diff options
Diffstat (limited to 'old/65733-h/65733-h.htm')
| -rw-r--r-- | old/65733-h/65733-h.htm | 4087 |
1 files changed, 0 insertions, 4087 deletions
diff --git a/old/65733-h/65733-h.htm b/old/65733-h/65733-h.htm deleted file mode 100644 index cbb5ee4..0000000 --- a/old/65733-h/65733-h.htm +++ /dev/null @@ -1,4087 +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 Girl’s Own Paper, by Various—A Project Gutenberg eBook - </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; -} - -.ph3{ - text-align: center; - font-size: large; - font-weight: bold; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.p2 {margin-top: 2em;} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - - -.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;} - -@media handheld -{ -.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;} -} - - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -/* Girl's Own */ - -.smalltext{ - font-size: small; -} - -.noindent {text-indent: 0em;} - -.blockquot_ans { - margin-left: 1em; - text-indent: -1em; -} - -.blockquot_rules { - margin-left: 1.5em; - text-indent: -1.5em; -} - -.faux { - font-size: 0.1em; - visibility: hidden; -} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; -} /* page numbers */ - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -.allsmcap {font-variant: small-caps; text-transform: lowercase;} - -.uppercase {text-transform: uppercase;} - -.caption {font-weight: bold;} - -/* Images */ - -img { - max-width: 100%; - height: auto; -} -img.w100 {width: 100%;} - - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -/* Illustrated drop caps */ - -.ddropcapbox { - float: left; -} - -.idropcap { - height: auto; -} - -.ddropcapbox { - margin-left: 0; - margin-right: 0.5em; -} - -.x-ebookmaker .ddropcapbox { - float: left; - } - -/* Footnotes */ -.footnotes {border: 1px dashed;} - -.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 {text-align: center;} -.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} -/* uncomment the next line for centered poetry in browsers */ - .poetry {display: inline-block;} -.poetry .stanza {margin: 1em auto;} -.poetry .verse {text-indent: -3em; padding-left: 3em;} -/* large inline blocks don't split well on paged devices */ -@media print { .poetry {display: block;} } -.x-ebookmaker .poetry {display: block;} - -/* Poetry indents */ -.poetry .indent0 {text-indent: -3em;} -.poetry .indent2 {text-indent: -2em;} - -/* Illustration classes */ -.illowe10_9375 {width: 10.9375em;} -.illowe12_5 {width: 12.5em;} -.illowe9_375 {width: 9.375em;} -.illowp100 {width: 100%;} -.illowp59 {width: 59%;} -.x-ebookmaker .illowp59 {width: 100%;} -.illowp71 {width: 71%;} -.x-ebookmaker .illowp71 {width: 100%;} -.illowp83 {width: 83%;} -.x-ebookmaker .illowp83 {width: 100%;} - - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Girl's Own Paper, Vol. VIII, No. 367, January 8, 1887, by Various </p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Girl's Own Paper, Vol. VIII, No. 367, January 8, 1887</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Various </p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: June 30, 2021 [eBook #65733]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Susan Skinner and the Online Distributed Proofreading Team at https://www.pgdp.net</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. VIII, NO. 367, JANUARY 8, 1887 ***</div> -<p><span class="pagenum" id="Page_225">{225}</span></p> - -<h1 class="faux">THE GIRL’S OWN PAPER</h1> - -<div class="figcenter illowp100" id="header" style="max-width: 37.5em;"> -<img class="w100" src="images/header.jpg" alt="The Girl's Own Paper." /> -</div> - -<hr class="full" /> - -<div class="center"> -<div class="header"> -<p class="floatl"><span class="smcap">Vol. VIII.—No. 367.</span></p> -<p class="floatr"><span class="smcap">Price One Penny.</span></p> -<p class="floatc">JANUARY 8, 1887.</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="#MERLES_CRUSADE">MERLE’S CRUSADE.</a><br /> -<a href="#THE_HISTORY_OF_HOME">THE HISTORY OF HOME.</a><br /> -<a href="#THE_SHEPHERDS_FAIRY">THE SHEPHERD’S FAIRY.</a><br /> -<a href="#OUR_TOUR_IN_NORTH_ITALY">OUR TOUR IN NORTH ITALY.</a><br /> -<a href="#LITTLE_KARIN1">LITTLE KARIN.</a><br /> -<a href="#THE_INHERITANCE_OF_A_GOOD_NAME">THE INHERITANCE OF A GOOD NAME.</a><br /> -<a href="#VARIETIES">VARIETIES.</a><br /> -<a href="#ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</a><br /> - -<!-- End Autogenerated TOC. --> - -</p> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="MERLES_CRUSADE">MERLE’S CRUSADE.</h2> -</div> -<p class="ph3"><span class="smcap">By</span> ROSA NOUCHETTE CAREY, Author of “Aunt Diana,” “For Lilias,” etc.</p> - - -<div class="figcenter illowp83" id="i_225" style="max-width: 31.25em;"> - <img class="w100" src="images/i_225.jpg" alt="" /> - <div class="caption"><p class="center">“IN A MOMENT THERE WAS A FLUTTERING OF WINGS IN THE AIR.”</p></div> -</div> - -<p class="smalltext"><i>All rights reserved.</i>]</p> - -<p><span class="pagenum" id="Page_226">{226}</span></p> - - -<h3>CHAPTER XIII.</h3> - -<p class="ph3">THE LITTLE WORKERS IN BROWN.</p> - -<div class="ddropcapbox illowe9_375" id="i_226"> - <img class="w100 idropcap" src="images/i_226.jpg" alt="H" /> -</div><p><span class="uppercase">ow</span> delicious it is -when one is young -to wake up in a -fresh place on a -summer’s morning. -It was my belief -that the birds woke -me, there was such a -twittering under the -eaves where the house-martins -had built their -nests, such a warbling -of thrushes breakfasting -on the dewy -lawn, such a cawing of -rooks under the elm trees; such a -joyous bird-symphony altogether, while -I lay in my old-fashioned blue bed, -looking round the quaint old room and -trying to decipher the meaning of the -curious prints in their black frames. -When I was tired of this I rose and -went to the window. The kitchen -garden, with its row of beehives, was -just under the window, and beyond were -Cherrytree-lane and Squire Hawtry’s -cornfield, and then a vague blue line, -and a brown sail shimmering in the sunlight. -The sweet peacefulness of the -scene seemed to sink into my heart, -and I could have sung my <i>Te Deum</i> -with the birds.</p> - -<p>When the children were dressed and -we had finished our early breakfast, I -went to the window with Reggie while -Hannah was clearing the table. Joyce -had already climbed up on the window -seat; she was wild to go into the -garden and see auntie’s pets, and I -thought it would be no harm to humour -her fancy and defer our walk to the -shore.</p> - -<p>As we stood there Miss Cheriton came -out on the terrace. She wore a broad -brimmed hat, and long gardening -gloves, and carried a basket. She gave -a low, peculiar call, and in a moment -there was a fluttering of wings in the air, -and a crowd of pigeons came round her -feet to pick up the grain she had -scattered; the pheasants and peacocks -joined them.</p> - -<p>I thought what a pretty picture it -would have made; the old red brick -house with its ivy-covered gables in the -background; the terrace with its sundial -and antique vases; the girl in her white -gown with her beautiful pets round her, -her favourite blue pigeons eating out of -her hand.</p> - -<p>“Oh, auntie, may we come?” pleaded -Joyce; and Miss Cheriton looked up at -us and smiled and nodded, and Joyce -snatched her sun-bonnet and in a few -minutes we had joined her on the -terrace.</p> - -<p>She greeted us with evident pleasure, -and playfully held up her finger to -silence Joyce.</p> - -<p>“Don’t make a noise, my pet, -or Rolf will hear you and want to come -out; he is having his breakfast with -Aunt Adelaide; and he is so rough and -tiresome that I do not care to have him -with me just now; you shall go with me -into the poultry yard and feed the little -yellow chicks yourself.”</p> - -<p>Joyce was highly delighted at this -prospect, and trotted along in her big -white sun-bonnet, chattering as fast as -her tongue would go. When we arrived -at the poultry yard, Miss Cheriton filled -her pinafore with grain and showed her -where to throw it, and then picked up -one of the downy yellow chicks for -Reggie to kiss and hug; but he was so -unwilling to part with it that we had -some trouble to rescue the warm struggling -thing; only the speckled hen was -in such a fuss, clacking loudly in the -midst of her brood. When we had exhausted -the grain and had fed some -grey rabbits, and had peeped in at the -stables, and had bestowed a passing -attention on the big St. Bernard in his -kennel—Miss Cheriton’s chief favourite -next to her brown mare, Bonnie—we sat -down on a bench in the orchard, at some -little distance from the beehives, while -the children gathered daisies and buttercups.</p> - -<p>“I am so fond of this old orchard,” -observed Miss Cheriton, as she threw -down her empty basket and removed -her gloves, showing a pair of small -brown hands that looked very strong -and capable; “when I have nothing -else to do, I and my pets come here and -enjoy the quiet. Do you know, the peacocks -and pheasants will follow me all -over the place as closely as a dog? They -don’t mind Lion a bit; and he is as -gentle as a lamb. On Sunday afternoon -I have all the creatures round me. -Adelaide declares I waste my time -dreadfully with the beasties.”</p> - -<p>“They must give you plenty of occupation, -Miss Cheriton,” for I have -come to the conclusion that this girl -was far from idle. The care of that extensive -poultry-yard could be no sinecure’s -office, besides which the beehives -were her exclusive charge, though -I heard afterwards the gardener’s son, -Jim, was her under helper. All the live -things about the place looked to her -for food and comfort. She had a cage -full of canaries in the conservatory, and -a large grey parrot as well.</p> - -<p>“Oh, I am always with my pets and -flowers until luncheon-time,” she remarked, -carelessly; “Jim is a very -handy boy, and helps me with the rough -work. I was up at six this morning, and -we had moved half the pots in the conservatory -before breakfast. I am always -up early, except in the winter; the -world is not half awake at that time of -the year, and certainly not well lighted.”</p> - -<p>“Those beehives must be a very profitable -investment,” I observed, for I -had heard before now that people had -added largely to their incomes by keeping -bees.</p> - -<p>“You would be surprised how much -I make by my hives,” she returned. “I -have only a limited interest in the poultry -yard, and have to find chickens and -eggs for the household, but the beehives -are my own. I succeeded so well with -them last year, and I believe I shall do -just as well this autumn. I am very -proud of my bees.”</p> - -<p>“It would not be a bad plan——” I -began, and then I stopped, for I had -spoken hastily, and how could I know -if my words would be well received?</p> - -<p>“Well,” she said, with a pretty air -of impatience, “why do you stop? You -have got something dreadfully sensible -in your head, and I should like to hear -it.”</p> - -<p>“I am rather too quick with my -words,” I answered, somewhat hesitating. -“I was only thinking of what -you said last night; you were condemning -yourself very needlessly, as I think, -and comparing your means of usefulness -with Mrs. Morton’s.”</p> - -<p>“With Violet’s many-sided duties. -Well, I do not retract my words. I said -I was always amusing myself; so I am; -my bees are my playthings.”</p> - -<p>“You could make them work for you -if you chose,” I returned, quickly; “if -one of these hives, for example, were -devoted to some good purpose, if the -money you got for the honey were given -to one of those institutions in which your -sister takes such interest.”</p> - -<p>“Oh, what a nice idea,” she exclaimed, -with a bright look. “I wonder -what put that into your head. I was -rather uncomfortable having all that -money to spend on myself; I thought of -giving some to Adelaide for Rolf, only -I cannot get up an interest in that boy. -I have more than I want, for one does -not need so many dresses in the country, -and nothing will induce me to go through -a London season again. I tried it once,” -with a merry laugh, “just to please -Violet, but it nearly killed me, so I -wrote to father to take me away. I -should have liked the balls very well, -only I got so dreadfully sleepy before -they were over, and the rides in the -Row were nice, if only they would have -let me gallop, but I was nearly taken up -for furious riding once when I could not -get Bonnie to stop, and after that Alick -lectured me, and I got sick of it.”</p> - -<p>“You would not like your sister’s life, -then?”</p> - -<p>Gay shrugged her shoulders with a -gesture of disgust.</p> - -<p>“It is not life at all; it is a daily -round of harassing duties. Look what -it has done for Violet—robbed her of -spirits and bloom; she will be an old -woman before her time. The fun is -very well, but there is too much of it. -I pined for fresh air, for the garden, and -the bees, and my other pets. I am -afraid my partners thought me dreadfully -rustic; I seemed to amuse them. I -do not care for the young men in ball-rooms, -they are so vapid, and, for all -their politeness, they seemed to be laughing -at one.”</p> - -<p>I could not help smiling at this; it -was very odd she should be so frank with -me. She must have forgotten that I had -no experience of ball-rooms, and had -never danced except at school-parties, -when the girls were allowed to bring -their brothers.</p> - -<p>“You are looking satirical, Miss Fenton. -Oh, of course, I see what you -mean; but never mind, there are better -things than balls in life. For my part, -I prefer a solitary gallop on Bonnie to -Strauss’s best waltz, though I do love -dancing too, but, you see, neither Violet -nor I have been trained to a fashionable -life. We have lived in the country, have -risen early, and been in the open air -from morning to night, and now poor<span class="pagenum" id="Page_227">{227}</span> -Violet never goes to bed in time to get -a beauty sleep, and she drives instead -of taking a good walk, so no wonder her -cheeks get pale and thin.”</p> - -<p>“It is a grievous pity,” I began, but -Gay interrupted me.</p> - -<p>“Oh, it is no use talking about Violet, -I have given her up long ago; Alick has -robbed me of her entirely. Now about -your benevolent project; I mean to carry -it out. Do you know the Children’s Incurable -Hospital, Maida Vale? Violet -is always working for that. There is to -be a ‘Muriel Cot,’ in memory of the -dear little baby she lost. Now why -should I not have a ‘Children’s Hive,’ -and make those special bees gather -honey for those little incurable children. -I call that a lovely idea. Look, that -end hive under the apple tree shall be -the one. Miss Fenton, you have emancipated -me; I feel a philanthropist -already; the world will be the better for -me and my workers.”</p> - -<p>I looked at her admiringly; such a -lovely colour had come to her face, and her -eyes looked so bright and happy. I felt -I understood Gay Cheriton from that -moment. She was one of those guileless, -innocent natures that are long in throwing -off childhood. She was full of generous -impulses, frank and outspoken to a -fault; the yoke of life pressed lightly on -her; she was like an unbridled colt, that -had never felt the curb or the spur; -gentle guidance, a word from those she -loved, was sufficient to restrain her. I -knew now why Joyce had called her the -little auntie; there was an air of extreme -youth about her; she was so very lovable -that diminutiveness suited her, and -I thought her father’s pet name of humming -bird suited her exactly; she was so -quick and bright and restless, her vitality -and energy demanded constant movement.</p> - -<p>“How I am chattering!” she said at -last, “and I have all the vases to fill -before luncheon, but, as I told you last -night, I am fond of talking if I can -get anyone to listen to me. Adelaide -never will listen to me patiently; she -says I am such a chatterbox. Goodbye -for the present, Miss Fenton.” And -she tripped away, singing in such a -fresh young voice as she went down the -orchard that I did not wonder when a -little brown linnet perched on a rose-bush -answered her. I think the birds -must have loved to hear her.</p> - -<p>I sat for some time contemplating the -low white gate and the row of beehives. -I was rather pleased with the idea I had -started; a word in season sometimes -brings a rich harvest. I thought some -time of the tiny workers in their brown -livery bringing in their rich stores for -the afflicted children; and it seemed to -me that the offering would be a sweet -savour to the Master who loved -children.</p> - -<p>I fell into a reverie over it; I thought -how much might be done for others -with little cost if people would only -think; it is want of thought that clogs -usefulness. Great sacrifices are so -seldom demanded from us; we are not -now called upon to forsake all that we -hold dear and follow the Christ—little -daily duties, small hourly renunciations, -pleasures given up for some cheerful -loving service: these are the free-will -offerings that all may yield, only the -people must “give willingly.”</p> - -<p>The morning passed pleasantly in the -sunny orchard; when the children tired -of their play we went back to the house -that they might have their noonday -sleep. I was sitting alone in the -nursery, mending Reggie’s pinafore, -when I heard the clatter of noisy footsteps -in the corridor, and a moment -after the nursery latch was lifted without -ceremony, and Rolf peeped in. He had -a droll, half-ashamed expression on his -face, but it bore no trace of yesterday’s -ill-humour.</p> - -<p>“May I come in, if you please, Mrs. -New Nurse?”</p> - -<p>“My name is Miss Fenton, as I told -you yesterday; or, you may call me -Nurse if you choose. Yes; you may -come in and talk to me if you like, -Master Rolf; but you must be very quiet, -as your little cousins are asleep.”</p> - -<p>“What precious babies they must be -to sleep in the day!” he observed, disdainfully, -as he planted himself without -ceremony on the window seat. “I sit -up until ten o’clock every night; sometimes -I will not go to bed until mother -goes.”</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“‘Early to bed and early to rise,</div> - <div class="verse indent0">Makes a man healthy, wealthy, and wise,’</div> - </div> -</div> -</div> - -<p>Master Rolf.”</p> - -<p>“Wealthy means rich, doesn’t it? -Well, Juddy said I shall be a rich man -some day. I have got father’s watch -and sword now, only mother locks them -up until I am bigger. You are not rich, -eh, Miss Fenton?” peeping into my -face rather maliciously.</p> - -<p>“No, Master Rolf,” I returned, quietly.</p> - -<p>“Oh, I knew that you are only a -nurse; I heard mother and Aunt Gay -talking about you last night. Mother -said you were a poor sort, and she wondered -at Violet’s infatuation. She -thought you stuck up and disagreeable, -and not much to look at; a plain young -woman, and very disrespectful. There, -now!”</p> - -<p>“Master Rolf,” I observed, calmly, -and suppressing my inward wrath, “you -call yourself a gentleman, but I assure -you a savage shows more gentlemanly -feeling than you. Don’t you know your -mother’s words should be sacred, and -you are bound in honour not to repeat -them?” And then, as he seemed rather -impressed at this, I told him how, even -among savages and wild and uncultured -nations, the sense of hospitality and -gratitude was so strong that, when a -man had partaken of bread and salt, -broken the bread of fellowship, he was -bound in honour not to betray or injure -his host in any way; and I related to -him an anecdote of an Armenian servant, -who had long been faithful to his -master, and had defended him in many -dangers in his travels through a lawless -country.</p> - -<p>“The master,” I continued, “had -vast treasures under his care, and he -was greatly troubled when his servant -said he must leave him. Judge what -his feelings must have been when the -man coolly told him that he had entered -into a league with some banditti to rob -him of his money; that it would be -mean to remain in his service under -these circumstances, and that he had -given him warning of his intention, that -he might defend himself, and that now -they were equal.</p> - -<p>“Even this lawless robber had some -notions of honour, Master Rolf; while -he ate his master’s bread and salt he -was bound by his service not to injure -him. Now you are only a little boy, -but you ought to understand that you -also are bound not to betray your mother -or repeat her words, as long as you eat -her bread and salt; that is the way -people do so much mischief in the world, -repeating things they know are not -meant to be heard.”</p> - -<p>Rolf’s eyes sparkled.</p> - -<p>“I like that story awfully. Yes,” -and looking at me critically, “I like -you too, though you are a plain young -woman. No, I did not mean to say -that,” interrupting himself in a hurry; -“bread and salt, you know; I shall -always think of that when I am going -to tell Juddy things that mother says. -She is an old stupid, you know, and she -never has time to make a tail to my -kite, and mother says she has no patience -with her, she is such an——Oh, -oh, Miss Fenton, bread and salt! How -ever shall I remember when I want to -put Juddy in a rage?”</p> - -<p>“I daresay I shall be able to help -you with your kite,” I returned, changing -the subject, “but we shall want -plenty of string and paper.”</p> - -<p>“Oh, you nice old thing,” replied -Rolf, ecstatically. “You are not a bit -plain, not a bit; I shall tell mother I -think you lovely, and that I mean to -marry you when I grow up. Won’t she -stare at that? May I bring my kite -here this afternoon?”</p> - -<p>“No, no, my dear, not this afternoon; -we are going to the shore.”</p> - -<p>“Oh, then I will come with you. -Mother,” as Mrs. Markham appeared -at the door, and looked at us with unfeigned -surprise, “I can’t drive with -you this afternoon; I am going on the -beach with Miss Fenton and the children.”</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<div class="figcenter illowp100" id="i_227" style="max-width: 21.875em;"> - <img class="w100" src="images/i_227.jpg" alt="" /> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_228">{228}</span></p> - -<h2 class="nobreak" id="THE_HISTORY_OF_HOME">THE HISTORY OF HOME -<br /> -<span class="smalltext">OR</span> -<br /> -DOMESTIC WAYS SINCE THE TIMES OF HENRY VIII.</h2> -</div> -<p class="ph3"><span class="smcap">By</span> NANETTE MASON.</p> - - -<h3>PART I.</h3> - -<p class="ph3">THE REIGNS OF HENRY VIII., EDWARD VI., AND -MARY I.</p> - -<div class="ddropcapbox illowe12_5" id="i_228"> - <img class="w100 idropcap" src="images/i_228.jpg" alt="I" /> -</div><p><span class="uppercase">n</span> the following -articles -we propose -to treat of -home life in -bygone days.</p> - -<p>That being -the case, our -net will be -spread wide -enough to -catch a very -miscellaneous -collection -of facts. -Nothing will -come amiss -to us that in -any way illustrates -the domestic -existence -of our -ancestors, and every reader, whatever her turn -of mind, will be sure to find something worth -taking note of.</p> - -<p>It will be a different sort of narrative from -the history of great men, or a tale of battles, -sieges, and such-like imposing circumstances. -We shall speak of houses and furniture, food -and clothing, etiquette and good manners, -wages and prices, education and superstition, -household industries and household amusements, -old recipes and domestic medicines, -the ways of the poor and the ways of the rich. -We shall make as much of needles and pins as -ordinary history-books do of swords and guns, -and a girl singing an old song will have more -attention than they give to an ambassador -negotiating a foreign treaty.</p> - -<p>The worst of it is that the subject is long, -whilst our space is of necessity short. We shall -try, however, to change that disadvantage into -an advantage, by giving only those facts that -appear most interesting. There is a pleasure, -too, when reading about a subject, to know -that the half has not been told, and that to -all who care to pursue it on their own account -a rich harvest remains yet unreaped.</p> - -<p>We are not going to begin with the time -“when wild in woods the noble savage ran,” -and homes were in caves and under the shade -of green trees; our starting-point is to be the -reign of Henry VIII., and our first article will -embrace that reign and the reigns of Edward -VI. and Queen Mary—in other words, -from 1509 to 1558.</p> - -<p>In those far-back days many things were -different from what they are now. There has -been a great advance in material comfort. Our -forefathers, no doubt, had just as much wit -and wisdom as we have; but we can boast an -advantage over them in possessing more of -the conveniences of life. In that respect, at -least, we are lucky to have been born so late.</p> - -<p>Let us not imagine, however, that they had -a bad time of it, or were discontented or -miserable because they had not everything -just like us. People do not sigh after what -they have never either seen or heard of. We -really find happiness in our affections—not -in our material surroundings, which are of -secondary importance; and it is not unreasonable -to conclude that, as human nature is always -the same, these ancestors of ours enjoyed -life in their way quite as much as we do.</p> - -<p>We start with the subject of houses and -furniture. When Henry VIII. began to reign, -well-to-do people in towns lived, as a rule, in -houses built principally of timber, the fronts -being often ornamented with rich carvings of -fanciful and grotesque objects. The upper -storeys projected; so much so, indeed, that in -a street people in the attics on either side -could almost shake hands. There was a reason -for building in this way. As the houses were -of perishable material, each storey gave protection -from the weather to the storey beneath -it.</p> - -<p>Such a quantity of timber being used, there -was a great danger of fire, and the warning of -the bellmen who proclaimed the hours of the -night in London was certainly needed, when, -to their instructions to “be charitable to the -poor, and pray for the dead,” they added, -“Take care of your fire and candle.”</p> - -<p>The labouring people in the country lived -in houses constructed of the first things that -came to hand—often nothing but wattle and -mud or clay. When the mud or clay cracked, -under the influence of summer’s heat or -winter’s frost, it was a simple matter with the -same material to “stop a hole to keep the -wind away.” Ventilation was very defective, -and Erasmus attributes the frequent sicknesses -with which England was then visited in a great -measure to the want of fresh air in the dwelling-houses.</p> - -<p>The ideas that regulated the furnishing and -decoration of the houses of the upper classes -form a marked contrast to those prevailing -nowadays. The furniture was more -massive, and there was less of it. The bedchamber -of Henry VIII. contained only a -couple of joint cupboards, a joint stool, -two hand-irons, a fire-fork, a pair of tongs, a -fire-pan, and a steel mirror covered with -yellow velvet.</p> - -<p>Carpets came into use before the reign of -Henry VIII. was far advanced, though in the -reign of Queen Mary rushes still strewed the -floor of the presence-chamber. Feather beds -were used in Henry VIII.’s reign by the upper -classes. When they went travelling, they -were no longer content with the floor or a -hard bench at halting-places, but generally -carried portable beds (packed in leather cases) -with them on horseback. In the lower ranks -of life straw pallets, or rough mats with a -round log for a pillow, formed the ordinary -provision for sleeping.</p> - -<p>Ladies’ dresses amongst the nobility in -Henry VIII.’s reign had a certain formality, -but in many points were elegant and becoming. -Early in the sixteenth century they -were made low and cut square about the neck: -the sleeves were tight at the shoulder, but -suddenly became very large and open, showing -the puffed sleeves of the under-dress. The long -skirts were worn open in front to the waist, -showing the kirtle or petticoat. Sometimes, -however, dresses were worn high, with short -waists and a small falling collar.</p> - -<p>At a little later date the sleeves of dresses -were puffed at the shoulders, and when the -dress was made open above the girdle, what -was called a “partlet”—a kind of habit-shirt—was -worn beneath it, and carried up to the -throat.</p> - -<p>Sleeves were one of the strong points of the -ladies of those times. They were independent -articles of clothing, and were attached at -pleasure to the rest of the costume. “Much -splendour,” says Mr. J. R. Planché, “was -lavished on this part of the dress, and its -various fashions were singularly quaint and -elegant.” Amongst the inventories of Henry -VIII.’s reign we find “three pair of purple -satin sleeves for women; one pair of linen -sleeves, paned with gold over the arm, quilted -with black silk, and wrought with flowers -between the panes and at the hands; one -pair of sleeves of purple gold tissue damask -wire, each sleeve tied with aglets of gold; -one pair of crimson satin sleeves, four buttons -of gold being set on each sleeve, and in every -button nine pearls.”</p> - -<p>Necklaces and other ornaments of jewellery -were much worn. No dress was complete -without a girdle, and from the girdle was -suspended by means of chains such articles as -tablets, knives and purses. Sometimes, in -place of the chains, the girdles themselves had -a long pendant, which was elaborately -decorated.</p> - -<p>We get a glimpse of the style of dress -amongst commoner folk, in the history of a -famous clothier known as “Jack of Newbury.” -When Jack was married, the bride, in her -wedding costume, must have cut quite a -picturesque figure. “The bride,” we read, -“being dressed in a gown of sheep’s russet -and a kirtle of fine worsted, her head attired -in a <i>billiment</i> (habiliment) of gold, and her -hair, as yellow as gold, hanging down behind -her, which was curiously combed and plaited, -according to the manner of those days, was -led to church by two boys with bride laces, -and rosemary tied about their silken sleeves.”</p> - -<p>Mrs. Jack became a widow, and after she -had laid aside her weeds she is described as -coming one day out of the kitchen “in a fair -train gown stuck full of silver pins, having a -white cap on her head, with cuts of curious -needlework under the same, and an apron -before her as white as driven snow.”</p> - -<p>The ordinary costume for men of the upper -ranks in the time of Henry VIII. was a full-skirted -jacket or doublet, with large sleeves to -the wrists, over which was hung a short cloak -or coat, with loose hanging sleeves and a -broad, rolling collar of fur. To these articles -of dress was added a brimmed cap, jewelled -and bordered with ostrich feathers; stockings -and square-toed shoes.</p> - -<p>A sumptuary law was passed in 1533, -limiting the use of certain expensive stuffs and -valuable personal ornaments to certain -classes. Common people and serving men, for -example, were confined to the use of cloth of a -fixed price, and lamb’s fur only, and they were -forbidden to wear any ornaments or even -buttons of gold, silver, or gilt work, excepting -the badge of their lord or master.</p> - -<p>The apprentices of London wore blue -cloaks in summer, and in winter gowns of the -same colour. Blue cloaks or gowns were a -mark of servitude.</p> - -<p>Fourteen years before the beginning of -Henry VIII.’s reign wages were settled by -Act of Parliament. A free mason, master -carpenter, rough mason, bricklayer, master -tiler, plumber, glazier, carver or joiner, was -allowed from Easter to Michaelmas to take -6d. a day, without meat or drink. Suppose -he had meat and drink, he could only -charge 4d. A master having under him six -men was allowed a penny a day extra. From<span class="pagenum" id="Page_229">{229}</span> -Michaelmas to Easter a penny a day was -taken off these prices. Wages, however, -gradually rose all through the sixteenth -century.</p> - -<p>In 1511, in the household of the Earl of -Northumberland, the principal priest of the -chapel had £5 a year; a chaplain graduate -£3 6s. 8d.; a chaplain not a graduate, £2; -a minstrel, £4; a serving boy, 13s. 4d. These -payments were over and above food and -lodging.</p> - -<p>When wages and salaries were so low, compared -with those of our own day, we must -expect to find a corresponding difference in -prices. In 1541 a hundred eggs sold for -1s. 2d., a dozen pigeons cost 10d., a good fat -goose cost 8d., and you could buy a fat sheep -for from 2s. 4d. to 4s., and an ox for about £2. -In 1533 an Act was passed by which the price -of beef and pork was fixed at ½d. a pound, -and veal at ¾d.</p> - -<p>Of the state of learning, in the houses at any -rate of the upper classes, much is to be said -that reflects credit on our ancestors. The -royal court of Henry VIII., whatever might be -its faults, did not neglect study. In the case -of Prince Edward, afterwards Edward VI., -devotion to his books no doubt had an injurious -effect on his health, and there is no saying -what might have been the result to England -had he had less learning and more exercise. -Bishop Burnet tells us that he was so forward -in his education that “before he was eight -years old he wrote Latin letters to his father, -who was a prince of that stern severity that -one can hardly think that those about his -son durst cheat him by making letters for -him.”</p> - -<p>Mary had a good knowledge of classic -authors, and wrote good Latin letters. Elizabeth -began every day with an hour’s reading -in the Greek Testament, the tragedies of -Sophocles, and the orations of Isocrates and -Demosthenes. She also was a good Latin -scholar, spoke French and Italian as fluently -as English, had a smattering of Dutch and -German, and was a devourer of works on -history.</p> - -<p>These two princesses were the highest in -station of the accomplished women of the time, -but there were many who equalled, and some -who surpassed, them in learning. The most -remarkable of all for accomplishments was -certainly Lady Jane Grey, afterwards the -unfortunate queen of a ten-days’ reign. Lady -Jane took so kindly to study that she became -the marvel of the age for her acquirements. -She excelled in needlework and in music, and, -aided by her tutor, Dr. Elmer, or Aylmer, -afterwards Bishop of London, had thoroughly -mastered Latin, Greek, French, and Italian, -and knew something of at least three Oriental -tongues—Hebrew, Chaldee, and Arabic.</p> - -<p>One of the most interesting passages—and -a touching one it is, too—in the writings of -Roger Ascham is that in “The Schoolmaster,” -in which he describes a visit he paid to the -home of Lady Jane’s parents in Leicestershire -in 1550. She was then little over thirteen -years old. It gives us a glimpse of the girl-life -of the period in a high rank of society, -and deserves to be quoted in full.</p> - -<p>“Before I went into Germany,” says Ascham, -“I came to Broadgate, in Leicestershire, to -take my leave of that noble Lady Jane Grey, to -whom I was exceeding much beholden. Her -parents, the Duke and Duchess, with all the -household, gentlemen and gentlewomen, were -hunting in the park. I found her in her -chamber, reading Phædon Platonis, in Greek, -and that with as much delight as some gentlemen -would read a merry tale in Boccaccio.</p> - -<p>“After salutation and duty done with some -other talk, I asked her why she would leave -such pastime in the park?</p> - -<p>“Smiling, she answered me, ‘I wis all their -sport in the park is but a shadow to that -pleasure that I find in Plato. Alas, good -folk! they never felt what true pleasure -meant.’</p> - -<p>“‘And how came you, madam,’ quoth I, -‘to this deep knowledge of pleasure, and what -did chiefly allure you unto it, seeing not many -women but very few men have attained thereunto?’</p> - -<p>“‘I will tell you,’ quoth she, ‘and tell you -a truth which perchance you will marvel at. -One of the greatest benefits that God ever -gave me is that He sent me so sharp and -severe parents, and so gentle a schoolmaster. -For when I am in presence either of father or -mother, whether I speak, keep silence, sit, -stand or go, eat, drink, be merry or sad, be -sewing, playing, dancing, or doing anything -else, I must do it as it were in such weight, -measure, and number—even so perfectly as -God made the world—or else I am so sharply -taunted, so cruelly threatened, yea, presently, -sometimes, with pinches, nips, and bobs, and -other ways which I will not name for the -honour I bear them; so without measure misordered -that I think myself in hell, till time -come that I must go to Mr. Elmer, who -teacheth me so gently, so pleasantly, with -such fair allurements to learning, that I think -all the time nothing whiles I am with him. -And when I am called from him I fall on -weeping, because whatsoever I do else but -learning is full of grief, trouble, fear, and -whole misliking unto me. And thus my book -hath been so much my pleasure, and bringeth -daily to me more pleasure and more, that in -respect of it all other pleasures in very deed -be but trifles and troubles unto me.’</p> - -<p>“I remember this talk gladly,” Ascham -adds, “both because it is so worthy of -memory, and because, also, it was the last talk -that ever I had and the last time that ever I -saw that noble and worthy lady.”</p> - -<p>However learning might flourish in the -upper circles of society, it seems to have -languished in the schools and among the -people. But efforts were made in the direction -of popular education, and more grammar -schools it is said were founded in the latter -part of Henry VIII.’s reign than in the three -hundred years preceding.</p> - -<p>Music was practised by all classes. Erasmus, -who saw much of England in the beginning -of the sixteenth century, speaks of the English -as the most accomplished in the skill of -music of any people. “It is certain,” says -Mr. Chappell, “that the beginning of the -sixteenth century produced in England a race -of musicians equal to the best in foreign -countries, and in point of secular music -decidedly in advance of them.”</p> - -<p>Henry VIII. was a great patron of music, -and, more than that, he was himself a composer -and performer. He played well on both -the virginals and the lute, and could sing at -sight. But to sing at sight was a common -accomplishment amongst gentlemen; so common, -indeed, that inability to do so was looked -on as a serious drawback to success in life. -Homes were rendered cheerful by the singing -of madrigals and other part music. The first -collection of songs in parts that was printed -in England belongs to the year 1530.</p> - -<p>Besides music, many other recreations were -indulged in. These were the days of archery, -casting of the bar, wrestling, and such martial -sports as fighting with swords and battle-axes. -For rural pastimes there were hunting and -hawking—and in these the ladies were often -as enthusiastic as the gentlemen. Card-playing -was highly popular, and in the reign of -Henry VIII. a prohibitory statute was found -necessary to prevent apprentices from using -cards, except in the Christmas holidays, and -then only in their masters’ houses. The same -statute forbade any householder to permit -card-playing in his house, under the penalty of -six shillings and eightpence for every offence.</p> - -<p>May Day was a general holiday, and Maypoles -were set up in every town and village. -The observance of May Day differed no doubt -in minor particulars in different places, but in -general it consisted in people of all ranks -going out early in the morning into the -“sweet meadows and green woods,” where -they broke down branches from the trees, and -adorned them with nosegays and crowns of -flowers. “This done, they returned homewards -with their booty, and made their doors and -windows triumph in the flowery spoil.” The -Maypole was set up, and the rest of the day -was spent in dancing round it, and in sports of -different kinds. When evening came, bonfires -were lighted in the streets. Even the reigning -sovereign joined in these amusements. On -May Day, 1515, Henry VIII. and Queen -Katherine, his wife, rode a-Maying from -Greenwich to the high ground of Shooter’s-hill, -accompanied by many lords and ladies.</p> - -<p>There was a famous London Maypole in -Cornhill before the parish church of St. Andrew, -which thus got the name of St. Andrew -Undershaft. The pole or shaft, Stow tells -us, was set up by the citizens “every year, -on May Day, in the morning, in the midst of -the street, before the south door of the said -church; which shaft, when it was set on end -and fixed in the ground, was higher than the -church steeple.” When its annual day of usefulness -was over, the pole was taken down -again and hung on iron hooks above the doors -of the neighbouring houses.</p> - -<p>This pole was destroyed in 1550, the fourth -year of Edward VI.’s reign, in an outburst of -Puritanism, after a sermon preached at St. -Paul’s Cross against May games. The inhabitants -of the houses against whose wall the -pole had found shelter sawed it in pieces, and -every man took a bit and made use of it to -light his fire.</p> - -<p>Mingled with the festivities of May Day there -was a distinct set of sports, very popular in -the early part of the sixteenth century, intended -to represent the adventures of the -renowned woodland hero, Robin Hood. The -enthusiasm with which the common people -entered into these sports may be seen from -the reception Bishop Latimer met with when -he once proposed to preach in a town on the -1st of May. He tells the incident himself in -a sermon he preached in 1549 before Edward -VI.</p> - -<p>“I came once myself,” he says, “to a -place, riding on a journey homeward from -London, and I sent word overnight into -the town that I would preach there in the -morning because it was holy day, and methought -it was an holy day’s work.” (It was -the Feast of the Apostles Philip and James.) -“The church stood in my way, and I took my -horse and my company and went thither. I -thought I should have found a great company -in the church, and when I came there the -church door was fast locked.</p> - -<p>“I tarried there half an hour and more. -At last the key was found, and one of the -parish comes to me and says, ‘Sir, this is a -busy day with us. We cannot hear you. It -is Robin Hood’s Day. The parish are gone -abroad to gather for Robin Hood. I pray you -forbid them not.’</p> - -<p>“I was fain there to give place to Robin -Hood. I thought my rochet”—or bishop’s -surplice—“should have been regarded, though -I were not; but it would not serve; it was -fain to give place to Robin Hood.”</p> - -<p>How did stay-at-home people amuse themselves -then in the long winter evenings? -No doubt they either made time seem short by -going to sleep, or they sat by the fireside -singing songs or telling oft-told stories, or -exercising their wits by asking each other -riddles or conundrums. Some of their fireside -riddles are preserved in a little book called -“Demands Joyous”—in modern English<span class="pagenum" id="Page_230">{230}</span> -Merry Questions—which was printed by -Wynkyn de Worde in 1511.</p> - -<p>The following are a few of the conundrums -contained in this work, and at some of them -the reader, who is well acquainted with the -conundrums of the present day, will be -tempted to exclaim with Solomon, that there is -nothing new under the sun.</p> - -<p>“What is it that never freezeth?—Boiling -water.</p> - -<p>“What is it that never was and never will -be?—A mouse’s nest in a cat’s ear.</p> - -<p>“How many straws go to a goose’s nest?—Not -one, for straws, not having feet, cannot -go anywhere.</p> - -<p>“How many calves’ tails would it take to -reach from the earth to the sky?—No more -than one, if it be long enough.</p> - -<p>“What man getteth his living backwards?—A -ropemaker.</p> - -<p>“Why doth a dog turn round three times -before he lieth down?—Because he knoweth -not his bed’s head from the foot thereof.</p> - -<p>“Why do men make an oven in a town? -Because they cannot make a town in an oven.</p> - -<p>“How may a man discern a cow in a flock -of sheep?—By his eyesight.</p> - -<p>“What is the worst bestowed charity that -one can give?—Alms to a blind man; for he -would be glad to see the person hanged that -gave it to him.”</p> - -<p>An industry of considerable interest from a -domestic point of view came to the front in -1542; this was the manufacture of pins. -These useful articles were originally made -abroad, but the English pinners took to -making them, and on their engaging to keep -the public well supplied at reasonable prices, -an Act of Parliament was passed in the year -just named, forbidding the sale of any sort of -pins excepting “only such as shall be double-headed, -and have the heads soldered fast to -the shank of the pin, well smoothed, the -shank well shaven, the point well and round -filed, canted and sharped.”</p> - -<p>The English pinmakers, however, either -proved unable or unwilling to keep their part -of the bargain, and complaints were so loudly -made that the pins were not what they should -be, that in 1545 the Act was declared -“frustrate and annihilated, and to be repealed -for ever.” Pins of good quality were of brass, -but unscrupulous makers made pins of iron -wire, blanched, and passed them off as brass -ones.</p> - -<p>People who went from home then had no -choice—they must either ride or walk. Kings, -queens, and gentlefolk all mounted to the -saddle, the ladies being accustomed to ride on -pillions fixed on the horse, and generally -behind some relative or serving-man. Rude -carriages, however, made their appearance in -England in 1555.</p> - -<p>Before the Reformation there were no poor’s -rates. The poor had their wants supplied by -charitable doles given at religious houses, and -by contributions placed in the poor man’s -box which stood in every church. In all -parishes there was a church house supplied -with dishes and cooking utensils. “Here,” -says John Aubrey, “the housekeepers met, -and were merry and gave their charity.”</p> - -<p>Begging, under certain conditions, was regulated -by an Act of Parliament passed in -1530. By this Act justices of the peace were -required to give licences under their seals to -such poor, aged, and impotent persons to beg -within a certain precinct as they thought had -most need. If anyone begged out of the -district assigned to him he was to be set in -the stocks two days and two nights; and if -anyone begged without first obtaining a -licence he was to be put in the stocks -three days and three nights, and be fed with -bread and water only.</p> - -<p>Vagrants were very sternly dealt with; but -in this Act, and in subsequent legislation on -the same subject, we see that our sixteenth-century -forefathers had an honest desire to do -their duty in relieving such as were in “unfeigned -misery.” In an Act passed in the -first year of Edward VI.’s reign we find the -curate of every parish required, “on every -Sunday and holiday, after reading the Gospel of -the day, to make (according to such talent as -God hath given him) a godly and brief exhortation -to his parishioners, moving and -exciting them to remember the poor people, -and the duty of Christian charity in relieving -of them which be their brethren in Christ, -born in the same parish and needing their -help.”</p> - -<p>One of the interesting households of the -period was that of Sir Thomas More, the -famous Lord Chancellor who was executed in -1535. More lived at Chelsea, and of his happy -home there Erasmus, who knew him well, has -given the following charming account:—“More,” -he says, “has built, near London, -upon the Thames, a modest yet commodious -mansion. There he lives, surrounded by his -numerous family, including his wife, his son, -and his son’s wife, his three daughters and -their husbands, with eleven grandchildren. -There is not any man living so affectionate to -his children as he, and he loveth his old wife -as if she were a girl of fifteen. Such is the -excellence of his disposition, that whatsoever -happeneth that could not be helped, he is -as cheerful and as well pleased as though the -best thing possible had been done.</p> - -<p>“In More’s house you would say that -Plato’s Academy was revived again, only -whereas in the Academy the discussion turned -upon geometry and the power of numbers, -the house at Chelsea is a veritable school of -Christian religion. In it is none, man or -woman, but readeth or studieth the liberal -arts; yet is their chief care of piety. There -is never any seen idle. The head of the house -governs it, not by a lofty carriage and oft rebukes, -but by gentleness and amiable manners. -Every member is busy in his place, -performing his duty with alacrity; nor is sober -mirth wanting.”</p> - -<p>Speaking of More’s home life in his “Short -History of the English People,” Mr. J. R. -Green says:—“The reserve which the age -exacted from parents was thrown to the winds -in More’s intercourse with his children. He -loved teaching them, and lured them to their -deeper studies by the coins and curiosities he -had gathered in his cabinet. He was as fond -of their pets and their games as the children -themselves, and would take grave scholars and -statesmen into the garden to see his girls’ -rabbit-hutches or to watch the gambols of -their favourite monkey.”</p> - -<p class="center">(<i>To be continued.</i>)</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_SHEPHERDS_FAIRY">THE SHEPHERD’S FAIRY.</h2> -</div> -<p class="ph3">A PASTORALE.</p> - -<p class="ph3"><span class="smcap">By</span> DARLEY DALE, Author of “Fair Katherine,” etc.</p> - - -<h3>CHAPTER XIV.</h3> - -<div class="ddropcapbox illowe10_9375" id="i_230"> - <img class="w100 idropcap" src="images/i_230.jpg" alt="W" /> -</div><p><span class="uppercase">hen</span> Jack was gone, -Mrs. Shelley insisted -on Fairy’s -going to bed, for -the child was -worn out with -fatigue and excitement, -and she -and John watched -by Charlie’s couch -in turns through the short summer -night, which, short as it was, seemed -all too long when spent in anxiously -watching for a change which did not -come. Once, and once only during the -night, did Charlie open his eyes and -murmur, “Where am I?” but before -the shepherd, who was sitting by him, -had time to answer, he had again -relapsed into unconsciousness.</p> - -<p>From the first John Shelley had taken -a hopeful view, and even this momentary -return to consciousness filled him with -hope; the next interval might be longer -perhaps; at any rate, it was a favourable -sign in the shepherd’s opinion. At four -o’clock Mrs. Shelley came to take her -husband’s place, and then, to her surprise, -he told her he was going to walk -to the nearest point where the London -coach passed and give Jack the latest -bulletin before he started.</p> - -<p>And so, to Jack’s joy and amazement, -the first time the coach paused to take -up the Lewes letters, there stood his -father by the inn door, waiting to speak -to him. In a moment Jack, who, with -Mr. Leslie, was occupying the boxseat, -was down on the ground grasping his -father’s hand and eagerly asking what -news.</p> - -<p>“No worse, Jack; if anything, a -trifle better; he was conscious for a -few moments last night; just opened his -eyes and said ‘Where am I?’ but I -knew you would like to hear the latest -news, as you can’t have a letter till you -get to New York, and I don’t know how -long that will be after you arrive there.”</p> - -<p>“Oh, I’ll let you know all about the -mails, shepherd, when I come back. -Come, Jack,” called out Mr. Leslie, -from the box.</p> - -<p>“God bless you, my boy, and grant -we may meet again someday,” said the -shepherd, wringing Jack’s hand, and -then the lad, with tears in his eyes, -jumped back to his place, the coachman<span class="pagenum" id="Page_231">{231}</span> -cracked his whip, and in a few minutes -nothing remained but a cloud of dust, -through which John Shelley was straining -his eyes to catch a last glimpse of -his eldest son.</p> - -<p>The next day or two were passed in -such a whirl of excitement, what with -the exhilarating feeling of travelling on -the top of a coach for the first time in -his life, and being whirled up to London -by four horses in a few hours, and then -the wonderful things which, even in his -brief visit, he saw there, and then the -long journey to Liverpool, and the sight -of the docks and the ship he was to sail -in, for in those early days of the nineteenth -century no steamer had as yet -crossed the Atlantic. All this so occupied -Jack’s time and thoughts that -though that vision of Charlie stretched -pale and insensible at home haunted -him from time to time, still he had no -leisure to dwell on it. But when on -Monday Mr. Leslie, having seen him -on board, took leave of him, and Jack -was left alone among a crowd of strangers, -with nothing to do for five or six -weeks but watch the sea and sky, then -the thought of Charlie would not be -banished, and his anxiety to know how -he was became intense. Luckily Jack -turned out at first a bad sailor, and the -physical tortures of sea-sickness counteracted -the mental suffering he was -enduring, which, with so little to divert -his mind, might have ended in an attack -of brain fever. When he was well -enough to leave his berth, he made -friends with the captain and one or two -of the passengers, who took a fancy to -this fine, good-looking young man, who -certainly looked exceedingly unlike a -shepherd in the suit Mr. Leslie had -bought him at a London tailor’s. His -new friends lent him books, and he derived -both pleasure and benefit from -conversing with them, but yet, though -he read and studied hard during the -voyage, it was a terrible time to him, -and no landsman ever rejoiced more at -the sight of land than Jack did when -they sighted the American coast. He -always looked back on that voyage as -a dreadful nightmare, for all through -he had been haunted by the terrible -fear, almost too terrible to put into -words, lest he should be guilty of the -sin of Cain.</p> - -<p>His first act on landing was to inquire -when he could have a letter from England, -and finding three weeks hence -was the earliest time he could hope to -receive one, for the ship he had come -by had just brought a mail, he made up -his mind to dismiss the subject as much -as possible, and wait as patiently as he -could for the letter which would colour -his whole life.</p> - -<p>His new occupation, upon which he -entered at once, was far more congenial -than sheep-washing or shearing, and -the entirely new life he led and the new -country he was living in, with its strange -customs and foreign people, all helped -to give a fresh stimulus to Jack’s mind, -and if it had not been for the shadow -cast over his life by the memory of the -events which had been the immediate -cause of his coming hither, his first few -weeks in New York would have ranked -among some of the happiest in his life. -As it was, they slipped by far more -quickly than he had thought possible, -and at last he heard the news that the -English mail had arrived, and he bent -his steps to the post-office to ask if there -were any letters for him.</p> - -<p>How Jack’s heart thumped as he -stood watching the clerk diving into -some pigeon-holes in search of his -letters; he fancied the people in the -office must have heard its wild beatings.</p> - -<p>Yes, there were two letters; the first -Jack saw at a glance was from Mr. -Leslie, the other was directed by Fairy. -The paper on which the letter was -written—there were no envelopes in -those days—was not black-edged, and -that, though he dare not lay much stress -upon it, was, perhaps, a hopeful sign, -but yet, as he broke the wafer, he was -still in such fear and trembling lest its -contents should be unfavourable, that -he dared not open it until he was safe -in his own lodgings, where no curious -eyes could watch his behaviour as he -read his fate.</p> - -<p>It was indeed well no curious eyes -were able to pry into Jack’s humble -room, his castle as he liked to call it, -for, poor as it was, it was his own, paid -for out of his earnings, for when he came -to the end of the long crossed sheet he -buried his face in his hands, and his -great strong frame shook with his sobs.</p> - -<p>The letter, though directed by Fairy, -was from Mrs. Shelley, and ran as -follows:—</p> - -<div class="blockquot"> - -<p>“<span class="smcap">My dearest Jack</span>,—Thank God, -I have good news for you. Charlie is -quite well again, and is following the -sheep to-day for the first time, or he -would have written to you himself, but -since he went off this morning, Mr. -Leslie has been to tell me this letter -must be posted to-day.</p> - -<p>“It is a month since you went away; -it seems years to me, Jack, but if you -are happy in your new life I shall not -complain. Charlie began to get better -very soon after you started; he recovered -consciousness that very morning, and -though he was very ill for a week or -more, he was not in danger after the -Sunday. How I wished I could have -let you know, but there was no means -of getting a letter to you before this one, -and I am afraid you must have suffered -terribly from suspense, fearing the worst, -and not daring to hope for good news. -Strange to say, Charlie remembers -nothing whatever about his accident; -all he knows is he wanted Fairy to dance -with him, and that you were angry; all -the rest is a blank; he had not the least -idea of what really happened.</p> - -<p>“Your father had to get an under-shepherd -for a month, but he has left -to-day, and Charlie is to take your place, -and is very proud of his position. No -one will ever take your place at home, -though, so if you hear people say no -one is missed in this world, their place -is soon filled up, don’t believe it, my -son; your place in your mother’s heart -will never be filled except by yourself, -and I miss you at every turn. Fairy -misses you too; she is more at the rectory -now than ever, for there is no one -to help her with her lessons here. She -sends her love to you, and will write -next month. And now, my boy, I must -say good-bye, for your father has come -in on purpose to add a few lines to this. -God ever bless and keep you is the constant -prayer of your loving mother,</p> - -<p class="right"> -“<span class="smcap">Polly Shelley</span>.” -</p> -</div> - -<p>And then followed a few lines in the -shepherd’s handwriting, written with -elaborate pains and much effort, as Jack -knew, for John Shelley was much more -accustomed to wield his crook than his -pen, which was certainly not that of a -ready writer. His preparations were as -elaborate as the writing itself. First he -rolled up the sleeves of his smock; then -he ran his hands through his hair, and -rubbed the back of his head; then he -wetted his fingers; finally he fixed the -pen in his right hand, after a fashion of -his own; and Jack, as he read the postscript -of his mother’s letter, pictured to -himself his father’s attitude as he wrote -it, leaning half across the kitchen table, -and moving his whole body, as if every -stroke was the greatest exertion, as it -was to him. But if the manner of his -writing was eccentric, the matter was -excellent, in spite of the spelling, which -was original, and Jack treasured up his -father’s words carefully, and vowed never -to forget how gently and kindly the -shepherd had dealt with him in his -trouble.</p> - -<p>So the tears Jack shed over his letter -were tears of joy and gratitude.</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<div class="figcenter illowp100" id="i_231" style="max-width: 28.125em;"> - <img class="w100" src="images/i_231.jpg" alt="" /> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_232">{232}</span></p> - -<h2 class="nobreak" id="OUR_TOUR_IN_NORTH_ITALY">OUR TOUR IN NORTH ITALY.</h2> -</div> -<p class="ph3"><span class="smcap">By</span> TWO LONDON BACHELORS.</p> - - -<div class="figcenter illowp59" id="i_232" style="max-width: 29.6875em;"> - <img class="w100" src="images/i_232.jpg" alt="" /> - <div class="caption"><p class="center">THE CERTOSA.</p></div> -</div> - -<p><span class="smcap">On</span> the Monday afternoon, while No. 1 was resting, the elder bachelor -sallied out by himself to see one or two of the important old churches. -By the aid of a map of the town, he found his way to the dirty old -church of St. Maurizio, where he saw some strangely beautiful paintings -of Aurelio and Bernardino Luini. He greatly wondered if the -abject poor, at their silent devotions—for there was no service at the -time—were as greatly influenced by art as were their predecessors in -the less enlightened days. But without wasting his time further in -worthless dreamings, which could better be done at another time, he -passed out of the stuffy and ugly little church into the glorious sunlight, -and proceeded to the more famous church of Santa -Maria della Grazie, to see the most popular picture -ever painted—namely, “The Last Supper,” by Leonardo -da Vinci.</p> - -<p>The church was entered first; and here again were -groups of the poorest at their private devotions. Rapture -sublime seemed now and then to illumine the face of a dirty -beggar as he or she glanced at a crucifix or a relic which was -exposed to view over the altar of the Lady Chapel. Could such -worship be wrong if it softened, and so greatly softened, hearts -like these, in bodies ill-fed and ill-clothed, making a repulsive exterior -glorified by a countenance of secret joy? But disappointment came -by means of a surly sacristan, a veritable Judas with a bag, who -roughly attended the worshippers, and pocketed pence in return for -wiping their pocket handkerchiefs (for such we perforce call their -dirty rags) on the glass case on the altar containing the relic before -mentioned. To see the emotion of the deluded creatures, who -kissed their rags with ecstatic bliss on receiving them again, -was a strange sight, and struck us as widely different from that of -the woman who kissed the blue fringe on Christ’s garment as He<span class="pagenum" id="Page_234">{234}</span> -passed her—for what “virtue” could come -out of the operation in the Church of Santa -Maria della Grazie? The act of devotion and -lowly love in the Gospel story was not done -from force of habit, nor was the privilege -given in return for money—and, oh! how different -the Object and the intention!</p> - -<div class="figcenter illowp100" id="i_233" style="max-width: 50em;"><span class="pagenum" id="Page_233"></span> - <img class="w100" src="images/i_233.jpg" alt="" /> - <div class="caption"><p class="center">THE LAST SUPPER.</p> - -<p class="center"><i>From the painting at Milan, showing its present condition.</i></p></div> -</div> - -<p>The greatest painting in the world (“The -Last Supper”) is to be seen in an old outhouse -which was used by the reverend monks -as a refectory before the dissolution of the -monastery, and which has since been used as -a stable by French dragoons.</p> - -<p>The painting is in a sad state of dilapidation, -caused by damp and attempted restorations -in 1770, and also by the bad treatment -it has had at the hands of tourists. But much -of the genius of the painting is still seen, and -we bow in lowly reverence before a work -which surely has been productive of much -religious elevation in many generations and -nations.</p> - -<p>The Dominicans, in dining in this old refectory, -must have been wonderfully impressed -at seeing Christ at the other end of the room -taking His Last Supper with them; for the -accessories of table-cloth, glasses, etc., in the -painting resemble the identical articles used by -the monks, and all helped the great illusion. -But again a disillusion! for, as will be seen -on a reference to the picture, the reverend -fathers committed the sacrilege of forming a -doorway in a part of the picture—actually -cutting off the legs of the chief Figure—in -their desire to have their dinner warm!</p> - -<p>The illness of the younger bachelor, which had -threatened to ruin our holiday, was not nearly -so serious as the doctor had led us to expect. -On the second day the fever much abated, and -we determined to resume our journey after the -third day. The doctor, however, advised us -not to go to either Cremona or Mantua, as -these cities, especially the former, are unhealthy, -and might bring on a renewal of the -fever. This was a disappointment, as we -were anxious to see Cremona, which, apart -from its cathedral and other buildings, has -always been renowned for the manufacture of -violins and other stringed instruments. To see -fiddles of every shape and size hung out in the -open air to dry like so many clothes after -washing, was too novel a sight to miss without -a bitter pang.</p> - -<p>We determined to make up for our disappointment -in not seeing Cremona and -Mantua, by visiting the town of Pavia and -the magnificent monastery or Certosa close -to it.</p> - -<p>So we arranged to make the excursion to -the Certosa and Pavia, to return to Milan for -a visit to the Brera Gallery, to dine, and to get -our trunks, and finally depart for Verona, if -possible, on the same day. This was rather -an extensive programme, especially as one of -us had just recovered from an illness; but we -determined if possible to abide by it.</p> - -<p>The great Lombard plain is relieved from -monotony by being cut-up with canals and -ditches, running between avenues of willows -and poplars, reminding one of the scenery in -Dutch pictures.</p> - -<p>Of course the Certosa is in many respects -an exquisite building. The magnificence of -the materials of its altars, screens, pavements, -&c., and the enormous wealth of sculpture -lavished over every portion of it, render this -church one of the most remarkable structures -in the world. But when one comes to study -it and to think it well over, the question arises -whether this immense amount of costly -material, this vast amount of labour and skill, -ought not to have produced something far -more “striking” in general effect. In fact, -it rather reminds one of the so-called French -dinners, which English people are in the -habit of giving, from which one comes away -thoroughly unsatisfied, with only a confused -recollection of a great number of costly dishes. -It almost appears as if in the Certosa the -sculptors had been set to do the architecture -and the painters to execute the sculpture; -each has so attempted to overdo and over-elaborate -his portion of the work that he has -“strained” his art, until it has lost those -wholesome restrictions which the æsthetic -principles, both of classic and mediæval times, -had placed upon it. Thus we find the architectural -outlines broken up and lost in a forest -of detail, and the sculptured panels have -elaborated backgrounds more suited for pictorial -works than for carving.</p> - -<p>The façade, which our girls perfectly know -by photograph, was designed by Borgognone, -far better known as a painter, and was commenced -about 1473.</p> - -<p>One really sees nothing of the church until -entering the large gate, covered on the outside -with damaged frescoes; the wonderful -façade presents itself on the other side of the -quadrangle.</p> - -<p>As can well be imagined, the first sight of -this wonderful front nearly took our breath -away, so vast is the amount of sculpture and -so elaborate the designs. The upper portion -is far less elaborate than the lower; indeed, -we thought that they were by different architects.</p> - -<p>The most richly decorated portion of the -façade is that on the level of the portico, the -two windows on either side of the latter being -completely enclosed by a vast amount of -sculpturesque ornament. This elaboration is -carried out to such an extent that the mullions -of the windows, instead of being simply -moulded, are carved into imitations of candelabra, -with foliage, lizards, and little cupids in -the act of climbing, and ornamenting every -portion.</p> - -<p>The subjects which pleased us the most -were the pictures of sculpture, a little above -the level of a man’s head, representing scenes -in religious history. These are very beautiful -and perfect, though some of the heads and -attitudes of the figures are, to say the least, -grotesque.</p> - -<p>We may mention that a great number of -the most eminent Italian masters for nearly -two centuries had a hand in the elaboration of -the façade, including the great Donatello.</p> - -<p>Before entering the church, we visited the -two cloisters, which are very picturesque. The -arches of the first one are full of terra-cotta -ornamentation. It is approached from the -church by a magnificent white marble doorway.</p> - -<p>The great cloister is very large, and is surrounded -by cells, which remind one that the -Certosa was once a monastery, and belonged -to the Carthusians. This curious order of -men never see one another, except in church. -Each man has four rooms and a little garden -entirely to himself. He has his bedroom, his -study, his workshop, and his toolroom. These -Carthusians were extremely fond of gardening, -and we have received many benefits from their -knowledge of horticulture. They also invented -the well-known liqueur, Chartreuse. -Hence their name. This was invented as a -medicine, and is most wholesome and beneficial -for certain illnesses; but it is now, of -course, more used for its gastronomic than -its medicinal qualities.</p> - -<p>The church was commenced in the latter -part of the fourteenth century; it is in form a -Latin cross, and in style a mixture of Romanesque -and Gothic. The whole of the interior -is very richly decorated, all kinds of material -being used, and the altars are beautifully inlaid -and studded with precious stones, gold, -etc. There are, however, scarcely any fine -pictures, the few good ones having been removed, -and the great number remaining -scarcely add to the beauty of the interior.</p> - -<p>There are seven chapels on either side of -the nave, which are railed off from the latter. -These were shown to us by a guide, not by -a monk, as the guide-books say.</p> - -<p>The Certosa is magnificently kept, and in -order to make it even more “smart,” the old -pavement has been replaced by a very bright -mosaic one, which reflects the church like -glass. But of all, the choir is the most magnificent, -the tabernacle and altar-screen being -sumptuous sixteenth century Renaissance -work, and on either side of the altar the walls -are decorated with rich sculpture.</p> - -<p>In the transepts are two monuments, viz., -those of Gian-Galeazzo Visconti, the founder -of the church, and of Ludovico Moro and his -wife, Beatrice d’Este.</p> - -<p>Gian-Galeazzo Visconti was the most celebrated -of the great Lombard family of Visconti, -who practically ruled Milan for over a -century and a half. So great was the power -of this family, that they at times subjected -nearly the whole of Northern Italy, and Gian-Galeazzo, -after completely defeating an army -sent against him by the Emperor of Germany, -and after having captured by degrees the -whole of Lombardy, was about to declare -himself King of Italy, when death put an end -to his ambition in the year 1402.</p> - -<p>Gian-Galeazzo Visconti was the founder of -Milan Cathedral and the Certosa of Pavia, -and, as before mentioned, a superb monument -has been erected to his memory in the latter -church; but this monument was more than -half a century in construction, by which time -the people had forgotten where the prince had -been buried; and thus the body of this great -man, who had defeated numberless armies and -caused to be erected two of the most sumptuous -buildings in Europe, lies no one knows -where.</p> - -<p>The son of Gian-Galeazzo ruled in Milan -upon his father’s death, after which the Sforza -family succeeded, and held power until the -middle of the sixteenth century, when the -emperor, Charles V., who was practical master -of Italy, handed over the duchy of Milan to -his son Philip.</p> - -<p>After leaving the Certosa, the two bachelors -hired one of the light one-horse carriages, of -which there are always a number outside the -church, and drove to Pavia. That drive was -most pleasant. It was a lovely spring day, -with a brilliant sun, though not too hot, -and the country was all aglow with bright -colour.</p> - -<p>Pavia is a very curious old place. Of all the -old garlic-smelling, dirty, and badly-drained -cities of North Italy, it is the most garlic-smelling, -the dirtiest, and the worst drained; -but it is very quaint withal. The old marketplaces, -the projecting roofs, and the curious -outdoor shops give it a wonderfully “old-world” -appearance, and we enjoyed this -ramble through the old city greatly, notwithstanding -the horrible smells and the difficulty -we had to find our way about the place. -After wandering for some little time, we came -to the Piazza del Duomo, which is most -picturesque, and the effect was much enhanced -when we were there, as it was market time. -The vast quantity of old women, dressed in -the most quaint manner, selling the oddest of -wares, added no little to a scene which -must always be paintable to a degree. The -cathedral, rising on one side of the piazza, -with its huge campanile, though picturesque, -can scarcely be called beautiful. It has never -been finished, and when we were there it was -in a terrible state of dilapidation. Of the -interior we could see nothing except a heap of -scaffold-poles, as it was in course of restoration, -and even the shrine of the great St. -Augustine was concealed from view.</p> - -<p>The most interesting church in Pavia is San -Michele, and, though we were rather pressed -for time, we determined to see it.</p> - -<p>San Michele is an early Romanesque church<span class="pagenum" id="Page_235">{235}</span> -of the eleventh and twelfth centuries, and is -very beautiful, both externally and internally. -The façade is richly ornamented with bands -of carving and small open galleries, and the -chancel internally is on a much higher level -than the nave, and is approached by a great -flight of steps, giving it a most dignified -appearance.</p> - -<p>After leaving San Michele we tried to find -our way to the station; no easy matter, as we -found to our cost. We think we must have -made the circumference of the city three -times before an Italian boy, rather more intelligent -than his fellows, at last pointed us -out a place which proved to be the station, -from whence we returned to Milan.</p> - -<p>The Brera Gallery contains a magnificent -collection of pictures. In an article like this -it is impossible to give a detailed description -of these paintings, and a mere list of works of -art is both uninteresting and uninstructive; -besides which no description of pictures is of -any value unless it is prefaced by an account -of the various schools to which the artists -belong—a task which has been admirably -done already by Miss Emily Macirone in the -pages of this magazine. However, we may -mention that the gallery is a complete history -of Italian art.</p> - -<p>To commence with, we find a good example -of Giotto, who (as our girls will see from -the excellent chart of the chief painters of -the various schools of art, page 629 of -our Annual for 1886) flourished in the -commencement of the fourteenth century. -As on a future occasion we shall have to speak -of this painter, when describing the Arena -Chapel at Padua, all we shall say at present is -that one should not attempt to criticise him -or the works of this early Italian school by -mere isolated pictures found in galleries. Of -course in the days of Giotto Italian art was -more or less in its infancy, and the mechanical -knowledge possessed by these fourteenth -century painters was meagre, therefore we -must not expect to find grand effects of -chiaroscuro, neither is the rich colour of the -later school to be discovered.</p> - -<p>Of the more perfected early Italian school -we find works by Luca Signorelli, Giovanni -Bellini, whom we shall find far better -represented in Venice, and the excellent -Francia, whose lovely picture of “Mater -Dolorosa” in our National Gallery is so well -known to our girls. We find, also, works of -Raffaelle, Leonardo da Vinci and his pupil, -Luini. But the best represented painters in -the Brera are the later Venetian school, -especially Titian, Tintoretto, and Paul -Veronese. The great glory of the collection -is Raffaelle’s picture of the marriage of the -Virgin. The arrangement of this picture at -first struck us as being extremely formal. We -find in the background a twelve-sided temple -crowned with a dome, standing directly in the -middle of the picture. The architecture of -this temple has been severely criticised; but -it by no means follows that because Raffaelle -thought the structure suitable for his picture -he would ever have built anything like it. In -front of the temple is a very formal pavement -divided into large squares. All the figures -are grouped together immediately in the foreground. -The High Priest stands in the centre, -holding the hands of Mary and Joseph. Behind -Joseph are many youths, and behind Mary are -a number of women—five in each group, thus -keeping up the symmetrical arrangement which -runs throughout the whole picture. There is a -charming grace about the head of Mary and -the two women standing immediately behind -her. May we call them the bridesmaids?</p> - -<p>Joseph and the youths who accompany -him are represented with rods, but it will be -noticed that Joseph’s rod is crowned with five -blossoms, probably of the almond. Several -explanations have been given of this. The -most poetical supposes it refers to an ancient -legend that Mary had several suitors, as -would be almost certain to be the case of a -maiden of the house of David, possessed, -moreover, of great personal beauty. The -legend records that the various suitors each -cut a rod, which they laid in the temple, and -that after a time Joseph’s rod was discovered -to have blossomed. Some writers suppose that -the youths breaking the rods refer to an -ancient custom practised in Jewish marriages.</p> - -<p>The picture is extremely beautiful in colour, -brilliant and well preserved. We venture to -suggest that the very symmetrical and formal -arrangement of the picture may have resulted -from its having been intended as the centre -portion of a group of compositions.</p> - -<p>Titian is best represented by the frequently -engraved picture of St. Jerome—a work full -of grand power and magnificent chiaroscuro. -Leonardo da Vinci’s work in the gallery is one -of very great interest, as it is a study for the -head of the Saviour for his mighty work of the -Last Supper.</p> - -<p>As the evening approaches, we dine at one -of the perfect <i>ristoranti</i> of Milan and proceed -by rail to Verona. On our way we were -captivated by the charming manners of the -peasantry; for we travelled third class, and -thus had a capital opportunity of judging. It -was a <i>fête</i> day at some of the towns our -train called at, and there were fireworks, -and every evidence of village festivity. But -although there was great demand for -seats in the train, we saw nothing of drunkenness -nor heard coarse language, or anything -resembling a vulgar cockney crowd—or, -for the matter of that, the vulgar, well-dressed -competitors for best seats who visit such -civilising entertainments as the Monday or -Saturday Popular and other London concerts! -No, the Italian peasantry could teach wonderful -lessons in kindness and self-respect to their -betters of England! We reached Verona at -midnight, and put up at a delightfully old -world hotel and slept the sleep of—well, the -tired, until the sun next morning reminded us -of another happy day in store for us.</p> - -<p>And now there arises before us a scene -which will never be absent from the recollection -of either bachelor. A broad and rapidly-flowing -river, spanned by a lofty bridge, -pierced by a great circle between the centremost -arches, like the eye of some vast Cyclops. -Banks covered with ancient tiled-roofed houses, -above which rise an indescribable mass of domes, -towers, spires, pinnacles, and lofty walls, -crowned by forked battlements; the whole -backed up by undulating hills, clad with the -deep green of the cypress groves, amongst -which arise the round towers of a strange-looking -castle. Is this the recollection of -some picture we have seen, some place we -have dreamt of, or is it a reality?</p> - -<p>The question seems further from being -solved as we wander through the streets and -squares of the poetical city. Every step brings -us in the presence of some wondrous recollection -of the past, and there is nothing to -fasten down our ideas to the present time. -Fresh dreams arise in every street. What is -this vast oval structure, with its countless -arches, reminding one of the great Colosseum -at Rome? Ruinous, it is true; but as we -enter it, strange to say, it seems to have -suddenly awakened from its dream of sixteen -centuries. Alas! it awakens us also, for -what do we see but in the centre of this great -arena the hanky-panky tricks of modern -horsemanship and hear the stale jokes of a -modern English clown! Let us, however, -leave this singular scene of anachronism and -again wander and dream.</p> - -<p>This time there rises before us a series of -lofty sculptured tombs, each crowned by a -spire, surmounted by the figure of a man on -horseback, separated from the roadway by -some delicate metal work, wrought by the -hand of a thirteenth-century blacksmith into -a bewildering combination of quatrefoils, and -supported by graceful marble columns, each -bearing the image of a saint or angel. To -complete the picture, the whole is backed up -by a venerable-looking church, with a low, -tile-covered steeple and roof, plain enough but -for a beautiful marble monument placed above -the doorway. It is difficult to imagine anything -more enchanting in the way of architecture -than this extraordinary cemetery, filling -up the centre of one of the small squares -of the city.</p> - -<p>We wander on again, and find ourselves -in front of a noble Gothic church, with a -façade shaded by two mighty arches, one over -the other, and beneath the lowermost a richly-carved -doorway. We enter, and a superb -picture is presented to our view. A Gothic -church of exquisite proportion and rich detail, -gleaming with coloured decoration, to which -the softening touch of time has lent harmony -and mellow tints. A pavement of variegated -marble is beneath our feet. Two queer -little statues, supporting holy water basins, -attract our attention, and a voice seems to -whisper in our ear, “I Gobbi.” Need we say -that this is the Church of St. Anastasia in -Verona.</p> - -<p>It would be impossible to give our girls -anything like a description of the very -interesting objects in this beautiful city, or -adequately to express the feelings with which -one wanders about its streets. It is said that -“Music hath charms to soothe the savage -breast,” and the man must indeed be a savage -who would not feel the same soothing influence -in looking at Verona.</p> - -<p>Everything, from its sweet-sounding name, -seems to breathe poetry and music into the -mind.</p> - -<p>One seems to exist in a realm of fancy, and -little imagination is required to people it again -with Montagues and Capulets.</p> - -<p>How strange it is that our great poet should -have managed to have so thoroughly embodied -the ideas which Verona impresses upon the -mind in <i>Romeo and Juliet</i>, without having -seen the place! When one reads the play -who has seen Verona, it seems almost impossible -to believe that Shakespeare did not draw -his picture from the place itself.</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<div class="figcenter illowp100" id="i_235" style="max-width: 21.875em;"> - <img class="w100" src="images/i_235.jpg" alt="" /> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_236">{236}</span></p> - -<h2 class="nobreak" id="LITTLE_KARIN1" title="LITTLE KARIN.">LITTLE KARIN.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></h2> -</div> -<p class="ph3">Translated from the Swedish by the Rev. LEWIS BORRETT WHITE, D.D.</p> - - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0"><span class="smcap">Among</span> the serving maidens</div> - <div class="verse indent2">In the young king’s royal Hall,</div> - <div class="verse indent0">None shone like little Karin,</div> - <div class="verse indent2">A star among them all.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Just like a star she shone forth,</div> - <div class="verse indent2">Among the serving folk,</div> - <div class="verse indent0">And thus the young king, smiling,</div> - <div class="verse indent2">To little Karin spoke.</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Oh, hear thou, little Karin,</div> - <div class="verse indent2">Oh, say thou wilt be mine;</div> - <div class="verse indent0">Grey horse and golden saddle</div> - <div class="verse indent2">Shall surely then be thine.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Grey horse and golden saddle,</div> - <div class="verse indent2">They are not meet for me;</div> - <div class="verse indent0">To thy young queen oh, give them,</div> - <div class="verse indent2">Leave me with honour free.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Oh, hear thou, little Karin,</div> - <div class="verse indent2">Oh, say thou wilt be mine,</div> - <div class="verse indent0">My crown all bright and golden</div> - <div class="verse indent2">Shall surely then be thine.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Thy crown so bright and golden,</div> - <div class="verse indent2">It is not meet for me;</div> - <div class="verse indent0">To thy young queen oh, give it,</div> - <div class="verse indent2">Leave me with honour free.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Oh, hear thou, little Karin,</div> - <div class="verse indent2">Oh, say thou wilt be mine;</div> - <div class="verse indent0">The half my royal kingdom</div> - <div class="verse indent2">Shall surely then be thine.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“The half thy royal kingdom,</div> - <div class="verse indent2">It is not meet for me;</div> - <div class="verse indent0">On thy young queen bestow it,</div> - <div class="verse indent2">Leave me with honour free.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Oh, hear thou, little Karin,</div> - <div class="verse indent2">If thou wilt not be mine,</div> - <div class="verse indent0">There is a spikéd barrel</div> - <div class="verse indent2">I’ll have thee placed within.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">“Though there’s a spikéd barrel,</div> - <div class="verse indent2">And I am placed within,</div> - <div class="verse indent0">God’s angels will behold me,</div> - <div class="verse indent2">That I am free from sin.”</div> - </div> - <div class="stanza"> - <div class="verse indent0">So placed they little Karin,</div> - <div class="verse indent2">In spikéd barrel bound,</div> - <div class="verse indent0">And the king’s cruel horseboys,</div> - <div class="verse indent2">They rolled it round and round.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Then two white doves from Heaven</div> - <div class="verse indent2">Came down so peacefully,</div> - <div class="verse indent0">They took up little Karin,</div> - <div class="verse indent2">And then the doves were three.</div> - </div> -</div> -</div> - -<div class="figcenter illowp100" id="i_236a" style="max-width: 50em;"> - <img class="w100" src="images/i_236a.jpg" alt="" /> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_INHERITANCE_OF_A_GOOD_NAME">THE INHERITANCE OF A GOOD NAME.</h2> -</div> -<p class="ph3"><span class="smcap">By</span> LOUISA MENZIES.</p> - - -<h3>CHAPTER I.</h3> - -<div class="ddropcapbox illowe9_375" id="i_236b"> - <img class="w100 idropcap" src="images/i_236b.jpg" alt="T" /> -</div><p><span class="uppercase">hat</span> this world is -only a very small -part of the universe, -and that the -life of man upon -this globe is but -a very small part -of that eternity to -which he is heir, is -indicated by a -thousand circumstances -in the life of every day, and by none -more strikingly than by the failures, the disappointments, -the total eclipses which sweep -from our sight into the undiscovered country -many a soul resplendent in promise, leaving -no record of them but in the faithful memories -of the few who knew and loved them.</p> - -<p>“He whom God loveth, dieth early,” said -the thoughtful heathen, and it must be confessed -that we are all disposed to hang garlands -on our tombstones and to make heroes -of our dead. Flaws of temper and other foibles -which marred the perfection of those who -were most familiar to us while they were -tossed to and fro on the billows of this -troublesome world, are forgotten for ever when -the lines of care and thought are smoothed -from the brow on which Death has laid his -finger.</p> - -<p>No young soldier left the Crimea with -greater distinction or greater promise than -Michael Fenner, the son of a house which -traced back its ancestors to the reign of -Elizabeth, and to which honour and piety had -always been dearer than riches. He had -entered the army with the true chivalrous -desire to fight for the right, to help the weak, -and confound the tyrant, and, a Christian in -heart and soul, he had maintained the simplicity -and purity of his life alike in the battlefield, -in weary marches, and in seasons of -sickness and depression.</p> - -<p>Self-denying, gracious, and cheery, he was -welcome as the sun in springtime, and many -a groan was stifled and many a muttered -curse was turned into a blessing at the sight -of his kindly blue eyes, at the sound of his -brotherly voice, so that no one grumbled -when he was gazetted captain in his eight and -twentieth year.</p> - -<p>Captain Michael Fenner in active service, -and with the modest fortune which he had -inherited from his parents, thought it no -indiscretion to marry the lady of his love, -Margaret Echlin, the daughter of the Rector -of Oldborough, a village in Warwickshire, -which his family had lived in for many years, -and people called her a lucky woman; for -what distinction was impossible to a man who -had already done so much and done it so -well? Nor was the promise of happiness -altogether belied. Eight years of happy -wedded life followed the happy marriage; two -healthy children, Mark and Eveline, brightened -their home; and as those were years of peace, -Michael was seldom long absent from his -family.</p> - -<p>The Fenners were not rich; but as they -neither of them desired riches, and both had -the happy knack of enjoying what they had -without pining for what they had not, they -took their lives as the gift of the Good Father, -and so all was good to them.</p> - -<p>But there came a day of sore trial, of bitter -sorrow to Margaret, of trial and sorrow which -Michael could not share. It was a day of a -great review, and Michael and his regiment -were to take part in it. His children will -remember to their dying day the bright face -that kissed them, the gay plumes, the flash -of gold and steel, and all the brilliant show -that rode forth from the barrack yard.</p> - -<p>Half an hour, and the accident had happened -which made them orphans and their -mother a widow. Captain Fenner was riding -a young horse unaccustomed to the London -streets; he had ridden it in the country for -some months, and being a perfect horseman, -mounted without apprehension, but, unhappily, -the nervous creature took fright, and, -after a wild rush of some two or three hundred<span class="pagenum" id="Page_237">{237}</span> -yards, flung his rider heavily on the -pavement. To the amazement and horror of -everyone he was taken up lifeless. Without a -word, without a look, he was gone for ever -from among men.</p> - -<p>The event was too solemn to be mourned -in the ordinary way. Men gazed at each other -with white, awestruck faces, and spoke beneath -their breath, as he was borne back to -the home which he had just quitted in full -health and strength. How many weak-hearted, -weak-willed men, who lived for their own -pleasure, with scarce a consciousness of the -higher life, might have been taken and the -world not palpably the worse; but this strong-hearted, -strongwilled man, on the very threshold -of a noble career, lay slain by what seemed the -merest accident in the heart of his native -country, almost within sound of his children’s -voices. “Truly the Lord’s ways are not our -ways, and they are wonderful in our eyes.”</p> - -<p>Margaret sat stunned in her sorrow. Deep -in her smitten heart lay the consciousness that -with him all was well; softly in the sleepless -night she whispered his name, softly her cold -hands lingered on the heads and hair of her -children; but her eyes were dry, her voice -dead within her, until her friends, in a mistaken -hope of helping her, consulted together -in her hearing about taking away the children. -Then the strong chill gave way, the blood -rushed into her pale cheeks, she stood up, and, -holding each child by the shoulder, she looked -into the faces of her amazed friends.</p> - -<p>“Bear with me,” she said; and her voice -was dry and hard, but it became more natural -as she proceeded. “Bear with me for awhile; -I am weak, but I shall be strong in time. -These are Michael’s children; you must not -take them from me.” Then bending down to -her children she kissed them, praying them -also to be patient with her, and said they -would help each other, and, from that day -forward she was first in their thoughts, they -in hers. With patient care she devoted herself -to all the duties of that sad time, and -when Michael Fenner was laid to rest in the -country churchyard, where many of his forefathers -slept, she set herself to master all the -circumstances of her position, and to ascertain -the means at her disposal for her own maintenance -and the maintenance and education of -her children. Friends shook their heads and -pitied “those poor Fenners,” but there was -not one with whom Margaret would have -changed lots; for had she not the memory of -her love and the care of those little children -who were his as well as hers?</p> - -<p>A careful consideration of her circumstances -convinced Mrs. Fenner that it would not be -desirable for her to inhabit the house at Oldborough, -for though it was a modest house -enough for a family to live in, she felt herself -unequal to manage the farm which belonged -to it, and she knew that her pension would not -enable her to keep it up comfortably, besides, -before long it would be necessary for Mark at -least to go to school, and the nearest town -was ten miles from Oldborough. So Oldborough -Lodge was let to an Indian family -who were in search of just such a home, and -the farm was retained by the farmer, who had -held it ever since Michael’s father had died, -some fifteen years before; while Mrs. Fenner -and her children moved to a pretty little -cottage, which was fortunately to let, near the -ancient city of Sunbridge, in the parish -adjacent to which her brother was rector, -because she was deeply attached to her -brother, and because both he and his wife were -of opinion that it would be a great advantage -to Mark to study with their son Gilbert, until -the boys should be old enough to go to school.</p> - -<p>The Rev. James Echlin, Rector of Rosenhurst, -near Sunbridge, was one of those -amiable and accomplished men, to whom, in -their curate period, everything seems possible, -everything probable; and when it was announced -that Lady Elgitha Manners, aunt to -the young Earl of Seven Beeches, had determined -to bestow her inestimable self and all -the weight of her aristocratic connections upon -him, it was accepted as an event quite within -the range of the proprieties, and the favoured -few among his congregation to whom the -great news was first communicated, assured -each other that it was no wonder, and that -they should see him a bishop before many -years were over their heads. The Reverend -James, who, like his sister, was disposed to -think rather too humbly of himself, was -amazed at his own good fortune, and meekly -submitted himself to it; but his wise father -shook his head, and his mother, though rather -dazzled by the brilliancy of the connection, felt -that it would have been more comfortable if -James had married a woman more in their own -rank. Indeed, the man who marries a wife, -who condescends to his alliance, is seldom to -be envied, and, though James Echlin’s sweet -nature prevented his chafing under it, it was -by no means good for him or for his children -that the Lady Elgitha, in right of her superior -knowledge of the world, and of her family -connections, exercised the <i>summum imperium</i> -in all household arrangements.</p> - -<p>Of their eight children only two, Gilbert -Manners, the eldest, and Elgitha Manners, the -youngest, lived past infancy. Gilbert was a -handsome boy, well grown and vigorous -enough, but Elgitha was long a frail, little -maid, who seemed likely to be added to the -row of tiny mounds under the chancel window, -which were all that remained to tell of the six -infant Manners Echlins who had spread their -wings and joined the innumerable throng of -infant angels.</p> - -<p>Like most ruling ladies, the Lady Elgitha -had her favourite, and this favourite was—as -was but natural—her son: for had he not -paid her the initiatory compliment of inheriting -her aquiline features? and as he grew up -were not his tastes and feelings in charming -harmony with her own? While a child in the -nursery he eschewed fairy tales “as rubbish,” -and when he became a boy, and went to -school, learning as learning was a bore; and -he early adopted it as a maxim to give his -attention to nothing that “didn’t pay”—an -expression which charmed his mother by its -shrewdness, but strangely chilled his father, -who, in all his life, had never taken such a -consideration into account.</p> - -<p>With a sense of the vital importance of modern -languages which is impressed on the brain -of our female aristocracy, Lady Elgitha had imported -to Sunbridge first a Parisian <i>bonne</i>, then -a German; and Gilbert, Mark, and Eveline had -the opportunity of acquiring a <i>patois</i> which -familiarised them with the names of ordinary -things, and, it may be, facilitated their subsequent -studies in both languages; but little -Elgitha was too delicate in the early years of -her life to be trusted either to <i>bonne</i> or -<i>fräulein</i>, and she was permitted to repose on -the ample bosom of a comfortable Englishwoman, -who was as sweet as a clover-field -and about as intelligent; and while she -nursed and tended the frail little body, had -not the remotest notion of in any way disturbing -the little brain, but was more than -satisfied to see repeated in his little daughter -the features and the sweetness of her father.</p> - -<p>When Gilbert had attained his seventh -year, Lady Elgitha decreed that an erudite -curate should be sought out, who, in addition -to his clerical duties, should instruct both -boys in the mysteries of the Latin grammar, -and should prepare Gilbert for Eton, and -Mark for the local grammar school, which had -a very good reputation; and so, for three -years, the boys worked together under the -guidance of the Rev. Theophilus Wilkins, -who, having rather overtaxed his brain by -taking a “double first” at Oxford, was not -sorry to rest a little by going back to first -principles with the cousins, the elder of whom -was interesting as the grandson of an earl, -while the orphanage of the younger could -hardly fail to awaken his sympathy.</p> - -<p>As was natural, Gilbert took the lead, and -was always the person most considered, but -Mark had an innate love of learning, which -made him accept with eagerness whatever was -offered to him. From the day when a six years’ -child he spelt out the mysteries of “haec -musa” to that when he gave proof of accomplished -scholarship by carrying off the first -honours of his school, it never occurred to -Mark to clip his studies by a careful selection -of what would carry him through an examination, -too much engrossed by learning to -count personal profit or want of profit in the -matter; while Gilbert from his tenderest years -showed a precocious esteem for “what would -pay” and a profound unwillingness to learn -anything for its own sake; so that when he -was ten years old, it being found that Mark -was in all respects in advance of his cousin, -Lady Elgitha decreed that it was waste of -time for Mark to study at home any longer, -and that Gilbert had better be sent to one of -those feeders of Eton where the subjects of -study are strictly narrowed to suit the demands -of that seat of learning; and in due course -Gilbert Manners Echlin, having passed through -the congenial mill of the Rev. Edward Thornborough, -at Staines, took a good place on his -entrance, and was fairly launched into the sea -of public school life. His grandfather and his -uncle being earls, and his father a parson, he -was not particularly badgered on his first -coming; he was sufficiently aristocratic in -countenance and bearing to pass muster with -the boys, and sufficiently ready with his lessons -to escape the censure of masters.</p> - -<p>Mark Fenner, meanwhile, diligently attended -the Grammar School at Sunbridge, -walking to and fro summer and winter, wet -and dry, and, with his bright, cheery face and -steady ways, won the love of masters and of -boys, and worked his way with quiet perseverance -to the top of the school. It never occurred -to him to envy Gilbert his fine clothes -or the guineas he jingled in his pockets when -he came to the cottage to say good-bye; and -he submitted with an easy grace to the airs of -patronage which his cousin assumed. It was -natural, he thought, that his Aunt Elgitha’s -son should go to Eton, and it was equally -natural and right that he himself should work -out his lessons without other aid than that of -dictionary and grammar by the light of his -mother’s lamp in the cottage parlour, occasionally -refreshing himself by a half-unconscious -glance at the enlarged photograph over -the mantelpiece, which was the only portrait -they had of their father, and which, dull and -poor as it was in comparison with the bright -presence which had passed away, was yet an -outward visible sign of it very dear to the -three who called the cottage home.</p> - -<p>In countenance Mark was not at all like -his father, resembling his mother in feature -and complexion; but many a time and oft the -widow’s heart beat and tears rose in her eyes -as she recognised in her boy traits which assured -her of that higher affinity of heart and -mind which is infinitely deeper than any trick -of feature or complexion. It is a mistake to -suppose that because boys are often rough in -speech and careless in manner there is any -reason for it in their boyhood, and though -the braggart and the bully naturally attract -most attention, and do what they can to spoil -the beauty of the little republics in which they -live, we confidently believe that there are -hundreds of boys who have no taste for bullying -and coarse talking any more than for lying -and thieving, and who pass through their -school career pure in speech and gentle in<span class="pagenum" id="Page_238">{238}</span> -nature. Certainly Mark Fenner never need -have blushed if his mother had heard all he -said any more than if she had read the thoughts -of his heart; yet Mark was almost as good in -the cricket-field as in the school-room, he was -an adroit swimmer, a stout wrestler, and, -better than all, an excellent walker.</p> - -<p>Eveline, who was just two years younger -than her brother, was a bright, healthy damsel, -not specially clever, but one of those girls -who have a truly feminine and harmonising -influence in families, modest and happy in -temper, always more occupied by care for -others than for herself. She had acquired -most of her knowledge from her mother, and -would have been pronounced by many a -young lady of the nineteenth century “frightfully -ignorant.” I am afraid it would have -cost her some thought to define what is -meant by physical, political, and commercial -geography; physiology as a science was unknown -to her, but she had been an apt pupil -in those graces which no board of examiners -can gauge, but without which English homes -would never have been the desire and the admiration -of foreigners, the safety and the -comfort of her sons.</p> - -<p>Eveline was sufficiently well-read to take an -interest in wholesome books and understand -political questions, when they were discussed; -and for this she was much indebted to her -uncle, with whom she was a great favourite, -and whom she often accompanied on his parish -rambles, when he beguiled the way and relieved -his own heart by gently philosophising -after a fashion too ideal to find favour with -Lady Elgitha, but which sounded very sweetly -in the ears of the young Eveline.</p> - -<p>And so the years sped on. Gilbert had left -Eton with fair credit, but without having -attained any distinction, and was making up -his mind what he should do next—a process -that occupied him some months, and which, -but for the pressure of circumstances, which -his mother regarded as cruel, he might never -have achieved; but she was well aware that -his father could not live for ever, that her -fortune would be too small to support him, -when divided, as by her father’s will it must -be, between her children. The church, the -army, the bar, which was it to be? The church -was perhaps the easiest; it would not cost -Gilbert much trouble to take a respectable -degree, and there was a good living in the -family; but the living was in Northamptonshire, -in a part of the country which Gilbert -knew and did not admire; besides, a country -life, even with all the amenities of Sunbridge -within easy reach, did not suit him. He would -have preferred the army if he could have been -guaranteed against heavy campaigning, and -if the examinations for the higher branches of -the service had not been so stiff. As to law, it -was horrid all round, absolutely nothing to be -got without burning the midnight oil, a process -to which, in its classic sense, Gilbert had a -special objection, though he testified no aversion -to midnight gas. So the months passed, until -the time came for Mark to leave school, which -he did after having been captain for a couple -of years, with a long row of charmingly-bound -prize books and a very good scholarship to -Trinity College, Cambridge.</p> - -<p>Then Lady Elgitha, finding her son no -nearer to a conclusion, decreed that he also -should go to Cambridge; all her family who -were not in the army had gone to Cambridge; -but as Gilbert had not the gift of plodding, a -smaller college, his father’s, Corpus, was chosen -for him. Boys of his age seldom cared for the -church; he would probably come round in a -year or two, and then he would be in the right -road for it.</p> - -<p>Mark was sure to do well. He had had -nothing to do at Sunbridge but work, -whereas poor Gilbert had been so distracted -at Eton by games, society, etc., etc. Mark -would distinguish himself. He could hardly -help doing so, and no doubt would be glad -of the opportunity to do his cousin a service -in return for the many benefits he and his -mother and sister had received from his -uncle.</p> - -<p>The seven years which the boys had spent -apart, except during holidays, had widened -the natural gulf between them; and when -Mark, in obedience to his aunt’s wish, offered -to read with Gilbert, he found the task no -easy one. Gilbert professed an abomination -for mathematics, and by his ignorance of the -first principles, seemed to justify the opinion -generally entertained of the perfection in -which the study is ignored in the old schools.</p> - -<p>“It’s just horrid, old man!” he exclaimed -one morning, after half-an-hour’s study, -thrusting his long fingers through his fair -hair. “I’m awfully sorry for you having to -grind away at it.”</p> - -<p>“But I like it!” said Mark, mind and eyes -deep in his geometry. “Just listen, Gilbert. -I do think I see another solution.”</p> - -<p>“Another solution!” cried Gilbert, in -despair. “Just as if one was not enough.”</p> - -<p>“But it’s so interesting,” persisted Mark. -“If you’d only give your mind to it, I’m sure -you’d like it; it is so pretty.”</p> - -<p>“Where’s the good? I’m not going in for -a don. I shall scrape through when the time -comes, never fear. Hullo! There’s St. Maur -and Tullietudlem in a tandem. Splendid, -isn’t it? How will Tullie ever get that wild -filly of his round the corner? There! I knew -it. Down goes the old woman—wagon, -Tullie, and St. Maur on the top of her. -There’ll be a row!”</p> - -<p>“They’ll have something to pay, at all -events,” said Mark, looking up, but still deep -in his problem.</p> - -<p>“Never a bit. A sovereign to the old -woman. She’s used to it. Nothing will ever -teach Tullie to handle the ribbons. Never -could at Eton; and his sister’s such a splendid -whip. I wonder where they were going to! -Newmarket, perhaps. St. Maur’s uncle is -running a two-year-old. O, bother, Mark! -I can’t be worried now. The very look of -those figures makes me sick! I shall get up -enough to scrape through, never fear. I’m -strong in classics.”</p> - -<p>“All right, old fellow,” said Mark, shutting -up his book. “Then you won’t want me. -Tell me if you do, you know. I’ll come in -any day.”</p> - -<p>“Thanks, a thousand times. It is no good -working against the grain, is it? My head is -all in a whirl with that stupid geometry.”</p> - -<p>Internally wondering at the stupefying -effect of the geometry he had not done on -his cousin’s brain, but too happy to escape to -his own quiet room, Mark Fenner ran with -the speed of a lover across the familiar flags, -and buried himself until lunch time in his -favourite study.</p> - -<p>At half-past one his friend, John Mildmay, -came in for lunch and for a chat; and the -lads ate their bread-and-butter and pressed -beef, flanked with a jug of college ale, with a -keen appetite and much pleasant talk about -men and things. The meal ended, they -started for their afternoon walk along the -banks of the Cam, interchanging many a -cheery greeting with friends on land and river, -invigorating mind and body by sufficient and -temperate exercise, and taking care to be back -in time for “chapel,” which they attended in -the loveliest of chapels—aëry and exquisite -King’s.</p> - -<p>So to Mark Fenner Cambridge was what it -should be—a home of intellectual effort, of -happy and reposeful thought, sweetened by -the companionship of chosen friends, mostly -men of very moderate means like himself, to -whom the Alma Mater was holding out her -protecting arms. Some men of his cousin’s -set made overtures to him—men whose -fathers remembered his father; but Mark had -the courage to decline their invitations, and -to keep to the work he had set himself to do; -and when the term was ended, and the lads -went home, Mark’s cheeks were round and -rosy, while Gilbert looked so thin and pale -that his mother was alarmed lest he had been -doing too much.</p> - -<p>“Very possibly, my dear,” said the rector, -to whom she imparted her fears, with his -sweet sad smile, “but not too much work; -Gilbert is innocent of that, I am sure.”</p> - -<p>“I do not think you ever have understood -the poor boy, James. He is not a book-worm, -like Mark, of course, no Manners ever was; it -is unfortunate for him that he does take so -much after my family.”</p> - -<p>“You are the best judge of that, Elgitha; -he certainly does not appear to me much to -resemble any of my people. Perhaps, as far -as this world is concerned, it is all the better -for him.”</p> - -<p>“I don’t know why you should say that, -James,” said Lady Elgitha, rather reproachfully; -“surely your lot has fallen in pleasant -places.”</p> - -<p>“I did not mean to complain, my dear; my -fortune is much above my deserts. If I should -like to see Gilbert more studious, it is perhaps -from a selfish wish to have him more in -sympathy with myself—not that I am much of -a student, I am but an idle fellow, God help -me, enjoying my pleasant, easy life here with -you, Margaret, and the girls.”</p> - -<p>“Everybody must be happy in his own -way,” said Lady Elgitha. “Gilbert would -never be happy as a parson; it is my belief -that he wants an active life. I must write -to the Earl about him—something in the -Treasury now.”</p> - -<p>“My dear, your nephew cannot nominate -as your father and grandfather did. Gilbert -must stand the test of an examination; if he -cannot satisfy the examiners, no amount of -blue blood will avail him.”</p> - -<p>“According to that, Mark will have the -best chance in the world.”</p> - -<p>“And everywhere else,” said the rector. -“I only wish our Gilbert had half the chances -of Margaret’s fatherless boy. Michael Fenner, -though dead, has done more for his son than -I for mine. Gilbert is selfish, idle, almost -illiterate, and I look with shame on the -virtues of my nephew who has had so much -less done for him.”</p> - -<p>“Why, Rector, what has given you such a -fit of the blues this afternoon?” exclaimed -Lady Elgitha, regarding him with amazed -alarm.</p> - -<p>The rector attempted some jest, and calling -his little daughter, set out on his usual afternoon -peregrination, while Lady Elgitha, -seriously disturbed, reflected whether it would -be advisable to calm his troubled mind by a -course of globules, or to divert his thoughts -by a dinner party or a tennis tournament.</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<div class="figcenter illowp100" id="i_238" style="max-width: 28.125em;"> - <img class="w100" src="images/i_238.jpg" alt="" /> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_239">{239}</span></p> - -<h2 class="nobreak" id="VARIETIES">VARIETIES.</h2> -</div> - - -<p class="p2"><span class="smcap">Other People’s Vanity.</span>—What renders -the vanity of others insupportable is that it -wounds our own.—<i>La Rochefoucauld.</i></p> - - -<p class="p2"><span class="smcap">Busy with Trifles.</span>—Those who bestow -too much application on trifling things become -generally incapable of great ones.—<i>La Rochefoucauld.</i></p> - - -<p class="p2"><span class="smcap">Heads and Hearts.</span>—A man with a bad -heart has been sometimes saved by a strong -head, but a corrupt woman is lost for ever.—<i>Coleridge.</i></p> - - -<p class="p2"><span class="smcap">Love-Letters.</span>—To write a good love-letter, -you ought to begin without knowing -what you mean to say and to finish without -knowing what you have written.—<i>Rousseau.</i></p> - - -<p class="p2"><span class="smcap">Lovers’ Talk.</span>—The reason why lovers are -never weary of being together is because they -are always talking of themselves.</p> - - -<p class="center p2"><span class="smcap">A Tale of a Yorkshire Wife.</span></p> - -<p><span class="smcap">The</span> Yorkshire people of the West Riding, -according to Mrs. Gaskell, are “sleuth -hounds” after money, and in illustration of -this characteristic we may take the following -anecdote:—</p> - -<p>Not far from Bradford an old couple lived -on their farm. The good man had been ill -for some time, when the practitioner who -attended him advised that a physician should -be summoned from Bradford for a consultation.</p> - -<p>The doctor came, looked into the case, gave -his opinion, and, descending from the sick-room -to the kitchen, was there accosted by -the old woman with “Well, doctor, what is -your charge?”</p> - -<p>“My fee is a guinea.”</p> - -<p>“A guinea, doctor! a guinea! And if you -come again will it be another guinea?”</p> - -<p>“Yes.”</p> - -<p>“A guinea, doctor! Hech!”</p> - -<p>The old woman rose and went upstairs to -her husband’s bedroom, and the doctor, who -waited below, heard her say—</p> - -<p>“He charges a guinea, and if he comes -again it’ll be another guinea. Now, what do -you say? If I were ye I’d say no, like a -Britoner; and I’d die first.”</p> - - -<p class="p2"><span class="smcap">Pleasant Surprises.</span>—Human nature is -pliable, and perhaps the pleasantest surprises -of life are found in discovering the things we -can do when forced.</p> - - -<p class="p2"><span class="smcap">An Obstacle to Happiness.</span>—There is -in all of us an impediment to perfect happiness—namely, -weariness of the things which -we possess and a desire for the things which -we have not.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</h2> -</div> - - -<h3>EDUCATIONAL.</h3> - -<div class="blockquot_ans"> - -<p><span class="smcap">Miss Beale</span>, <span class="smcap">Ada Crossley</span>, <span class="smcap">Delectus</span>, <span class="smcap">Admirer -of the G. O. P.</span>, <span class="smcap">Constance Sutherland</span>, <span class="smcap">Gertrude</span> -and <span class="smcap">Ronvad</span>, <span class="smcap">Mardi</span>, <span class="smcap">Tadman</span> and <span class="smcap">Crossley</span>.—We -thank Miss Beale for sending us the prospectus -of the Guild of the Cheltenham Ladies’ -College, the object of which is to give information to -its old pupils and others, of essay, reading, and other -societies, so as to help in their own self-improvement -and in work for others; general secretary, Mrs. -Ashley Smith, Ivy House, Bilston, Staffordshire. -Miss Tadman is thanked for her prospectus of the -Kingston Reading Club, of which she is hon. -secretary; her address is 100, Coltman-street, Hull, -Yorkshire. Mardi is also thanked for that of the -Glamorgan Reading Society, of which Miss C. -Lewis is the hon. secretary; address, 49, Richmond-road, -Cardiff, Wales. She wishes it to be understood -that it is not confined to Glamorganshire. Our -other correspondents above-named we may refer to -the shilling “Directory of Girls’ Clubs” (Griffith -and Farran, St. Paul’s-churchyard, E.C.), where -they will find what they require. Machiavelli’s -works are translated into French by Periés, 1823-6, -in twelve volumes, and Macaulay wrote an essay -upon them. March 24th, 1869, was a Wednesday. -Eleven early-rising societies are named in the -directory, including Miss Kempe’s.</p> -</div> - - -<h3>ART.</h3> - -<div class="blockquot_ans"> - -<p><span class="smcap">Die junge Maus.</span>—Although you have attained to -the patriarchal age of twenty-one, and your bones -have only just become hard, we see no objection to -your learning to paint. There are works on the -subject you name in French as well as English. -Write to the publisher, Mr. Tarn. Ours is the -editorial department.</p> - -<p><span class="smcap">Emily Kaighin.</span>—A milking-stool is round in the -seat, about ten inches in diameter, and has three -wooden legs sloping outwards. People use it more -as a means for the practice of their artistic ideas -than as a restful appliance.</p> - -<p><span class="smcap">May.</span>—To remove a photo from a dirty mount, cut -away all the margin of the latter and put it to float -in a plate of clean tepid water. Should it fail to -become detached, hold it with the back near the fire, -and you will then peel it off. Sometimes a solution -of indiarubber is used in mounting (improperly so, -we think), and this is the best plan to adopt in such -a case.</p> - -<p><span class="smcap">Photo.</span>—The medium mentioned in “Photographine” -is sold with the apparatus for the art.</p> - -<p>A. M. B.—To acquire the art of painting on glass or -china, you might be taken as an apprentice at -various firms, such as that of Mr. Cameron, 69, -Wigmore-street, Cavendish-square. W.; or the -Messrs. Powell, of the Whitefriars Glass Company, -Whitefriars-street, E.C. This company receives -ladies, who work in a separate room for six hours -daily, and four on Saturdays. The Messrs. Simpson -and Messrs. Mortlock likewise employ ladies. The -average earnings are from £60 to £70 per annum for -the lower branches of art, and as much as £100 for -the higher.</p> - -<p><span class="smcap">Bull Finch.</span>—We must refer you to the answer above -given to “A. M. B.” You will find plenty of designs -for tile and china painting in the volumes of the -G. O. P. You need not look further.</p> - -<p><span class="smcap">Would-be Professional.</span>—Certainly, a livelihood -could be made out of wood engraving, but then you -should have more than one qualification for it. -Practical skill, persevering industry, good sight, a -firm, steady, yet delicate touch, and natural artistic -taste. The work has the advantage of being home -work, and needs little outlay—a good set of tools, -and the boxwood blocks purchased as required. A -skilled engraver can earn from £3 upwards a week. -If you study at the South London Technical Art -School, 122 and 124, Kennington Park-road, you will -have £3 to pay per annum for fees, half-yearly and -in advance. When you have acquired the art, -illustrate some popular work or picture initial letters -for articles, and little end sketches for the same, and -take them to publishers as specimens. You might -obtain advice at the central office of the City and -Guilds of London Institute, Gresham College, London, -E.C. The director and secretary is Philip -Magnus, Esq.</p> -</div> - - -<h3>MISCELLANEOUS.</h3> - -<div class="blockquot_ans"> - -<p><span class="smcap">Young Inquirer.</span>—1. Yes, there is such a thing as a -“singing flame,” and it is not like a singing kettle -nor a windy gaspipe, and is as great a wonder as the -fabulous “singing tree,” had that been real. A very -delicate jet of flame, introduced through a small pipe -into a narrow glass tube of a foot long, will respond -to the singing of any one note, if set in tune to it. -Professor Tyndall says, “With a little practice, one -is able to command a flame to sing and to stop singing, -while it strictly obeys the injunction. When the -proper pitch has been ascertained the experiment is -sure to succeed; and, from a distance of twenty or -thirty feet, the flame when sung to is caused to sing -responsively. If it do not respond, it is because it -has not been spoken to in the proper tone; but a note -of somewhat higher pitch causes it to stretch its -tongue and sing vigorously.” 2. The 1st of April, -1869, was a Thursday.</p> - -<p><span class="smcap">Faith, Hope, and Charity.</span>—See “Practical Hints -About the Growth of the Hair,” in our part for -July, 1885. The name Thames is derived from the -Attic word <i>Tamh</i>, signifying “quiet,” the Saxon -<i>Temese</i>, the Latin <i>Tamesis</i>. Possibly the latter may -contain the origin of the name Isis, as given to the -river at Oxford.</p> - -<p><span class="smcap">Eileen.</span>—Yes, Ireland was anciently called Insula -Sacra, so Festus Airenus affirmed; but it must be -noted that this author wrote in the fourth century, -and this was before St. Patrick established Christianity -there. Also, the name given to Ireland was -not exclusively a distinctive one, for the Isle of -Samothrace was also entitled the Sacred Isle. -Another name for Ireland was Muic Innis, or Isle -of Muc, Muc being the name applied to the divinity -as worshipped by them, and signified “sacred.” -Beautiful as much of the country is, any visitor would -be struck with the appropriate selection of the latter -name (according to its English sound and meaning) -after seeing the filthy surroundings and habits of the -natives, the pigs, poultry, and human kind wallowing -together within the same mud walls, and by -preference!</p> - -<p><span class="smcap">Zearn.</span>—A butler has the care of the wine cellar, decants -the wine, and serves it at table. He places the -chief dish on the table, or carves it at the side table, and -his place is behind his master’s chair, while the footman -(if one) stands behind his mistress. The butler -also stands behind the footman when the latter opens -the hall door to visitors. The servant, improperly -called a butler, who holds a single-handed place -combines the duties of both butler and footman, with -the exception of the care of the wine cellar, unless -in exceptional cases of special trust.</p> - -<p><span class="smcap">A Reader.</span>—The initials R.S.V.P. are those of the -French phrase <i>Répondez, s’il vous plaît</i>, “Answer, -if you please.” Painting in oils is much easier than -in water-colours, as mistakes can be rectified and improvements -made.</p> - -<p><span class="smcap">Honolulu.</span>—The quotation you give—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“Alas! how easily things go wrong;</div> - <div class="verse indent0">A sigh too deep, or a kiss too long,</div> - <div class="verse indent0">And then comes a mist and a weeping rain,</div> - <div class="verse indent0">And life is never the same again,”</div> - </div> -</div> -</div> - -<p class="noindent">is taken from “Planlastes,” a fairy story, by George -McDonald.</p> - -<p><span class="smcap">Marandana.</span>—Introduce the inferior to the superior, -the young to the older, and, in due courtesy, the -man to the woman. Read our series of articles on -good breeding, especially that entitled “The Habits -of Polite Society.”</p> - -<p><span class="smcap">G. N. Oetzmann.</span>—You might arrange your meals -thus:—A cup of tea, coffee, or cocoa, and a slice of -bread and butter before starting, and put a captain’s -biscuit or two in your pocket for 11 a.m.; dine at -1 p.m.; take a cup of chocolate or tea at 4 p.m., and -a substantial tea at 7 p.m. No supper is needed -after that.</p> - -<p><span class="smcap">Battenberg.</span>—Your handwriting is clear, but not -pretty, and you must beware of flourishes.</p> - -<p><span class="smcap">A Scotch Sunbeam.</span>—We are sorry to hear that you -suffer so much. Accept our thanks for so kind and -grateful a letter, and sincere wishes for your speedy -restoration. Your handwriting shows a good foundation -for a nice running hand by-and-by.</p> - -<p><span class="smcap">English Churchman.</span>—The Orders as now existing -in the Established Church are derived from St. -Augustine of Canterbury. Although St. Joseph of -Arimathea brought the Christian faith to Britain in -the first century, the reception of it was very partial, -and the mission of St. Eleutherius in the second -century established a line of sixteen archbishops, the -last of whom, Theanus, was driven from his see into -Wales about 587. Here a Primitive church of Eastern -origin was already in existence, and when the second -Roman mission was sent over by Gregory, through -Augustine, and established Christianity in the south-eastern -part of Britain, the little mission church in -North Wales was still existing, and protested against -any usurpation of authority by the newly-planted -Church of Canterbury. At the same time we cannot -trace any Orders in the Established Church derived -from them, although we have historic evidence of a -primacy in the reign of King Arthur being removed -from Caerleon to Llandaff, and thence to St. -David’s.</p> - -<p><span class="smcap">Daisy.</span>—We think if you belong to the Young -Women’s Christian Association you should apply -to Miss A. Gough, 17, Old Cavendish-street, W., for -information. Most of the homes of rest are open on -payment of 10s. a week. There is one at about that -price at Cobham, Surrey; Church-stile House. -Apply to Miss Blunt, 3, Portman-square, W. You -might also apply to the sister in charge of St. -Gabriel’s Home of Rest, Lennard-road, Folkestone,<span class="pagenum" id="Page_240">{240}</span> -where the terms are moderate; or St. Mary’s Home, -near Uckfield, Fletching. Apply to the lady superintendent. -Designed for ladies requiring rest or -change, 10s. a week.</p> - -<p><span class="smcap">Miss Goudge.</span>—The phrase you give appears to be -made up of certain passages of Holy Writ. See -1st Tim. vi. 4, 5, 20, and 2nd Tim. ii. 23.</p> - -<p>E. A. L.—We think you had better look out the word -“supernatural” in the dictionary.</p> - -<p><span class="smcap">Bishop.</span>—Canons are residentiary members of a -cathedral chapter, of which the dean is the chief. -The office was instituted in the eighth century, -and their duty is to act as the advisers of the bishop. -They do receive salaries, varying in amount. Archdeacons -take precedence of them. They act as the -representatives and delegates of the bishops, especially -in the duty of parochial visitation. Their office -dates from the fifth century. Their salary is very -trifling, supposed only to cover the cost of their -journeys. A prebendary has a right to a stall in -the choir of a cathedral church and vote in the -chapter, and to the receipt of certain revenues for -the performance of certain duties in that or a collegiate -church. The office was instituted in the eleventh -century, and may be held by a layman, although -such cases are rare, if actually existing. A rural dean -is a beneficed clergyman charged with the inspection -of a deanery, or sub-division of an archdeaconry, -under the supervision of his bishop. The original -duties of the office are for the most part practically -transferred to the archdeacon.</p> - -<p>W. L.—The first voyage made all round the world -was by a Portuguese commander, who sailed from -San Lucas on September 20th, 1519, in the ship -<i>Vittoria</i>. The name of this pioneer navigator was -Ferdinand Magellan, giving the straits through -which he passed their name. He was killed on the -Philippine Islands the following year, and Sebastian -del Cano brought the ship round the Cape of Good -Hope, and arrived at San Lucas six days within the -three years’ expedition, September 6th, 1522. Five -ships formed the fleet; three lived to go through the -straits with Magellan and his crew; the <i>Vittoria</i> was -the only one that reached home.</p> - -<p><span class="smcap">An Italian Girl.</span>—The 30th April, 1866, was a -Monday. The letters <i>i.e.</i> represent the Latin words -<i>id est</i>, or, in English, “that is,” or, more freely -translated, “that means, in other words,” when an -explanation of the words employed is required. The -Jesuits were banished from Portugal in 1759, suppressed -in France 1764, in Spain 1767, and subsequently -in Naples, Parma, and Modena, and in 1773 -Pope Clement XIV. issued a bull, concluding with -the words, “We do extirpate and abolish the Society -of Jesus.” In 1814 Pope Pius VII. re-established it. -A large number of Jesuit priests were executed at -the time you name on account of real or supposed -political intrigues. You write a beautiful hand, and -you have our best wishes.</p> - -<p><span class="smcap">Seeker of Light.</span>—Our blessed Lord’s atonement on -the Cross was of infinite efficacy, and our sins—even -the most heinous—are those of mere finite creatures. -Thus, “He is able to save to the uttermost.” The -term “scarlet,” as applied to sin, is a figure of -speech. It is not only glaring and conspicuous, but, -as produced in ancient times, it was exceedingly -durable. The Phœnicians were famous for it, and -the Tyrian purple and scarlet were produced from -two little shellfish, the <i>Buccinum</i> and <i>Murex</i>, only -found in perfection on the rocky coast of their -country. The dye when exposed to a bright light -became successively green, blue, red, and deep purple; -and, by washing it in soap and water, of a bright -and permanent crimson. Costly fabrics were twice -dyed, and made so beautiful and so very durable -that they brought fabulous prices. Thus, the allusion -made to a scarlet dye is explained. However deeply -dyed and stained with sin, the precious blood of -Christ can wash the sinner as white as snow. There -is no limit to its cleansing power.</p> - -<p><span class="smcap">S. A. Gray.</span>—You would do well to advertise your -autographs and take what you can get for them from -the trade, or else dispose of them by arrangement -with private friends. The <i>Exchange and Mart</i> -would be a good advertising medium.</p> - -<p><span class="smcap">Three Ignorant Schoolgirls.</span>—You cannot say you -play by <i>hear</i>, but by ear.</p> -</div> - -<div class="figcenter illowp71" id="i_239" style="max-width: 31.25em;"> - <img class="w100" src="images/i_239.jpg" alt="" /> - <div class="caption"><p><b>RULES</b> <span class="allsmcap">I.</span> <span class="allsmcap">NO</span> charge is made for -answering questions</p> - -<div class="blockquot_rules"> - -<p><span class="allsmcap">II.</span> All correspondents to give initials -or pseudonym</p> - -<p><span class="allsmcap">III.</span> The Editor reserves the right -of declining to reply to any -of the questions</p> - -<p><span class="allsmcap">IV.</span> No direct answers can -be sent to the Editor -through the post</p> - -<p><span class="allsmcap">V.</span> No more than two -questions may be -asked in one letter -which must be -addressed -to the Editor of -The Girl’s -Own Paper -56 Paternoster Row -<span class="smcap">London</span> E.C.</p> - -<p><span class="allsmcap">VI.</span> No address of firms -tradesmen or any other -matter of the nature -of an advertisement -will be inserted.</p> -</div> -</div> -</div> - - -<hr class="chap" /> - -<div class="footnotes"><p class="ph3">FOOTNOTES:</p> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Translation of an old and very popular Swedish ballad supposed to date from the days of the first introduction of Christianity, and to record the constancy -of a Christian girl—proof against both the allurements and the threats of her heathen master.</p> - -</div> -</div> - - -<hr class="full" /> - -<p>[Transcriber’s Note—the following changes have been made to this text.</p> - -<p>Page 234: Gian-Galleazzo to Gian-Galeazzo—“those of Gian-Galeazzo”.]</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. VIII, NO. 367, JANUARY 8, 1887 ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ 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™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -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™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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™ 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™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ 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™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ 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™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -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™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ 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: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ 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™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ 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™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -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™ License. -</div> - -<div style='display:block; margin:1em 0'> -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™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(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™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ 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.” - </div> - - <div style='text-indent:-0.7em'> - • 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™ - 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™ - works. - </div> - - <div style='text-indent:-0.7em'> - • 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. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -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™ collection. Despite these efforts, Project Gutenberg™ -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ trademark, and any other party distributing a Project -Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -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™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ 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™ 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. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s 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 website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -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. -</div> - -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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 -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -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. -</div> - -</div> -</body> -</html> |