’am, if you’ll do me a favour, you won’t -trouble yourself a bit about kitchen things to-morrow, but just trust -to me. All is ready now as far as it can be till it’s fairly put on the -fire.” - -Lucy gratefully promised full confidence. She had fixed her dinner-hour -carefully—two hours earlier than she had ever had Christmas dinner. It -was to come off at four o’clock, because it would not be nice for dear -old Miss Latimer to have to return home late, now there was no Charlie -to escort her. It would not have been kind to fix it sooner than four, -since Wilfrid Somerset so much disliked being abroad before dusk. - -Next morning, after the Christmas cards had been admired and arranged -gaily on the mantelshelf—after the Christmas stocking had been emptied -of all its contents and Hugh had made a right guess as to the giver of -the pretty ball—Lucy and Hugh went to morning service. Of course, the -familiar hymns, even the fresh smell of the “holly, bay and mistletoe” -of which the church was full, all had a pathos for her, as indeed they -do for everybody except such as little Hugh, to whose short experience -it seems that all Christmas Days will be as this one or even more -abundant. Yet Lucy reflected that, looking forward, she could never -have foreseen herself so full of cheer and patience and hope. - -Kneeling in her pew, thinking of all the happy festivals of her married -life, her mind went back to those earlier days when she and Florence -had looked over one book while they warbled— - - “Hark, the herald angels sing, - Glory to the new-born King, - Peace on earth and mercy mild, - God and sinners reconciled.” - -Then—as always happens with all healthy, right-minded people, when -their nerves are emerging, quiet, after a storm, and their hearts are -full of thankfulness for blessings already realised, and for hopes -brightening before them—Lucy began to wonder whether she had not -been a little severe and unjust to Florence—whether she might not -have blamed her for jars due rather to Lucy’s own morbidly irritable -condition. She was glad she was to spend Christmas Day in her own -house—glad that Miss Latimer and Mr. Somerset and the country boy were -to be her guests—but possibly it did seem hard to Florence that she -had been set aside. That last speech of hers about being now free to -invite other guests might perhaps have been wrung from her by a jar -inflicted by Lucy herself. Lucy felt that she would be the happier at -her own little festival, if she could feel quite sure that all was -right between Florence and herself, and that she had made due amends -for aught she had done amiss. - -She and Hugh were to have a slight lunch when they returned from -church. She resolved that they would hurry over this, and then go to -the Brands’ house, just to wish them “A Merry Christmas!” They could be -back in the little house with the verandah before Miss Latimer and Mr. -Somerset could arrive. - -They had to knock twice before Mrs. Morison let them in. - -“She’s so busy with her cooking, ma,” Hugh explained sagaciously. -And indeed when she did come, her face was very red, and she was so -pre-occupied that, as Hugh lingered a moment to knock snow from his -boot, she actually hurried back to her kitchen and left them to close -the door themselves. - -“Don’t roast yourself as well as the chickens, Mrs. Morison!” Lucy -called after her playfully. - -Their nice little cold meal was awaiting them on a side table in the -dining-room, the dining-table itself being already occupied by the best -napery, crystal and cutlery, set out by Lucy before she went to church. - -Hugh was all eagerness to see his little cousins and their Christmas -cards and gifts—they were sure to have so many, and such beauties! - -After all, the call, though satisfactory in one sense, proved less so -in another. It convinced Lucy that her sister had not been hurt or -offended; it also convinced her that the whole matter had been of such -slight interest to Florence that she had forgotten all about it! - -Jem Brand did not seem even to know that Lucy had been invited to be -his guest! Said he— - -“You ought to have been invited, and anyhow, wouldn’t you stay on now? -There are a good many people coming, but there would be room for you, -never fear.” - -Even when he heard she was to have guests of her own, he actually -suggested that he should send round a cab and bring them all over! - -It seemed to Lucy that Florence spoke rather sharply to Jem, saying -significantly, that he had better not go into the dining-room again -till dinner was served. She supposed Florence was tired and cumbered. -Florence had sent out a hundred and fifty Christmas cards—“Private -cards, of course!”—one conventional salutation alike to oldest friend -and newest acquaintance, to the wise and to the simple, the merry and -the sad. And Florence had received already two hundred cards, and -nearly one hundred were from people whom she had overlooked, and whom -she would have to “remember” at New Year. Also, the cutler had not sent -home her new fruit knives with the agate handles, and she would have to -use her old ones. It was enough to provoke a saint! - -The two little Brand girls were whining and fuming. - -“Muriel is out of sorts,” said the lady nurse, “because she has been -allowed to breakfast with her mamma and has eaten too much cake, and -Sybil is out of temper because her papa has given Muriel a mechanical -walking doll, and she does not think her own gift of toy drawing-room -furniture so good.” She would have stamped on it had not the lady nurse -taken it away. - -“I must soothe them up somehow to make a pretty appearance downstairs -after dinner,” she said. “And a nice to-do I shall have up here when -they come back again.” - -Well, at any rate, the comfort was that Florence kissed Lucy almost -effusively. - -“It was so sweet of you to come!” she said. She might be sharp with Jem -and vexed about her children, but it was evidently all right between -her and Lucy. “How well-behaved your Hugh is!” she said, and clung on -to her sister, pouring out the story of all the frictions working in -her own kitchen. - -Lucy hinted gently that she must be at home in time for her visitors; -but she remembered the mission which had brought her, and shrank from -seeming unsympathetic. At last it was so late that she had to say -definitely that she must go at once, or she would not be back in her -own house at four o’clock. - -“Dear me”—Florence looked at her watch—“you really must go! It’s -well you don’t have much dressing for dinner to do, or you’d be late -already. It has been such a comfort to have a reasonable creature to -speak to. And you’ll take a cab, my dear, or I’ll never forgive myself -for having kept you. You are to take a cab, mind!” - -Lucy smiled and hurried away. A cab? No! A woman who knows what it is -to earn shillings cannot willingly afford to spend them because another -woman’s whim delays her. Lucy, too, looked at her watch. There would be -just time for her to reach home ere her guests arrived. - -When they got into the quieter streets she shortened the journey by -running little races with Hugh. Nevertheless, just as they came in -sight of the house with the verandah, they saw Mr. Somerset’s cab drive -up. - -They all went in together. Of course, Mrs. Morison opened the door. She -had on a fresh white apron as if she were ready to serve up dinner. Mr. -Somerset had a big parcel to get out of his cab, and that made a little -delay, during which Mrs. Morison hurried off again downstairs. - -Lucy was comforted to find that Miss Latimer had not arrived yet, nor -the lad Tom Black. Mr. Somerset was such an old and familiar friend -that she could easily leave him to the chattering ministrations of -little Hugh, while she hurried to her own room to take off her walking -garb and add a few touches of lacy brightness to her apparel. - -While she was thus employed, she heard Hugh give a shout of joy and -go leaping downstairs. From the drawing-room window, he had seen Miss -Latimer approach. Lucy heard him and the old governess exchanging -rapturous greetings. She went out and met Miss Latimer, and led her to -her own room, where the old lady had some little titivations to make, -and a few private inquiries to get answered, so that they lingered -there until another knock announced Tom Black, and they went downstairs -to receive him. - -They found the youth standing awkwardly alone on the landing outside -the drawing-room door. He had only just reached that spot, led thereto -by the sound of Hugh’s shrill pipe and Mr. Somerset’s deeper tones. He -was vastly relieved to see Lucy, and to be made welcome by her. Lucy -herself made the inward reflection that Mrs. Morison was either less -trained in receiving guests than in other departments of service, or -that she felt her devotion to the Christmas dinner must justify any -lapse in minor attentions. - -They went into the drawing-room. Tom Black was introduced all round, -and a little conversation was got up about the weather, about Hugh’s -gifts, and about Mr. Challoner, and how he was possibly keeping his -Christmas day. - -By this time it was fully half-past four. Lucy did not feel at all -nervous on that score. If her husband had been at home to remain with -her guests, she would certainly have stepped out of the room and taken -a housewifely survey. But she did not care to leave her visitors quite -to themselves, since she had the just idea that hospitality loses its -sweetest grace if it seems burdensome to the hosts. It was natural, -too, that dinner should be a little deferred. Mrs. Morison had probably -thoughtfully retarded matters when her mistress’s return had been so -late. - -Lucy had not even begun to feel anxious—when there came a sudden heavy -fall and a smash! - -(_To be continued._) - - - - -[Illustration: ANSWERS TO CORRESPONDENTS] - - -MEDICAL. - -UNFORTUNATE ONE.—Tainted breath may be due to a great host of -conditions, and as it is a common affection, and is often exceedingly -distressing, we will devote a little time to its consideration. The -breath may be tainted from the mouth—bad teeth, deposits of tartar -round the teeth, spongy gums, sores in the mouth, such as the little -white ulcers so commonly due to dyspepsia, sores on the tongue or lips, -etc. Enlarged tonsils are an exceedingly common cause of foul breath. -Some forms of chronic catarrh of the nose and throat are also connected -with bad breath. Then again, the breath may acquire a bad smell from -disease of the lungs. The stomach also may cause the breath to smell -bad; as a symptom of indigestion, bad breath is not uncommon. Lastly, -poisons circulating in the blood will taint the breath. A mild form of -this taint of the breath due to substances circulating in the blood -is the unpleasant smell of persons who have eaten onions or garlic. -The treatment for this symptom varies with the cause. Bad teeth should -be stopped or removed. Tartar should be removed by scaling the teeth. -Spongy gums, etc., should be treated with appropriate measures. Tonsils -which render the breath fetid should be removed, for they are dangerous -centres from which serious diseases may start. For the bad breath -arising from troubles in the mouth or throat, a mouthwash of boracic -acid and lavender water, or dilute carbolic acid, or of permanganate -of potash is very useful. Orris root, eucalyptus lozenges, etc., are -also very valuable. When the smell is derived from the nose, local -measures are alone of any service. For other forms of tainted breath, -musk, benzoin, and orris root are of value. It is often said that these -aromatics should not be used for the purpose, because they only mask -the smell and do nothing to remove the cause of the evil. Quite so! But -when the cause cannot be removed, we must treat the symptom. For the -bad breath due to stomach trouble, attention to the digestion and an -aperient will be required. The other conditions and troubles causing -bad breath cannot here be dealt with. - -CURIOSITY.—1. Apollinaris, Rosbach, and Johannis waters are for -table purposes, and possess no special medicinal action. Hunyadi, -Janos, and Apenta waters are both saline aperients. Both these latter -springs are in Hungary. Apenta is the more serviceable of the two.—2. -Aix-la-Chapelle supplies two mineral waters; that commonly called -Aix-la-Chapelle water is from a sulphurous spring. The other water is -Kaiser Brunnun, an ordinary gaseous table water. - -GLASGOW.—We will give you our opinion; but, mind you, as in all -cases of this kind, we will not take the sole responsibility, and you -must get the opinion of another medical man upon the matter before -deciding for good. The family history of the man you intend to marry -is bad. His mother and his brother died of consumption. Your questions -are these:—Has the man got consumption? will he get consumption? If -he marries, will his wife get consumption, or will his children get -consumption? As regards the first question—you say he expectorates a -good deal, he has a “catching in the throat,” he is very tall and very -pale. He _may_ have the disease. We cannot go further than this without -examining his chest. The answer to the second question must be equally -indefinite. For the third question—his wife will not get consumption -from him unless he himself develops the disease. His children, however, -may develop the disease without their father being personally attacked. -Of course, all may go well, and neither the man, nor his wife, nor his -children may ever develop consumption; but with the history that you -give us, we fear that such a happy result is very doubtful. If the man -has got the disease at present, marriage is out of the question. - -PUZZLED READER.—You should eat well, keep warm, and take plenty -of exercise. How to do these is the question. A mixed diet should -always be taken. If your digestion is good, oatmeal and other coarse -farinaceous food will help to keep you warm. If your digestion is -faulty, bread and milk is better. Fat does help to keep you warm, -and fat foods in moderation are by no means indigestible. Indeed, -fat bacon is one of the most digestible of meats. Dress in warm but -loose clothes. Your boots especially should be loose, but perfectly -watertight and well lined. Wear warm loose woollen underclothing. Avoid -any constrictions anywhere, such as tight garters, corsets, or collars. -Take as much exercise as you can manage. - - -MISCELLANEOUS. - -S. C. A.—There is a shilling manual on common British ferns to be -obtained quite easily. - -LILY.—To make a rice cake, take six eggs, and their weight (in the -shell) in sugar, and the same in butter; half their weight in rice -flour, and half of wheat flour; whisk the eggs, throw in the rice after -the flour, and add the butter in the usual way. Flavour according to -preference, and bake for an hour and ten minutes. The ingredients -should be severally added during the whisking. To prepare “pressed -beef,” procure a piece of the brisket, remove the bones, and put it -in salt (in the usual way), adding a little extra _sal prunella_ to -the brine and some spice, leaving it in pickle for rather more than a -week. Roll and tie up in a cloth, and simmer gently in plenty of water -for about seven hours (if the thin end, four hours); then remove the -string, tie cloth at each end, put the beef between two plates, and -press under a hundredweight, and leave till quite cold; then remove the -cloth, trim and glaze, and garnish with parsley. - -DAFFODIL.—You would have no difficulty in obtaining a good -riding-habit in your own city, where there must be plenty of good -tailors. It would be impossible for us to give an estimate for one, -and we can only say that they may be of any price from £4 4s. to £10 -10s. You had better get a Directory, look out for tailors and ladies’ -tailors, and go and inquire personally. - -M. M.—The “V.R.” on the upper corners made _all_ the difference, and -marked the first issue of the penny stamps in 1840. The stamp you send -us was issued in 1864, and is of no value at all except as a specimen -of the date, if you were collecting stamps of every known issue. - -PALE FACE.—Red would of course suit you, as well as all shades of it. -Yellow sometimes suits pale faces very well, and so does grey relieved -with pink. Violet and blue will make you look paler. - -E. F. BOULTBEE.—We have pleasure in announcing your change of address, -and congratulate you on your success in the oral system of teaching -deaf mutes, and the remedy of defective speech. Address, Miss Boultbee, -Members’ Mansions, Victoria Street, S.W. - -MAHDI.—We thank you sincerely for so kind a letter respecting our -magazine. Your writing is excellent. Peel a banana from the end -downwards to the stem, and then use a knife and fork; or if at home, in -private, you can dispense with them. - -P. F. M.—We do not know whom you mean by “supers,” for one of whom you -want a home. If some person that has been employed on the stage—one -class being known as “supers”—there is a charitable society called the -Church and Stage Guild, of which the Hon. Secretary is the Rev. Stewart -Headlam, Duke Street, Adelphi, W.C., which looks after these people, -and perhaps he might give you some information on the subject. - -LIGHT WANTED.—There is not the slightest reason why the event should -not take place; indeed there is every reason why it should, provided -that both desire it. - -CLARE VERNEY.—You might obtain the information you require by -reference to Agnes Strickland’s _Queens of England_, or other history -of hers. - -MISS MASON requests that our readers should be reminded of her -Holiday Home for teachers, clerks, and young persons in business, at -Sevenoaks—“Bessel’s House,” Bessel’s Green, Kent. Reduced fares are -asked from Charing Cross, London Bridge, Cannon Street, and Victoria. -Return tickets for a month, 2s. 8d.—twenty miles from town by S. E. R. -Charge for board, etc., from 12s. to 15s. a week. A stamped envelope -should be enclosed, and the age and occupation of the applicant stated. - -PERPLEXED.—The law on the question of changing or adding Christian -names is as follows: “A child’s _baptismal name_, if changed, or not -previously given, may be _inserted in the Register_ within twelve -months after the registration of birth.” You appear to be a member of -the Church of England, and as such, how came you to remain unbaptised -and excluded from Holy Communion until you were seventeen? “One year’s -delay is allowed by the law for altering or adding to your name,” as -entered on the Register of Birth, so as to accord with your “baptismal -name.” As it is, your assumed second name is not yours by legal right. - -CUMBERLAND LASSIE.—The high glaze employed by washerwomen for linen is -produced by mixing some wax or fat with the starch. This is a difficult -undertaking, even when hot. But starch-glazes may be purchased ready -for use, which may be employed safely, and are sold at any good -oil-shop. Some people, who wash articles at home, simply stir the -starch while hot with a wax candle. The following is a good recipe for -a glaze: Take 100 parts of wheat starch, 0.75 of stearinic acid, melt -the latter with about ten times its weight of the former. Let it cool, -powder, and mix thoroughly with the rest of the starch. This will be -suitable for shirt-fronts and collars; but for table-linen add a little -unprepared starch. - -LITTLE HOUSEWIFE.—To clean japanned trays you should never use hot -water; tepid water used with a soft cloth will remove any grease spot, -and a little flour sprinkled on a smear will restore the polish. The -varnish on candlesticks is often cracked by placing them before the -fire to melt the grease, or by the use of hot water. - -A. A. and D. C.—We often see clergymen, who are graduates of different -universities, wearing the hoods of their several universities when -doing duty in the same church and at the same time. Wherever they -pursue their vocation, they have a right to wear their academic -distinctions, and none other. - -ANXIOUS INQUIRER.—Your _fiancé_ should leave his own card. It is not -for you to do so for him. Leave your mother’s, should she permit it, -and your own, or her card with your name on it would be more correct. - -SAMOA.—Table-napkin rings are only used in private at home, or at -a boarding house, economy in the matter of washing being an object. -But in the houses of the wealthy, a fresh napkin is provided daily, -and thus a distinguishing ring is needless. With reference to the -discoloured coral, try a weak solution of borax, tepid. Should this -fail, take it to a jeweller. - -C. L.—There are only two ways of sending any parcel to India—by post, -or by private hand. The acorns should be put into a little box. Your -handwriting promises well, but is as yet unformed. - -A CONSTANT READER has only to order a book on the subject from any -librarian, and he will procure it for her. - -GENEVIEVE (Alderney).—You have only to write to the Manager of our -Publishing Department for the cover, with index of the year you -require, and ask him to inclose the bill, including postage, and any -bookbinder will bind your volume for you. - - - - - - -End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. XX. No. -1012, May 20, 1899, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** - -***** This file should be named 60023-0.txt or 60023-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/0/2/60023/ - -Produced by Susan Skinner, Chris Curnow, Pamela Patten 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 print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 1.F.3. 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 MERCHANTABILITY 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 are 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright 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: 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. - diff --git a/old/60023-0.zip b/old/60023-0.zip Binary files differdeleted file mode 100644 index db29de6..0000000 --- a/old/60023-0.zip +++ /dev/null diff --git a/old/60023-h.zip b/old/60023-h.zip Binary files differdeleted file mode 100644 index 88df64d..0000000 --- a/old/60023-h.zip +++ /dev/null diff --git a/old/60023-h/60023-h.htm b/old/60023-h/60023-h.htm deleted file mode 100644 index 5ee6b53..0000000 --- a/old/60023-h/60023-h.htm +++ /dev/null @@ -1,3686 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Girl's Own Paper, Vol. XX. No. 1012, by Various. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3,h4,h5,h6 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.ph3{ - text-align: center; - font-size: large; - font-weight: bold; -} - -.pad2 {padding-top: 2em;} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: auto; - margin-right: auto; - clear: both; -} - -hr.tb {width: 15%; margin-left: 42.5%; margin-right: 42.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - -table { - margin-left: auto; - margin-right: auto; -} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} /* page numbers */ - -.smalltext{ - font-size: small; -} - -.ml4 {margin-left: 4em;} - -.ml8 {margin-left: 8em;} - -.blockquot_ans { - margin-left: 1em; - text-indent: -1em; -} - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - -.bb {border-bottom: solid 1px;} - -.bl {border-left: solid 1px;} - -.bt {border-top: solid 1px;} - -.br {border-right: solid 1px;} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -.uppercase {text-transform: uppercase;} - -.header {text-align: center; margin-top: 0;} -.header p {text-align: center; text-indent: 0;} -.header .floatl {float: left;} -.header .floatr {float: right;} -.header .floatc {padding-top: .5em;} - -.faux { - font-size: 0.1em; - visibility: hidden; -} - -.caption {font-weight: bold;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -.w100 {width: 100px;} - -.w125 { - width: 125px; -} - -.w175 { - width: 175px; -} -.w150 {width: 150px;} - -.w200 {width: 200px;} - -.w250 {width: 250px;} - -.w300 {width: 300px;} - -.w325 { - width: 325px; -} - -.w350 {width: 350px;} - -.w375 { - width: 375px; -} - -.w400 {width: 400px;} - -.w500 { - width: 500px; -} - -.w600 { - width: 600px; -} - -.ddropcapbox { - float: left; -} - -.idropcap { - height: auto; -} - -.ddropcapbox { - margin-left: 0; - margin-right: 0.5em; -} - -/* Footnotes */ -.footnotes {border: dashed 1px;} - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - -/* Poetry */ - -.poetry-container { - margin-left:10%; - margin-right:10%; - text-align: center; -} - -.poetry -{ - display: inline-block; - text-align: left; -} - -.poetry .stanza -{ - margin: 1em auto; -} - -.poetry .verse -{ - text-indent: -6em; - padding-left: 6em; -} - -.poetry .indent2 -{ - text-indent: -4em; -} - -.poetry .indent4 -{ - text-indent: -2em; -} - -@media handheld -{ - .ddropcapbox { - float: left; - } - -.caption {font-weight: bold; text-align: center; margin-top: 0;} - -.header {text-align: center; margin-top: 0;} -.header p {text-align: center; text-indent: 0;} -.header .floatl {float: left;} -.header .floatr {float: right;} -.header .floatc {padding-top: .5em;} - - .poetry - { - display: block; - margin-left: 1.5em; - } - - -.bb {border-bottom: solid 1px;} - -.bl {border-left: solid 1px;} - -.bt {border-top: solid 1px;} - -.br {border-right: solid 1px;} - - -} - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Girl's Own Paper, Vol. XX. No. 1012, -May 20, 1899, by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: The Girl's Own Paper, Vol. XX. No. 1012, May 20, 1899 - -Author: Various - -Release Date: July 31, 2019 [EBook #60023] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** - - - - -Produced by Susan Skinner, Chris Curnow, Pamela Patten and -the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - -</pre> - -<hr class="chap" /><div class="chapter"> - -<p><span class="pagenum"><a name="Page_529" id="Page_529">{529}</a></span></p> - -<h1 class="faux">THE GIRL’S OWN PAPER</h1> - -<div class="figcenter w600"> -<img src="images/header.jpg" width="600" height="202" alt="The Girl's Own Paper." /> -</div> - -<hr class="full" /> - -<div class="center"> -<div class="header"> -<p class="floatl"><span class="smcap">Vol. XX.—No. 1012.]</span></p> -<p class="floatr"><span class="smcap">[Price One Penny.</span></p> -<p class="floatc">MAY 20, 1899.</p> -</div></div> - -<hr class="full" /> - -<p class="center">[Transcriber’s Note: This Table of Contents was not present in the original.]</p> - -<p class="center"> - -<!-- Autogenerated TOC. Modify or delete as required. --> - -<a href="#THE_SEA_AND_THE_ROCKS">THE SEA AND THE ROCKS.</a><br /> -<a href="#SHEILA">SHEILA.</a><br /> -<a href="#OLD_ENGLISH_COTTAGE_HOMES">OLD ENGLISH COTTAGE HOMES.</a><br /> -<a href="#LETTERS_FROM_A_LAWYER">LETTERS FROM A LAWYER.</a><br /> -<a href="#GIRLS_AS_I_HAVE_KNOWN_THEM">GIRLS AS I HAVE KNOWN THEM.</a><br /> -<a href="#EMBROIDERY_WITH_CHENILLE">EMBROIDERY WITH CHENILLE.</a><br /> -<a href="#OUR_HERO">“OUR HERO.”</a><br /> -<a href="#OUR_LILY_GARDEN">OUR LILY GARDEN.</a><br /> -<a href="#THE_HOUSE_WITH_THE_VERANDAH">THE HOUSE WITH THE VERANDAH.</a><br /> -<a href="#ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</a><br /> - -<!-- End Autogenerated TOC. --> - -</p> - - - - -<hr class="chap" /></div><div class="chapter"> -<h2><a name="THE_SEA_AND_THE_ROCKS" id="THE_SEA_AND_THE_ROCKS">THE SEA AND THE ROCKS.</a></h2> - -<p class="ph3"><span class="smcap">By</span> WILLIAM LUFF.</p> - -<div class="figcenter w500"> -<img src="images/i_529.jpg" width="500" height="483" alt="" /> -<div class="caption"><p class="center">THE OTHER SHORE.</p></div> -</div> - -<p class="smalltext"><i>All rights reserved.</i>]</p> - - - -<p><span class="pagenum"><a name="Page_530" id="Page_530">{530}</a></span></p> - - -<div class="poetry-container"><div class="poetry"><div class="stanza"> -<div class="verse"><span class="smcap">I watched</span> the waves as they kissed the rocks,</div> -<div class="verse indent2">And linked their hands behind them,</div> -<div class="verse">As if to draw to the deep blue sea,</div> -<div class="verse indent2">Where no searching eye could find them.</div> -<div class="verse">But rocks were firm, and the waves though strong</div> -<div class="verse indent2">Were foiled in their kind endeavour;</div> -<div class="verse">Then what they could not change they bathed,</div> -<div class="verse indent4">And rising higher ever,</div> -<div class="verse">They came and came, till they covered o’er</div> -<div class="verse">The black old rocks of that stubborn shore.</div> -<div class="verse">They were there the same as of old, I knew,</div> -<div class="verse">But hidden now with a robe of blue.</div> -</div><div class="stanza"> -<div class="verse">We all find rocks on the shores of life,</div> -<div class="verse indent2">Dark rocks and stubborn often.</div> -<div class="verse">We pray, but never a rock will move—</div> -<div class="verse indent2">Hard rocks that no sea will soften;</div> -<div class="verse">But lo, the ocean of love and grace</div> -<div class="verse indent2">Is linking its arms behind them;</div> -<div class="verse">The waters rise in their vast embrace,</div> -<div class="verse indent2">Till troubles—we cannot find them.</div> -<div class="verse">I know they are there as they were before;</div> -<div class="verse">But we see them not, they are covered o’er.</div> -<div class="verse">And all that rises before our view,</div> -<div class="verse">Is God’s deep ocean of boundless blue.</div> -</div></div></div> - - -<hr class="chap" /></div><div class="chapter"> - -<h2><a name="SHEILA" id="SHEILA">SHEILA.</a></h2> - -<p class="ph3">A STORY FOR GIRLS.</p> - -<p class="ph3"><span class="smcap">By</span> EVELYN EVERETT-GREEN, Author of “Greyfriars,” “Half-a-dozen Sisters,” etc.</p> - - -<h3>CHAPTER VII.</h3> - -<p class="ph3">IN RIVER STREET.</p> - -<p>“<span class="smcap">Well</span>, Oscar, I’ve just this one bit of -advice to give you,” said North, as the -pair walked homewards from the works. -“Don’t you be too easy-going.”</p> - -<p>“Am I too easy-going?” asked -Oscar with a smile. “How?”</p> - -<p>“Well, I think you are a bit. It’s -easier to see that sort of thing than to -define it. You don’t stick sufficiently -tight to your own work. No, no, don’t -think I mean you idle; you don’t, but -you’ll do the other fellows’ work for them -when they are larking, and let them -take a turn at yours when you want -to be off to the electrical works. The -office was always a bit too free and easy, -and we wanted to stiffen it up by putting -you in. But if anything it’s got worse.”</p> - -<p>Oscar laughed a little. North’s -friendly manner relieved him of the -fear that he had given dissatisfaction -with his own share in what was required -of him. He had been really doing his -best, and had learned a great deal -during the past months.</p> - -<p>“It seems friendlier, somehow,” he -said. “They are all nice fellows, and -we work amicably together. I didn’t -know it mattered sharing the work. -They seemed used to it.”</p> - -<p>“It doesn’t matter in moderation,” -answered North. “We’re not fussy, -my father and I. But don’t be too -easy-going, Oscar. As you are one of -the family, they will look up to you, and -take their cue from you more or less. -Business is business all the world over, -and you’d do well to keep that fact -sternly in mind.”</p> - -<p>“I’ll try,” answered Oscar readily, -“and I hope you’ll always tell me, -North, if you see anything in which I -fail. I want to justify your father’s -opinion that I should do for the business, -and I’m quite sensible of his kindness -in taking me on.”</p> - -<p>“Well, he’s glad enough to give you -the sort of berth Cyril would have had -if he’d not turned out too much the fine -gentleman,” said North with one of his -grim smiles. “My father never seriously -thought of putting Cyril into the business, -he was always thought to be a cut above -it. But he often said he wished he had -another son. You have come to fill -that place, Oscar.”</p> - -<p>The youth’s face flushed with pleasure. -It was not often that North spoke with -so much friendly unreserve. In the -main he was a silent, self-contained -man, though friendly enough to his -younger cousin. But to-day his reserve -seemed to have evaporated, and the next -minute he spoke again.</p> - -<p>“Don’t let Cyril get you too much -into his set, Oscar. I know, of course, -that you must have a good deal in common, -being University men and all that. -But I’m not always best pleased with the -sort of fellows Cyril takes up with. I -think they make him extravagant, and -teach him expensive habits. It’s all -very well for him. He manages to get a -large allowance from the governor. But -it wouldn’t suit your pocket or mine.”</p> - -<p>“I don’t think I care much for Cyril’s -friends,” said Oscar slowly. “Only -when he asks me to go with him it seems -churlish to refuse, when I’ve nothing -else I want to do.”</p> - -<p>“Well, I’d not mind seeming a bit -churlish sometimes,” said North. -“Indeed I’ve put up with the accusation -myself, though I was never a fine -enough gentleman for Cyril to care -much for my company. But I wouldn’t -let him take you up and drag you about -too much if I were you. It won’t pay -in the long run.”</p> - -<p>They were by this time approaching -the house in River Street, so there was -no time for more discussion. It was -Oscar’s temperament, as it was Sheila’s, -to float with the stream of life, and take -things easily. Perhaps it was this -temperament in their father which had -led to such disastrous results at last, -but it was not quite easy for Oscar to -realise this, though he was not ungrateful -to North for his hint.</p> - -<p>“What a hullabaloo!” exclaimed -North, as he put his key into the latch -and opened the door; and indeed there -were sounds of very animated discussion -going on in the drawing-room, the door -of which stood open. The Cossart voices -were rather loud when their owners were -excited, and it seemed as though something -of an exciting nature must be -going on.</p> - -<p>“What’s up?” asked the elder -brother, pushing his way into the room, -and both sisters began talking at once, -so that it was not altogether easy to -make out what either was saying.</p> - -<p>“Oh, such a delightful plan! It’s -the Bensons who are really getting it -up—no, I should call it Mr. Ransom’s -doing. But we are all to help. It will -be no end of fun. I hope there’ll be -acting! Anyway we shall have tableaux -or something. And a bazaar, oh, yes, -and some music. It’s to last for three -days—perhaps a week even. And everybody -will come. Oh, it will be the -greatest fun! And we are to help in -everything! We are to be on the -Committee. I was never on a Committee -before. I do feel so grand!” -and Ray danced round her brother and -made him a low curtsy, saying:</p> - -<p>“We shall expect a great deal of -patronage from Mr. Cossart, junior, of -the Cossart works!”</p> - -<p>“What’s it all about?” asked North, -taking her by the shoulders and giving -her a brotherly shake. “I can’t make -head or tail of all that gabble. Now, -mater, give us a cup of tea, and tell us -quietly what all this means. Ray’s off -her head, and Raby looks almost as -demented. Some tomfoolery in the -town, I suppose.”</p> - -<p>“Well, that is rather a hard name -to give it,” said Mrs. Tom with a smile. -“It is like this. The new clergyman, -Mr. Ransom, has, it seems, very proper -and sound ideas about debt upon a -church. I am sure your father would -approve his views there. He thinks -that debt is a wrong thing, and ought -never to be contracted, especially over -a house dedicated to the worship of -God. He is quite shocked that in a -prosperous town like this, there should -be a heavy debt on the church, and that -the mission chapel started two years ago -should be almost entirely unpaid for. -He spoke very seriously to his churchwardens -and some of the leading men -in the town, and he has so stirred them -up to his view of the case that they are -going to make a great effort to wipe out -the whole debt immediately.”</p> - -<p>“Good!” said North nodding his -head. “I think that’s a very right way -of looking at things. A man who lives -in debt is considered to be doing a -wrong to his creditors, and why not a -church too?—or at least the people -who build and use it.”</p> - -<p>“That is what Mr. Ransom feels. -He says he does not think that we can -expect the same blessing upon the<span class="pagenum"><a name="Page_531" id="Page_531">{531}</a></span> -work of a church if the apostolic precept, -‘Owe no man anything,’ is deliberately -broken. Well, a subscription list -has been opened, and some really -handsome sums have been already -promised. But you know what people -are. They want a little excitement and -fun. And the Bensons have taken the -matter up, and are canvassing all the -town for a big bazaar and some entertainments -in connection with it. The -Corporation will give the Town Hall -<i>gratis</i> for the purpose, and they are -full of plans for making things go off -with great <i>éclat</i>. They have been here -talking things over with the girls this -past hour. Mr. Benson is against -having anything but local talent for -whatever is got up. He says, ‘Why -pay professionals from a distance when -people would be much more interested -in hearing their own young people sing, -or seeing them act a little play, or -perform in tableaux?’ And really I -think he is right. I know I am dreadfully -bored by hearing second-rate -professionals. But if one knows the -performers, why that’s quite a different -matter.”</p> - -<p>“And it will be such a nice chance -for the glee club!” cried Raby. “And -for some of us who have been having -lessons. We did talk about getting up -a concert at Christmas; but somehow it -did not come off. Now, this seems the -very thing, and everybody will come and -hear us!”</p> - -<p>At that moment there was a clatter of -horsehoofs outside the door, and Ray -exclaimed—</p> - -<p>“Why, here is Cyril, with Sheila and -Effie in the new phaeton! Don’t they -cut a fine figure! What a pretty girl -Sheila is! But she puts Effie altogether -in the shade, don’t you think? If Aunt -Cossart finds that out, she won’t be best -pleased!”</p> - -<p>The Stanhope phaeton was Effie’s last -new fancy. It was discovered that -Shamrock and the new cob would run -together nicely in double harness; and -Sheila, who had driven all her life, -managed the pair with much skill.</p> - -<p>Effie really preferred these drives in a -carriage, recognised as her own, to the -rides, where she was conscious of -timidity and a lack of the ease and -grace which distinguished Sheila’s -horsemanship.</p> - -<p>Cyril liked well enough to accompany -his pretty cousins, as he called them; -and Mrs. Cossart was better pleased -when he was there, as well as the -youthful tiger who always went with the -carriage.</p> - -<p>Raby and Ray had heard of this new -turn-out, but had not seen it before. -They ran to the window to look and -admire; but in a few moments Effie and -Sheila were in the room, Cyril bringing -up the rear.</p> - -<p>Sheila made a rush at Oscar first, -but was quite ready to be affectionate to -all. She was in gay, happy spirits, and -brought with her an atmosphere of -sunshine. Her sombre black was just -lightened by ruffles of white at the -throat and wrists; and the soft bloom -upon her cheeks seemed set off by the -darkness of her attire.</p> - -<p>Somehow Effie seemed a quite secondary -and insignificant figure when -Sheila was present, though the best -seat was given her, and her aunt asked -with interest after her well-being. But -the girls could not wait to hear Effie discourse -upon herself and her symptoms, -improved though they might be.</p> - -<p>“Oh, Sheila, have you heard? Cyril, -have you heard anything about the -bazaar and fête? We are to have such -a time of it! Sheila, you will have to -help us! We shall all be as busy as -bees!” and the girls plunged into a -recital of the coming excitements, to -which Sheila listened with all her ears.</p> - -<p>“Oof! Won’t it be fun!” she cried, -with her favourite little interjection -which always made her cousins laugh. -“I’m not a bit clever. I can’t sing or -play or do anything like that; but I’ll -help all I know. I shall be awfully -pleased to!”</p> - -<p>“But if we get up some tableaux you -can perform,” said Cyril. “You could -manage to stand still for two minutes at -a stretch, could you not, Sheila?”</p> - -<p>“Oof, yes! I could do that, only I’m -afraid I should laugh in the middle! -Effie, do you hear? There are to be -such goings on. You’ll have to sing, I -expect. Perhaps I’ll play for you, if I -don’t get too frightened.”</p> - -<p>“Are you taking up your music again, -my dear?” asked Mrs. Tom. “That is -right. It will be a pleasure to you, I am -sure.”</p> - -<p>“Yes, perhaps it will. I used to be -fond of it, only I’ve not been able to do -anything for so long; and if you can’t -practise, I don’t think you ought to -sing. I’ve been trying again these last -few weeks. I think I shall get my voice -back in time. But my throat is so weak -still; I can’t do much at a time. I -suppose it comes from being weak. If -I were to get stronger, I should have -more voice. I don’t care to make an -exhibition of myself; but, of course, I’ll -do anything I can to help the girls. I -think people used to like to hear me -sing.”</p> - -<p>“And they’ll like to hear you sing -again. It would be a good opportunity -for you to appear in public after being -shut up so long,” said Mrs. Tom; -“and you could work for the bazaar at -any rate. We must all try to help as -much as we can for a good cause such -as this.”</p> - -<p>“Oh, I’ll try to do a little; but I -never can settle long to anything. I -suppose it’s the state of my nerves. I -must always be jumping up and going -off after something else. I have such a -funny restless feeling. If I were to sit -long over anything I should get quite -wild; and then I should have an attack -directly. That’s the worst of it. I -can’t make myself do things like other -people. I get ill directly. Not that I -care so much myself; I’ve made up my -mind not to care about anything; but -just to take what comes. But it worries -mother, and I must think of her; so I’ve -got to take care of myself, though I do -get very sick of it!”</p> - -<p>Cyril had got Sheila into a quiet -corner where Oscar had joined them in -response to the summons of her eyes.</p> - -<p>“All this will be rather a bore,” he -began; but Sheila interrupted gaily—</p> - -<p>“I don’t think it will at all! I think -it will be great fun! I like things to be -lively! Sometimes I wish I lived in -River Street. It’s rather dull some days -up there!”</p> - -<p>“Poor child! I expect it is,” said -Cyril; “but what I was going to say -was that it would probably bring some -of the better people into touch with us, -and they’ll be sure to take to you, -Sheila. The Bensons are nobodies—he’s -the Mayor this year, and they have -plenty of money, and give themselves -airs over it. But if the thing is taken -up by the county—as I expect it will be, -for Mr. Ransom is a well-born man, -and has come with introductions to a -good many of the best families—we shall -get other volunteers of a different sort, -and that will be a good thing for you -and Oscar.”</p> - -<p>“Why for us more than other people?” -asked Sheila, whilst Oscar’s face seemed -to cloud over a little.</p> - -<p>“Oh, don’t you see! They will see -the difference at once; and I shall see -you are introduced. I know these -people—most of them—though they -don’t visit much in the town, except in -quite a perfunctory way. But they are -very good to me; and they will be sure -to take you up; and then things will be -different.”</p> - -<p>“I’m not sure that Sheila and I wish -any distinction made between ourselves -and our cousins,” said Oscar a little -stiffly; but Cyril laughed in his good-humoured -way.</p> - -<p>“Oh, you needn’t be as straight-laced -as all that, Oscar. People can’t help -knowing the difference between—what -shall we call it?—the real thing and the -imitation! There are some really nice -people I should like Sheila to know. -Their name is Lawrence, and they do -call here. They bought or took a place -about five miles away some little time -ago, and the mater was induced to call. -They don’t come often; but most likely -the girl would be glad to help in these -goings on. Mr. Ransom knows the -Lawrences. You would quite like them -if you once knew them.”</p> - -<p>Sheila was interested at once, and -asked a good many questions. Her life, -though pleasant and easy, was rather -monotonous, and, so far, she had made -no friends except her cousins, who, -though very good-natured and kind, -were not particularly congenial to her. -So the prospect of a possible girl friend -of a different stamp was not without its -attractions.</p> - -<p>“I shall try to bring that off,” said -Cyril to himself as the carriage drove -off at last. “I often think that May -Lawrence would be a very good second -string to my bow; for though Effie is an -heiress, I sometimes think I should soon -be sick to death of her ‘I,’ ‘I,’ ‘I,’ and -should chuck up the whole thing in -three months, if it ever got as far as an -engagement!”</p> - -<p>And perhaps Cyril never paused to -ask himself how large a place in his own -vocabulary the “I” took, nor the <i>ego</i> in -his scheme of life!</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<p><span class="pagenum"><a name="Page_532" id="Page_532">{532}</a></span></p> - -<div class="figcenter w500"> -<img src="images/i_532a.jpg" width="500" height="86" alt="decorative" /> -</div> - - - -<hr class="chap" /></div><div class="chapter"> - -<h2><a name="OLD_ENGLISH_COTTAGE_HOMES" id="OLD_ENGLISH_COTTAGE_HOMES">OLD ENGLISH COTTAGE HOMES;</a><br /> -<span class="smalltext">OR,</span><br /> -VILLAGE ARCHITECTURE OF BYGONE TIMES.</h2> - - -<h3>PART VIII.</h3> - -<p><span class="smcap">In</span> the first number of these papers we pointed -out the fact that the cottages and small -houses in fortified villages exhibited a totally -different character from those in open and unwalled -villages. Owing to the space being -confined within the walls, any increase in the -number of inhabitants had either to be provided -with accommodation by adding to the -height of the existing habitations or by setting -up dwelling-houses in out-of-the-way places. -Our sketch of Lyme Regis shows the outlet -of a river which here flows into the sea; the -fortified walls are continued along the banks; -the principal street of the village is carried -over the river by a bridge consisting of a -lofty and elegantly proportioned Gothic -arch, evidently of thirteenth century date. -Cottages or small habitations cling to the -walls supported upon wooden corbels, and are -bracketed out from the parapets of the bridge, -giving the latter more the effect of a gateway -than of a bridge. The whole scene is strange -though very picturesque, and those who are -accustomed to the ordinary English village, -with its detached cottages, surrounded by -gardens, are naturally surprised at the singular -effect brought about by such changed conditions. -Those, however, who know the -fortified villages of Germany, France, and the -Low Countries, are quite familiar with such -scenes, and regard them as usual in villages -prepared for war, as contrasted with the ordinary -villages of our country where peace was -the normal condition.</p> - -<div class="figcenter w400"> -<img src="images/i_532b.jpg" width="400" height="538" alt="" /> -<div class="caption"><p class="center">GEORGIAN COTTAGE, AMERSHAM.</p></div> -</div> - -<p>It is indeed a matter of congratulation that -our English ancestors were able to live in -abodes unsurrounded by fortifications, and to -pursue their humble avocations without the -dread of invasion by some foreign foe; but as -it does not seem to be the design of Divine -Providence that man should pass this life -without troubles and anxiety, civil wars were -not unfrequent, even in this happy isle. And -even when this affliction was absent, our towns -were visited by pestilence, for our historians -tell us that in the neighbourhood of Warwick -alone thirty villages were depopulated and -allowed to fall to ruin during that fearful -visitation called the “Black Death.” Their -very sites cannot now be traced, and their -names are mere tradition. Even where they -were partially spared, the population of many -villages was so reduced as to cause a very -singular arrangement. We refer to the distance -between the church and the village. Now -there can be no doubt that parish churches in -the country were nearly always in former times -erected in the villages or towns they were intended -to serve, and the only way of accounting -for their now being at a distance from one -another is by supposing that some great -pestilence has at some period swept away the -population of that part of the village which -adjoined the church. That the pestilence -should attack that particular portion of the -village more than another is highly probable, -because its proximity to the church and churchyard -would render it more liable to infection. -This, however, is a very gloomy subject to -contemplate, and we refer to it only to account -for certain peculiarities which it has introduced -into old villages.</p> - -<p>Our other sketch represents a cottage or -village house of much later times, probably the -Hanoverian period, built of various coloured -bricks, in some places arranged in patterns. -The great peculiarity of the design, however, -is its diminutive scale. Were it not for the fact -that the presence of any human being near to -it immediately dwarfs it, the front might be -that of an important house. This is a well-known -fact in architecture. There is nothing -for bringing down the scale of a building like -a very tall girl. An architect we know built a -beautiful little church on a small scale, but he -was shocked to find that a very tall, and it -must be confessed graceful, girl sat close to -the first column of the nave. Our friend said, -“Really that girl completely dwarfs my columns. -I shall have to speak to the clergyman and see -whether she can be prevailed upon to take a -seat in a less conspicuous place.” He suggested -this idea to the reverend gentleman, who -seemed a little confused.</p> - -<p>“Well,” said he, “I fear that can scarcely -be done, as that young lady will in all probability -become more closely connected with the -church. The fact is, we are going to be married -next month.”</p> - -<p>It is rather a strange thing that a tall -man does not “bring down” the scale of a -building to the same extent as a tall woman. -Probably the dress of the latter is accountable -for this.</p> - -<p>The diminutive scale of the house at Amersham -has its counterpart in many Georgian -buildings—Hamper Mill and the old school-house -at Watford, for instance. Yet we can -scarcely charge the architects of that time with -an attempt to give a false scale to their buildings, -as they seem so well suited to their -surroundings.</p> - -<p><span class="pagenum"><a name="Page_533" id="Page_533">{533}</a></span></p> - -<div class="figcenter w375"> -<img src="images/i_533.jpg" width="375" height="558" alt="" /> -<div class="caption"><p class="center">COTTAGES AT LYME REGIS—A FORTIFIED VILLAGE.</p></div> -</div> - -<hr class="chap" /></div><div class="chapter"> - -<p><span class="pagenum"><a name="Page_534" id="Page_534">{534}</a></span></p> - - - - -<h2><a name="LETTERS_FROM_A_LAWYER" id="LETTERS_FROM_A_LAWYER">LETTERS FROM A LAWYER.</a></h2> - - -<h3>PART VII.</h3> - -<p class="right"> -The Temple. -</p> - - - -<p><span class="smcap">My dear Dorothy</span>,—It is perfectly astounding -to me that people not absolutely -devoid of common sense should be taken in by -the so-called confidence trick, a device so -transparent that it seems incredible that any -sane man could be deceived by it. I am -bound to say in justice to your sex that I -have never heard of a case when a woman -was a victim to the confidence trick. I -suppose it does not appeal to them in the -same way that it seems to do to some -men.</p> - -<p>Perhaps the true explanation of the gullibility -of mankind was that given by a rogue -who was had up and convicted at the Old -Bailey. When asked what he wished to say, -why he should not receive punishment for this -offence, he replied that he ought to be treated -as a great moral teacher, because the confidence -trick could only succeed with people -who were covetous and desirous of acquiring -other people’s money without giving an -equivalent for it, and that when they found -that they had lost their money, it taught -them to be more cautious and less grasping.</p> - -<p>There was some truth in what this “great -moral teacher” said, but unfortunately for -him he had also a lesson to learn, and the -Recorder gave him several months in which -he might give it his careful consideration.</p> - -<p>The “Free Portrait” scheme is a bait -which allures a good many people. They -cannot resist the temptation of getting something -for nothing. A man calling himself A. -Tanquerey or F. Schneider, and giving an -address in Paris, is, I believe, the author of -this ingenious system of extracting money from -the unwilling pockets of the public. He -professes in his circulars and advertisements -to send you a crayon enlargement of any -photograph you send him “absolutely free of -charge.”</p> - -<p>After you have sent him the photograph, -which is generally one of special value to -yourself, being, we will suppose, the only -portrait you possess, of a deceased parent, -friend or relation, you receive a letter stating -that the portrait is ready and will be forwarded -to you on the receipt of two or three guineas -for the frame.</p> - -<p>If you decline to purchase a frame, and -write telling him to return your photograph, -you receive no reply to your letter, and finally, -to recover the photograph which you value, -you send the money for the frame, and receive -a fairly good crayon enlargement of your -photograph in a frame which has cost you as -many guineas as it is worth shillings.</p> - -<p>There is a class of advertisement which may -be seen in almost any weekly paper which just -borders on the fraudulent. Even if they are -genuine in themselves—and some undoubtedly -are not—they open the door to fraud. I refer -to those advertisements offering articles for -sale in connection with monetary prizes to -every purchaser and winner in a competition -which can be guessed at a glance.</p> - -<p>Every purchaser is told in the advertisement -that he will be entitled to receive a prize of -£10 if he guesses rightly; but when he has -made his purchase and sent in his solution, he -will find that either only the first letter opened -gets the prize, or that every competitor having -guessed correctly, he is only entitled to receive -a halfpenny for his share of the money. In -this last case, of course, the thing is a swindle -because no one would have purchased the -article and answered the competition if they -thought the money was going to be divided -amongst the winners.</p> - -<p>I tried one of these competitions myself, not -because I thought it was genuine, but because -I wanted to see how it was worked. The -task I had to accomplish was something like -the following:</p> - -<p>“Give the names of the fruits and flowers -mentioned below—Soer, Reap, Liput, Cepah, -Socruc, Ragone.”</p> - -<p>Well, you can see at a glance they are rose, -pear, tulip, peach, crocus, orange. I sent in -my answer and a shilling and a penny stamp, -and in due course received a puzzle worth -about twopence.</p> - -<p>Later on I received a letter stating that my -solution of all the words was correct, and -enclosing my share of the prize—a halfpenny -stamp.</p> - -<p>In a similar competition I saw it stated in -the papers that 6,000 answers had been -received, which shows that the game must -be a very paying one for those who issue the -advertisements.</p> - -<p>What a number of young women there must -be waiting to get married! In answer to an -advertisement which appeared the other day -in the <i>Exchange and Mart</i>, in which a lady, -“disappointed in love, offered her <i>trousseau</i> -at an enormous sacrifice,” over 1,400 replies -were received.</p> - -<p>But the lady “disappointed in love” disappointed -also the 1,400 ladies who wanted a -<i>trousseau</i>, for her advertisement was a bogus -one, and was merely another trap to catch the -unwary.</p> - -<p>One has to be very sharp, but the sharpest -of us are sometimes taken in, including even</p> - -<p> -<span class="ml4">Your affectionate cousin,</span><br /> -<span class="smcap ml8">Bob Briefless.</span><br /> -</p> - - - -<hr class="chap" /></div><div class="chapter"> - -<h2><a name="GIRLS_AS_I_HAVE_KNOWN_THEM" id="GIRLS_AS_I_HAVE_KNOWN_THEM">GIRLS AS I HAVE KNOWN THEM.</a></h2> - -<p class="ph3"><span class="smcap">By</span> ELSA D’ESTERRE-KEELING, Author of “Old Maids and Young.”</p> - - -<h3>PART VI.</h3> - -<p class="ph3">THE ATHLETIC GIRL.</p> - -<div class="blockquot"> - -<p><span class="smcap">Wanted</span>: A groom, tall, good-looking, -steady.</p> - -<p><span class="smcap">Wanted</span>: A housemaid, neat, respectable, -no fringe.</p> - -<p><span class="smcap">Wanted</span>: A cook, good, plain.</p></div> - -<p>So run certain familiar advertisements. They -are cited here as containing the descriptive -words which have a particular applicability to -the athletic girl, who, to state the general case -in regard to her, is tall, good-looking, steady; -neat, respectable, with no fringe; good, plain.</p> - -<div class="figcenter w250"> -<img src="images/i_534a.jpg" width="250" height="192" alt="" /> -<div class="caption"><p class="center">The -athletic -girl</p></div> -</div> - -<p>This fact notwithstanding, the average -athletic girl would not make a successful -groom; still less would she give satisfaction -as a housemaid; and least of all has she in -her the makings of a good cook. Some hold -that she has in her the makings of a good -pianist, but that is a mistake, for she has no -<i>adagio</i>. “I call a girl like that a fortist, not -a pianist,” was said of her the other day.</p> - -<p>Not always, but very often, the athletic girl’s -is the prosaic type of mind, concerning which -Lowell writes—</p> - -<p>“The danger of the prosaic type of mind -lies in the stolid sense of superiority which -blinds it to everything ideal, to the use of -everything that does not serve the practical -purposes of life. Do we not remember how -the all-observing and all-fathoming Shakespeare -has typified this in Bottom the -Weaver? Surrounded by all the fairy -creations of fancy, he sends one to fetch him -the bag of a humble-bee, and can find no -better employment for Mustard-seed than to -help Cavalero Cobweb scratch his ass’s head -between the ears. When Titania, queen of -that fair, ideal world, offers him a feast of -beauty, he says he has a good stomach to a -pottle of hay!”</p> - -<p>The athletic girl easily thus runs to prose. -Sometimes her prose is very funny. She -looked up lately from a novel with the speech—</p> - -<p>“There’s one thing I do want to know most -awfully, Daddy—how people ‘gnash’ their -teeth. Is it anything like this—or this—or -this?”</p> - -<p>Each question was accompanied by a facial -illustration. Daddy is a serious man, but he -laughed heartily.</p> - -<p>Sometimes, however, Daddy shakes his -head. The following is a case in point.</p> - -<p>“Do you know, my dear,” he asked, “the -difference between a soprano and a contralto?”</p> - -<p>“Why, of course, Dad,” was the answer. -“The one’s a squeak and the other’s a -squawk.”</p> - -<div class="figcenter w150"> -<img src="images/i_534c.jpg" width="150" height="192" alt="" /> -</div> - -<p>Such a girl has some -knowledge, but she lacks -some grace. Very often -the athletic girl lacks both -knowledge and grace. -Sometimes, too, she lacks -brains. The outward -marks by which you shall -know her in that case are -that she has large ears and -a little forehead. There -are exceptions to this rule, but they are not many.</p> - -<p>Of accomplishments the average athletic -girl has few. All the French she -knows she puts into a smile, and -that smile is the one with which -she meets any references to customs -of the good old time. It -says—</p> - -<p><i>Nous avons changé tout cela.</i></p> - -<div class="figcenter w125"> -<img src="images/i_534b.jpg" width="125" height="332" alt="" /> -<div class="caption"><p class="center">Her ancestress</p></div> -</div> - -<p>Twenty years ago this girl was -the girl who wished she was a -boy. It is one of the changes -which time has wrought in her -case that she no longer wishes -that. She is happy and proud to<span class="pagenum"><a name="Page_535" id="Page_535">{535}</a></span> -be a girl of to-day, believing, as she does, -that girls and women never had a chance to -distinguish themselves in feats of strength till -to-day. Remind her of Joan of Arc, and she -will reply that that was an isolated case; draw -her attention to the passage in Motley’s <i>Rise -and Fall of the Dutch Republic</i>, referring to -the garrison of Haarlem in 1572, and she will -stare. The passage in question runs—</p> - -<p>“The garrison at least numbered one -thousand pioneers or delvers, three thousand -fighting men, and about three hundred fighting -women. This last was a most efficient corps, -all females of respectable character, armed -with sword, musket, and dagger. Their chief, -Frau Kenau Hasselaer, was a widow of distinguished -family and unblemished character, -about forty-seven years of age, who, at the -head of her Amazons, participated in many of -the most fiercely contested actions of the siege, -both within and without the walls.”</p> - -<p>Elegance of speech is not, as a rule, a -primary characteristic of the athletic girl, and -it has been noticed that, while she prefers the -use of any name to that of the baptismal or -family one, she usually goes to the brute -creation for a substitute, selecting—in so far -merciful—the names of the pleasantly associated -animals commonly called domestic. -Thus ass, goose, duck, pig, cart-horse, cow, -and—lately at the zenith of its popularity with -her—<i>hound</i>, are all of her word-treasure. It -is to be expected that she will add to this list -in the course of time “barn-fowl,” and some -other, and that, when she has exhausted the -names belonging to the domestic animals, she -will have recourse to those placarded at the -Zoo. It does not seem probable that she will -ever be guilty of the banality attaching to the -use of Christian names alone.</p> - -<p>As a letter-writer the average athletic girl -does not shine. First, as for her handwriting, -it is perhaps best described in some words -which Goldsmith gives to Tony Lumpkin—</p> - -<p>“Here are such handles and shanks and -dashes that one can scarcely know the head -from the tail.”</p> - -<p>The speed at which she writes, too, is productive -of direful blunders of the kind of <i>Dear -Madman</i> for “Dear Madam”; and the “burst -of speaking,” to use a phrase from Shakespeare, -which characterises her <i>vivâ voce</i> -manner, has its effect upon her epistolary -style. It lacks repose. Another detracting -feature of it is connected with the fact that -this type of girl affects insensibility just as her -ancestresses of a hundred years ago affected -sensibility. There is scarce a whit to choose -between them in their affectations.</p> - -<p>It is not that the athletic girl has no heart. -There follows here her description of a parting -scene in which she was one of two.</p> - -<p>“I made an owl of myself, got the gulps, -and could not even say good-bye.”</p> - -<p>In other words, the athletic girl broke -down.</p> - -<p>Books enter little into the life of this girl, -yet she—may—belong to a reading society. -The following (writer, an athletic girl) bears -witness to that fact—</p> - -<p>“Our next Shakespeare reading is next -Tuesday. Last year I never took part in them, -but am going to this year, though I rather -hate them. <i>Twelfth Night</i> is the play chosen, -and I have been given two rotten parts where -I have to say every now and then, ‘Good my -lord,’ and ‘Prithee, tell me.’”</p> - -<p>The same girl writes—</p> - -<p>“I have just read a most frightfully good -book, <i>The Prisoner of Zenda</i>. It is simply -the thrillingest thing that ever was written.”</p> - -<p>In another letter she writes—</p> - -<p>“Do you know the poetry of Gordon? An -Australian man. All about horses. First-class.”</p> - -<p>The margin-note style is in peculiar favour -with the athletic girl.</p> - -<p>The personal note is one seldom struck by -this girl, and the elegiac note is one scarcely -ever struck by her. Even when she has a -grievance she keeps a high heart. Who but -she could write—</p> - -<p>“For some extraordinary and unknown -reason my head is aching. -It is such a novel sensation -that I rather like it.”</p> - -<div class="figcenter w150"> -<img src="images/i_535a.jpg" width="150" height="196" alt="" /> -<div class="caption"><p class="center">A -Novel -Sensation</p></div> -</div> - -<p>Her letter-endings take -their colour from her character, -real or assumed. -“In haste” is much in -favour with her, and I -have letters from her ending -“Bye, bye!” and -“Ta, ta! Yours affec.”</p> - -<p>I will close this paper -with a true story. In it will be shown how -a lady, late an athletic girl, was wooed and—not -won.</p> - -<p>Her admirer was a widower, with one child. -His home overlooked the school of which this -lady, young as she was—for she was only six-and-twenty—was -head-mistress. The widower, -on re-marrying bent, sent in his card on what -was called “office day.”</p> - -<p>The name on the card was <i>Colonel Hewson</i>. -The young head-mistress, whose name was -Alice Joyce, read it, and gave the conventional -order, “Show him in.”</p> - -<p>Alice Joyce had some slight acquaintance -with Colonel Hewson, and had also some -slight inkling that he admired her. She did -not admire him, and would have liked to deny -herself to him, but she was not authorised to -do this on “office day.” Perhaps he had -come to place a pupil. His only child was a -boy, but, perhaps, he had girl-relations. -“Show him in,” said conscientious Alice -Joyce, and Colonel Hewson was shown in.</p> - -<p>“I thought you’d be surprised to see me,” -he said crisply, on entering.</p> - -<p>Alice smiled, and requested him to be -seated. Then she left it to him to open the -talk, occupying herself with a revolving bookcase, -which she gently agitated.</p> - -<p>Colonel Hewson was a bronzed man of -travel, who, according to rumour, had penetrated -into Asiatic jungles, and seen tigers and -other undomestic animals eye to eye without -blenching. He had, however, never before -entered a lady’s school, and a terror the like -unto which he had never experienced now -held him tongue-tied.</p> - -<p>Alice Joyce, good-naturedly racked her -brains to think of something that would set -him at his ease, and ultimately put the young -head-mistress’s stock question—</p> - -<p>“Would you like to see our gymnasium?”</p> - -<p>Colonel Hewson expressed himself as not -unwilling.</p> - -<p>The gymnasium was empty, save of apparatuses, -of which, movable and immovable, it -had a great number. Alice Joyce had considerable -skill in showing these off, and handled -weights and bars with a facility which impressed -her visitor. Up and down the gymnasium -they went, swinging dumb-bells. Suddenly -Alice Joyce pulled up short—</p> - -<p>“As you are so much interested in all this, -Colonel Hewson,” she said, “do come and -see the girls at it.”</p> - -<div class="figcenter w250"> -<img src="images/i_535b.jpg" width="250" height="223" alt="" /> -<div class="caption"><p class="center"><span class="smcap">Entertaining a dumb beau with dumb-bells</span></p></div> -</div> - -<p>“Can anyone come?” was asked.</p> - -<p>“No, no; only parents and anyone whom I -may happen to invite. I shall be pleased to -see you, though you’re not a parent.”</p> - -<p>Colonel Hewson expressed his deep sense of -obligation with a rather blank face, adding, in -mild protest, that he regarded himself as a -parent. Here was one result of Alice Joyce’s -having become a head-mistress. She had -come to narrow the meaning of some words. -She was startled herself to find that things had -come to this pass, and said apologetically—</p> - -<p>“When I say ‘parent,’ I mean the person -in that relationship to girls—my girls. It is -stupid of me, because, of course, there <i>are</i>” -(her voice paused on a higher note) “other -parents.”</p> - -<p>Colonel Hewson’s face remained rather -blank, and he put his hand on an iron ring -suspended from the roof. Alice Joyce the -while had stationed herself beside a trapeze -bar. Colonel Hewson in a lady’s gymnasium -was not the most valiant man in the world, -but he now took heart of grace and proposed -marriage to Alice Joyce.</p> - -<p>The end of the story is perhaps best told in -the words of the heroine—</p> - -<p>“Of course I -said ‘No’ to him. -Really men are -very tiresome. -<i>Fancy a man’s -proposing when -you’re showing -him the gymnasium!</i>”</p> - -<div class="figcenter w175"> -<img src="images/i_535c.jpg" width="175" height="129" alt="" /> -<div class="caption"><p class="center">CRUSHED</p></div> -</div> - -<p class="center">(<i>To be continued.</i>)</p> - -<div class="figcenter w350"> -<img src="images/i_535d.jpg" width="350" height="199" alt="Decorative" /> -</div> - -<hr class="chap" /></div><div class="chapter"> - -<p><span class="pagenum"><a name="Page_536" id="Page_536">{536}</a></span></p> - - - - -<h2><a name="EMBROIDERY_WITH_CHENILLE" id="EMBROIDERY_WITH_CHENILLE">EMBROIDERY WITH CHENILLE.</a></h2> - - - - -<p><span class="smcap">Chenille</span> was, in days past, a popular -material for fancy needlework. It has recently, -after a period of disuse, been restored to -favour under somewhat different conditions. -Modern chenilles are obtainable in many more -soft and carefully shaded tints, and though -coarse makes are still used, some of the finer -qualities are no thicker than a strand of rope silk.</p> - -<div class="figcenter w300"><a id="FIG_1"></a> -<img src="images/i_536a.jpg" width="300" height="304" alt="" /> -<div class="caption"><p class="center">FIG. 1.—PENWIPER.</p></div> -</div> - -<p>Chenille can be used as a working thread if -passed through the eye of a chenille needle, or -it can be caught down in the desired curves by -couching it in place with finer silk.</p> - -<p>In the little penwiper shown at <a href="#FIG_1">Fig. 1</a> both -these methods are employed. The small -branching pattern within the scrolls is executed -in actual stitchery with chenilles, while for the -curves and along the top some of the same -materials are sewn down with stitches of -silk. As to colouring, the background is -green and the chenilles are brown, blue, pink -and green in tint; the brown and green details -are secured with stitches of bright yellow -crewel silk, which give little touches of brightness -at intervals. Two hints may be gleaned -from this penwiper. Firstly, that for workers -with whom felt-work, on account of its easiness -of execution, is still popular, chenille has -a better appearance than flat silk embroidery; -and, secondly, that on such small articles as -the one before us scraps of various colours -remaining over from larger undertakings can -be profitably utilised.</p> - -<div class="figcenter w500"><a id="FIG_2"></a> -<img src="images/i_536b.jpg" width="500" height="495" alt="" /> -<div class="caption"><p class="center">FIG. 2.—HANDKERCHIEF SACHET.</p></div> -<span class="pagenum"><a name="Page_537" id="Page_537"></a></span> -</div> - -<div class="figcenter w350"><a id="FIG_3"></a> -<img src="images/i_537a.jpg" width="350" height="516" alt="" /> -<div class="caption"><p class="center">FIG. 3.—HINGE.</p></div> -</div> - -<p>Work upon single thread canvas is almost as -inexpensive as that upon felt. Many shops -show a large stock of sachets, such as that -figured here, and of other trifles; mats, chair-backs, -cushion-covers, and so on, similarly made, -stamped with a design and bordered with satin. -To embroider these in any but a commonplace -manner might be thought impossible.<span class="pagenum"><a name="Page_538" id="Page_538">{538}</a></span> -Yet they can be improved and made more -important-looking by working with chenille.</p> - -<div class="figcenter w325"><a id="FIG_4"></a> -<img src="images/i_538.jpg" width="325" height="561" alt="" /> -<div class="caption"><p class="center">FIG. 4.—RETICULE.</p></div> -</div> - -<div class="figcenter w350"><a id="FIG_5"></a> -<img src="images/i_537b.jpg" width="350" height="537" alt="" /> -<div class="caption"><p class="center">FIG. 5.—SASH-END.</p></div> -</div> - -<p>The handkerchief sachet at <a href="#FIG_2">Fig. 2</a> is worked -in brown, green, pink and light and dark blue. -There is no couching here, but the chenille is -used to make actual outline and satin stitches -according to the necessities of the pattern. -The velvet-like surface of the chenille is quite -satisfactory, and the colour and substance of -the canvas are repeated, or at least suggested, -in the lace edging of the sachet. This is in -reality crochet, worked with cream-coloured -cotton of a rather coarse size.</p> - -<p>Setting aside now such materials as felt and -canvas, we come next to consider the suitability -of chenille on richer backgrounds; silk, velvet, -and so on. Here the finer qualities especially -are to be seen to full advantage. One of the -newest forms of the work has been introduced -by Mrs. Brackett of 95, New Bond Street, W., -and is remarkable as including imitations of -ancient Roman coins. These are of various -sizes and designs and found in two colours; -gold and “vert-de-gris,” the latter suggesting -the effect of centuries of ill usage. These -“coins” are of course thin and light, and -pierced with holes at the edges so as to be -easily sewn to the background.</p> - -<p>The designs of which they form a part are more -or less in character with them and often suggest -antique metal-work. For instance, <a href="#FIG_3">Fig. 3</a> -shows a specimen of such Roman embroidery -where the pattern bears a certain resemblance to -a heavy hinge, the effect being lightened with -a coiled spray of highly conventional foliage.</p> - -<p>Attention is always paid to the colouring of -this work. The foundation material is heavy -cream-coloured, or rather dark ivory moire, -shot with gold, and on this all the outlines of -the pattern are followed with gilt tinsel varying -from a fine cord to the most delicate -passing. The main portions of the pattern -are further emphasised within this boundary, -with fine silk chenille of several shades of dull -olive green sewn down with invisible stitches -of filoselle or horse-tail. French knots in -tinsel (passing) and in shades of green -embroidery silk are employed as fillings, the -silks being carefully chosen to assort with the -tints of the chenilles. All the scroll-work is -worked with the passing, the leaves being -outlined with the green silks.</p> - -<p>The subject chosen for illustration here is a -cover for a blotter, which being raised displays -the pad, while at the back of the embroidery, -which is stiffened with stout cardboard, are -pockets of pink and grey-green silk to hold -letters, or paper and envelopes. The work is -finally finished off with a border of dull gold cord.</p> - -<p>Similar designs appear on various other -articles. Blotters and book-covers form an -appropriate background, and so also do small -caskets with slightly domed tops.</p> - -<p>The reticule at <a href="#FIG_4">Fig. 4</a> is made on quite a -different principle throughout. The front and -back are formed of shield-shaped panels of -wood or strong card, covered with chenille -embroidery and with brocade respectively. -The front section only concerns us here. The -fabric chosen is dark blue velvet, and on this is -worked in tones of brighter blue a very conventional -flower. Long and short stitch is -used for the shading, the stitches being made, -of course, with a large-eyed needle threaded -with chenille. The colouring is darkest in -the centre, round a pink circle, from which start -three “stamens” of brown chenille edged with -fine tinsel. Some of the same Japanese tinsel -is used for veining the flower, and a few gilt -sequins are introduced to give a little additional -brightness. The stem is of green chenille.</p> - -<p>To make up the reticule, the panel covered -with embroidery as well as the opposite one of -pale terra cotta, blue and gold brocade were -lined with thin silk of a dull, brownish terra-cotta -colour. A two-inch wide band of some -of the same silk was sewn round the curves -(but not along the tops) of both sections, thus -forming the frame-work of the bag by hinging -the two parts of it together. A similar band of -some of the same silk was laid over the first one -and gathered along both edges that it might -set rather fully. Above the shields a strip -nearly as high as they (four to five inches) of -some of the same silk, was sewn on. This was -made of double material, that it might not be -too limp, and two lines of stitches two inches -from the top formed a running for the blue -suspension cords. These were finished off -with a cluster of shaded-blue baby ribbons. -Lastly an edging of gilt gimp edged the shields -and concealed their junction to the silk beyond.</p> - -<p>The three principal colours used, terra cotta, -blue and gilt, proved more successful than a -medley of many carelessly chosen tints such as an -amateur embroideress is but too apt to display.</p> - -<p>It cannot be too often repeated that materials -to be used together should be first arranged -and selected together, not merely worked up -because each in itself is bright or pleasing.</p> - -<p>As a general rule the more shades and the -fewer colours, the better will be the final effect.</p> - -<p>Tones of willowy green and of pink are the -only colours admitted in the sash-end seen -in the illustration (<a href="#FIG_5">Fig. 5</a>). Here, again, is<span class="pagenum"><a name="Page_539" id="Page_539">{539}</a></span> -yet another way of using chenilles, quite -different from those previously mentioned. In -working the first thing to be done is to trace -upon the material, pink watered silk ribbon in -this instance, the outlines of the design. The -bow and loops are formed of real ribbon folded, -gathered, and coaxed into the desired form, -and secured lightly and firmly with tacking -threads. Along both edges of the ribbon, just -within the selvedge, is couched a line of -chenille of a slightly darker shade of green. -This couching secures the green ribbon to the -moire, and the tacking threads can be cut and -drawn out at once, before they have had time -to mark the material. The nine oval pendants -issuing from the lowest loop of ribbon are -worked over with chenille of graduating -shades of green, the material being simply -laid across and across the space to be covered, -and caught down with stitches of silk at the -sides. These stitches sink into the chenille -and are covered, and are further effectually -concealed with a line of Japanese tinsel, carried -round each pendant and serving to keep it in -a good shape. The chenille when taken from -side to side in the manner described does not -in itself define the form sufficiently clearly. -The showers of sequins, pinkish and green in -colouring, must on no account be overlooked. -They are graduated in size and may vary in -form, according to the worker’s convenience, -but should not be omitted altogether.</p> - -<p class="right"> -<span class="smcap">Leirion Clifford.</span> -</p> - - -<hr class="chap" /></div><div class="chapter"> - - -<h2><a name="OUR_HERO" id="OUR_HERO">“OUR HERO.”</a></h2> - -<p class="ph3"><span class="smcap">By</span> AGNES GIBERNE, Author of “Sun, Moon and Stars,” “The Girl at the Dower House,” etc.</p> - - -<h3>CHAPTER XXXIII.</h3> - -<p class="ph3">A WARRIOR TAKING HIS REST.</p> - -<p><span class="smcap">The</span> rapid fall of darkness made it difficult -to pursue the enemy, who at every -point had been worsted. General Hope, -knowing that large reinforcements might -be expected to arrive soon in the French -camp, decided to carry out Sir John -Moore’s plan of immediate embarkation.</p> - -<p>At ten o’clock that night the march -began, brigade after brigade leaving -the field of battle and silently going on -board one transport after another. So -complete had been all previous arrangements -that, by morning light, almost -the whole British Army was on board.</p> - -<p>Meanwhile, anxious consultation had -taken place as to what should be done -with the beloved remains of the Commander. -Colonel Anderson settled the -question by stating that Moore had -often told him his wish—“if he ever fell -in battle, to be buried where he had -fallen.” It was decided that a grave -should be dug on the rampart of the -Coruña citadel.</p> - -<p>At midnight the body was reverently -borne into the citadel by Colonel Graham, -Major Colbourne and the Aides-de-camp. -For a few hours it lay in Colonel Graham’s -room.</p> - -<p>In the early morning firing was heard. -It was then determined not to put off the -funeral any longer, lest a fresh attack -should be impending and the officers -be compelled to hasten away before -paying the last honours to their Chief.</p> - -<p>Somewhat strangely, it fell to Roy Baron -to be present at this mournful ceremony.</p> - -<p>It so happened that, in the early -morning, Roy was sent by the Colonel -of his Regiment with a message to one -of the Aides-de-camp; and as he -arrived on the spot just when the funeral -was about to begin, he was allowed to -be one of the party in attendance.</p> - -<p>Not at dead of night, but at eight -o’clock in the chill morning of a January -day, and in the grave prepared by his -own men, Sir John Moore was laid. No -coffin could be procured. The body had -not been undressed. He wore still the -General’s uniform in which he had fought -his last battle, and—</p> - -<div class="poetry-container"><div class="poetry"><div class="stanza"> -<div class="verse">“He lay like a warrior taking his rest,</div> -<div class="verse indent2">With his martial cloak around him.”</div> -</div></div></div> - -<p>That same cloak, in which but a few -days earlier he had visited Roy in the -little hut,—had laid his kind hand upon -the boy’s arm,—had spoken never-to-be-forgotten -words of praise,—had smiled -upon him——</p> - -<p>Roy dared not let himself think of all -this. Burning blinding tears forced -their way to his eyes—and not to his -only—as he gazed his last upon that -perfect face in its pale sublime repose.</p> - -<p>Moore was carried by the “Officers -of the Family,” who would allow no -other hands to do for him these last sad -services. The Burial Service was read -by the Chaplain. And what was in the -hearts of them all has been told, in -words that cannot be improved upon, by -that noble elegy, which is Moore’s best -monument.</p> - -<div class="poetry-container"><div class="poetry"><div class="stanza"> -<div class="verse">“Few and short were the prayers we said,</div> -<div class="verse indent2">And we spoke not a word of sorrow,</div> -<div class="verse">But we steadfastly gazed on the face that was dead,</div> -<div class="verse indent2">And we bitterly thought of the morrow.</div> -</div><div class="stanza"> -<div class="verse">We thought as we hollowed his narrow bed,</div> -<div class="verse indent2">And smoothed down his lonely pillow,</div> -<div class="verse">That the foe and the stranger would tread o’er his head,</div> -<div class="verse indent2">And we far away on the billow.</div> -</div><div class="stanza"> -<div class="verse">Lightly they’ll talk of the spirit that’s gone,</div> -<div class="verse indent2">And o’er his cold ashes upbraid him;</div> -<div class="verse">But little he’ll reck, if they’ll let him sleep on,</div> -<div class="verse indent2">In the grave where a Briton has laid him.</div> -</div><div class="stanza"> -<div class="verse">But half of our heavy task was done,</div> -<div class="verse indent2">When the clock struck the hour for retiring,</div> -<div class="verse">And we heard the distant and random gun</div> -<div class="verse indent2">That the foe was sullenly firing.</div> -</div><div class="stanza"> -<div class="verse">Slowly and sadly we laid him down,</div> -<div class="verse indent2">From the field of his fame fresh and gory,</div> -<div class="verse">We carved not a line, and we raised not a stone,</div> -<div class="verse indent2">But we left him alone with his glory.”<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></div> -</div></div></div> - -<p>For every man in the Army had lost -a friend that day; and many a one felt -with passionate grief that the world, -without John Moore in it, would be for -him a changed world thenceforward.</p> - -<p>Hard things were spoken of him after -he was gone, and upbraidings, indeed, -were uttered—<i>not</i> by his brave foe, who -honoured Moore, and wished to raise a -stone to his memory—but by an ungrateful -section of his own countrymen, -because, forsooth, with an Army of only -twenty-three thousand men he had not -met and crushed two hundred thousand. -We know better now! In the cold clear -light of history, such fogs are driven away.</p> - -<p>Yet, even in these later days, have -we made enough of the name of John -Moore? Have we thought enough of -the man of whom Napoleon in the -zenith of his fame could declare that he -was the only General left fit to contend -with himself, and against whose twenty-three -thousand men he counted it needful -to bring in a fierce rush over eighty -thousand, failing even then in his -purpose? Have we thought enough -of the man under whom the future -Wellington wished nothing better than -to serve?—and about whose “towering -fame” the sober historian of the Peninsular -War wrote in terms of unstinted -praise? Have we thought enough of -the man who, while the bravest of the -brave, was also the most blameless and -the most beloved of men, against whom -Detraction had no word to utter, save -that he stood up almost too strenuously -for his country’s honour, and that he -did not accomplish impossibilities?</p> - -<p>If not, it is surely time that his -countrymen should begin to “do him -justice!”</p> - -<p>But for that fatal cannon-ball—who -can say?—would Wellington have become -the foremost man in Europe, or -would he have been second to Moore? -It might have been Moore, not Wellington, -who turned the tide of Napoleon’s -success.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> It was Moore who stemmed -that tide, with his spirited countermarch -and splendid retreat, drawing -the Enemy after him, until he stood at -bay upon the coast, and hurled back the -onset of the flower of Buonaparte’s Army.</p> - -<p>Of Moore’s personal valour, of his -indomitable courage, of his desperate -enthusiasm, no voice was ever heard -in question. To his consummate -generalship, his mingled audacity and -calculation, this marvellous Retreat -bore ample witness, but for many -years it was not rightly understood by -the mass of his own countrymen. Napoleon, -Soult and Ney gauged him far more -truly than did the average Englishman -of his day. Not even against the future -Wellington would Napoleon have poured -such an overwhelming force as he -launched against Moore.</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<hr class="chap" /></div><div class="chapter"> - -<p><span class="pagenum"><a name="Page_540" id="Page_540">{540}</a></span></p></div> - - - - -<h2><a name="OUR_LILY_GARDEN" id="OUR_LILY_GARDEN">OUR LILY GARDEN.</a></h2> - -<p class="ph3">PRACTICAL AIDS TO THE CULTURE OF LILIES.</p> - -<p class="ph3"><span class="smcap">By</span> CHARLES PETERS.</p> - - -<p><span class="smcap">What</span> garden is complete without the good -old tiger-lily? Other lilies are finer and more -graceful, no doubt, but the old-fashioned -tiger-lily will always hold its own in the -struggle for popularity.</p> - -<p>Although we call it an old-fashioned flower, -it has not been grown in England for so very -long, being unknown before this century. It -made a bit of a stir, too, when it first blossomed -in England. And no wonder that it did, -when we see what a grand sight a bed of -these lilies really is.</p> - -<p><i>Lilium Tigrinum</i> is a native of China, but -it has long been cultivated in Japan, and it is -from the latter country that we obtain most of -our foreign bulbs.</p> - -<p>A curious fact, which we have frequently -noticed in connection with this lily, is that -the size of the annual portion of the plant -seems to bear no relation to the size of the -bulb. In most lilies large bulbs produce fine -plants, though we have seen that this is by no -means always the case. But with <i>L. Tigrinum</i> -the shoot apparently bears no relation whatever -to the size of the bulb. If planted in -very good soil, all the bulbs of <i>L. Tigrinum</i> -seem to do equally well; whereas in an -unsuitable soil all seem to fare equally poorly.</p> - -<p>The bulbs are heavy and white, with the -scales very dense and closely packed.</p> - -<p>In growth this lily resembles <i>L. Auratum</i> -in some respects, and the members of the -<i>Isolirion</i> group in others. The leaves are very -green and glossy, and are present in larger -numbers than is commonly the case with -lilies.</p> - -<p><i>L. Tigrinum</i> is one of the two lilies which -constantly bear bulblets in the axils of their -leaves. We have seen that under certain -circumstances several of the other lilies -produce these aërial bulblets, but the tiger-lily -invariably does so. The bulblets are deep -glossy purple in colour, and are often produced -in great numbers. If planted as soon as they -are ripe, they will grow freely and produce -flowering spikes in their second or third year.</p> - -<p>Everyone knows the blossom of the tiger-lily. -The pyramidal shape of the inflorescence, -with its nodding bell-like blossoms, -irresistibly suggests a Chinese pagoda, and -when looking at the plant one can almost -feel that it hails from China.</p> - -<p>The segments of the blossoms of the tiger-lily -are much re-curved, their tips touching -their points of origin. The colour of this lily, -reddish orange, is very different from that of -any that we have already described, but as we -shall see later, it is a very common colour -among the lilies. In the type of -the tiger-lily the colour is a very -fine orange, and the spots, which -are very numerous, are deep purple.</p> - -<p>The tiger-lily often bears seed -in this country if the bulblets are -removed. As, however, seed is -the least satisfactory mode of propagating -lilies, it is far better to -utilise the bulblets for this purpose.</p> - -<p>Individually, the tiger-lily is a -fine plant, but its full effect is only -to be obtained by growing it in -great clumps. A bed of tiger-lilies -is a grand sight, and it blossoms -in September and October, -a time when showy plants are not -very numerous.</p> - -<div class="figcenter w400"> -<img src="images/i_540.jpg" width="400" height="528" alt="" /> -</div> - -<p>There are several -varieties of the -tiger-lily. That -which is most commonly -grown is -called <i>splendens</i>, -because it is very floriferous, and the flowers -are of large size, fine colour, and are thickly -spotted.</p> - -<p>Another variety, called <i>Fortunei</i>, is also -very fine. It grows to the height of six feet, -and the stem and buds are covered with white -silky down. The flowers are very numerous, -often exceeding thirty in number. They are -large, less reflexed than in the type, and only -sparingly spotted with large spots.</p> - -<p>The tiger is the second lily we have met -with of which there is a double-flowered -variety. There are only four double lilies, -and none of them possesses the elegance of -the single form. The old double tiger-lily is -very full and is interesting, though far inferior -in beauty to the type.</p> - -<p>There is little to be said about the cultivation -of the tiger-lily. It is perfectly hardy and -will grow anywhere. It prefers a rich soil, and -in poor or damp spots it often degenerates.</p> - -<p>There is a lily which resembles the tiger-lily -so closely that very few people could distinguish -between them unless they were placed side by -side. And yet most writers on the subject -have separated this lily from the tiger-lily and -placed it among the <i>Martagon</i> group, a group -of lilies differing extremely from the one which -we are now considering.</p> - -<p>The lily which we refer to is called <i>Lilium -Maximowiczii</i> or <i>Pseudo-Tigrinum</i>. It resembles -the tiger-lily very closely, but is not -so sturdy in growth, and the flowers are -smaller and poorer than those of the tiger-lily. -There are several named varieties known.</p> - -<p>Another lily of the same class is <i>Lilium -Leichtlini</i>, the exact counterpart of the last -species, only differing from it in the colour -of its flowers, which are lemon yellow instead -of orange. It is thickly spotted with small -mahogany spots and streaks. It is a very -desirable lily because of its uncommon colour, -and it is not by any means difficult to grow.</p> - -<p>Both <i>L. Maximowiczii</i> and <i>L. Leichtlini</i> -require a moist peaty soil. Plenty of peat, -plenty of sand, plenty of water and very little -direct sunshine, are the keystones of the -successful cultivation of these lilies.</p> - -<p>At an auction last year we gave seven and -sixpence for two very small bulbs of <i>Lilium -Henryi</i>, a lily which has only lately been -introduced, but one which is fast rising into -prominence from its curious colour, its bold -growth and its hardiness.</p> - -<p><i>Lilium Henryi</i> is usually called the “orange -<i>Speciosum</i>,” but in it we can see far more -resemblance to the tiger-lily than we can to -<i>L. Speciosum</i>. It seems to connect the <i>L. -Tigrinum</i> and <i>L. Speciosum</i>. Its growth, -its leaves, its flower buds and its habits -suggest a close resemblance to the tiger-lily. -But the raised tubercles and spines of the -blossom recall <i>L. Speciosum</i>. The shape of -the blossom is nearer to that of <i>L. Tigrinum</i> -than it is to <i>L. Speciosum</i>, and the colour is -totally different from either.</p> - -<p>Dr. Henry’s lily blossoms late in September, -or in the beginning of October. Fine -examples grow six to eight feet high and -produce sixteen to forty blossoms. The -flowers are bright orange without spots.</p> - -<p>Our two specimens failed to reach the -height of eighteen inches, but both produced -blossoms—one a solitary one, the other a -pair. This is all that can be expected from -bulbs at three and ninepence a-piece. We -expect to do much better this year.</p> - -<p>The hardiness of this lily is unquestionable, -and it needs no special cultivation.</p> - -<p><span class="pagenum"><a name="Page_541" id="Page_541">{541}</a></span></p> - -<p>This lily is a native of China and is at -present extremely scarce. Unless you are -prepared to give ten shillings for a single -bulb it is not worth while to grow it. If the -bulbs ever get to be as cheap as a shilling or -eighteenpence each, it will be well worth -growing, but at ten shillings a bulb! It is -monstrous to pay such a sum for a lily which -at its best is only of inferior beauty.</p> - -<p>The lilies which we have considered so far -are all remarkable for the elegance of their -forms and the striking colours of their flowers. -If the reader has dreamed that all lilies are -equally beautiful, or, at all events, that all -are of great beauty and elegance, we are -sorry to have to awaken him to the sad reality -that there are many lilies which are not -beautiful in colour and which are extremely -inelegant in form.</p> - -<p>The next group of lilies, <i>Isolirion</i>, contains -many species, in all of which the flowers are -erect and the segments little if at all reflexed. -They are of low growth, and the blossoms are -mostly orange in colour.</p> - -<p>This group of lilies contains many old garden -favourites which, though they possess but little -individual beauty, are yet pleasing in the flower -bed from the brightness and size of their -blossoms, and for the early period at which -they flower.</p> - -<p>There is a great sameness about the members -of the group <i>Isolirion</i>, and as there are -many garden varieties of most of the species, -some of which are possibly hybrids, it is a -most difficult task to separate the various -species from one another.</p> - -<p>We associate the lily with elegance. What, -then, should we imagine <i>Lilium Elegans</i>, <i>the</i> -elegant lily to be like? And what is the -reality? A low-growing clumsy stalk bearing -two or three top-heavy enormous blossoms -sticking bolt upright, chiefly of crude colours! -As inelegant a plant as it is possible to conceive, -having about as much right to the -title of <i>elegans</i> as has the hippopotamus! -Where did this lily get its name from? It -has another title, <i>Lilium Thunbergianum</i>, or -Thunberg’s lily. Which of these names -shall we use? Which is the less objectionable? -The name which records the chief -characteristic which the plant lacks, or that -concocted of a Latinised version of the name -of a human being? Formerly this lily was -called <i>Lilium Lancifolium</i>, or the lance-leafed -lily, a name which, though it might be -equally well applied to nearly every known -species of lily, is yet better than either of its -modern names. But we cannot use this name, -for florists will persist in applying the name -<i>Lancifolium</i> to <i>L. Speciosum</i>.</p> - -<p><i>L. Elegans</i> grows about a foot high, and -each stem bears from one to four blossoms. -The blossoms are very large, very inelegant, -and short-lived. But they make up to a -certain extent in colour what they lack in form.</p> - -<p>There are innumerable varieties of <i>L. -Elegans</i>, differing chiefly in the colour of the -flowers. Some of the colours are very fine, -others are harsh and crude.</p> - -<p>We append a table of the colours of the -best known varieties. An asterisk is placed -before the most desirable forms.</p> - -<p><i>L. Elegans</i> produces both a double and a -semi-double variety. We should have thought -that a “semi-double” flower was the same as -a single one. But it is not so. A semi-double -equals a one-and-a-half blossom! -That is, a double corolla of which the inner -part is abortive.</p> - -<p><i>Lilium Croceum.</i> The old orange lily -resembles <i>Lilium Elegans</i>, but it grows taller, -and produces a far larger number of blossoms. -This is the finest of the upright orange lilies. -The blossoms are large and reddish-orange in -colour, spotted with black. The plant grows -to about three feet high, and is very showy.</p> - -<p>In Ireland this lily is the national emblem -of the Orangemen; and when travelling in -that country you can tell, so we have been -assured, the political opinion of the owner of -a house by observing what lilies he grows -in his garden. The Orangemen are said to -grow none but the orange lily, while the rest -of the population cultivate only the Madonna -lily (<i>L. Candidum</i>).</p> - -<p>A variety of <i>L. Croceum</i> named <i>Chauixi</i> is -of a bright yellow colour, and is finer than the -type.</p> - -<p>This lily is found wild in various parts of -Central Europe. It has been in cultivation for -centuries; but lately it has almost lost its -place as a garden lily, having been discarded -in favour of some of the varieties of <i>L. -Davuricum</i>, which are much cheaper, but -nothing like so fine.</p> - -<p>The term <i>L. Umbellatum</i> is applied to -certain varieties and possibly hybrids of <i>L. -Croceum</i> and <i>L. Davuricum</i>.</p> - -<p>A very similar species is <i>Lilium Davuricum</i>, -a native of Siberia. The wild plant rarely -bears more than two blossoms on each stem; -but in cultivation flower-spikes of twenty or -more blossoms are not uncommon.</p> - -<p><i>L. Davuricum</i> is frequently grown in -gardens. There is a large number of named -varieties of this lily, but all the forms are very -similar, and in no way deserve separate names. -The plant grows to about four feet high, and -produces from four to thirty flowers of a dirty -orange colour.</p> - -<p><i>Lilium Bulbiferum</i> very much resembles -the lilies we have just mentioned, but it may -be at once distinguished from any other -<i>Isolirion</i> by the bulblets which are formed in -the axils of the leaves. These bulblets are -large and purple in colour. Not very -uncommonly bulblets form in the axils of the -leaves of <i>L. Davuricum</i> or <i>L. Elegans</i>; but -when they do, they are small and green.</p> - -<p>The blossoms of <i>L. Bulbiferum</i> are like -those of <i>L. Davuricum</i> on a smaller scale. -The same upright position, the same poorness -of form, and the same dirty orange colour, -which is so persistent among the members of -the group <i>Isolirion</i>, are present in both. But -the blossoms of <i>L. Bulbiferum</i> are distinctly -smaller than are those of <i>L. Davuricum</i>.</p> - -<p>If the lilies we have just described are not -particularly remarkable for beauty, they are, -nevertheless, very desirable subjects for the -flower garden. They are showy, extremely -hardy, flower in early June, when showy -flowers are rare, and readily increase when -once established. <i>L. Elegans</i> looks best -planted in rows and borders, its low growth -suiting it admirably for such treatment.</p> - -<p>These lilies will grow anywhere, in any soil. -A little peat and sand should be mixed with -the soil in which these lilies are planted.</p> - -<p>Although they will grow well enough in pots, -these lilies are quite worthless for pot culture.</p> - -<p>One of the best of the <i>Isolirion</i> group of -lilies is <i>Lilium Batemanniae</i>. This plant -resembles <i>L. Elegans</i> in some particulars, but -its blossoms are quite distinct. They are of a -rich unspotted apricot colour. The perianth -is more reflexed than is commonly the case in -this group. It flowers in the late summer. -It should be grown in a good peaty soil.</p> - -<p><i>Lilium Wallacei</i>, a very similar species, -has the flowers of a rich apricot, densely -spotted with black. The bulbs of this species -are very small. It requires similar treatment -to the last.</p> - -<p><i>Lilium Philadelphicum</i> is an American -species, and has a rhizomotose bulb. The -stem produces a single blossom, dirty orange -colour spotted with black and yellow. It -requires a wet, very peaty soil.</p> - -<p>Another American species is <i>Lilium -Catesbaei</i>, a very curious and interesting plant. -The bulb is unlike that of any other lily -except <i>L. Avenaceum</i>. It somewhat resembles -a fir-cone. This plant grows to the height of -about a foot. It produces a single blossom, -about five inches across. The segments are -curiously curved and curled. Its colour is -reddish orange and yellow. It should be -grown in a peaty soil, but it is a somewhat -tender species, and is not really suitable for -outdoor culture in this country.</p> - -<p>We have hurried through this group of lilies -because the species are not remarkable either -for form or for colour. They are certainly -inferior to any other of the genus <i>lilium</i>.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="center" class="bb bt">Variety.</td><td align="center" class="bb bl br bt">Colour of Flower.</td><td align="center" class="bb bt" colspan="2">Other Peculiarities.</td></tr> -<tr><td align="left"> Type</td><td align="center" class="bl br">Dirty orange, spotted.</td><td align="center">..</td><td align="center">..</td></tr> -<tr><td align="left">*<i>Van Houttei</i></td><td align="center" class="bl br">Deep red, spotted black.</td><td align="center" colspan="2">The best of the red varieties.</td></tr> -<tr><td align="left">*<i>Horsmanni</i></td><td align="center" class="bl br">Deep red, spotted black.</td><td align="center" colspan="2">Very rare and difficult to obtain.</td></tr> -<tr><td align="left">*<i>Aurantiacum Verum</i></td><td align="center" class="bl br">Pale terra-cotta, very slightly spotted.</td><td align="center" colspan="2">Best of terra-cotta varieties.</td></tr> -<tr><td align="left"> <i>Robustum</i></td><td align="center" class="bl br">Dirty orange, spotted.</td><td align="center" colspan="2">Very early. Stem covered with down.</td></tr> -<tr><td align="left">*<i>Atro-Sanguineum</i></td><td align="center" class="bl br">Very deep red, slightly spotted.</td><td align="center" colspan="2">Fine variety.</td></tr> -<tr><td align="left">*<i>Prince of Orange</i></td><td align="center" class="bl br">Terra-cotta, slightly spotted.</td><td align="center" colspan="2">Inferior to <i>Aurantiacum Verum</i>.</td></tr> -<tr><td align="left"> <i>Wilsoni</i></td><td align="center" class="bl br">Lemon-yellow, spotted.</td><td align="center">..</td><td align="center">..</td></tr> -<tr><td align="left">*<i>Alice Wilson</i></td><td align="center" class="bl br">Clear lemon-yellow.</td><td align="center" colspan="2">Very curious. The best of the yellow varieties.</td></tr> -<tr><td align="left"> <i>Bicolor</i></td><td align="center" class="bl br">Orange.</td><td align="center" colspan="2">A poor form.</td></tr> -<tr><td align="left"> <i>Brevifolium</i></td><td align="center" class="bl br">Dirty orange, spotted.</td><td align="center" colspan="2">A poor form.</td></tr> -<tr><td align="left">*<i>Incomparabilis</i></td><td align="center" class="bl br">Deep red, spotted.</td><td align="center" colspan="2">Inferior to the other deep red varieties, but bearing larger blossoms.</td></tr> -</table></div> - -<div class="figcenter pad2 w200"> -<img src="images/i_541.jpg" width="200" height="70" alt="" /> -</div> - -<hr class="chap" /><div class="chapter"> - -<p><span class="pagenum"><a name="Page_542" id="Page_542">{542}</a></span></p> - - - - -<h2><a name="THE_HOUSE_WITH_THE_VERANDAH" id="THE_HOUSE_WITH_THE_VERANDAH">THE HOUSE WITH THE VERANDAH.</a></h2> - -<p class="ph3"><span class="smcap">By</span> ISABELLA FYVIE MAYO, Author of “Other People’s Stairs,” “Her Object in Life,” etc.</p> - - -<h3>CHAPTER VIII.</h3> - -<p class="ph3">A FALL IN THE KITCHEN.</p> - -<div class="ddropcapbox w100"> -<img class="idropcap" src="images/i_542.jpg" width="100" height="304" alt='L' /></div> - -<p><span class="uppercase">ucy</span> felt wonderfully cheered -and strengthened as -Christmas approached. -She was working hard -and successfully. She -had completed her -sketches and had received -payment for them, -and she meant to give -herself a little holiday -from Christmas Eve until -after the New Year, so -that she might go fresh -and bright to take her -class at the Institute, -which would re-open on -January 3rd.</p> - -<p>“Giving herself holiday” -only signified that -Lucy hoped to enjoy a -week of her old life as Hugh’s mother and -as general housewife. Like many who -have special gifts, Lucy really enjoyed -house-work and needlework. She intended -in this interval to so overhaul -book-cases, china cupboard and linen -closet, that she might afterwards apply -herself to her “professional” work with -the contented assurance that her household -would run on for awhile without -other care than the worthy Mrs. Morison -seemed able and willing to give.</p> - -<p>Lucy felt that she had indeed found a -treasure! She had not yet despatched -any letter to Charlie, as the <i>Slains -Castle</i> would not touch at its first port -for fully three months, and it was not -yet quite time for the mail which would -take a letter there to await his arrival. -But though the letter was not despatched, -it was begun. It had been begun the -day after she got Charlie’s farewell telegram, -and a few lines had been added -every night.</p> - -<p>Now the letter would soon have to be -despatched, and as Lucy sat down to -her desk on Christmas Eve, she felt that -she could safely tell the whole story of -Pollie’s departure, and of the blessing -which filled her vacant place. Mrs. -Morison had been in the kitchen nearly -two months, and every day she gave -greater satisfaction. She had thrown -herself with great zest into the idea of -the Christmas party, and Lucy began to -think that under this cook’s skilled -fingers her festive dishes would probably -achieve perfections at which she and -poor Pollie had never aimed. As she -sat writing to Charlie concerning the -domestic good fortune which had befallen -her, she felt her heart grow very -soft towards this middle-aged woman -who had once had a home of her own, -but who was now so contentedly and -worthily serving others. What life of -her own had she? She had paid no -visit since she had entered Lucy’s service; -she had had no visitor. Yes, -Lucy remembered she had had one—a -middle-aged woman, who had called on -her when she had been in her situation -for a month. She had volunteered to -say that this person was the wife of her -cousin, the plumber at Willesden. Lucy -had asked whether she had offered her -a cup of tea. No, Mrs. Morison said; -her cousin would not expect that; and -Lucy had rejoined that she hoped she -would show this little hospitality on -future occasions. Lucy remembered -now that Mrs. Morison had not seemed -brightened by this visit, nay, that for a -day or two afterwards she had even -seemed a little depressed. It occurred -to Lucy that perhaps this cousin had -come possibly seeking a little loan, or -perhaps pressing for the repayment of -some trifling debt. Lucy knew that -one or two of Pollie’s relatives had not -been inclined to spare her hard earnings, -and that Charlie and she had -intervened to protect the girl from the -weak soft-heartedness which can be so -easily wrought upon by the loafing or -the greedy.</p> - -<p>What Christmas in any real sense -would there be for this woman in the -kitchen, whose presence there yet made a -social Christmas possible for the rest of -the household? If she had any old -friends they must be in the North, -beyond the reach of anything but the -struggling, slow letters of the uneducated. -Lucy wondered whether there -was anybody to whom Mrs. Morison -would like to send some “gift from -London in kind remembrance.” She -had taken quite a pathetic interest in -certain trifling gifts which Lucy had despatched -that afternoon.</p> - -<p>“Eh, it’s bonnie!” she had said, -adding with a little sigh, “It’s a gran’ -thing to gie pleasure to folk.”</p> - -<p>Lucy had got a nice cambric handkerchief -with an “M” in the corner, tied -up with a piece of red ribbon, which -was to be Mrs. Morison’s own Christmas-box. -It was all that it was reasonable -to give to a servant who had been -only two months in the house, to say -nothing of the fact that Lucy was -anxious to spend little this year, and -had sent no Christmas gift save what -was taken out of her own stores or of -her own manufacture.</p> - -<p>But Lucy wondered whether she could -not do something more.</p> - -<p>A bright idea seized her. Mrs. Morison’s -next month’s wage would not fall -due till just after the New Year. Why -shouldn’t Lucy advance it to her now? -That would not impoverish Lucy, who -had the money in her purse, and yet it -might be a real neighbourly kindness.</p> - -<p>She laid down her pen, sprang up -and hurried to the kitchen, which was -pervaded by festive smells of spice and -stuffing herbs.</p> - -<p>“Mrs. Morison,” she said, “as your -month’s wages are due just after the -New Year, I should like to advance -them to you now. Most of us spend a -little extra at this season, and as you -haven’t been earning money for some -time, you may not have much cash ready -at hand. For one does not care to -disturb one’s little investments to buy -Christmas cards or comforters.”</p> - -<p>She laid on the table a sovereign and -a little silver.</p> - -<p>“Oh, ma’am,” cried Mrs. Morison, -“you’re far ow’re kind! You shouldn’t -ha’ thought o’ sic a thing. ’Deed, there -is a thing or two one would like to do, -though there’s no many carin’ for me -now. An’ you gave me my last month’s -money down on the vera day, an’ it -came in handy when my cousin’s wife -called. I was glad to have a bit to -help her with, poor body, for they’d -been kind to me, and they’ve got a -cripple child, and some of their customers -are slow in paying bills. There’s -a mighty differ between people, as I’ve -often heard my poor husband say.”</p> - -<p>Lucy went back to her letter as light-hearted -and elate as we always feel -after doing a trifling kindness. She -confided it all to her letter to Charlie—told -him why she had interrupted her -writing, and how very pleased Mrs. -Morison had been, and how nicely -she always spoke about “the master.” -She added that she should finish her -letter on the evening of Christmas Day -after the visitors had gone, when she -could tell him how everything had -passed off. “So it will seem almost as -if we had had Christmas together after -all.” She had just written this when Mrs. -Morison came into the parlour, saying,</p> - -<p>“Please, ma’am, you won’t mind if I -go out for a little? I sha’n’t be gone -more than half-an-hour. It won’t ill-convenience -you?”</p> - -<p>“Certainly not,” Lucy answered cordially. -“She is off to buy something,” -she thought to herself, and added aloud, -“I’m afraid you are rather late for most -of the shops.”</p> - -<p>“Some of them keep open late -on Christmas Eve,” said Mrs. Morison; -“not the shops you’ll know, m’m, but -quiet little places where working people -go.”</p> - -<p>Mrs. Morison came back in about -a quarter of an hour. She had a parcel -under her shawl, and in her hand was a -little bright-coloured ball.</p> - -<p>“If you please, m’m,” she said, -“I’ll make bold to drop that into the -stocking that I see you’ve hung outside -Master Hugh’s door. And I’m sure -I’m sending my good Christmas wishes -to the master, if the winds will carry -them. And please, ma’am, if you’ll -do me a favour, you won’t trouble -yourself a bit about kitchen things to-morrow, -but just trust to me. All is -ready now as far as it can be till it’s -fairly put on the fire.”</p> - -<p>Lucy gratefully promised full confidence. -She had fixed her dinner-hour -carefully—two hours earlier than she -had ever had Christmas dinner. It was -to come off at four o’clock, because it -would not be nice for dear old Miss -Latimer to have to return home late,<span class="pagenum"><a name="Page_543" id="Page_543">{543}</a></span> -now there was no Charlie to escort her. -It would not have been kind to fix it -sooner than four, since Wilfrid Somerset -so much disliked being abroad before -dusk.</p> - -<p>Next morning, after the Christmas -cards had been admired and arranged -gaily on the mantelshelf—after the -Christmas stocking had been emptied -of all its contents and Hugh had made -a right guess as to the giver of the -pretty ball—Lucy and Hugh went to -morning service. Of course, the familiar -hymns, even the fresh smell of the -“holly, bay and mistletoe” of which -the church was full, all had a pathos -for her, as indeed they do for everybody -except such as little Hugh, to whose -short experience it seems that all -Christmas Days will be as this one or -even more abundant. Yet Lucy reflected -that, looking forward, she could never -have foreseen herself so full of cheer -and patience and hope.</p> - -<p>Kneeling in her pew, thinking of all -the happy festivals of her married life, -her mind went back to those earlier -days when she and Florence had looked -over one book while they warbled—</p> - -<div class="poetry-container"><div class="poetry"><div class="stanza"> -<div class="verse">“Hark, the herald angels sing,</div> -<div class="verse">Glory to the new-born King,</div> -<div class="verse">Peace on earth and mercy mild,</div> -<div class="verse">God and sinners reconciled.”</div> -</div></div></div> - -<p>Then—as always happens with all -healthy, right-minded people, when their -nerves are emerging, quiet, after a -storm, and their hearts are full of thankfulness -for blessings already realised, -and for hopes brightening before them—Lucy -began to wonder whether she had -not been a little severe and unjust to -Florence—whether she might not have -blamed her for jars due rather to -Lucy’s own morbidly irritable condition. -She was glad she was to spend Christmas -Day in her own house—glad that -Miss Latimer and Mr. Somerset and -the country boy were to be her guests—but -possibly it did seem hard to -Florence that she had been set aside. -That last speech of hers about being -now free to invite other guests might -perhaps have been wrung from her by a -jar inflicted by Lucy herself. Lucy felt -that she would be the happier at her -own little festival, if she could feel quite -sure that all was right between Florence -and herself, and that she had made -due amends for aught she had done -amiss.</p> - -<p>She and Hugh were to have a slight -lunch when they returned from church. -She resolved that they would hurry over -this, and then go to the Brands’ house, -just to wish them “A Merry Christmas!” -They could be back in the little -house with the verandah before Miss -Latimer and Mr. Somerset could arrive.</p> - -<p>They had to knock twice before Mrs. -Morison let them in.</p> - -<p>“She’s so busy with her cooking, -ma,” Hugh explained sagaciously. And -indeed when she did come, her face was -very red, and she was so pre-occupied -that, as Hugh lingered a moment to -knock snow from his boot, she actually -hurried back to her kitchen and left -them to close the door themselves.</p> - -<p>“Don’t roast yourself as well as the -chickens, Mrs. Morison!” Lucy called -after her playfully.</p> - -<p>Their nice little cold meal was -awaiting them on a side table in the -dining-room, the dining-table itself being -already occupied by the best napery, -crystal and cutlery, set out by Lucy -before she went to church.</p> - -<p>Hugh was all eagerness to see his little -cousins and their Christmas cards and -gifts—they were sure to have so many, -and such beauties!</p> - -<p>After all, the call, though satisfactory -in one sense, proved less so in another. -It convinced Lucy that her sister had not -been hurt or offended; it also convinced -her that the whole matter had been of -such slight interest to Florence that she -had forgotten all about it!</p> - -<p>Jem Brand did not seem even to know -that Lucy had been invited to be his -guest! Said he—</p> - -<p>“You ought to have been invited, and -anyhow, wouldn’t you stay on now? -There are a good many people coming, -but there would be room for you, never -fear.”</p> - -<p>Even when he heard she was to have -guests of her own, he actually suggested -that he should send round a cab and -bring them all over!</p> - -<p>It seemed to Lucy that Florence -spoke rather sharply to Jem, saying -significantly, that he had better not go -into the dining-room again till dinner -was served. She supposed Florence -was tired and cumbered. Florence -had sent out a hundred and fifty -Christmas cards—“Private cards, of -course!”—one conventional salutation -alike to oldest friend and newest acquaintance, -to the wise and to the -simple, the merry and the sad. And -Florence had received already two -hundred cards, and nearly one hundred -were from people whom she had overlooked, -and whom she would have to -“remember” at New Year. Also, the -cutler had not sent home her new fruit -knives with the agate handles, and she -would have to use her old ones. It was -enough to provoke a saint!</p> - -<p>The two little Brand girls were whining -and fuming.</p> - -<p>“Muriel is out of sorts,” said the -lady nurse, “because she has been -allowed to breakfast with her mamma -and has eaten too much cake, and -Sybil is out of temper because her -papa has given Muriel a mechanical -walking doll, and she does not think her -own gift of toy drawing-room furniture -so good.” She would have stamped -on it had not the lady nurse taken it -away.</p> - -<p>“I must soothe them up somehow to -make a pretty appearance downstairs -after dinner,” she said. “And a nice -to-do I shall have up here when they -come back again.”</p> - -<p>Well, at any rate, the comfort was -that Florence kissed Lucy almost -effusively.</p> - -<p>“It was so sweet of you to come!” -she said. She might be sharp with Jem -and vexed about her children, but it -was evidently all right between her -and Lucy. “How well-behaved your -Hugh is!” she said, and clung on -to her sister, pouring out the story of -all the frictions working in her own -kitchen.</p> - -<p>Lucy hinted gently that she must be at -home in time for her visitors; but she -remembered the mission which had -brought her, and shrank from seeming -unsympathetic. At last it was so late -that she had to say definitely that she -must go at once, or she would not be -back in her own house at four o’clock.</p> - -<p>“Dear me”—Florence looked at her -watch—“you really must go! It’s well -you don’t have much dressing for dinner -to do, or you’d be late already. It has -been such a comfort to have a reasonable -creature to speak to. And you’ll take a -cab, my dear, or I’ll never forgive myself -for having kept you. You are to take a -cab, mind!”</p> - -<p>Lucy smiled and hurried away. A -cab? No! A woman who knows what -it is to earn shillings cannot willingly -afford to spend them because another -woman’s whim delays her. Lucy, too, -looked at her watch. There would be -just time for her to reach home ere her -guests arrived.</p> - -<p>When they got into the quieter streets -she shortened the journey by running -little races with Hugh. Nevertheless, -just as they came in sight of the house -with the verandah, they saw Mr. Somerset’s -cab drive up.</p> - -<p>They all went in together. Of course, -Mrs. Morison opened the door. She -had on a fresh white apron as if she -were ready to serve up dinner. Mr. -Somerset had a big parcel to get out -of his cab, and that made a little delay, -during which Mrs. Morison hurried off -again downstairs.</p> - -<p>Lucy was comforted to find that Miss -Latimer had not arrived yet, nor the -lad Tom Black. Mr. Somerset was such -an old and familiar friend that she could -easily leave him to the chattering ministrations -of little Hugh, while she hurried -to her own room to take off her walking -garb and add a few touches of lacy -brightness to her apparel.</p> - -<p>While she was thus employed, she -heard Hugh give a shout of joy and go -leaping downstairs. From the drawing-room -window, he had seen Miss Latimer -approach. Lucy heard him and the old -governess exchanging rapturous greetings. -She went out and met Miss -Latimer, and led her to her own room, -where the old lady had some little -titivations to make, and a few private -inquiries to get answered, so that they -lingered there until another knock -announced Tom Black, and they went -downstairs to receive him.</p> - -<p>They found the youth standing -awkwardly alone on the landing outside -the drawing-room door. He had -only just reached that spot, led thereto by -the sound of Hugh’s shrill pipe and -Mr. Somerset’s deeper tones. He was -vastly relieved to see Lucy, and to be -made welcome by her. Lucy herself -made the inward reflection that Mrs. -Morison was either less trained in -receiving guests than in other departments -of service, or that she felt her -devotion to the Christmas dinner must -justify any lapse in minor attentions.</p> - -<p>They went into the drawing-room. -Tom Black was introduced all round,<span class="pagenum"><a name="Page_544" id="Page_544">{544}</a></span> -and a little conversation was got up -about the weather, about Hugh’s gifts, -and about Mr. Challoner, and how he -was possibly keeping his Christmas -day.</p> - -<p>By this time it was fully half-past -four. Lucy did not feel at all nervous -on that score. If her husband had been -at home to remain with her guests, she -would certainly have stepped out of the -room and taken a housewifely survey. -But she did not care to leave her visitors -quite to themselves, since she had the -just idea that hospitality loses its sweetest -grace if it seems burdensome to the -hosts. It was natural, too, that dinner -should be a little deferred. Mrs. -Morison had probably thoughtfully retarded -matters when her mistress’s return -had been so late.</p> - -<p>Lucy had not even begun to feel -anxious—when there came a sudden -heavy fall and a smash!</p> - -<p class="center">(<i>To be continued.</i>)</p> - - - -<hr class="chap" /></div><div class="chapter"> -<div class="figcenter w500"><a name="ANSWERS_TO_CORRESPONDENTS" id="ANSWERS_TO_CORRESPONDENTS"></a> -<img src="images/i_544.jpg" width="500" height="169" alt="" /> -<div class="caption"><h2>ANSWERS TO CORRESPONDENTS</h2></div> -</div> - - -<h3>MEDICAL.</h3> - -<div class="blockquot_ans"> - -<p><span class="smcap">Unfortunate One.</span>—Tainted breath may be due to -a great host of conditions, and as it is a common -affection, and is often exceedingly distressing, we -will devote a little time to its consideration. The -breath may be tainted from the mouth—bad teeth, -deposits of tartar round the teeth, spongy gums, -sores in the mouth, such as the little white ulcers -so commonly due to dyspepsia, sores on the tongue -or lips, etc. Enlarged tonsils are an exceedingly -common cause of foul breath. Some forms of -chronic catarrh of the nose and throat are also -connected with bad breath. Then again, the breath -may acquire a bad smell from disease of the lungs. -The stomach also may cause the breath to smell -bad; as a symptom of indigestion, bad breath is not -uncommon. Lastly, poisons circulating in the blood -will taint the breath. A mild form of this taint of -the breath due to substances circulating in the blood -is the unpleasant smell of persons who have eaten -onions or garlic. The treatment for this symptom -varies with the cause. Bad teeth should be stopped -or removed. Tartar should be removed by scaling -the teeth. Spongy gums, etc., should be treated -with appropriate measures. Tonsils which render -the breath fetid should be removed, for they are -dangerous centres from which serious diseases may -start. For the bad breath arising from troubles in -the mouth or throat, a mouthwash of boracic acid -and lavender water, or dilute carbolic acid, or of -permanganate of potash is very useful. Orris root, -eucalyptus lozenges, etc., are also very valuable. -When the smell is derived from the nose, local -measures are alone of any service. For other forms -of tainted breath, musk, benzoin, and orris root are -of value. It is often said that these aromatics -should not be used for the purpose, because they -only mask the smell and do nothing to remove the -cause of the evil. Quite so! But when the cause -cannot be removed, we must treat the symptom. -For the bad breath due to stomach trouble, attention -to the digestion and an aperient will be -required. The other conditions and troubles -causing bad breath cannot here be dealt with.</p> - -<p><span class="smcap">Curiosity.</span>—1. Apollinaris, Rosbach, and Johannis -waters are for table purposes, and possess no -special medicinal action. Hunyadi, Janos, and -Apenta waters are both saline aperients. Both -these latter springs are in Hungary. Apenta is the -more serviceable of the two.—2. Aix-la-Chapelle -supplies two mineral waters; that commonly called -Aix-la-Chapelle water is from a sulphurous spring. -The other water is Kaiser Brunnun, an ordinary -gaseous table water.</p> - -<p><span class="smcap">Glasgow.</span>—We will give you our opinion; but, mind -you, as in all cases of this kind, we will not take -the sole responsibility, and you must get the opinion -of another medical man upon the matter before -deciding for good. The family history of the man -you intend to marry is bad. His mother and his -brother died of consumption. Your questions are -these:—Has the man got consumption? will he get -consumption? If he marries, will his wife get consumption, -or will his children get consumption? As -regards the first question—you say he expectorates -a good deal, he has a “catching in the throat,” he -is very tall and very pale. He <i>may</i> have the disease. -We cannot go further than this without examining -his chest. The answer to the second question must -be equally indefinite. For the third question—his -wife will not get consumption from him unless he -himself develops the disease. His children, however, -may develop the disease without their father -being personally attacked. Of course, all may go -well, and neither the man, nor his wife, nor his -children may ever develop consumption; but with -the history that you give us, we fear that such a -happy result is very doubtful. If the man has got -the disease at present, marriage is out of the -question.</p> - -<p><span class="smcap">Puzzled Reader.</span>—You should eat well, keep warm, -and take plenty of exercise. How to do these is -the question. A mixed diet should always be taken. -If your digestion is good, oatmeal and other coarse -farinaceous food will help to keep you warm. If -your digestion is faulty, bread and milk is better. -Fat does help to keep you warm, and fat foods in -moderation are by no means indigestible. Indeed, -fat bacon is one of the most digestible of meats. -Dress in warm but loose clothes. Your boots -especially should be loose, but perfectly watertight -and well lined. Wear warm loose woollen underclothing. -Avoid any constrictions anywhere, such -as tight garters, corsets, or collars. Take as much -exercise as you can manage.</p></div> - - -<h3>MISCELLANEOUS.</h3> - -<div class="blockquot_ans"> - -<p>S. C. A.—There is a shilling manual on common -British ferns to be obtained quite easily.</p> - -<p><span class="smcap">Lily.</span>—To make a rice cake, take six eggs, and their -weight (in the shell) in sugar, and the same in -butter; half their weight in rice flour, and half of -wheat flour; whisk the eggs, throw in the rice after -the flour, and add the butter in the usual way. -Flavour according to preference, and bake for an -hour and ten minutes. The ingredients should be -severally added during the whisking. To prepare -“pressed beef,” procure a piece of the brisket, remove -the bones, and put it in salt (in the usual -way), adding a little extra <i>sal prunella</i> to the -brine and some spice, leaving it in pickle for rather -more than a week. Roll and tie up in a cloth, and -simmer gently in plenty of water for about seven -hours (if the thin end, four hours); then remove the -string, tie cloth at each end, put the beef between -two plates, and press under a hundredweight, and -leave till quite cold; then remove the cloth, trim -and glaze, and garnish with parsley.</p> - -<p><span class="smcap">Daffodil.</span>—You would have no difficulty in obtaining -a good riding-habit in your own city, where there -must be plenty of good tailors. It would be impossible -for us to give an estimate for one, and we -can only say that they may be of any price from -£4 4s. to £10 10s. You had better get a Directory, -look out for tailors and ladies’ tailors, and go -and inquire personally.</p> - -<p>M. M.—The “V.R.” on the upper corners made <i>all</i> -the difference, and marked the first issue of the -penny stamps in 1840. The stamp you send us was -issued in 1864, and is of no value at all except as a -specimen of the date, if you were collecting stamps -of every known issue.</p> - -<p><span class="smcap">Pale Face.</span>—Red would of course suit you, as well as -all shades of it. Yellow sometimes suits pale faces -very well, and so does grey relieved with pink. -Violet and blue will make you look paler.</p> - -<p><span class="smcap">E. F. Boultbee.</span>—We have pleasure in announcing -your change of address, and congratulate you on -your success in the oral system of teaching deaf -mutes, and the remedy of defective speech. Address, -Miss Boultbee, Members’ Mansions, Victoria -Street, S.W.</p> - -<p><span class="smcap">Mahdi.</span>—We thank you sincerely for so kind a letter -respecting our magazine. Your writing is excellent. -Peel a banana from the end downwards to -the stem, and then use a knife and fork; or if at -home, in private, you can dispense with them.</p> - -<p>P. F. M.—We do not know whom you mean by -“supers,” for one of whom you want a home. If -some person that has been employed on the stage—one -class being known as “supers”—there is a -charitable society called the Church and Stage -Guild, of which the Hon. Secretary is the Rev. -Stewart Headlam, Duke Street, Adelphi, W.C., -which looks after these people, and perhaps he -might give you some information on the subject.</p> - -<p><span class="smcap">Light Wanted.</span>—There is not the slightest reason -why the event should not take place; indeed there is -every reason why it should, provided that both -desire it.</p> - -<p><span class="smcap">Clare Verney.</span>—You might obtain the information -you require by reference to Agnes Strickland’s -<i>Queens of England</i>, or other history of hers.</p> - -<p><span class="smcap">Miss Mason</span> requests that our readers should be -reminded of her Holiday Home for teachers, clerks, -and young persons in business, at Sevenoaks—“Bessel’s -House,” Bessel’s Green, Kent. Reduced -fares are asked from Charing Cross, London -Bridge, Cannon Street, and Victoria. Return -tickets for a month, 2s. 8d.—twenty miles from -town by S. E. R. Charge for board, etc., from 12s. -to 15s. a week. A stamped envelope should be -enclosed, and the age and occupation of the -applicant stated.</p> - -<p><span class="smcap">Perplexed.</span>—The law on the question of changing -or adding Christian names is as follows: “A child’s -<i>baptismal name</i>, if changed, or not previously given, -may be <i>inserted in the Register</i> within twelve -months after the registration of birth.” You appear -to be a member of the Church of England, and as -such, how came you to remain unbaptised and -excluded from Holy Communion until you were -seventeen? “One year’s delay is allowed by the -law for altering or adding to your name,” as -entered on the Register of Birth, so as to accord -with your “baptismal name.” As it is, your assumed -second name is not yours by legal right.</p> - -<p><span class="smcap">Cumberland Lassie.</span>—The high glaze employed by -washerwomen for linen is produced by mixing some -wax or fat with the starch. This is a difficult -undertaking, even when hot. But starch-glazes -may be purchased ready for use, which may be -employed safely, and are sold at any good oil-shop. -Some people, who wash articles at home, simply -stir the starch while hot with a wax candle. The -following is a good recipe for a glaze: Take 100 -parts of wheat starch, 0.75 of stearinic acid, melt -the latter with about ten times its weight of the -former. Let it cool, powder, and mix thoroughly -with the rest of the starch. This will be suitable -for shirt-fronts and collars; but for table-linen add -a little unprepared starch.</p> - -<p><span class="smcap">Little Housewife.</span>—To clean japanned trays you -should never use hot water; tepid water used with -a soft cloth will remove any grease spot, and a little -flour sprinkled on a smear will restore the polish. -The varnish on candlesticks is often cracked by -placing them before the fire to melt the grease, or -by the use of hot water.</p> - -<p>A. A. and D. C.—We often see clergymen, who are -graduates of different universities, wearing the -hoods of their several universities when doing duty -in the same church and at the same time. Wherever -they pursue their vocation, they have a right -to wear their academic distinctions, and none -other.</p> - -<p><span class="smcap">Anxious Inquirer.</span>—Your <i>fiancé</i> should leave his -own card. It is not for you to do so for him. -Leave your mother’s, should she permit it, and -your own, or her card with your name on it would -be more correct.</p> - -<p><span class="smcap">Samoa.</span>—Table-napkin rings are only used in private -at home, or at a boarding house, economy in the -matter of washing being an object. But in the -houses of the wealthy, a fresh napkin is provided -daily, and thus a distinguishing ring is needless. -With reference to the discoloured coral, try a weak -solution of borax, tepid. Should this fail, take it -to a jeweller.</p> - -<p>C. L.—There are only two ways of sending any parcel -to India—by post, or by private hand. The acorns -should be put into a little box. Your handwriting -promises well, but is as yet unformed.</p> - -<p><span class="smcap">A Constant Reader</span> has only to order a book on -the subject from any librarian, and he will procure -it for her.</p> - -<p><span class="smcap">Genevieve</span> (Alderney).—You have only to write to -the Manager of our Publishing Department for the -cover, with index of the year you require, and ask -him to inclose the bill, including postage, and any -bookbinder will bind your volume for you.</p></div> -</div> - -<hr class="chap" /><div class="chapter"> - -<div class="footnotes"> - -<p class="ph3">FOOTNOTES</p> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Written in memory of Moore by the Rev. C. -Wolfe, about 1817.</p></div> - - - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> These sentences were written before Lord -Wolseley’s speech at Dumfries, June 15, 1898, in -which he was reported as having said: “There could -be little doubt in the minds of most soldiers who -knew what Moore did, that, had he not been killed at -the Battle of Coruña, <i>he</i> would have been the great -Commander who led the Peninsular War, and it was -quite possible that that great man, whom they all -worshipped, the Duke of Wellington, would not have -been heard of. He did not say that to depreciate the -services of the Duke of Wellington, who had been a -rock of strength to this country; but possibly, had -Sir John Moore lived, <i>his</i> name would have been -blazoned on the scroll of fame, as the man who won -the great battle which crushed Napoleon’s power at -Waterloo.”</p> -</div></div> -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. XX. No. -1012, May 20, 1899, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER *** - -***** This file should be named 60023-h.htm or 60023-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/0/2/60023/ - -Produced by Susan Skinner, Chris Curnow, Pamela Patten 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 print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 1.F.3. 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 MERCHANTABILITY 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 are 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright 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: 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. - - - -</pre> - -</body> -</html> diff --git a/old/60023-h/images/cover.jpg b/old/60023-h/images/cover.jpg Binary files differdeleted file mode 100644 index 360a3b6..0000000 --- a/old/60023-h/images/cover.jpg +++ /dev/null diff --git a/old/60023-h/images/header.jpg b/old/60023-h/images/header.jpg Binary files differdeleted file mode 100644 index 7890287..0000000 --- a/old/60023-h/images/header.jpg +++ /dev/null diff --git a/old/60023-h/images/i_529.jpg b/old/60023-h/images/i_529.jpg Binary files differdeleted file mode 100644 index a959734..0000000 --- a/old/60023-h/images/i_529.jpg +++ /dev/null diff --git a/old/60023-h/images/i_532a.jpg b/old/60023-h/images/i_532a.jpg Binary files differdeleted file mode 100644 index a3658e7..0000000 --- a/old/60023-h/images/i_532a.jpg +++ /dev/null diff --git a/old/60023-h/images/i_532b.jpg b/old/60023-h/images/i_532b.jpg Binary files differdeleted file mode 100644 index 7498158..0000000 --- a/old/60023-h/images/i_532b.jpg +++ /dev/null diff --git a/old/60023-h/images/i_533.jpg b/old/60023-h/images/i_533.jpg Binary files differdeleted file mode 100644 index 669b028..0000000 --- a/old/60023-h/images/i_533.jpg +++ /dev/null diff --git a/old/60023-h/images/i_534a.jpg b/old/60023-h/images/i_534a.jpg Binary files differdeleted file mode 100644 index 5c18cda..0000000 --- a/old/60023-h/images/i_534a.jpg +++ /dev/null diff --git a/old/60023-h/images/i_534b.jpg b/old/60023-h/images/i_534b.jpg Binary files differdeleted file mode 100644 index 4420a99..0000000 --- a/old/60023-h/images/i_534b.jpg +++ /dev/null diff --git a/old/60023-h/images/i_534c.jpg b/old/60023-h/images/i_534c.jpg Binary files differdeleted file mode 100644 index d93922b..0000000 --- a/old/60023-h/images/i_534c.jpg +++ /dev/null diff --git a/old/60023-h/images/i_535a.jpg b/old/60023-h/images/i_535a.jpg Binary files differdeleted file mode 100644 index 2f0def8..0000000 --- a/old/60023-h/images/i_535a.jpg +++ /dev/null diff --git a/old/60023-h/images/i_535b.jpg b/old/60023-h/images/i_535b.jpg Binary files differdeleted file mode 100644 index 4329961..0000000 --- a/old/60023-h/images/i_535b.jpg +++ /dev/null diff --git a/old/60023-h/images/i_535c.jpg b/old/60023-h/images/i_535c.jpg Binary files differdeleted file mode 100644 index 1d94275..0000000 --- a/old/60023-h/images/i_535c.jpg +++ /dev/null diff --git a/old/60023-h/images/i_535d.jpg b/old/60023-h/images/i_535d.jpg Binary files differdeleted file mode 100644 index 2356448..0000000 --- a/old/60023-h/images/i_535d.jpg +++ /dev/null diff --git a/old/60023-h/images/i_536a.jpg b/old/60023-h/images/i_536a.jpg Binary files differdeleted file mode 100644 index 6833555..0000000 --- a/old/60023-h/images/i_536a.jpg +++ /dev/null diff --git a/old/60023-h/images/i_536b.jpg b/old/60023-h/images/i_536b.jpg Binary files differdeleted file mode 100644 index e06979f..0000000 --- a/old/60023-h/images/i_536b.jpg +++ /dev/null diff --git a/old/60023-h/images/i_537a.jpg b/old/60023-h/images/i_537a.jpg Binary files differdeleted file mode 100644 index 45602d4..0000000 --- a/old/60023-h/images/i_537a.jpg +++ /dev/null diff --git a/old/60023-h/images/i_537b.jpg b/old/60023-h/images/i_537b.jpg Binary files differdeleted file mode 100644 index 746d950..0000000 --- a/old/60023-h/images/i_537b.jpg +++ /dev/null diff --git a/old/60023-h/images/i_538.jpg b/old/60023-h/images/i_538.jpg Binary files differdeleted file mode 100644 index 2faa12a..0000000 --- a/old/60023-h/images/i_538.jpg +++ /dev/null diff --git a/old/60023-h/images/i_540.jpg b/old/60023-h/images/i_540.jpg Binary files differdeleted file mode 100644 index bb18f91..0000000 --- a/old/60023-h/images/i_540.jpg +++ /dev/null diff --git a/old/60023-h/images/i_541.jpg b/old/60023-h/images/i_541.jpg Binary files differdeleted file mode 100644 index 03e86b5..0000000 --- a/old/60023-h/images/i_541.jpg +++ /dev/null diff --git a/old/60023-h/images/i_542.jpg b/old/60023-h/images/i_542.jpg Binary files differdeleted file mode 100644 index 662ccf9..0000000 --- a/old/60023-h/images/i_542.jpg +++ /dev/null diff --git a/old/60023-h/images/i_544.jpg b/old/60023-h/images/i_544.jpg Binary files differdeleted file mode 100644 index d17cc93..0000000 --- a/old/60023-h/images/i_544.jpg +++ /dev/null |
