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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..d40d07d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #65964 (https://www.gutenberg.org/ebooks/65964) diff --git a/old/65964-0.txt b/old/65964-0.txt deleted file mode 100644 index 150ae6c..0000000 --- a/old/65964-0.txt +++ /dev/null @@ -1,2632 +0,0 @@ -The Project Gutenberg eBook of The Girl's Own Paper, Vol. VIII, No. 370, -January 29, 1887, by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Girl's Own Paper, Vol. VIII, No. 370, January 29, 1887 - -Author: Various - -Release Date: July 31, 2021 [eBook #65964] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Susan Skinner and the Online Distributed Proofreading Team at - https://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. VIII, -NO. 370, JANUARY 29, 1887 *** - - - - -[Illustration: THE GIRL’S OWN PAPER - -VOL. VIII.—NO. 370. JANUARY 29, 1887. PRICE ONE PENNY.] - - - - -THE QUEEN’S JUBILEE PRIZE COMPETITION. - -NOTABLE WOMEN OF THE REIGN OF QUEEN VICTORIA. - - -[Illustration: HER MAJESTY THE QUEEN.] - -_All rights reserved._] - - -THE SUBJECT OF OUR NEXT COMPETITION IS TO BE - -=The Notable Women of the reign of Queen Victoria.= - - -Of these, each competitor will make out a list for herself, and -regarding those whom she selects, she will be required to state, -briefly and clearly, who they were, when and where they were born, and -when and where they died—if they be dead—and to give such particulars -about what they have done as will prove their right to the title of -notable women. - -ELEVEN PRIZES will be given, one to the most successful competitor -of every age from thirteen to twenty-three, inclusive. Thus, a girl -thirteen years old has a chance of obtaining the prize awarded to girls -between thirteen and fourteen; a girl of fourteen may prove the winner -of the prize given to those between fourteen and fifteen: and so on, up -to the age of twenty-three. - -EACH PRIZE will consist of - -=A Gold Medal-Brooch= - -To be especially struck by the Editor in honour of Her Majesty’s -Jubilee. These medals will be cast in the form of brooches, with a pin -at the back for more convenient use. They have been specially designed -for THE GIRL’S OWN PAPER, and will bear on the reverse of the medal the -name of the owner. The front side of the medal will bear the design, -conventionally treated, of the heading to every weekly number of this -magazine. - -CERTIFICATES OF MERIT will also be given—first, second, and third -class—and these will be awarded to girls of any age who gain the -necessary number of marks. - -A SPECIAL PRIZE of a Gold Medal-Brooch will be given—for the first time -in our series of competitions—to - -=Foreign and Colonial Competitors of All Ages.= - -We have long recognised the fact that those who live abroad labour, -as a rule, under considerable disadvantages in competing with the -majority of girls who stay at home, and we are glad to show, by the -offer of this special prize, our appreciation of the painstaking -efforts of many readers in distant places. - -FOREIGN AND COLONIAL COMPETITORS will on this occasion have longer time -allowed them for sending in their papers. - -ALL READERS, EVERYWHERE, are invited to enter for this competition, -which, - -=in view of the approaching Jubilee of Her Majesty,= - -has a special interest. The testimony of many who have taken part -in previous competitions is that they proved sources not only of -considerable enjoyment, but of great intellectual profit. The present -one has features as valuable as any competition that has ever been -started. To engage in it can hardly fail to widen our sympathies and -increase our interest in the world around us and in the age in which we -live. - -EVEN THOSE WHO FAIL to obtain either a prize or a certificate will not -have spent their time uselessly. Let them keep in mind that: - - “No endeavour is in vain, - Its reward is in the doing; - And the rapture of pursuing - Is the prize the vanquished gain.” - -THE NOTABLE WOMEN DEALT WITH must all be British subjects: foreigners -will not count. It is not necessary that they should have been born -after Queen Victoria came to the throne. All may be included who have -lived _any part of their lives_ in the reign of Her Majesty. - -THEY MUST BE DISTINGUISHED on account of some worthy quality. They -may be famous for learning; noted as authors, musicians, or painters; -remarkable as philanthropists and public benefactors—in fact, no one -will come amiss who can be said to have in any considerable degree -attracted attention by either her virtues or her abilities. - -THE NUMBER TREATED of may be what every competitor finds time and -inclination for. The more comprehensive the paper, of course the better -chance there will be of a prize or a certificate: in everything, as is -well-known, “if little labour little are our gains.” The most important -thing, however, is quality, not quantity. - -THE NOTICE OF EACH NOTABLE WOMAN is in no case to exceed one hundred -and twenty words, exclusive of the name and the place and date of birth -and death. - -THE ARRANGEMENT OF THEIR PAPERS to be followed by competitors is the -order of birth, not the order of death. - -WHAT WE INTEND SHOULD BE SENT IN will be readily understood, perhaps, -by the following examples, in which we have given two characters -who, as they are purely imaginary, need not be looked for in any -Biographical Dictionary. - - -ARABELLA G. CUNNINGHAM, - -_Born at Edinburgh, 20th May, 1812._ - -_Died at Tunbridge Wells, 7th December, 1856._ - -Of an old Scotch family. First attracted attention in 1835 by the -publication of her “Turns of Fortune,” a tale of which seventy thousand -copies were sold within three days. Encouraged by this success she -gave herself up to the pursuit of literature. Her most popular works, -besides that just named, are “At the Sign of the Spread Eagle,” “The -Court of Lions,” “Hammer and Tongs,” “Lady Bettina,” and “The Hero of -the White Shield.” Inherited a large fortune from her father, and being -herself the best paid authoress of her time, and of an exceedingly -saving turn, she died worth an immense sum. - - -GERTRUDE WILLIAMS. - -_Born at Harlech (North Wales), 12th July, 1855._ - -_Still living._ - -Began the study of the violin at the age of six. Appeared as a -musical prodigy at Chester in 1864. Studied from 1865-1868 at the -Conservatorium at Leipzig. Made her _début_ in London in April, 1870, -when the beauty of her playing at once ensured her a brilliant success. -Has now for many years been recognised as the greatest of British -violinists, and is much respected for her devotion to the higher forms -of musical art. Exhibits a marked tendency towards a wandering life, -and has visited professionally not only all the European capitals, but -the chief towns of the American Continent. Is a small lively person -with dark brown hair and extraordinarily bright eyes. - -COMPETITORS MUST WRITE on one side of the paper only, and, before -sending in their papers, they must number the leaves and stitch them -together at the left-hand top corner. - -ON THE BACK OF THE LAST LEAF each paper must bear the full name, age, -and address of the competitor, and underneath the following must be -written by father, mother, minister, or teacher:— - -“I hereby certify that this paper is the sole work and in the -handwriting of (_competitor’s full name is again to be written_), and -that her age and address are correctly stated.” (_Signature and address -of the parent, minister, or teacher._) - -THE LAST DAY FOR RECEIVING PAPERS connected with this competition will -be Monday, April 25. - -EXCEPT IN THE CASE OF COLONIAL COMPETITORS, who will be allowed till -Saturday, June 25. - -EACH PAPER MUST BE SENT by book post—and without a letter—addressed to -the Editor, THE GIRL’S OWN PAPER, 56, Paternoster-row, London, E.C., -and the words “Queen’s Jubilee Competition” must be clearly written in -the left-hand corner. - -THE RESULT OF THE COMPETITION, so far as home readers are concerned, -will be published in the Summer Number of THE GIRL’S OWN PAPER. - -[Illustration] - - - - -THE INHERITANCE OF A GOOD NAME. - -BY LOUISA MENZIES. - - -CHAPTER IV. - -TOWN OR COUNTRY. - -“A letter with the London post mark, mamma,” said Eveline, “and not -from Mark.” - -“I hope Mark is well,” said Mrs. Fenner, taking the letter with some -trepidation. “It is Mr. Echlin’s writing. What a long letter!” - -As Mrs. Fenner’s eyes ran along the lines traced by the firm hand of -her cousin, her colour rose, a smile broke on her lips, and as she laid -down the letter the tears stood in her eyes. - -“Nothing is wrong with Mark, mamma?” said Eveline, inquiringly. - -“Nothing, dear; quite the contrary. But you had better read the letter; -it concerns you quite as much as me.” And Mrs. Fenner held the letter -to her daughter. - -“Oh, mamma, how nice of him!” exclaimed Eveline, with sparkling eyes. -“I knew he must love Mark. How could he help it? But to think of his -wanting us to go and live in London with him and Mark—to make his house -like home, he says! What will you do, mother? What will you do?” - -“What do you say, Eveline? What do you wish?” - -“I? Of course I like to do what you like.” - -“It is very kind of Miles.” - -“I should think it was. And he puts it so prettily; as if all the -favour were on our side.” - -“But, dear, I don’t know how you would like to live in a great -city, you who have always been used to open air and country life; -Manchester-square has no Sunbridge Woods within reach.” - -“But it has Mark, mother; and Mark is better than Sunbridge -Woods—better than Blyfield Park. Why, mother, you know that we’d both -of us rather be with him where he is, than in the Gardens of the -Hesperides! I suppose we couldn’t keep the cottage, and just run down -to it now and then, could we?” - -“I don’t think we ought to propose such an arrangement; it would be -a half-hearted acceptance of my cousin’s offer; we must either go or -stay. But I will take the letter up to the rectory; I must know what -your aunt and uncle think of it. Don’t say anything to Elga, just for a -little.” - -“As you think best, mother,” said Eveline, and went out, as one in -a dream, to perform her morning household duties. No sooner did she -appear in the yard with her apron full of grain, than the fowls came -running, flying, flustering to her feet; the pigeons, who were on the -watch on the low roof of the tool-house, spread their blue wings and -dropped down among them; while Eveline’s body-guardsman, the snow-white -fox-terrier, Boz, stood gravely on the watch to preserve order, himself -the very personification of cleanliness and decorum—his bushy tail -curling over his back, every hair of his coat erect and in its proper -place, glancing with his brown eyes from his mistress to her noisy -pensioners, and keeping his little black nose well raised, with a -slight suggestion of superiority. - -“Ah, Boz,” said Eveline, when the edge was a little taken off the -appetite of her feathered guests, “you little think what is hanging -over you! I wonder how you’ll like it! Who will keep old Bulbo in -order, if you go away, old dog?” - -Old Bulbo was a rather aggressive Poland cock, who had been handsome, -but whose digestion had become impaired, his top-knot floppy, and his -tail-feathers ragged, while he was easily exasperated at the frivolous -impertinence of the younger generations, who stole choice morsels -under his very bill, and generally managed to escape his vengeance, -when he, like an old bully as he was, would turn to vent his spite on -the faithful partner of his roost; on which occasions Boz started into -activity, and compelled the old tyrant to keep the peace. - -Boz wagged his tail in answer to his mistress’s tone rather than to -her words, and waited attentively while she gathered the pretty brown -or white eggs, swept the hen-house, making it sweet and fresh with -sprinkled lime, and ended by filling the large brown pan with clear -water which the fowls immediately muddied. - -The poultry-yard settled, Boz conducted his mistress to the vegetable -garden, where Eveline gathered a basket of peas for dinner, some -currants and raspberries for dessert, quietly wondering who would -gather the fruit from those bushes next year. As she stood among the -raspberry bushes her mother came out and went down the garden to the -rectory gate. A sharp pain shot through Eveline’s heart. - -“What will Uncle James say and Aunt Elgitha? Will they persuade mother -not to go? I’m sure Uncle James will miss us, and poor Githa!” and the -ready tears welled into Eveline’s eyes. “But Mark—to live with Mark, to -see him every day—to live in London, to hear beautiful music, to see -beautiful pictures, to go to Westminster Abbey, to the Temple, to St. -Paul’s!” - -Eveline sat down among the roses, fairly dazed with the thick-coming -thoughts, while the bees hummed, the grasshoppers chirped, and the -roses slowly swayed in the west wind that came to them charged with the -fragrance of the mignonette. - -The earth was so fair, the sky so blue, the wind so sweet, what need -was there to think of anything but the beauty and the colour and the -perfume? - -Just then a chill wind blew from the north, the leaves shivered, the -murmur of the grasshoppers died away under the grass as over the church -a huge black cloud came sweeping, while another, jagged and angry, met -it from the south, and there came a sound of rolling thunder. Eveline -looked in wonder from her bower, the storm had burst so suddenly. Was -it an answer to her thought, a warning not to trust in the perishable, -not to make pleasure the law of life, but to aim at the imperishable, -the eternal? It shot through Eveline’s mind that she might at least -take such teaching from it, that if she could grasp the blessings of -family love and sisterhood it would be worse than folly to magnify the -blessings she must give up for them; but she was glad that the burden -of the choice did not lie with her, and making her way into the house, -she occupied herself in her usual studies. - -Mrs. Fenner meanwhile had laid Miles Echlin’s letter before the rector -and his wife, not without certain misgivings as to how the contents -would strike them. Lady Elgitha at once saw the importance of the -question, and quickly set herself to consider how it might affect her -own household. She was personally attached to Margaret, as far at least -as she could be attached to anyone unconnected with the great house -of Manners, and she had always felt that it was respectable to have -her husband’s widowed sister living, as it were, under the shelter -of the rectory, especially as she was the widow of a man who must -have been a general and a K.C.B. at the very least, if he had lived. -Mark, too, had by a certain natural joyousness of temper unconsciously -maintained himself in her good graces, but Eveline was already rather -a difficulty to Lady Elgitha. She was decidedly so much prettier than -Elgitha that it had sometimes struck the rector’s wife of late that it -was unfortunate to have to introduce as her niece a girl who must be -more attractive than her own daughter; it would be well at least that -Eveline should be withdrawn before Elgitha came out. These thoughts -shot through Lady Elgitha’s brain while the rector was taking in the -idea that a great piece of good fortune had befallen his sister, which -must entail nothing but loss and bereavement on him. - -“We shall miss you, Margaret,” he said, while the tears rose to his -eyes. - -“We shall miss each other, James,” replied his sister, softly. “But -what do you and Elgitha think? It is very kind of Miles, and the -prettiest compliment he could have paid dear Mark; but we need not -accept it, you know, if you think——” - -“Of course you must accept it, Margaret,” said Lady Elgitha, and there -was a touch of east wind in her voice which made the brother and sister -shrink and feel ashamed; “it would be flying in the face of Providence -not to accept such an offer. What is to become of Eveline if you die? -You can’t depend even on a pretty girl’s marrying nowadays, if she has -no fortune.” - -“Yes, I think it would certainly be good for Eveline, and it would be -so nice for Mark. I am sure Miles deserves all we can do for him.” - -“Of course; and when you’re tired of London, you can always run down -here, and I daresay Eveline will be glad to have Elgitha up for a week -or two in the season. It would be a good opportunity for her to have -some lessons. I’m sure, Margaret, you have much to be thankful for—Mark -so well provided for, and such an opening for you and Eveline.” - -And Lady Elgitha sighed, for she caught sight of her son coming up the -path with his hat at the back of his head and his hands in the pocket -of his loose shooting-coat, looking the picture of idleness. - -The poor rector had much ado to congratulate his sister. Fortunately, -he had a way of looking at events as they affected other people rather -than himself; so that the pleasure he felt in the honour done to his -sister’s son, and in the advantages which would accrue to her and her -daughter, occupied him more than the loss and desolation to himself. - -When Elgitha heard the news, she was in blank despair. Rosenhurst would -be unendurable without Aunt Margaret and Eveline. No one else should -live in the cottage. She would go to school; she would be trained for a -nurse, and go to a hospital; she must do something, or she should die -of dulness, with only father and mother, and Gilbert always loafing -about. - -But the end of it was that Margaret wrote to Mr. Echlin, thanking him, -and promising to spend the winter in Manchester-square, that they -might see how they liked each other, and to come at the beginning of -October. Mr. Echlin replied that he was perfectly satisfied with the -arrangement, but begged as a favour that they would say nothing about -the matter to Mark. - -This was a hard condition to keep when Mark came down for his summer -holiday, and led to some amusing complications. Mark was full of the -goodness and generosity of his cousin. He did not believe he had a -single fault; and though he had had great sorrows, he was so cheerful -that you forgot he was old. “I suppose cheerfulness runs in the -family,” said the lad, with a loving look at his mother. “What paragons -grandmamma and grandpapa must have been!” - -“There is much to be thankful for in the inheritance of a cheerful -temper, no doubt,” said his mother; “and I think all the Echlins I have -known have been disposed to look on the bright side of things.” - -“You yourself, mother,” said Eveline, admiringly, “who have had trouble -enough to break a woman’s heart, Aunt Elgitha says.” - -“But it seemed God’s own hand, Eva,” replied Mrs. Fenner, softly; “and -who was I that I should murmur? Did He not know best?” - -“And very narrow means, mother.” - -“And two good children, who never fretted for what they could not have. -Your cousin Miles has had more grievous sorrow than I; he has lost his -wife and lost his son, who, everyone says, was all a father could wish, -and he has no child left him.” - -“Do you know, mother,” said Mark, very confidentially, “I have a notion -that he has found someone whom he thinks of bringing home? You have no -notion how the house is being brisked up. He has said nothing to me. Of -course, I could not expect to be always in such comfortable quarters.” - -“Of course not, my dear. And you would be sorry to have to leave -Manchester-square?” - -“Naturally. Why, I am lodged like a prince. I suppose Mr. Echlin must -be nearly sixty; but many men of fifty look older. There is no reason -why he shouldn’t—is there, mother?” - -“Shouldn’t what, Mark?” - -“Marry again, mother. Of course second marriages are not like first -marriages; but when a man has a big house, and is all alone. He hasn’t -said a word to me; but the best bedroom is to be done up—for he asked -me to help him choose the paper—and one of the drawing-rooms, Mrs. -Cotton said, is to be refurnished as a morning room.” - -“That looks suspicious, doesn’t it, mother?” said Eveline, with saucy -gravity. - -“I hope,” said Mark, following out the train of his own thoughts, “it -will not be too young a lady. It doesn’t look nice to see a man with a -bald head with a girl who might be his daughter for a wife.” - -“It would be a pity,” assented Mrs. Fenner. “I wonder why men always -consider themselves so young when they marry. I remember John -Brattlebury, a cousin of your father’s, as nice a man as ever lived, -to whom it never occurred to marry until he was well past forty. -Your father innocently suggested to him the name of a lady of about -five-and-thirty, who we knew liked him, and to whom the position he -was able to offer her would have been a decided gain. You’d hardly -believe it, but he was almost offended, went down into Cumberland, and -came home with a wife of eighteen, who knew no more of his tastes and -occupations than he of hers.” - -“But, mother,” said Eveline, “what was the girl thinking of?” - -“Of getting a change, my dear—being mistress in a house instead of -number two or three in a string of daughters. Time is apt to seem long -at eighteen, and a middle-aged bachelor, when he comes to woo, has -many advantages. If she cannot admire the brightness of his eyes or -the elegance of his figure, she may esteem him for his experience and -intelligence, and diamonds and knicknacks are powerful persuasors to -some natures.” - -“And really, mamma, if you think of it, it may not be so bad, after -all. Shakespeare says— - - ‘Let still woman take - An elder than herself, so wears she to him, - So sways she level in her husband’s heart.’ - -Don’t you remember? we read it last night.” - -“I remember that Shakespeare makes Duke Orsino say so. Perhaps, as -Shakespeare had married a woman older than himself, he might set -value on the opposite qualification; but it is not fair to make him -answerable for the opinions of his characters. But now, Eva, you must -go and dress, or Aunt Elgitha will not be able to start her tennis.” - -And so the pleasant August days went by, and Mark visited his old -friends, the farmers, enjoying the gathering-in of the harvest, the -golden lights of the sun, the heavy whispering of the trees, and all -the harmonies of country life, a thousand times the more for the -contrast with the city life he had been leading for the last nine -months. There was but one thing in which he was disappointed—he wanted -to spend a large part of his handsome salary in the decoration of his -mother’s cottage; but both his mother and Eveline were unaccountably -indifferent to it, and Mrs. Fenner at last put him past the idea by -saying that if there should be changes in Manchester-square, it might -be desirable, for Eveline’s sake, that she should go to town for a few -months, and then he could come and stay with them. - -So Mark went back to town refreshed and happy. He was too much -engrossed with his work to note all that was being done at -Manchester-square, and too modest to ask questions; but the conviction -of impending change grew on him. - -So September passed, and October, with its bracing days and shortened -evenings, was come. It was already the fifth, and Mark, after a rather -hasty breakfast, was about to start for town, when Mr. Echlin said— - -“Mark, you’ll be sure to be home in time to dress for dinner. I expect -some friends—ladies.” - -“Certainly, sir,” said Mark, and went his way, thinking that now it was -coming, and wondering that he had not heard from his mother for nearly -a week. - -Business, which had been slack in August and September, was very -brisk again. Mark’s work was increasing in interest and importance; -he had several important proofs to read and a long journey to take -in the afternoon. It was already a quarter to six as he let himself -in at Manchester-square. He glanced into the dining-room; all looked -bright and cosy, and a crisp fire sent out a rosy, joyous, frolicsome -radiance, that was very pleasant to see. The table was laid for -four. Mark was hungry enough to regard even the dinner rolls with -satisfaction, and to eye the mats with a vague wonder as to what -dishes were to be set on them—a warm odour of roasting meat rose from -the culinary region. - -“Is Mr. Echlin in, Martin?” he inquired of the butler, who was putting -a finishing touch to his table. - -“Yes, sir, dinner at six sharp. The ladies are dressing.” - -“Oh, indeed; they have come then?” - -“Yes, sir, we druv to meet ’em at four o’clock; the train was five -minutes late.” - -“Hullo! Mark, only just in,” called Mr. Echlin over the banisters. -“Make haste, lad, we’re as hungry as hunters.” And Mark ran up three -stairs at a time and plunged into the work of the toilette, too busy to -wonder who the ladies might be. - -The clock struck six as he left his room. As he ran downstairs the -unwonted sound of music struck his ear; someone was playing a _Lied -ohne Worte_, one that Eveline often played in the twilight at home. -Mark was glad that one of the ladies played, and played softly, but -Martin’s inexorable gong began to boom, and he must go in. - -Miles Echlin had never used the drawing-room, and when Mark opened the -door, and the great chandeliers were reflected from mirror to mirror, -he started back dazzled. Two ladies rose at his entrance and came -towards him; both called him by his name. What did it mean? Were they -in very truth his own mother and sister, the ladies dearest in the -world to his loyal heart? - -The wonder of it almost took away his breath, and he gave a great gasp -as he uttered their names. - -“Mother! Eveline!” - -“Forgive me, Mark,” said Mr. Echlin, taking his hand, “it was selfish -of me to take you so by surprise, I ought to have told you.” - -“Oh, sir, are they come to stay?” asked Mark, looking from one to the -other, still incredulous. - -“To stay, to live with us if we can make the old house homelike enough -for them, or rather if they will make it homelike for me and my adopted -son.” - -“Oh, sir, how good you are to me.” - -“And are you not good to me? Ever since you came to me, have you not -thought, worked, and cared for me? My own dear son was taken from me, -he who must ever be first in my heart, but do not think that I cannot -love and honour loyalty and worth, that I cannot thank God for cheering -me with such a friend as you! But there is old Martin pounding away -at his gong! You all know what I would say. Come, Margaret, Mark will -bring his sister.” - -He led Mrs. Fenner down with old-fashioned courtesy, and placed her in -the seat which his wife had once filled, then motioned to Eveline to -sit at his right while Mark took his customary seat on his left. There -were many larger parties in the square that night, but not one where -there were more grateful hearts, and of the silent covenant made that -night no one of the four ever repented. - -With the presence of those good women, all that was happy and homelike -came back to the big house. Music and soft laughter filled its -chambers—Mr. Echlin loved to have it so. The portraits of his wife and -of his son hang where they used to hang, and some beautiful landscapes -now adorn the walls, and in Mrs. Echlin’s pretty sitting-room the -grave, sweet face of Michael Fenner looks down on the children to whom -he bequeathed the best possession, THE INHERITANCE OF A GOOD NAME. - -[THE END.] - -[Illustration] - -[Illustration: “HE STARTED BACK, DAZZLED.”] - - - - -HISTORICAL SKETCHES OF MUSICAL FORMS. - -SKETCH III.—CANTATAS AND CHURCH MUSIC. - -BY MYLES B. FOSTER, Organist of the Foundling Hospital. - - -CANTATA. - -A form belonging equally to sacred and secular music, viz., the -cantata, in all probability first emanated from desire to possess in -chamber music the recitative, invented by Peri and others, and supposed -by themselves and their admirers to be a revival of Greek art. You -will best judge of the primitive nature of the earliest cantatas, and -understand the difference between them and the compositions which -have since appeared under the same title, when I tell you that they -were short dramatic stories, declaimed or recited by one voice to the -accompaniment of a single instrument. In the seventeenth century this -simple form was extended, by the insertion, at various intervals, -of an air, the repetition of which gave the cantata the appearance -of a rondo. The Italian school of that period, already mentioned -in connection with the opera, did much to perfect this style of -composition. Foremost amongst these masters stands Carissimi, who is -credited with first adapting the cantata to church purposes. Amongst -his secular cantatas there is one written to commemorate the death of -Mary Queen of Scots. About the same time, Marcello, Cesti, and Lotti -wrote in this form, and Alessandro Scarlatti contributed very many -specimens, in which the accompaniments were elaborate and difficult. -Some of Marcello’s are published for soprano and contralto, with -clavecin accompaniment. - -In the early part of the next century Domenico Scarlatti, the son -of the Alessandro above named, considerably extended the form by -making use of various movements in the one work. Pergolesi (1710-36) -also wrote several cantatas, introducing important developments. A -well-known one of his was _Orfeo ed Euridice_, written shortly before -his death. Handel wrote several for the single voice, either with -clavier or orchestral accompaniment, mostly for oboes and stringed -instruments. In the life of Handel, published soon after his death -(in 1760), the number is put down as two hundred; but this total will -include his Church cantatas, a much more advanced form of composition, -although composed when he was quite a young man. - -The modern name for the primitive form of cantata is undoubtedly -“Concert aria,” or “Scena,” into which it has merged. Under the latter -titles we have splendid examples by Mozart, such as “Misero, O sogno?” -“Bella mia fiamma,” “Misera dove son!” and “Non temer,” and single -specimens by Beethoven, “Ah, perfido,” and by Mendelssohn, “Infelice.” -The most important and valuable Church cantatas are those composed by -John Sebastian Bach, consisting of five sets for every Sunday and holy -day in the year, besides many single ones, such as “God’s time is the -best,” and a sort of requiem ode for the Electress of Saxony. These -Church cantatas are for four voices and full orchestra, and have from -four to seven various movements. Bach wrote many secular cantatas as -well, two of them being comic ones. His works abound in contrapuntal -skill, and contain great beauties. - -It remains to be said that in our times the word cantata is used as a -title to choral works which, if sacred and written in oratorio style, -are too short for that title or have no _dramatis personæ_; or, if -secular, such as lyric dramas set to music, are not intended to be -acted. Sir Sterndale Bennett’s _May Queen_ is a good specimen of the -latter, which may be said to bear the same relationship to opera that -the sacred cantata of the present day does to oratorio. - - -MOTETT AND ANTHEM. - -Winterfeld, a German writer on musical matters, derives the word motett -from “mot,” the French for “a word,” referring to the verse of Holy -Scripture which constitutes a motett; whilst other learned men connect -it with the Latin verb “movere,” indicative of the livelier motion and -the briskness it possesses, when compared with the Cantus Fermus; and -there is yet a third derivation from “mutare,” to change—a reference to -the changing sentiments and emotional characteristics of these musical -settings, a noticeable feature in such stiff and formal times. - -At one time the motett was made up of a theme and its treatment in -different variations, after the manner of the Spanish “moto” in poetry. -Motetts were also set to profane words in the early periods of their -history, and they were forbidden to be used in church in the thirteenth -and fourteenth centuries. - -Dr. Stainer, in his “Dictionary of Musical Terms,” mentions the term -“motett” as being synonymous with “pulpitre” in the fifteenth century, -but for the last three hundred years the term has meant a piece of -sacred music adapted to Latin words, and to be sung at high mass in -the Roman Catholic Church, either instead of or as an addition to -the offertory, which was to be set to the music of the plainsong. -Motetts by Philip of Vitrisco date back as far as the year 1300. At -the commencement of that century the motett became a much more living -form, when represented by such composers as our English John Dunstable, -the Flemish Du Fay, and others. Following these composers came the -Netherlanders of Okenheim’s school, in the latter half of the fifteenth -century, and they more definitely separated their motetts from the -style of the masses in vogue. - -In the latter there is a painful striving apparent, consequent on the -feeling, almost of duty, that severe contrapuntal exhibitions must be -displayed, whereas in the former there is breadth of style and general -fitness of things, untrammelled by this artificiality. - -In the sixteenth century the Flemish writers, headed by Josquin -des Prés, made great moves onward, and gained the leading position -in musical Europe by earnest work and pure and noble endeavours. -They chose passages from the Gospels and the Book of Canticles for -their motetts, and imbued them with characteristic individuality. -At the same period the Lamentations of Jeremiah were largely drawn -upon for subjects. In this and the fifteenth centuries we find a -large collection of funeral motetts, named nœniæ, very reverent and -beautiful. One by Josquin des Prés, founded on plain chant, and written -in memory of his friend Okenheim (who was also his master), is very -fine. - -Petrucci, the father of type music printing, gave most of the earliest -nœniæ to the world, many of which may be seen in the British Museum. In -the middle of the sixteenth century motetts were, perhaps, influenced -for good by the wonderful progress of the madrigal, but each part was -written with a different text, and this confusion became an abuse. -However, towards the latter part of the century that bright genius, -Palestrina, proved himself to be as great a writer of motetts as he was -of masses. He composed over three hundred to our knowledge, and in all -probability there are more than that which have been lost. Cotemporary -with this great light we find, in Italy, Morales, Anesio, Luca -Marenzio, and, above all, Vittoria, who was almost as great a motett -composer as Palestrina himself; in the Netherlands, Orlando di Lasso; -in Venice, Willaert, and, later, Croce and the two Gabrielis. - -Our English writers, Tallis and Byrd, whom we shall refer to again -immediately, wrote as fine motetts as any produced by the foreign -schools, under the title, “Cantiones Sacræ.” Dr. Tye, Dr. Fairfax, and -others also added specimens to the English list. These motetts, as we -shall see, became (after the Reformation) full anthems, which were in -musical form motetts, but were set to English words. In some cases the -English words are translations from the Latin. It is curious to find -that Orlando Gibbons, in the seventeenth century, writing anthems for -the church, christened his secular part-music “Madrigals and Motets,” -thereby reverting to the old use of the term in connection with secular -words only. - -In the seventeenth century the motett still flourished in the Roman -Church, but not for long, according to its old form. Mr. Rockstro -attributes the downfall of the old motett to the invention, by -Monteverde, of dominant unprepared dissonances, which “sapped the -foundation of the Polyphonic School.” - -Thus, after 1660 the motett was a composition in modern tonality and -with orchestral accompaniments. Amongst composers in this style we find -Scarlatti, Pergolesi, Durante, and others, followed later on by Keiser -in Germany and Sebastian Bach, and then Graun, Hasse, and Hiller. -Handel wrote motetts in his earlier years. In modern times, as I have -had reason to point out to you in other forms, titles are appended to -works which are, to say the least, inappropriate, and the only claim -these have to the name motett is that they were originally intended -to be sung at High Mass. Such are the “Insanæ et vanæ curæ” of Haydn, -“Splendente te Deus” of Mozart, and the “O Salutaris” of Cherubini. -The term “motetus,” given in early times to the medius or middle voice -part, is probably in no way connected with the derivation of the word -motett. - -The motett form appears in Church music of Queen Elizabeth’s time, and -although the anthem was gradually substituted, some of the earliest -anthems after the Reformation were in motett style, especially those of -Tallis and Byrd. - -About the derivation of “anthem” there is as much dispute as there is -over the word “motett.” Some consider it to be derived from “ant-hymn,” -a kind of antiphony, though the very ancient custom of choir responding -to choir, or choir to priest, has entirely disappeared in the modern -form of anthem. This responsive or antiphonal singing may, in a -highly-developed form, yet become the anthem of the future, at any rate -in churches and cathedrals where the voices at disposal are good and in -large numbers. By some writers “anthem” is derived from ανατιθημι, to -set up (as an offering), and by some from ανθημα, a flower, the anthem -being considered the flower of the service. It is regrettable to find -that the idea of attending service for the sake of the anthem alone is -not yet extinct. - -The anthem is thoroughly English; it supplied the attraction to our -Reformed Church, which the church cantatas and passion music did for -the Lutheran Church. Nearly all our eminent musicians have written -numbers of them, many examples containing the finest of English -composition. From early in the sixteenth century the anthem was -permitted as a part of Divine service, but it is not until the revision -of the Prayer Book in 1662 that we find the rubric, “In choirs and -places where they sing, here followeth the anthem,” which retains its -place to this day. - -The first writers of note were Dr. Christopher Tye, who appears as a -verse-writer also, having translated the Acts of the Apostles “into -Englyshe meter”; Thomas Tallis, to whom our Church owes so much; and -William Byrd, joint organist with Tallis of the Chapels Royal. By this -period, that is, near the end of the sixteenth century, Church music -was beginning to free itself from the fetters of vague tonality and -old modes, and was gradually being clothed in clear and expressive -harmonies, and this improvement becomes most marked in the works of our -“English Palestrina,” as Orlando Gibbons has been appropriately named. -He was born in Queen Elizabeth’s reign, but most of his grand Church -compositions date from the commencement of the next century and the -reign of James I. Though some of his anthems are “verse” and have solos -in them, we may well classify this early period as that of the “full -anthem.” Viols were used as accompaniments to the verse parts, and the -organ was only added for the full choruses. I must remind you that the -organ was a very different affair to our modern instrument. It had one -advantage in its smallness, viz., that it could be carried about, being -known as the _portative_ organ, as opposed to the fixed or _positive_, -and could therefore be placed close to wherever the singers were, to -support their voices. - -Passing to the latter half of the seventeenth century, we have come -through the strongest period of the history of English music. The -great madrigal school has flourished for nearly a century, and now we -find Pelham Humphrey or Humfrey, born 1647, studying in Paris under -Lulli, and under his influence helping to create a new era in anthem -composition. He died very young. Then there was Michael Wise, and Dr. -John Blow, private musician to King James II.; Dr. William Croft, his -pupil, whose anthems are so grand and solemn, and to whom, we may -mention in passing, we owe the introduction of music engraving on -pewter plates. We must also name Jeremiah Clarke, another pupil of -Blow’s, and Weldon. Anthems by all these men are still sung in our -churches. - -Towering above them all stands Henry Purcell, whose earnest, devotional -Church music puts to shame much of the frivolous composition which -is nowadays devoted to that high purpose. In this age which follows -the period of the early “full anthem” writers, we have the “solo” -and “verse” anthem brought to the front. Purcell’s knowledge of the -singer’s requirements and his gift of beautiful melody enabled him to -perfect the solo anthem. - -Instrumental accompaniments became more important at the hands of these -composers, and at the end of the seventeenth century the organ was -becoming a more perfect instrument, through the workmanship of Father -Schmidt and Renatus Harris, and others. - -The anthems written by Handel, such as the Chandos Anthems, were -scored for larger orchestras, and were more like a combination of the -German church cantata and motett than the anthem strictly so called. -But this increase in the size of the church orchestra led to a full -band in Attwood’s Anthem for the Coronation of George IV., who, as -Prince of Wales, had been his warm-hearted patron. - -In the latter half of the eighteenth century we have a few good -anthem-writers, such as Dr. Greene, who wrote over forty anthems; Dr. -Boyce, his articled pupil, whose “Cathedral Music” is a most valuable -collection of church compositions. There were also Jonathan Battishill, -Dr. William Hayes, his son Dr. Philip Hayes, the two Walmisleys, and -Attwood. Dr. T. F. Walmisley only died in 1866, and therefore some of -these compositions almost belong to our own times. - -This fragmentary sketch brings us to the present form of anthem; but -before we speak of this we must mention in passing the masterly double -psalms and anthems by Mendelssohn, several of them being composed to -English words. - -The country that owns such anthem-writers as Dr. S. S. Wesley, Sir John -Goss, Sir G. Elvey, Dr. Hopkins, Dr. Stainer, and Rev. Sir F. Gore -Ouseley has just reason to be proud. Many other names could be added to -this list, and the outlook seems to be most hopeful. - -We are bound to notice an excrescence, going by the name of anthem, -which has been largely introduced into our cathedral services. We -allude to those arrangements of portions of masses, etc., coupled to -words totally different in sentiment to those for which the music was -originally composed, and which are strung together, like so many beads -on a string, as Dr. Monk aptly says (in Sir George Grove’s Dictionary), -“for the sake of pretty phrases or showy passages.” - -Such adaptations would almost point to a scarceness of the genuine -anthem; and yet how opposite to this is the fact, and how few of the -really fine anthems of the best period of our great English school -receive the amount of hearing to which they are justly entitled! To -verify this, you have but to peruse Novello’s Catalogue of Sacred Music -with English words. - - -MASS. CATHEDRAL SERVICE. - -The mass, or missa (“missa est,” the congregation is dismissed), has -been used, in part, at any rate, from the very earliest times, and -has been sung to most impressive and solemn music. St. Ambrose and -St. Gregory appear as the earliest compilators of the mass music. -When counterpoint was invented, Church composers clothed the early -plain-song tunes with its artistic embroideries, and polyphonic masses -arose, gradually brought by the great schools of the sixteenth century -to such a pitch of excellence that they have never since been equalled. -The mass then consisted, as it does now, of six movements, viz., the -Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei. The masses -were named after the plain-song melody upon which they were developed; -but occasionally the melody used was a profane one, so that a mass -would be named after its secular melody, as, for instance, “L’homme -armée,” an old French lovesong! and the masses founded upon an original -theme were rare, and known as “Missa _sine nomine_.” The tenor Du Fay, -already named in connection with the motett, wrote many of a very -devotional but unmelodious character. At the end of the fifteenth -century Josquin des Prés, also mentioned previously, wrote many masses, -in which, strange to say, a great want of reverence is most evident -from time to time. A purer style will be found later on in the masses -of Goudimel, Morales, and notably in those of Festa. But about this -period the abuse spoken of in treating of the motett had crept into -the mass, and the device was to give different sets of words to each -singer! Even Morales is guilty of this, mixing up, as he does, the text -of the Liturgy and an Ave Maria. Devotional feeling was sacrificed to a -desire to puzzle, and masses were esteemed according to the difficulty -of the solution of the canons employed in them. - -At the Council of Trent (1562) these abuses were condemned, and -polyphonic music would have been forbidden a place in the Church, -but for one great, earnest man, and that man was Palestrina. His now -celebrated “Missa Papæ Marcelli” decided the fate and fixed the style -of Church music. In it he demonstrated that these intricacies and -learned forms might be well and devotionally used as a means to the -highest end, but not as a substitute for that great end itself. He -wrote nearly a hundred masses, and greatly influenced the future of -Church music. - -William Byrd wrote a mass for five voices of great interest. Vittoria, -Orlando di Lasso, Gabrieli—each represented their different schools and -advanced their Church music on Palestrina’s great model. - -After Allegri, at the end of the seventeenth century, the old mediæval -style died out, and Durante, Scarlatti, and others of that school -appear as a link between the old and new. After them, with their strong -tendencies towards elaboration of the instrumental accompaniment, -comes Bach, whose mass in B minor, now familiar to us, thanks to Mr. -Goldschmidt and the Bach Choir, stands alone. It is not only free from -ancient ecclesiastical tradition, but it is actually prophetic in its -marvellous harmonic changes and combinations. It is also in style -almost an oratorio. Later on we have magnificent masses by Haydn, -Mozart, and Beethoven, but more like sacred cantatas than masses. To -quote Mr. Rockstro, he rightly says, “Their style has steadily kept -pace, step by step, with the progress of modern music, borrowing -elasticity from the freedom of its melodies, and richness from the -variety of its instrumentation; clothing itself in new and unexpected -forms of beauty at every turn; yet _never aiming at the expression -of a higher kind of beauty than that pertaining to earthly things, -or venturing to utter the language of devotion in preference to that -of passion_.” The italics are my own, and I suppose that it is owing -to the fact that this individuality and frequent dramatic realism of -the composer usurped the abstract sense of the words used, and the -devotional idealism of the old schools, that not one note of any of -them has ever been heard within the Sistine Chapel at Rome. - -The general distribution of the movements of the mass are, strange to -say, the same to-day that it was in Palestrina’s time. A mass for the -dead, called Requiem, is composed of different numbers, viz., “Requiem -æternam dona eis,” “Kyrie,” the grand hymn, “Dies iræ,” “Domini Jesu -Christo,” Sanctus and Benedictus, Agnus, and “Lux æterna.” - -Of the more modern specimens, those of Cherubini and Mozart, and of the -most modern, that by Verdi, are all fine examples, the work by Mozart -standing high above all the others. It was, as you will remember, -mostly written on his deathbed. At the Reformation the mass disappeared -from the English Church, and from then until 1840 no choral communions -were written. Since the latter date, however, the English versions of -the Sanctus, Kyrie, Creed, and Gloria have been used and set to music -by most of the writers of Church music already named in connection with -the anthem. - -[Illustration: A SERIOUS DISCUSSION.] - - - - -DRESS: IN SEASON AND IN REASON. - -BY A LADY DRESSMAKER. - - -As a rule there are not many changes of dress or cut to be chronicled -this month. Everyone is thinking of the sales, and the truly wise and -economical (of which there are a great many in these days) are more -occupied in making the fashions subservient to their purchases, to -either inventing or thinking of new designs in dress. We were never -so rich in the way of materials as we are this year, though the most -popular of all effects in woollen is the serge-weaving, which is mixed -with everything—crossbars, and lines of velvet, silk cording, fancy -braids, and borders which resemble patchwork in monotone, or inlaid -wood flooring, or parqueterie. The serge with velvet crossbars and -lines on black serge are very effective and handsome. Indeed, serge -seems to have taken the place of cashmere, and is infinitely more -becoming in wear. - -Ladies’ cloth is also much worn in both dark and light colours. On -these a selvedge of a different colour is left, which is sometimes -pinked-out, or edged with a cord. These are trimmed with facings, -cuffs, and collars of velvet, plush, and moiré, which is now much used -for trimmings. Besides this, there are vicuna and camels’ hair, and -a large selection of Darlington serges, and others in plain and in -stripes, which are at once cheap, ladylike, and extremely durable in -wear. - -Nun’s cloth is still used with velvet trimmings, and a material -called “wool _crépon_” is used as well for evening frocks for girls, -and is trimmed profusely with woollen lace. Velveteen is not seen as -composing entire dresses, though so largely mixed with woollens of all -descriptions. - -In colours worn by well-dressed people, heliotrope is still in great -favour, and is really lovely in silks, satins, and the handsome cut -velvets and _frisés_—dark sapphire blues, carbuncle, red brown, and a -mossy green, with an earthy brown and a stone-colour, which are both -useful, well-wearing colours. - -Now that people are beginning to wear more colour than they formerly -did, it is needful to consider harmony in colour more than we did. For -young people this is everything. In wearing brown, for instance, it -should be harmonised by a little yellow or a lighter shade of brown. -In the same way dark-red must be harmonised with pink, and both shades -must be seen together, so as to be quite sure that they will not “swear -at each other,” as the French funnily express it. With grey a little -pale blue must be put in somewhere in the bonnet. Stone-colour will -harmonise with a pink, and heliotrope with a paler shade of itself. -With grey, blue, and slate silver ornaments look best; but with brown, -red, and green shades gold ornaments give the required harmony in -colouring. - -All very bright hues should be kept away from the face, as only the -best of complexions can stand them near the skin. A portrait-painter -once told me that the colour of the hair or the hue of the eyes -should always be repeated in some part of the dress. But I fancy it may -answer for painting, but not to be exemplified in everyday life and -habiliments. - -[Illustration: AN AFTERNOON VISIT.] - -Now that belts are coming in again, or rather have come in, it is well -to remember that when the waist exceeds twenty-five inches round bands -are not becoming, and pointed bodices should be resorted to, and if -the front darts be cut very much bowed-in, an effect of slenderness -is given to the waist which does not really belong to it. Frills at -the neck and wrists are most becoming to thin people with long necks. -Short-necked and stout people look best with plain bands of muslin or -lace. High shoulders do not consort well with fur capes nor wide fur -collars at the neck. The long paletôts or pelisses are very suitable -to short people, as the straight lines add to their apparent height. -But even in giving these few directions towards helping my readers to -becoming and tasteful dress, I fully realise the fact that very few -people take the trouble to ascertain what they look like, and perhaps -would be grievously offended if they were to be told where the faults -of their appearance really lay. - -[Illustration: NEW BLOUSE POLONAISE.] - -Mantles, as I have frequently said, are all short, none of them coming -more than a few inches below the waist at the back, though all are -long in front. They are, many of them, much trimmed, though not too -much. There are braces to the shoulders, or a kind of yoke of beading, -or flat bands of beaded _passementerie_, laid on. Plush seems to be -the great material for these mantles, and will be worn not only in -the winter, but late in the spring. Some of these plush mantles are -coloured, but very few. Sapphire blue, carbuncle red, and a dark mossy -green are the most popular colours. They are trimmed with black jet—not -a very satisfactory trimming, nor very elegant. - -Hoods are seen on jackets and pelisses more than on small mantles. The -new shape of sling mantelette is called “Pelerine,” and is nearly a -cape in being all round of the same length; but the edges are turned -under all round, and in front the linings show, which are of some -pale, contrasting colour. The fronts are quite of the sling shape, -and if a hood be worn with them it is lined to match. The newest -hoods are square, and of the monk order—not gathered up in any way, -to make them bunchy at the back. The newest shape of paletôt we now -call a “pelisse,” but it is really nothing but a long paletôt, or -tight-fitting jacket lengthened to the edge of the skirt. The newest -cloaks of this kind brought out this winter have hanging sleeves, and -a hood or fur facing, which wraps across at the waist, one end of the -fur crossing the other end. The side of the skirt is often opened and -then laced together with thick cords, but it may be also edged with -fur. Very long cloaks are worn as wraps for carriage use, but only in -that way; and for travelling, small mantles are much more fashionable -at present. - -Jackets are worn as much as ever by young ladies, and are universally -plain and rather severe in cut. They are of two kinds, the first with a -fur trimming, wide round the neck and shoulders and on the chest, but -pointed at the waist, and tight-fitting both at the back and front. -The other jacket has a tight back and loose-fitting front, and is -either simply stitched round with the machine or bound with galloon or -leather—the last the newest and most _recherché_ of bindings. Pilot -cloth is used for jackets, as well as Cheviot homespuns, also corduroy, -Melton of various kinds, and numbers of fancy cloths under different -names. The Irish Claddagh cloth, introduced by Mrs. Ernest Hart, and -to be obtained in all colours at the depôt of the Donegal Industrial -Fund, is becoming more popular for large wrap-cloaks, little children’s -ulsters, and babies’ pelisses. Plush has been adopted as a lining for -thin mantles of silk and wool, instead of wadded silk. It is far less -clumsy, and quite as warm. In this way many ladies have made use of -their handsome summer mantles, and made them warm enough for winter. On -mild days no jacket nor mantle is used, but the long boa, or Victorine, -or else one of the new large handkerchiefs, knotted on the chest and -spread out over the shoulders. These large handkerchiefs are even to be -seen worn on the outside of the small tight-fitting jackets. - -I have mentioned leather bindings on jackets. They are also used -for trimming dresses by the first ladies’ tailors. The colour of -the bands or bindings is usually of the lightest shade of the cloth -used. Polonaises are growing in popularity every day, and the spring -will probably see them well established in favour. The idea of -blouse-jackets has produced the blouse-polonaise, which I have selected -for the paper pattern of the month. It is draped at the side, but some -of the new polonaises are draped at both sides. The edges may be lined -with a light harmonising colour which will show when the wearer moves -about. Thus a pale grey vicuna would have pale rose-pink linings. -Polonaises are becoming fashionable for evening and dinner dress, and -have high Marie Stuart collars and long angel sleeves. The neck-bands -of dresses are as wide and fit as tightly as ever. They are generally -of velvet, and the cuffs also, the latter being only as wide as the -collar. - -The bodices of ordinary gowns show no change in shape. The favourite -front-trimming which has taken the place of waistcoats is a long -_revers_ front, the point of the waist to the neck. In fur-trimmed -dresses this _revers_ is of fur; also the cuffs, neck band, and a band -round the skirt. Many dresses for wear in the house have ruches round -the hem; but they are not suitable for wear out of doors, as they are -perfect traps for dust. A new style is to put a _dépassant_ (the -modern name for a _balayeuse_ frill) round the edge of the dress. This -is about an inch and a-half in width, and is pleated in small single -box-pleats, and is generally of silk of the same colour as the dress. - -The sketch, under the name of “An Afternoon Visit,” shows one of the -new polonaises, which buttons across the front. It is of grey cloth, -over a petticoat of very dark crimson. The young lady in the hat wears -a walking-gown, trimmed with fur, which is put on with plain bands; -the material is “ladies’ cloth.” Of the two figures in indoor costume -one shows the method of making-up striped materials, and also the new -“catogan knot,” with a puff of hair and a curled front. The other dress -has a tucked bodice, with a draped front, which simulates a polonaise; -the collar and cuffs being of velvet. - -In “The Serious Discussion” we have several dresses, one for -out-of-doors, trimmed with fur, and showing the method of trimming -a short jacket which I have before described. The other dresses are -plaids, and show the way in which plain materials are mixed with them. -The bodice is of plain material, with a waistcoat-front, and cords and -buttons. The figure at the back is an illustration of this month’s -paper pattern, the new “blouse polonaise,” which is a very charming -adaptation of the “Norfolk” or pleated blouse, now so much worn; it -is both easily made and cut out, and is a very useful garment. It may -be cut long enough to reach to the edge of the underskirt, and thus -follows the fashions of the long lines now in vogue. In this way it is -more graceful, but it may be cut shorter, and in this case the skirt -must have the box-pleated frill at the edge, which is now called a -_dépassant_. The material of which our illustration is made is one of -the rough, hairy “vicuna serges,” of a light grey tone, with a darker -grey stripe. The bands of the shoulders, front, waist, and collar and -cuffs are of this dark grey, in velvet or plush; the first being the -most becoming. The ribbon-bow is of the same hue of silk and velvet -reversible ribbon. The hem of the polonaise is quite plain, and is -machine-hemmed. The paper pattern consists of nine pieces, _i.e._, -two sleeve pieces, back, front, cuffs, collar, shoulder-piece, and -front-strap. The polonaise will require about ten yards of thirty inch -material, and about half a yard of velvet and three yards of ribbon. - -All paper patterns supplied by “The Lady Dressmaker” are of medium -size—viz., 36 inches round the chest—and only one size is prepared for -sale. No turnings are allowed in any of them. Each pattern may be had -of “The Lady Dressmaker,” care of Mr. H. G. Davis, 73, Ludgate-hill, -E.C., price 1s. each. It is requested that the addresses be clearly -given, and that postal notes may be crossed “& Co.,” to go through a -bank, as so many losses have recently occurred. The patterns already -issued are always kept in stock, as “The Lady Dressmaker” only issues -patterns likely to be of constant use in home-dressmaking and altering; -and she is particularly careful to give all the new patterns of -hygienic underclothing, both for children and old and young ladies, so -that no reader of the “G.O.P.” may be ignorant of the best methods of -dressing. - -The following is a list of the patterns already issued, price 1s. each. - -April, 1885, braided loose-fronted jacket; May, velvet bodice; June, -Swiss belt and full bodice with plain sleeves; July, mantle; Aug., -Norfolk or pleated jacket; September, housemaid’s or plain skirt; -October, combination-garment (under-linen), with long sleeves; -November, double-breasted jacket; December, Zouave jacket and bodice; -January, 1886, Princess under-dress (under-linen, under-bodice and -underskirt combined); February, polonaise, with waterfall back; -March, new spring bodice; April, divided skirt and Bernhardt mantle, -with sling sleeves; May, Early English bodice and yoke bodice for -summer dress; June, dressing jacket and Princess frock, with Normandy -bonnet for a child of four years old; July, Princess of Wales’s -jacket, bodice, and waistcoat, for tailor-made gown; August, bodice -with guimpe; September, mantle with stole ends; October, Pyjama, or -night-dress combination, with full back; November, new winter bodice; -December, patterns of Norfolk blouses, one with a yoke, and one with -pleats only; January, 1887, blouse-polonaise, with pleats at back and -front. - - - - -THE BROOK AND ITS BANKS. - -BY THE REV. J. G. WOOD, M.A., Author of “The Handy Natural History.” - - -CHAPTER IV. - - Another enemy of the water-vole—The pike—Pike in brooks—The - Oxford giant pike—A sad failure—An ignominious end—The pike - and the eel—The pike and the duck—Links in Nature—Cousins - of the water-vole—The campagnol, or short-tailed field - mouse—Damage which it works—Its natural enemies—the kestrel and - the owls—How to detect and catch a campagnol—The kestrel—Its - peculiar mode of flight—Altering the focus of the eye—The - nest of the campagnol—Beans and the mouse—The humble-bee and - wasp—More connecting links—Store chambers of the campagnol—Its - bird-purveyors—The blackbird, thrush, and campagnol—The - winter and summer nests—A beautiful specimen and remarkable - locality—Mode of eating. - -We have not yet completed the life-history of the water-vole, which, as -I remarked on page 34, involves that of several other creatures. - -One of its two worst foes has just been described, and we now come -to the second—_i.e._, the PIKE, OR JACK (_Esox lucius_). N.B.—The -latter name may perhaps recall to the reader the ancient family of the -Lucys, of Charlcote Hall, Warwickshire, so mercilessly satirised by -Shakspeare. They bore upon their shield the “luce”—_i.e._, the pike, -the coat of arms being a good example of “canting” heraldry—_i.e._, in -which the blazonry of the shield contains a play upon the name of the -bearer. - -There is no more inveterate foe of the water-vole than the pike. In the -stomach of a single pike were found the remains of three water-voles -and some bird, which was probably a duck. - -It might be imagined that a pike large enough to swallow a water-vole -would not be likely to venture into a brook, and would restrict itself -to the river where it would have plenty of room. But experience has -shown that a very large pike will sometimes make its way into a very -small brook, partly for the sake of food, but sometimes through sheer -cunning, in the hope of evading its enemies. - -By the time that a pike has attained the weight of twelve or fifteen -pounds, he has had to face many and varied dangers, and escape from -many foes. - -While he is young and small his worst foes are those of his own -species. Anglers know that there is scarcely any bait so attractive to -an old pike as a small pike. All the earlier part of his life is spent -in perpetual watchfulness, he having to be always on the look-out for -prey by which he can still his insatiable hunger; while he has to be -equally on guard lest a larger pike should satisfy its hunger with him. - -No pike, therefore, can attain to a large size without developing a -considerable amount of cunning, and anyone who sets himself the task of -catching such a fish will find that he must employ all his resources -of intellect, aided by experience, before he can delude the fish even -into touching the bait. In spite of its large size, the fish manages to -elude observation in a most puzzling manner, and it is no easy matter -to make sure of its position. An old fox or old rat is scarcely more -cunning and full of devices than an old pike. - -The largest pike that I ever saw at liberty was in a small tributary -streamlet of the Cherwell river, near Oxford. - -A pike of enormous dimensions had for some time been reported as -having been seen in various parts of the Cherwell, the general rumours -giving its weight as at least thirty pounds. All the anglers of the -neighbourhood had tried to capture this mighty prize, but had failed. -Contrary to the habit of most large pike, it did not seem to have -established itself in any particular spot, but roamed about from place -to place. - -Now, the Cherwell itself is but a very small river, so that the -locality of a large fish might appear easily discoverable. But it is a -very “weedy” river, and its banks are edged with willows, whose long, -red, plume-shaped roots hang into the water from the banks, and form -admirable hiding-places for the fish. - -One day I was trying my fortune at trolling in the Cherwell, with a -six-inch gudgeon for bait, and, on coming to a tributary stream, walked -along the bank until I could find a spot narrow enough to be jumped. - -Coming to a deep-looking pool, I dropped in the bait, by way of not -wasting time, and almost immediately felt the bait taken by a pike. -Following the golden rule then, and perhaps now, in force among -anglers, I sat down on the bank, watch in hand, in order to wait -through the weary ten minutes prescribed by custom, and which almost -seem to drag themselves out into as many centuries. - -Barely half the time had elapsed when a huge head rose to the surface, -and the bait was blown out, as it seemed, into the water, the head -sinking with a swirl of water where it disappeared. On examining the -rejected bait, which had naturally been seized crosswise, I found that -it was pierced from head to tail with the teeth of the pike. - -I learned that the big fish was afterwards ignominiously taken with a -net in one of these tributary brooks, so that its cunning was baffled -at last. I also learned that the fish had repeatedly treated other -anglers as it treated me, holding the bait for a short time in its -mouth and then rejecting it. - -So it is clear that the water-vole will by no means be safe from the -pike when it is the inhabitant of the brook instead of the river. - -Moreover, it does not need a very large pike to devour a full-grown -water-vole. The pike can swallow an animal which seems quite -disproportionate to its size. A young pike of barely five inches in -length was seen swimming about with the tail of a gudgeon projecting -from its mouth. The gudgeon was quite as long as its captor, and there -is no doubt that if the fish had been let alone the pike would soon -have digested the gudgeon sufficiently to swallow it entirely. - -The late Frank Buckland mentions that a pike weighing eight pounds -was caught in the River Itchen. After it was taken out of the water -it disgorged a trout of a pound weight. This must have been a sore -disappointment for the captor, who would think himself defrauded of a -pound weight in his angling record. - -The reader will remember that a heron and a cormorant lost their -lives by capturing an eel which was too large for them, and it is -a remarkable fact that a pike has been known to suffer a similar -fate. It can easily be understood that an eel, twisting itself about -convulsively in the struggle for life, should coil itself round a -bird’s neck long enough to cause its death by strangulation; but it -seems almost impossible that a pike, being a fish, and therefore -breathing by gills, should be suffocated while in the water by an eel. - -Yet in the Fisheries Exhibition of 1883 there were two very remarkable -stuffed groups, illustrating the voracity of the pike. In one of them -a pike weighing ten pounds had attacked an eel weighing only one -pound less. Now, an eel of nine pounds weight is a very large one, -lithe, active, and muscular as a snake, and by no means a despicable -antagonist. The pike had begun to swallow the eel, but the latter in -its struggles forced its way out of the mouth through the gills, and -thence into the water beneath the right gill-cover. But it could go no -farther, the teeth of the pike having almost met through its body. - -The result was fatal to both. The body of the eel having been forced -beneath the gill-cover, the gills could not perform their office, and -so the pike was as effectually suffocated for want of breath as were -the heron and the cormorant. The dead bodies of the pike and eel were -found on the bank of the River Bure in October, 1882. - -The second group consisted of a pike and a duck. The pike had attacked -the duck as the bird was diving, and had tried to swallow it. It -succeeded in getting the head, neck, and part of the breast down its -throat; but the duck, in its struggles for life, had naturally spread -its wings. These formed an insurmountable obstacle to the fish, and -the result was that the duck was drowned and the pike suffocated, both -having died for lack of respiration. - - * * * * * - -So the “plop” of the water-vole into the brook from the bank has -not been to us the mere splash of a frightened animal into the -stream. It has opened for us many trains of thought, and taken us -into several sciences. It has shown us something of the links which -connect it with man, birds, and fishes, and so has led us into -ornithology and ichthyology. It has shown how the inventions of man -have their prototypes in the animal kingdom. Comparative anatomy and -physiology have also been shown to form portions of the life-history -of the familiar animal, and have demonstrated the truth of the axiom -enunciated on page 34, that no animal and no branch of science can -stand alone. - - * * * * * - -Like other beings, the water-vole has its relatives, two of whom will -come within the range of our subject. Being small creatures, they go by -the popular name of mice, just as their larger relative is popularly -called a rat. These are the FIELD-VOLE and the BANK-VOLE, both of which -we may expect to find on the banks of our brook, especially when the -banks are clothed with shrubs. The former of these animals is a very -old acquaintance of mine, and when I was a lad I could go into a field -and make almost certain of catching a field-vole (_Arvícola agrestis_) -within about ten minutes. - -[Illustration: A CORMORANT STRANGLED BY AN EEL.] - -This little animal looks very much like a water-vole seen through the -wrong end of an opera-glass, except that the fur is redder and the ears -are longer in proportion to the size of the head. The tail is only -about one-third as long as the body—a peculiarity which has earned for -it the popular name of “short-tailed field-mouse.” A more appropriate -name for it is “campagnol.” - -Even in this country the campagnol is apt to be one of the worst foes -of the agriculturist, especially at harvest and seed time. - -Not only does it devour the ripe corn in the field, but it makes its -way into ricks and barns, and eats large quantities of the gathered -corn. Moreover, just after the seed-corn has been sown it digs the -grains out of the ground, thus doing mischief which is often attributed -to the sparrow and other small birds. In France, however, where not a -kestrel, or, indeed, any unprotected bird, can be seen, the campagnol -can carry out his depredations without hindrance, and consequently -increases until it becomes an actual plague. In the Department of Aisne -alone a few years ago the fields were honeycombed with the burrows -of the animal, and the farmers spent some seventy thousand pounds in -ridding their fields of the nuisance. First poison was laid down; but -so many hares and rabbits were killed that another plan had to be -tried. Stacks of hay and straw were then made, containing quantities of -poisoned carrots, turnips, and beetroot. The agriculturists, therefore, -had to pay heavily for doing that which the kestrel would have done -to a great degree, if they had suffered it to live and carry out its -appointed work in preserving the balance of Nature. - -The owls, again, are determined enemies of the campagnol, more than -half the food on which they and their young live being composed of -these mischievous little animals. Fortunately for the owls, their -nocturnal habits save them from the destruction which would have -befallen them had they sought their food in the light of day. - -If we wish to see this pretty little creature, we have only to watch -carefully the field through which our brook runs, and we shall be -almost certain to find it. But we must know where to look and how to -look. - -The favourite locality of the campagnol has already been mentioned; but -the detection of the little animal requires some practice. A novice in -the art may traverse a low-lying field, and hunt along the banks of -the brook from daybreak to dewy eve, and never catch a glimpse of a -campagnol. Another will go into the same field, and in a quarter of an -hour will produce several specimens. - -Those who wish to catch it must know its ways. It is not of the least -use to hunt up and down the field in chase of the campagnol, and those -who wish to see it must reverse the old aphorism about Mahomet and the -mountain. They cannot go to the campagnol, for it will keep out of -their way; but if they will wait patiently, the campagnol will come to -them. - -The secret for catching the campagnol is as follows:— - -Go into any field which is bounded by a brook, and lie down, taking -care that the sun faces you; otherwise your shadow will be thrown on -the grass, rendering the detection of the animal extremely difficult. - -When you have arranged yourself in an easy posture, keep your eyes on -the ground, and try to look between the green blades, so as to see the -colour of the soil. On a first trial you may probably wait until your -patience is exhausted, and yet see nothing. But do not be disheartened, -and try again, as nothing but practice will give the needful skill. - -Only a small portion of ground can come under your observation as you -recline on your arm, and a few minutes ought to make you acquainted -with the colour of every inch of the soil. Presently you will become -aware that a little patch of soil is redder than it was a minute or two -ago. Bring your free hand down smartly on the spot, and you will find a -campagnol in your grasp. - -Immediately afterwards you will find that the campagnol has teeth, and -knows how to use them. But if you understand the animal’s ways, you -will seize it without danger of being bitten, just as if you know the -nettle’s ways you can grasp it without danger of being stung. - -Like its larger relative, the campagnol, when suddenly startled, loses -its presence of mind, and remains for a moment or two without motion. -During that moment of consternation, shift your grasp so that the body -of the animal rests in the palm of the hand, while the finger and thumb -seize the sides of the head, so that the creature cannot turn its head -to bite. The knack is soon learned, though perhaps at the expense of a -bite or two, and the shifting of the grasp becomes instinctive. - -Want of practice soon causes the eyes to become slow to detect the -creature which steals so silently among the grass-blades, and the ready -knack of the fingers is equally apt to fail just when it is wanted. -However, a little practice soon restores the keenness of sight and -deftness of touch, and in a short time the campagnol will be unable -to pass under the observer’s eyes without detection, or to escape the -grasp of his fingers without capture. - -So stealthily does the campagnol glide among the grass stems, that the -field may be swarming with them, and yet their presence will not even -be suspected by man. This fact brings us to another illustration of the -assertion that the life-history of one animal always involves that of -others. - -The natural food of the KESTREL (_Tinnúnculus alaudârius_) largely -consists of the campagnol, so that where the one is seen the other will -probably be at no great distance. High in air the kestrel hovers with -quivering wings, its bright eyes directed downwards, and scanning the -field below. Suddenly it drops down to the ground, rises with something -in its claws, and flies away. It has seen and caught a field-vole, and -is carrying it home to its young. From its custom of balancing itself -in the air with its head to the wind, it is often known by the name of -“windhover.” - -With what astonishing sight must not the kestrel be gifted to perform -such a feat! It is difficult enough for a human being to watch a square -yard of ground so carefully that a field-vole shall be seen as it -glides among the grass. How wonderful, therefore, must be the powers -of vision which enable the bird to watch a large field, to detect from -that height the little, dusky animal, and pounce down upon it with -unerring swoop! - -How astonishing must be the optical mechanism of those eyes which at -so great a distance from the prey can act like telescopes, and yet can -alter their range so rapidly that in the few seconds which are consumed -in making the stoop, they have accommodated themselves to an entirely -different focus. - -In his “At Last,” C. Kingsley mentions that in passing through a -tropical forest the traveller is frequently checked by some creeper -which hangs in the path, and which is not seen because the eye cannot -focus itself with sufficient rapidity. Yet the traveller is only -proceeding at a walking pace, whereas the stoop of the kestrel on its -prey is swift as the fall of a stone through the air, and in a second -or two the eye has to accommodate itself from a range of many yards to -that of a few inches. - -The value of the kestrel in keeping down the numbers of the field-vole, -and so aiding in preserving the balance of Nature, can hardly be -over-estimated. - -There have been cases where the field-voles had increased to such a -degree that pitfalls had to be dug for their capture, and they had to -be destroyed artificially, because the kestrels and other predacious -birds and animals had been almost extirpated. - -Other enemies to agriculture are also destroyed by the kestrel. -Mr. Johns mentions an instance where the stomach of a kestrel was -opened, and was found to contain, beside a field-vole, nearly eighty -caterpillars, twenty-four beetles, and a leech! - -Now, we will return to our field-vole. Like the squirrel and several -other rodents, it makes two nests, one for the winter and the other for -the summer. - -The winter nest is mostly made at some distance from water, is formed -at the end of a burrow, and seldom reaches more than a few inches below -the surface of the ground. It is to this winter nest that the poet -Burns refers in his exquisite stanzas addressed to a mouse whose nest -had been destroyed by his ploughshare, and beginning, - - “Wee, sleekit, cow’rin’, tim’rous beastie.” - -Such, indeed, is the fate of many a winter nest. Supposing, however, -that the creature should be snapped up by the kestrel while out in -search of food, the nest will be deserted, but it will not be wasted. -There are always beings who are glad to find a ready-made burrow which -will save them the trouble of excavating one for themselves. Among them -are several species of wasp and humble-bee, most of whose nests are -made in the deserted burrow of the campagnol. - -Here, again, is an example of the manner in which the life-histories of -dissimilar animals are linked together. Few persons would think that -there could be any connection between the wasp and the kestrel, and yet -our walk along the banks of our brook has shown us that such is the -case, and that the connecting link is the campagnol. - -Like the water-vole, the campagnol lays up a store of winter -provisions, not in its living-room, but in a chamber excavated for the -purpose. The treasure-house sometimes contains a very miscellaneous -store, the fruit of the hawthorn and wild rose being the staple. - -Cherry-stones mostly form a large proportion of the stores, as many -as three hundred having been found in a single chamber. The mode in -which the campagnol obtains the cherry-stones would hardly be suspected -except by those who are in the habit of watching the varied phases of -animal life. - -The chief purveyors of cherry-stones are the blackbird and thrush. - -Both these birds are exceedingly destructive among the cherry crops, as -I know from personal experience. My study overlooks a number of fine -cherry-trees, one of them being so close to the house that by leaning -out of the window I can touch the fruit with an ordinary walking-stick. -As soon as the fruit ripens, the thrush and blackbird hold high -festival, eating the cherries from the branches and feeding their young -with the ripe fruit. - -It is really amusing to watch the proceedings of the birds, especially -the unmerciful manner in which the young birds peck their parents when -they considered that they are not fed fast enough. Neither young nor -parent is in the least afraid of me as I sit at the open window, so -that I can see every movement. - -Sometimes the entire cherry is pulled off the branch, but when the -fruit is very ripe the soft portion only is eaten, the stone still -being attached to the stalk. In either case, the stone will be sure, -sooner or later, to fall to the ground, whence it is picked up by the -campagnol and added to its store for the coming winter. - -Here, again, is a link connecting together the life-histories of the -blackbird, thrush, and campagnol. Furthermore, it affords an example of -the care that is taken that nothing on the earth shall be wasted. - -Whenever a living being has no further use for anything which once was -connected with its life-history, there is sure to be some other animal -which wants it and is waiting for it. - -We have already seen how the abandoned winter nest of the campagnol -is utilised by the wasp or humble-bee, and we now see that when the -blackbird and thrush have abandoned the cherry-stones as useless to -them, there is the campagnol waiting for them and ready to carry them -off to the store-chamber which it has previously prepared. - -[Illustration: A PIKE STRANGLED BY AN EEL.] - -Beside the winter nest, there is the summer nest, which is primarily -intended for the reception and nurture of the young. This, like the -corresponding nest of the squirrel, is made of slight materials and -loose structure, so that the air is freely admitted. It is generally -composed of grass blades, which have been torn in strips by the -campagnol. It is globular in shape, and is mostly placed on the ground, -amid concealing grass or herbage. - -There is, however, before me a photograph of the nest of a campagnol, -which was discovered in a very remarkable position, and made of very -unusual materials. It was found in a garden store-house at Castle -Carey, by the Rev. W. Smith-Tomkins, Vicar of Durstow. He kindly sent -me a copy of the photograph, together with the following description— - - “Bedford Villa, - “The Shrubbery, - “Weston-super-Mare. - - “August 8th, 1886. - - “This nest of the short-tailed field-mouse was found by me a - few years ago on a heap of barley straw, which was used to - cover a small store of potatoes. Its chief interest to the - finder, in addition to its beauty, consists in this. It was - all manufactured out of one kind of raw material, namely, the - leaves of the barley straw, which the maker shred up into thin - threads according to her taste, so as to suit the different - parts of the structure. There was no other material available - for use. - - “The mouse had found its way into the storehouse through a - hole under the wall. I am sorry to say that she was killed - when found, and before the nest had been used for its proper - purpose. Two or three weeks before I had looked over the place, - and she had not commenced operations. - - “On referring to ‘Homes without Hands,’ I find it stated by - Mr. J. J. Briggs that he could never find an entrance to the - interior (the nests being closed up, as you say is the case - with the nest of the harvest mouse). I infer from this, that it - is due to its incompleteness that the entrance in this case is - open and visible, and that its structure is therefore so open - to inspection.” - -With the description and photograph Mr. Tomkins sent a few portions of -the nest, some of the barley leaves being of their original width, and -others split up into fibres as fine as ordinary sewing cotton. In a -subsequent letter he states that the hole through which the campagnol -made her entrance into the house opened into the stable yard of a -neighbour. - -Its mode of eating the provisions which it stores is rather remarkable. -It would naturally be supposed that, as other beings (including man) -do, it would eat the thick, soft, and sweet exterior of the “hip” or -fruit of the wild rose, and reject the hard, small seeds, with their -fluffy envelope. But it does just the contrary, eating the seeds and -rejecting the exterior. - -When in America in 1884, I saw a flock of pine grosbeaks busily feeding -upon the berries of the mountain ash at Worcester. Very pretty they -looked, the rosy plumage of the two or three males contrasting boldly -with the dark, sombre green of the many females. I should not have -noticed them but for their mode of feeding. - -It was at the beginning of February—the very depth of a New England -winter. I had to make my way up a rather steep hill, and over paths -which, by reason of constant traffic over snow, were as slippery as -ice. Many persons are in the habit of scattering sand or pulverised -brick on the paths, and seeing, as I fondly thought, a few yards -of the latter material, I gladly made my way towards it. To my -disappointment—on that ground at least—I found that the red material -was not brick, but the soft, external part of the mountain ash berry, -the birds only eating the seeds, and allowing the rest of the fruit to -fall to the ground. - -Then, the campagnol has a remarkable way of eating the cherry stones. - -When the squirrel eats a nut, it nibbles off a little piece of the -sharp end, inserts the edges of its incisor teeth in wedge fashion, and -splits the nut in two. The campagnol begins like the squirrel, but when -it has bitten off the end of the cherry-stone, it does not split the -shell asunder, but in some way of its own contrives to get the kernel -out. - -(_To be continued._) - -[Illustration] - - - - -MERLE’S CRUSADE. - -BY ROSA NOUCHETTE CAREY, Author of “Aunt Diana,” “For Lilias,” etc. - - -CHAPTER XVI. - -MOLLY. - -One afternoon, much to Hannah’s delight, I took the children to -Wheeler’s Farm. Rolf did not accompany us; Mrs. Markham had sent up -word to the nursery that morning that he was to drive with her into -Orton. He had complied with this order rather sulkily, after extracting -from me a promise that I would play soldiers with him in the evening. - -It was rather a hot July afternoon, but we put Joyce in the -perambulator, and Hannah and I carried Reggie by turns, and in spite -of the heat we all enjoyed the walk, for there was a lark singing so -deliciously above the cornfields, and the hedgerows of Cherry-tree-lane -were gay with wild flowers, and every few minutes we came to a peep of -the sea. - -I recognised Hannah’s description when we came in sight of the old -black-timbered house; there was the pear tree in the courtyard, and the -mossy trough; a turkey cock Gobbler, of course, was strutting about in -the sunny road, and from the farmyard came the cackling of ducks and -the hissing of snow-white geese. Just then a little side gate opened, -and a robust-looking woman in a sun-bonnet came out, balancing two -pails of water with her strong bare arms. Hannah exclaimed, “Well, -Molly!” and Molly set down her pails and came to meet us. - -She kissed Hannah heartily with, “Glad to see thee, lass,” and then -shook hands with me. - -“Come in, come in, and bring the children out of the sun,” she said, -in a kind, cheerful voice. “Father is smoking his pipe in the kitchen, -and will be fine and glad to see you all. Eh, but I am pleased to have -you at Wheeler’s Farm, Miss Fenton. Hannah says she has a deal to be -grateful to you for, and so have we all for being good to our girl.” - -I disclaimed this, and sang Hannah’s praises all the time we were -crossing the courtyard to the porch. - -Molly shook her head, and said, “Nay, she is none too clever,” but -looked gratified all the same. - -She was a plain, homely-looking woman, as Hannah said, with high cheek -bones and reddish hair, but she looked kindly at the children and me, -and I think we all liked her directly. - -“Look whom I am bringing, father,” she exclaimed, proudly, and Michael -Sowerby put down his pipe and stared at us. - -He was a blue-eyed, ruddy old man, with beautiful snow-white hair, much -handsomer than his daughter, and I was not surprised to see Hannah, in -her love and reverence, take the white head between her hands and kiss -it. - -“You will excuse our bad manners, I hope,” he said, pushing Hannah -gently away, and getting up from his elbow chair. “So these are Squire -Cheriton’s grandchildren. He is fine and proud of them, is the squire. -Deary me, I remember as if it were yesterday the squire (he was a young -man then) bringing in their mother, Miss Violet, to see me when she -wasn’t bigger than little miss there, and Molly (mother I mean) said -she was as beautiful as an angel.” - -“Mother is beautifuller now,” struck in Joyce, who had been listening -to this. - -The old farmer chuckled and rubbed his hands. - -“Beautifuller, is she? Well, she was always like a picture to look at, -was Miss Violet, a deal handsomer and sweeter than Madam, as we call -her. Eh, what do you say, my woman?” for Molly was nudging him at this -point. “Well, sit ye down, all of you, and Molly will brew us some tea.” - -“There is Luke crossing the farmyard,” observed Molly, in a peculiar -tone, and Hannah took the hint and vanished. - -I sat quietly by the window with Reggie on my lap, talking to Michael -Sowerby and glancing between the pots of fuchsias and geraniums at a -brood of young turkeys that had found their way into the courtyard. - -Joyce was making friends with a tabby cat and her kittens, while Molly, -still in her white sun-bonnet and tucked up sleeves, set out the -tea-table and opened the oven door, from which proceeded a delicious -smell of hot bread. She buttered a pile of smoking cakes presently, -talking to us by snatches, and then went off to the dairy, returning -with a great yellow jug of milk thick with cream, and some new laid -eggs for the children. - -I did not wonder at Hannah’s love for her home when I looked round -the old kitchen. It was low, and the rafters were smoke-dried and -discoloured, but it looked so bright and cheery this hot July -afternoon, with its red tiles and well-scrubbed tables, and rocking -chairs black with age and polish. The sunshine stole in at the open -door, and the fire threw ruddy reflections on the brass utensils and -bright-coloured china. A sick chicken in a straw basket occupied the -hearth with the tabby cat; a large shaggy dog stretched himself across -the doorway, and regarded us from between his paws. - -“It is Luke’s dog, Rover; he is as sensible as a human being,” observed -Molly, and before we commenced tea she fetched him a plate of broken -meat from the larder, her hospitality extending even to the dumb -creatures. - -A wooden screen shut us off from the fire. From my place at the table -I had a good view of the inner kitchen and a smaller courtyard with a -well in it; a pleasant breeze came through the open door. - -As soon as the children were helped, Hannah came back looking rather -shamefaced but extremely happy, and followed by Luke Armstrong. He -greeted us rather shyly, but seated himself at Molly’s bidding. He was -a short, sturdy-looking young fellow, with crisp, curling hair and an -honest, good-tempered face. He seemed intelligent and well-mannered, -and I was disposed to be pleased with Hannah’s sweetheart. - -I found afterwards from Molly when she took me into the dairy that -Michael Sowerby had consented to recognise the engagement, and that it -was looked upon as a settled thing in the household. - -“Hannah is the youngest of us girls, and a bit spoiled,” observed -Molly, apologetically. “I told father it was all nonsense, and Hannah -was only a chit, but it seemed he had no mind to cross her. The folks -at Scroggin’s Mill is not much to our taste, but Luke is the best of -the bunch, and a good, steady lad with a head on his shoulders. He was -for going to London to seek his fortune,” continued Molly, “for Miller -Armstrong is a poor sort of father to him, and Martin elbows him out of -all chances of getting any of the money; but Squire Hawtry, of the Red -Farm, where Lydia lives as dairymaid, has just lost his head man, and -he offered Luke the place. That is what he has been telling Hannah this -afternoon in the farmyard; so if Hannah is a good girl, as I tell her, -and saves her bit of money, and Luke works his best, Squire Hawtry will -be letting them have one of the new cottages he has built for the farm -servants, and a year or two may see them settled in it to begin life -together.” And here Molly drew a hard work-roughened hand across her -eyes as though her own words touched her. - -“I am very glad for Hannah’s sake,” I returned. “She is a good girl, -and deserves to be happy.” - -“Ah, they are all good girls,” replied Molly. “Hannah is no better -than the rest, though we have a bit spoiled her, being the youngest, -and mother dead. There’s Martin at Scroggin’s Mill wants Lydia, but -Lyddy is too sensible to be listening to the likes of him. ‘No, no, -Lyddy,’ I say, ‘whatever you do, never marry a man who makes an idol -of his money; he will love his guineas more than his wife; better be -doing work all your life and die single as I shall, than be mistress of -Scroggin’s Mill if Martin is to be master.’” - -“You give your sisters very good advice,” I returned. - -“I have not much else to give them,” was the abrupt answer; “but they -are good girls, and know I mean well. The boys are rather a handful, -especially Dan, who is always bird-catching on Sunday, and won’t see -the sin of it. But there, one must take boys as one finds them, and -not put ourselves in the place of Providence. They want a deal of -patience, and patience is not in my nature, and if Dan comes to a bad -end with his lame leg and bird-traps, nobody must blame me, who has -always a scolding ready for him if he will take it.” - -I saw Dan presently under rather disadvantageous circumstances, for as -we came out of the dairy who should come riding under the great pear -tree but Mr. Hawtry, with a red-headed boy sitting behind him, with a -pair of dirty hands grasping his coat. I never saw such a freckled face -nor such red hair in my life, and he looked at Molly so roguishly from -under Mr. Hawtry’s shoulder, there was no mistaking that this was the -family scapegrace. - -“Good-evening, Molly,” called out Mr. Hawtry, cheerfully; “I am -carrying home Dan in pillion fashion, because the rogue has dropped -his crutch into the mill dam, and he could not manage with the other. -I found him in difficulties, sitting under the mill hedge, very tired -and hungry. You will let him have his tea, Molly, as it was accident -and not mischief. I forgot to say the other crutch is lying in the -road broken; it broke itself—didn’t it, Dan?—in its attempt to get -him home?” and here Mr. Hawtry’s eyes twinkled, but he could not be -induced, neither could Dan, to explain the mystery of the broken crutch. - -“You will come to a bad end, Dan,” remarked Molly, severely, as she -lifted down the boy, not over gently; but she forbore to shake him, as -he was wholly in her power—a piece of magnanimity on Molly’s part. - -Mr. Hawtry dismounted, perhaps to see that Dan had merciful treatment; -but he need not have been afraid, Molly had too large a heart to be -hard on a crippled boy, and one who was her special torment and pet. -Molly could not have starved a dog, and certainly not red-headed Dan. - -He was soon established in his special chair, with a thick wedge of -cold buttered cake in his hand. Scolding did not hurt as long as Molly -saw to his comforts, and Dan looked as happy as a king in spite of his -lost crutches. - -Mr. Hawtry came into the kitchen, and when he saw us I thought he -started a little as though he were surprised, and he came up to me at -once. - -“Good-evening, Miss Fenton; I did not expect to see you here, and my -little friend, too,” as Joyce as usual ran up to him. “What a lovely -evening you have for your walk home! You did not bring Miss Cheriton -with you?” - -“No; she has visitors this afternoon; the children and I have had our -tea here, and now it is Reggie’s bed-time.” - -“Shall I call Hannah?” he returned, hastily, for I was putting Reggie -in his perambulator. “I saw her walking down the orchard with Luke -Armstrong and Matthew.” And as I thanked him he bade Molly good-bye, -and, putting his arm through his horse’s bridle, in another moment we -could hear a clear whistle. - -Hannah came at once; she looked happy and rosy, and whispered to -Molly as we went down the courtyard together. Mr. Hawtry was at the -horse-block; as he mounted he called me by name, and asked if the -little girl would like a ride. - -I knew he would be careful, but all the same I longed to refuse, only -Joyce looked disappointed and ready to cry. - -“Oh, nurse, do let me,” she implored, in such a coaxing voice. - -“My horse is as quiet as a lamb. You may safely trust her, Miss -Fenton,” he said so persuasively I let myself be over-ruled. It was -very pretty to see Joyce as he held her before him and rode down -the lane. She had such a nice colour, and her eyes were bright and -sparkling as she laughed back at me. - -It was very kind of Mr. Hawtry. It seemed to me he never lost any -opportunity of giving children pleasure. But I was glad when the ride -ended, and I lifted Joyce to the ground. - -She clasped me tightly in her glee. “It was so nice, so werry nice, -nursey dear,” she exclaimed. - -As I looked up and thanked Mr. Hawtry, I found that he was watching us, -smiling. - -“I am afraid your faith was not equal to Joyce’s,” he said, rather -mischievously. “I would not let Peter canter, out of pity for your -fears.” - -“I beg your pardon,” I stammered, rather distressed by this, “but -I cannot help being afraid of everything. You see the children are -entrusted to me.” - -“I was only joking,” he returned, and he spoke so gently. “You are -quite right, and one cannot be too careful over children; but I knew I -could trust old Peter,” and then he lifted his hat and cantered down -the lane. He could not have spoken more courteously; his manner pleased -me. - -It caused me a little revulsion when Mrs. Markham met us at the gate -with a displeased countenance. She motioned to Hannah to take the -children on to the house, and detained me with a haughty gesture. - -“Nurse,” she said, harshly, “I am extremely surprised at the liberty -you take in my sister’s absence. I am quite sure she would be -excessively angry at your taking the children to Wheeler’s Farm without -even informing me of your intention.” - -“I mentioned it to Miss Cheriton,” I returned, somewhat nettled at -this, for Gay had warmly approved of our little excursion. - -“Miss Cheriton is not the mistress of the house,” she replied, in the -same galling tone. “If you had consulted me, I should certainly not -have given my consent. I think a servant’s relatives are not proper -companions for my little niece, and, indeed, I rather wonder at your -choosing to associate with them yourself,” with a concealed sneer -hidden under a polished manner. - -“Mrs. Markham,” I returned, speaking as quietly as I could, “I should -certainly not have taken the children to Wheeler’s Farm without my -mistress’s sanction. I had her free permission to do so; she knew the -Sowerbys were highly respectable, and, for my own part, I wished to -give pleasure to Hannah, as I take a great interest in her.” - -“I shall certainly write to my sister on the subject,” was her answer -to this. “You must have entirely mistaken her meaning, and I owe it to -her to watch over her children.” - -My temper was decidedly rising. - -“You need not trouble yourself,” I replied, coldly, “my mistress knows -everything I do. I should have written to her myself to-night; she has -perfect confidence in me, and I have never acted against her wishes; my -conscience is quite clear about this afternoon, but I should not have -taken Rolf without your permission.” - -“I should hope not,” still more haughtily, but I would not listen to -any more; I was not her servant—I could not have served that hard -mistress. I found nothing to reverence in her cold, self-absorbed -nature, and without reverence, service would be bitter drudgery. - -As I passed down the avenue a little sadly, I came upon a pretty scene; -a tea-table had been set under one of the elms, and Gay had evidently -been presiding over it, but the feast had been long over. She was -standing by the table now, crumbling sweet cake for the peacock. Lion -was sitting on his haunches watching her, and Fidgets was barking -furiously, and a little behind her stood Mr. Rossiter. - -Mrs. Markham swept up to them, and I could hear her say in a frosty -voice that showed evident ill-temper, “Why has not Benson removed the -things? It is nearly seven, and we must go in to dress for dinner; you -know Mr. Hawtry is coming.” - -“I was not aware of it, Adelaide”—how well I knew that careless -voice!—“but it is of no consequence, that I can see; Mr. Hawtry is -always here.” - -“He cannot come too often,” in a pointed manner. “We all think highly -of Mr. Hawtry, I know.” - -“Oh, are you going, Mr. Rossiter? Well, perhaps it is rather late.” - -“What are you doing, Gay?” so sharply that though I had reached the -house I heard her, and turned my head to look. - -Benson and the under-footman were coming out of the side door, but Mrs. -Markham stood alone under the trees. Gay was sauntering down the avenue -with the young curate still at her side, and Lion was following them, -and I wondered if Mrs. Markham saw her stop and pick that rose. - -I went up to the nursery rather thoughtfully after that. I knew girls -were odd and contrary sometimes. Mr. Rossiter was very nice; he was a -good, earnest young man, and I liked his sermons; but was it possible -that Gay could seriously prefer him to Mr. Hawtry, or was she just -flirting with him _pour passer le temps_, after that odious custom of -some girls? But I could not believe it somehow of Gay Cheriton; she -was so simple, so unselfish, so free from vanity. It needed a coarser -nature than hers to play this sort of unfeeling game. “We shall see,” I -said to myself, as I put Reggie into his cot, and then I sat down and -wrote to Mrs. Morton. - -(_To be continued._) - - - - -ANSWERS TO CORRESPONDENTS. - - -EDUCATIONAL. - -DAUGHTER OF GENTLEMAN FARMER.—The book for which you inquire is “The -Englishwoman’s Year-Book,” published by Hatchard, Piccadilly, London, -W. We believe it may be had in parts. The yearly volume is about -half-a-crown. - -JOSIE.—We advise you to write to the London School of Medicine, -30, Henrietta-street, Brunswick-square, London, W.C., for all -information you require on the subject of your letter. You should -state the fact of your having passed the College of Preceptors, the -senior local Cambridge and Oxford examinations, and the science -subjects (elementary) set by the South Kensington authorities; also -name your age, and address the dean of the school, Mrs. Elizabeth -Garrett-Anderson, M.D. This school is in connection with the Royal Free -Hospital, Gray’s Inn-road, W.C. - -SPOTTED CRASH.—We think you are mistaken as to the origin of the name -Billingsgate. The name “Billing” belongs to an old Teutonic tribe or -clan, whose traditions are old enough to be mythical. It is probable -that some of its members may have been amongst those Low German -adventurers who conquered Britain and made it England. This conjecture -explains many names beginning with Billing in this country, besides -Billingsgate. - -HEATHER BELL.—We regret that we cannot help you in your quest in any -way. - -CINDERELLA.—It would depend upon what examination you went in for, of -course. Girton College is at Cambridge. It is for women over eighteen -years of age. The entrance examinations are in March and June. The -address of the secretary is 22, Gloucester-place, Hyde Park, London, W. - -MIZPAH.—We should advise you, as you are so young, to go in for -teaching as a profession, and to study at a training college, or at -the College of the Home and Colonial School Society, Gray’s Inn-road, -W.C., or else at the Teachers’ Training Society, Training College, -Fitzroy-street, W. Governesses’ situations are yearly more and more -difficult to obtain, and it is better to be trained so as to command -school situations of a high class. - -K. B.—1. The ancient name of Constantinople was Byzantium. The present -city occupies its site, but was named after Constantine the Great, who -built it. 2. Cardinal Wolsey erected Christ Church College, Oxford, -Ipswich, and also Hampton Court. A Life of King Robert “the Bruce” was -written by the Scottish poet, Barbour, in a poem called the “Brus.” - - -ART. - -A TOMATO.—See article in _Silver Sails_ (Summer Number for 1881) on -crystoleum painting. The 12th of April, 1873, was a Saturday. - -JANE.—If you really wish to learn drawing and painting, buy a shilling -manual on perspective and study from natural objects. Begin with some -simple object, such as a village pump or wayside stile, but do not -attempt such composite subjects as that sent for our opinion until you -can accomplish the former subjects fairly well. - -CLOE.—As a rule, if a girl shows any taste for using her pencil, in -however trivial a way, she imagines that she could make money by it; -but she forgets, like the swarms of verse-writers, that ideality to a -very considerable degree is requisite for both the poet and painter. -If you have a gift for designing, as well as the practical skill, you -might find an opening amongst the lace manufacturers of Nottingham and -other places, amongst the cotton printers at Manchester, or the silk -manufactories at Macclesfield. It could be available for wall-paper -printers, for carpet weaving, and for pottery. Turn your attention to -one of these openings. - -MISS FIENNES, of Castle-hill, Reading, Berkshire, conducts a girls’ -club, called the Daub Society, to which members (amateur beginners) -send an original painting or drawing every month. The annual -subscription is one shilling, and the members adopt fancy names. - - -MISCELLANEOUS. - -J. W. must accept our best thanks for her kind letter and the assurance -that the “girls’ own mothers” take as much delight in our paper as the -girls themselves. - -KARTOFFEL.—“What is the best thing to do if anything is seen in a -haunted house?” Shut your eyes, and don’t see it. - -SWETSCHE.—To invent “a cure for sleeplessness” would be to become a -millionaire. If we were so fortunate we could not promise to take you -into partnership, but would advertise our decoction widely. - -COUSIN.—You have fallen into a careless and injurious mode of walking. -You should plant your feet straight on the ground, and might also have -a little brass or iron heel put on those of your shoes. If your blue -serge dress be so soiled with dust, you had better get it re-dipped by -a dyer. They can do so without your unpicking the dress. - -FIREFLY.—You seem to have overtaxed your brain-power during these -examinations, and you need rest; change of air, good diet, early -retirement to bed at night, and late rising (say at 8 a.m.) might in -time restore the powers of memory. At the same time, you should obtain -the advice of an experienced physician. - -MILLICENT THORNTON.—The quotation commencing— - - “Absence of occupation is not rest,” - -is taken from Cowper’s poem “Retirement,” line 623. You will probably -find the other poem in some popular reciter. You write well for your -age. - -E. M. SEARLE.—The Latin words, _Nocturna versate manu, versate diurno_, -mean, “Turn (them) over with nightly hand, turn (them) over by day.” -The words are from Horace. The word “them,” which is understood, refers -to examples of Grecian style. - -[Illustration: TEMPTATION.] - -POTTS.—Your brother’s “eating dinner enough for two” does not thereby -give evidence of a fine constitution. Some lean folks eat enormously, -but, as the Scotch express it, “put their food into an ill skin;” they -do not assimilate it, and it does them but little good, and so they are -always craving for more. There are other reasons for voracious eating, -for which a doctor’s advice would be most desirable. It is a disgusting -sight, in any case, to see anyone eating double what others do, and -it should be checked, not gratified, in youth, if not attributable to -disease, in which case recourse should be had to medicine. - -MOSES.—The Psalms, as given in the Book of Common Prayer, were not -_altered_, but only a different version from the translation used -in our Bibles was employed, called the Vulgate or Latin version, -attributed to St. Jerome, about 384. There was an older version of -the Holy Scriptures called the Italic, said to have been made in the -beginning of the second century, little more than one hundred years -after Christ. Gutenberg and Fust were the first who printed the Vulgate -translation, probably about 1455, and that by Fust and Schœffer in 1462. - -MARY ELIZABETH T.—The evil thoughts that seem forced into your mind -against your will, of which you are ashamed, over which you grieve, and -against the recurrence of which you pray, are temptations of the devil -and his wicked ministers. They are clearly not your own; they are, as -it were, whispered in your ears. So long as you pray to be delivered -from them, and heartily strive to drive them away, their guilt does not -lie at your door. Ask for deliverance, and humbly claim it in the name -of the Lord Jesus, and “He is faithful that promised.” See St. John -xiv. 12, 13, 14, and xvi. 23, 24. - -A GARDENER.—Sow the hardy annual’s seeds in February, and in March all -the perennials and biennials, and the half hardy annuals in a hot-bed. -There are several varieties of honeysuckle, and all of them may be -propagated by cuttings. - -BLANK had better write for the directory to the matron, London National -Training School for Cookery, Exhibition-road, South Kensington, -S.W. The fee for the training for the post of cookery instructor is -twenty-one guineas for the full course of twenty weeks; plain cookery, -eight guineas for fourteen weeks. The Edinburgh School of Cookery, -6, Sandwick-place; hon. secretary, Miss Guthrie Wright; also trains -teachers in cookery for a fee of fifteen guineas the course, from -November to April. - -AN ANXIOUS ONE.—You do not give sufficient information for us to judge -what you are fit for, and you had better read the series of articles in -vol. v., entitled “Work for All.” - -TARENTELLE.—Twopenny-piece, 1797 (weighing 2 oz. av.), worth 1s. to -5s.; penny, same date (1 oz. av.), 1s. to 2s. 6d. The other coins are -worth from 6d. to 2s. - -POMPEY.—The “Heaven-sent Minister” was William Pitt, 1759-1806. - -CATHERINE A. M.—We think the tale about the tramcar tickets, and the -getting of a deaf and dumb child into an asylum or home by means of a -collection of 10,000 of them, must be placed by the side of many other -such figments of the imagination. The pity is that sensible people like -yourself should be misled by them. Tramcar tickets can be made over, -and there is a special machine for performing the nefarious work. - -DUNEDIN.—Many thanks for your kind letter. There does not seem to be -anything to answer in it, however, so we merely acknowledge its kindly -expressions. - -C. S. L.—The idea is a good one, but we fear we could not impose such a -weight on our own over-burdened shoulders. As a rule, you may depend on -the catalogues of the Religious Tract Society, the Christian Knowledge -Society, and others of the kind. Would they not help you if you wrote -for them? - -RAY.—If she have asked to have you taken to see her, waive all -ceremony and go. Mutual family interchanges of visiting will follow. -It would be in better taste on your part to call yourself Mrs. John -B——, rather than cause a jealous feeling or one of injury on the part -of a mother-in-law. Do all things “that make for peace,” “in honour -preferring one another.” You write fairly well. - -GUILDA.—The second “h” is mute in the word “height,” but not in the -word “width.” We congratulate you on gaining a certificate. - -RUBY.—Sometimes old copies of bound magazines may be had at secondhand -or reduced prices at booksellers’ stalls. You should study the rules of -metrical composition before you attempt to write verses. - -A TROUBLED MOTHER.—It is a difficult matter upon which to advise you, -and you do not say where you live. The first thing to do is to give -the girl a good education, and also to include music and singing. As -she grows older she may forget her youthful ideas. You might write for -advice to Mr. C. E. Todd, Macready Mission House, Henrietta-street, -Covent Garden; or, if in London, you might go and see him, perhaps. - -A SUFFERER might try mustard oil to rub on for her rheumatism. It -sometimes does wonders for it, and is to be got at any chemist’s, and -is sold by the ounce. Rub on with the palm of the hand, round and round. - -DAISY.—Dandriff may be cured by using a wash of one pint of water and -half an ounce of glycerine. Rub well into the skin of the head twice -a day (this can be done with a sponge), without wetting the head too -much. Another wash is composed of one pint of water and one ounce of -borax, used in the same manner. Dandriff is considered to be caused -by digestive troubles, especially when accompanied by watering of the -eyes, nose, or mouth. - -SWYGS.—We thank you for the kind feeling that prompted the giving of -your advice for the benefit of sufferers. But for certain reasons, into -which we cannot enter, we must decline to make our paper a means of -advocating mesmerism. You write a good hand. - - - * * * * * - -⁂ _The Editor regrets to say that the poem entitled “The Beggar’s -Christmas,” which appeared in_ Feathery Flakes, _was copied from_ -Little Folks _for January, 1886, and sent to him by J. H. A. Hicks, as -his own original composition. The copyright belongs to Messrs. Cassell -and Co., and to them apologies for this unwarrantable reproduction are -due._ - - * * * * * - -[Transcriber’s Note—the following changes have been made to this text. - -Page 276: miror to mirror—“mirror to mirror”. - -Page 279: aud to and—“and this improvement”. - -Page 288: Gutenburg to Gutenberg—“Gutenberg and Fust”. - -Schœfer to Schœffer—“Fust and Schœffer”.] - -*** END OF THE PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. VIII, NO. -370, JANUARY 29, 1887 *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for 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. 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- 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; -} - -.ml2 {margin-left: 2em;} -.ml4 {margin-left: 4em;} -.ml6 {margin-left: 6em;} - -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; 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font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Girl's Own Paper, Vol. VIII, No. 370, January 29, 1887, by Various</div> - -<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. 370, January 29, 1887</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Various</div> - -<div style='display:block; margin:1em 0'>Release Date: July 31, 2021 [eBook #65964]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Susan Skinner and the Online Distributed Proofreading Team at https://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. VIII, NO. 370, JANUARY 29, 1887 ***</div> -<p><span class="pagenum" id="Page_273">{273}</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. 370.</span></p> -<p class="floatr"><span class="smcap">Price One Penny.</span></p> -<p class="floatc">JANUARY 29, 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="#THE_QUEENS_JUBILEE_PRIZE_COMPETITION">THE QUEEN’S JUBILEE PRIZE COMPETITION.</a><br /> -<a href="#THE_INHERITANCE_OF_A_GOOD_NAME">THE INHERITANCE OF A GOOD NAME.</a><br /> -<a href="#HISTORICAL_SKETCHES_OF_MUSICAL_FORMS">HISTORICAL SKETCHES OF MUSICAL FORMS.</a><br /> -<a href="#DRESS_IN_SEASON_AND_IN_REASON">DRESS: IN SEASON AND IN REASON.</a><br /> -<a href="#THE_BROOK_AND_ITS_BANKS">THE BROOK AND ITS BANKS.</a><br /> -<a href="#MERLES_CRUSADE">MERLE’S CRUSADE.</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="THE_QUEENS_JUBILEE_PRIZE_COMPETITION">THE QUEEN’S JUBILEE PRIZE COMPETITION.</h2> -</div> -<p class="ph3">NOTABLE WOMEN OF THE REIGN OF QUEEN VICTORIA.</p> - - -<div class="figcenter illowp62" id="i_273" style="max-width: 18.75em;"> - <img class="w100" src="images/i_273.jpg" alt="" /> - <div class="caption"><p class="center">HER MAJESTY THE QUEEN.</p></div> -</div> - -<p class="smalltext"><i>All rights reserved.</i>]</p> - - -<p class="center">THE SUBJECT OF OUR NEXT COMPETITION IS TO BE<br /> -<b>The Notable Women of the reign of Queen Victoria.</b></p> - - -<p>Of these, each competitor will make out a list -for herself, and regarding those whom she -selects, she will be required to state, briefly -and clearly, who they were, when and where -they were born, and when and where they -died—if they be dead—and to give such particulars -about what they have done as will -prove their right to the title of notable women.</p> - -<p><span class="smcap">Eleven prizes</span> will be given, one to the -most successful competitor of every age from -thirteen to twenty-three, inclusive. Thus, a -girl thirteen years old has a chance of obtaining -the prize awarded to girls between thirteen -and fourteen; a girl of fourteen may prove -the winner of the prize given to those between -fourteen and fifteen: and so on, up to the age -of twenty-three.</p> - -<p><span class="smcap">Each prize</span> will consist of</p> - - -<p class="center"><b>A Gold Medal-Brooch</b></p> - -<p>To be especially struck by the Editor in -honour of Her Majesty’s Jubilee. These -medals will be cast in the form of brooches, -with a pin at the back for more convenient -use. They have been specially designed -for <span class="smcap">The Girl’s Own Paper</span>, and will bear -on the reverse of the medal the name of -the owner. The front side of the medal will -bear the design, conventionally treated, of the -heading to every weekly number of this -magazine.</p> - -<p><span class="smcap">Certificates of merit</span> will also be given—first, -second, and third class—and these will -be awarded to girls of any age who gain the -necessary number of marks.</p> - -<p><span class="smcap">A special prize</span> of a Gold Medal-Brooch -will be given—for the first time in our series of -competitions—to</p> - - -<p class="center"><b>Foreign and Colonial Competitors of All -Ages.</b></p> - -<p>We have long recognised the fact that those -who live abroad labour, as a rule, under considerable<span class="pagenum" id="Page_274">{274}</span> -disadvantages in competing with the majority of -girls who stay at home, and we are glad to show, by the offer -of this special prize, our appreciation of the painstaking -efforts of many readers in distant places.</p> - -<p><span class="smcap">Foreign and Colonial competitors</span> will on this occasion -have longer time allowed them for sending in their -papers.</p> - -<p><span class="smcap">All readers, everywhere</span>, are invited to enter for this -competition, which,</p> - - -<p class="center"><b>in view of the approaching Jubilee of Her Majesty,</b></p> - -<p>has a special interest. The testimony of many who have -taken part in previous competitions is that they proved sources -not only of considerable enjoyment, but of great intellectual -profit. The present one has features as valuable as any competition -that has ever been started. To engage in it can -hardly fail to widen our sympathies and increase our interest -in the world around us and in the age in which we live.</p> - -<p><span class="smcap">Even those who fail</span> to obtain either a prize or a -certificate will not have spent their time uselessly. Let them -keep in mind that:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“No endeavour is in vain,</div> - <div class="verse indent0">Its reward is in the doing;</div> - <div class="verse indent0">And the rapture of pursuing</div> - <div class="verse indent0">Is the prize the vanquished gain.”</div> - </div> -</div> -</div> - -<p><span class="smcap">The Notable Women dealt with</span> must all be British -subjects: foreigners will not count. It is not necessary that -they should have been born after Queen Victoria came to the -throne. All may be included who have lived <i>any part of -their lives</i> in the reign of Her Majesty.</p> - -<p><span class="smcap">They must be distinguished</span> on account of some worthy -quality. They may be famous for learning; noted as authors, -musicians, or painters; remarkable as philanthropists and -public benefactors—in fact, no one will come amiss who can -be said to have in any considerable degree attracted attention -by either her virtues or her abilities.</p> - -<p><span class="smcap">The number treated</span> of may be what every competitor -finds time and inclination for. The more comprehensive the -paper, of course the better chance there will be of a prize or -a certificate: in everything, as is well-known, “if little labour -little are our gains.” The most important thing, however, is -quality, not quantity.</p> - -<p><span class="smcap">The notice of each notable woman</span> is in no case to -exceed one hundred and twenty words, exclusive of the name -and the place and date of birth and death.</p> - -<p><span class="smcap">The arrangement of their papers</span> to be followed by -competitors is the order of birth, not the order of death.</p> - -<p><span class="smcap">What we intend should be sent in</span> will be readily -understood, perhaps, by the following examples, in which we -have given two characters who, as they are purely imaginary, -need not be looked for in any Biographical Dictionary.</p> - - -<p class="center"><span class="smcap">Arabella G. Cunningham</span>,</p> - -<p class="center"><i>Born at Edinburgh, 20th May, 1812.</i></p> - -<p class="center"><i>Died at Tunbridge Wells, 7th December, 1856.</i></p> - - -<p>Of an old Scotch family. First attracted attention in -1835 by the publication of her “Turns of Fortune,” a -tale of which seventy thousand copies were sold within -three days. Encouraged by this success she gave -herself up to the pursuit of literature. Her most popular -works, besides that just named, are “At the Sign of the -Spread Eagle,” “The Court of Lions,” “Hammer and -Tongs,” “Lady Bettina,” and “The Hero of the White -Shield.” Inherited a large fortune from her father, and being -herself the best paid authoress of her time, and of an -exceedingly saving turn, she died worth an immense sum.</p> - - -<p class="center"><span class="smcap">Gertrude Williams.</span></p> - -<p class="center"><i>Born at Harlech (North Wales), 12th July, 1855.</i></p> - -<p class="center"><i>Still living.</i></p> - -<p>Began the study of the violin at the age of six. Appeared -as a musical prodigy at Chester in 1864. Studied from 1865-1868 -at the Conservatorium at Leipzig. Made her <i>début</i> in -London in April, 1870, when the beauty of her playing at -once ensured her a brilliant success. Has now for many -years been recognised as the greatest of British violinists, and -is much respected for her devotion to the higher forms of -musical art. Exhibits a marked tendency towards a -wandering life, and has visited professionally not only all the -European capitals, but the chief towns of the American -Continent. Is a small lively person with dark brown hair and -extraordinarily bright eyes.</p> - -<p><span class="smcap">Competitors must write</span> on one side of the paper only, -and, before sending in their papers, they must number the -leaves and stitch them together at the left-hand top corner.</p> - -<p><span class="smcap">On the back of the last leaf</span> each paper must bear -the full name, age, and address of the competitor, and underneath -the following must be written by father, mother, minister, -or teacher:—</p> - -<p>“I hereby certify that this paper is the sole work and in the -handwriting of (<i>competitor’s full name is again to be -written</i>), and that her age and address are correctly stated.” -(<i>Signature and address of the parent, minister, or teacher.</i>)</p> - -<p><span class="smcap">The last day for receiving papers</span> connected with -this competition will be Monday, April 25.</p> - -<p><span class="smcap">Except in the case of Colonial competitors</span>, who -will be allowed till Saturday, June 25.</p> - -<p><span class="smcap">Each paper must be sent</span> by book post—and without a -letter—addressed to the Editor, <span class="smcap">The Girl’s Own Paper</span>, -56, Paternoster-row, London, E.C., and the words “Queen’s -Jubilee Competition” must be clearly written in the left-hand -corner.</p> - -<p><span class="smcap">The result of the Competition</span>, so far as home readers -are concerned, will be published in the Summer Number of -<span class="smcap">The Girl’s Own Paper</span>.</p> - -<div class="figcenter illowp100" id="i_274" style="max-width: 21.875em;"> - <img class="w100" src="images/i_274.jpg" alt="" /> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_275">{275}</span></p> - -<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 IV.</h3> - -<p class="ph3">TOWN OR COUNTRY.</p> - -<div class="ddropcapbox illowe13_75" id="i_275"> - <img class="w100 idropcap" src="images/i_275.jpg" alt="“A" /> -</div> -<p> <span class="uppercase">letter</span> with -the London -post mark, -mamma,” -said Eveline, -“and not -from Mark.”</p> - -<p>“I hope -Mark is -well,” said -Mrs. Fenner, -taking the -letter with -some trepidation. -“It -is Mr. Echlin’s -writing. -What a long -letter!”</p> - -<p>As Mrs. Fenner’s eyes ran along the lines -traced by the firm hand of her cousin, her -colour rose, a smile broke on her lips, and as -she laid down the letter the tears stood in her -eyes.</p> - -<p>“Nothing is wrong with Mark, mamma?” -said Eveline, inquiringly.</p> - -<p>“Nothing, dear; quite the contrary. But -you had better read the letter; it concerns -you quite as much as me.” And Mrs. Fenner -held the letter to her daughter.</p> - -<p>“Oh, mamma, how nice of him!” exclaimed -Eveline, with sparkling eyes. “I -knew he must love Mark. How could he help -it? But to think of his wanting us to go and -live in London with him and Mark—to make -his house like home, he says! What will you -do, mother? What will you do?”</p> - -<p>“What do you say, Eveline? What do -you wish?”</p> - -<p>“I? Of course I like to do what you like.”</p> - -<p>“It is very kind of Miles.”</p> - -<p>“I should think it was. And he puts it so -prettily; as if all the favour were on our side.”</p> - -<p>“But, dear, I don’t know how you would -like to live in a great city, you who have -always been used to open air and country -life; Manchester-square has no Sunbridge -Woods within reach.”</p> - -<p>“But it has Mark, mother; and Mark is -better than Sunbridge Woods—better than -Blyfield Park. Why, mother, you know that -we’d both of us rather be with him where he -is, than in the Gardens of the Hesperides! I -suppose we couldn’t keep the cottage, and -just run down to it now and then, could -we?”</p> - -<p>“I don’t think we ought to propose such -an arrangement; it would be a half-hearted -acceptance of my cousin’s offer; we must -either go or stay. But I will take the letter -up to the rectory; I must know what your -aunt and uncle think of it. Don’t say anything -to Elga, just for a little.”</p> - -<p>“As you think best, mother,” said Eveline, -and went out, as one in a dream, to perform -her morning household duties. No sooner did -she appear in the yard with her apron full of -grain, than the fowls came running, flying, -flustering to her feet; the pigeons, who were -on the watch on the low roof of the tool-house, -spread their blue wings and dropped -down among them; while Eveline’s body-guardsman, -the snow-white fox-terrier, Boz, -stood gravely on the watch to preserve order, -himself the very personification of cleanliness -and decorum—his bushy tail curling over his -back, every hair of his coat erect and in its -proper place, glancing with his brown eyes -from his mistress to her noisy pensioners, and -keeping his little black nose well raised, with -a slight suggestion of superiority.</p> - -<p>“Ah, Boz,” said Eveline, when the edge -was a little taken off the appetite of her -feathered guests, “you little think what is -hanging over you! I wonder how you’ll like -it! Who will keep old Bulbo in order, if you -go away, old dog?”</p> - -<p>Old Bulbo was a rather aggressive Poland -cock, who had been handsome, but whose -digestion had become impaired, his top-knot -floppy, and his tail-feathers ragged, while he -was easily exasperated at the frivolous impertinence -of the younger generations, who -stole choice morsels under his very bill, -and generally managed to escape his vengeance, -when he, like an old bully as he was, -would turn to vent his spite on the faithful -partner of his roost; on which occasions Boz -started into activity, and compelled the old -tyrant to keep the peace.</p> - -<p>Boz wagged his tail in answer to his -mistress’s tone rather than to her words, and -waited attentively while she gathered the -pretty brown or white eggs, swept the hen-house, -making it sweet and fresh with -sprinkled lime, and ended by filling the large -brown pan with clear water which the fowls -immediately muddied.</p> - -<p>The poultry-yard settled, Boz conducted -his mistress to the vegetable garden, where -Eveline gathered a basket of peas for dinner, -some currants and raspberries for dessert, -quietly wondering who would gather the fruit -from those bushes next year. As she stood -among the raspberry bushes her mother came -out and went down the garden to the rectory -gate. A sharp pain shot through Eveline’s -heart.</p> - -<p>“What will Uncle James say and Aunt -Elgitha? Will they persuade mother not to -go? I’m sure Uncle James will miss us, and -poor Githa!” and the ready tears welled into -Eveline’s eyes. “But Mark—to live with -Mark, to see him every day—to live in -London, to hear beautiful music, to see -beautiful pictures, to go to Westminster -Abbey, to the Temple, to St. Paul’s!”</p> - -<p>Eveline sat down among the roses, fairly -dazed with the thick-coming thoughts, while the -bees hummed, the grasshoppers chirped, and -the roses slowly swayed in the west wind that -came to them charged with the fragrance of -the mignonette.</p> - -<p>The earth was so fair, the sky so blue, the -wind so sweet, what need was there to think -of anything but the beauty and the colour and -the perfume?</p> - -<p>Just then a chill wind blew from the north, -the leaves shivered, the murmur of the grasshoppers -died away under the grass as over the -church a huge black cloud came sweeping, -while another, jagged and angry, met it from -the south, and there came a sound of rolling -thunder. Eveline looked in wonder from her -bower, the storm had burst so suddenly. Was -it an answer to her thought, a warning not to -trust in the perishable, not to make pleasure -the law of life, but to aim at the imperishable, -the eternal? It shot through Eveline’s mind -that she might at least take such teaching -from it, that if she could grasp the blessings -of family love and sisterhood it would be -worse than folly to magnify the blessings she -must give up for them; but she was glad that -the burden of the choice did not lie with her, -and making her way into the house, she -occupied herself in her usual studies.</p> - -<p>Mrs. Fenner meanwhile had laid Miles -Echlin’s letter before the rector and his wife, -not without certain misgivings as to how the -contents would strike them. Lady Elgitha at -once saw the importance of the question, and -quickly set herself to consider how it might -affect her own household. She was personally -attached to Margaret, as far at least as she -could be attached to anyone unconnected with -the great house of Manners, and she had -always felt that it was respectable to have her -husband’s widowed sister living, as it were, -under the shelter of the rectory, especially as -she was the widow of a man who must have -been a general and a K.C.B. at the very -least, if he had lived. Mark, too, had by a -certain natural joyousness of temper unconsciously -maintained himself in her good -graces, but Eveline was already rather a -difficulty to Lady Elgitha. She was decidedly -so much prettier than Elgitha that it had -sometimes struck the rector’s wife of late that -it was unfortunate to have to introduce as her -niece a girl who must be more attractive than -her own daughter; it would be well at least -that Eveline should be withdrawn before -Elgitha came out. These thoughts shot -through Lady Elgitha’s brain while the rector -was taking in the idea that a great piece of -good fortune had befallen his sister, which -must entail nothing but loss and bereavement -on him.</p> - -<p>“We shall miss you, Margaret,” he said, -while the tears rose to his eyes.</p> - -<p>“We shall miss each other, James,” -replied his sister, softly. “But what do you -and Elgitha think? It is very kind of Miles, -and the prettiest compliment he could have -paid dear Mark; but we need not accept it, -you know, if you think——”</p> - -<p>“Of course you must accept it, Margaret,” -said Lady Elgitha, and there was a touch of -east wind in her voice which made the brother -and sister shrink and feel ashamed; “it -would be flying in the face of Providence not -to accept such an offer. What is to become -of Eveline if you die? You can’t depend even -on a pretty girl’s marrying nowadays, if she -has no fortune.”</p> - -<p>“Yes, I think it would certainly be good -for Eveline, and it would be so nice for Mark. -I am sure Miles deserves all we can do for -him.”</p> - -<p>“Of course; and when you’re tired of -London, you can always run down here, and I -daresay Eveline will be glad to have Elgitha up -for a week or two in the season. It would be a -good opportunity for her to have some lessons. -I’m sure, Margaret, you have much to be -thankful for—Mark so well provided for, and -such an opening for you and Eveline.”</p> - -<p>And Lady Elgitha sighed, for she caught -sight of her son coming up the path with his -hat at the back of his head and his hands in -the pocket of his loose shooting-coat, looking -the picture of idleness.</p> - -<p>The poor rector had much ado to congratulate -his sister. Fortunately, he had a way of -looking at events as they affected other people -rather than himself; so that the pleasure he -felt in the honour done to his sister’s son, and -in the advantages which would accrue to her -and her daughter, occupied him more than the -loss and desolation to himself.</p> - -<p>When Elgitha heard the news, she was in -blank despair. Rosenhurst would be unendurable -without Aunt Margaret and Eveline. -No one else should live in the cottage. She -would go to school; she would be trained for -a nurse, and go to a hospital; she must do -something, or she should die of dulness, with<span class="pagenum" id="Page_276">{276}</span> -only father and mother, and Gilbert always -loafing about.</p> - -<p>But the end of it was that Margaret wrote -to Mr. Echlin, thanking him, and promising -to spend the winter in Manchester-square, that -they might see how they liked each other, and -to come at the beginning of October. Mr. -Echlin replied that he was perfectly satisfied -with the arrangement, but begged as a favour -that they would say nothing about the matter -to Mark.</p> - -<p>This was a hard condition to keep when -Mark came down for his summer holiday, and -led to some amusing complications. Mark -was full of the goodness and generosity of his -cousin. He did not believe he had a single -fault; and though he had had great sorrows, -he was so cheerful that you forgot he was old. -“I suppose cheerfulness runs in the family,” -said the lad, with a loving look at his mother. -“What paragons grandmamma and grandpapa -must have been!”</p> - -<p>“There is much to be thankful for in the -inheritance of a cheerful temper, no doubt,” -said his mother; “and I think all the Echlins -I have known have been disposed to look on -the bright side of things.”</p> - -<p>“You yourself, mother,” said Eveline, admiringly, -“who have had trouble enough to -break a woman’s heart, Aunt Elgitha says.”</p> - -<p>“But it seemed God’s own hand, Eva,” -replied Mrs. Fenner, softly; “and who was -I that I should murmur? Did He not know -best?”</p> - -<p>“And very narrow means, mother.”</p> - -<p>“And two good children, who never fretted -for what they could not have. Your cousin -Miles has had more grievous sorrow than I; -he has lost his wife and lost his son, who, -everyone says, was all a father could wish, and -he has no child left him.”</p> - -<p>“Do you know, mother,” said Mark, very -confidentially, “I have a notion that he has -found someone whom he thinks of bringing -home? You have no notion how the house is -being brisked up. He has said nothing to me. -Of course, I could not expect to be always in -such comfortable quarters.”</p> - -<p>“Of course not, my dear. And you would -be sorry to have to leave Manchester-square?”</p> - -<p>“Naturally. Why, I am lodged like a -prince. I suppose Mr. Echlin must be nearly -sixty; but many men of fifty look older. -There is no reason why he shouldn’t—is there, -mother?”</p> - -<p>“Shouldn’t what, Mark?”</p> - -<p>“Marry again, mother. Of course second -marriages are not like first marriages; but -when a man has a big house, and is all alone. -He hasn’t said a word to me; but the best -bedroom is to be done up—for he asked me -to help him choose the paper—and one of the -drawing-rooms, Mrs. Cotton said, is to be refurnished -as a morning room.”</p> - -<p>“That looks suspicious, doesn’t it, -mother?” said Eveline, with saucy gravity.</p> - -<p>“I hope,” said Mark, following out the -train of his own thoughts, “it will not be too -young a lady. It doesn’t look nice to see a -man with a bald head with a girl who might -be his daughter for a wife.”</p> - -<p>“It would be a pity,” assented Mrs. Fenner. -“I wonder why men always consider -themselves so young when they marry. I -remember John Brattlebury, a cousin of your -father’s, as nice a man as ever lived, to whom -it never occurred to marry until he was well -past forty. Your father innocently suggested -to him the name of a lady of about five-and-thirty, -who we knew liked him, and to whom -the position he was able to offer her would -have been a decided gain. You’d hardly believe -it, but he was almost offended, went -down into Cumberland, and came home with -a wife of eighteen, who knew no more of his -tastes and occupations than he of hers.”</p> - -<p>“But, mother,” said Eveline, “what was -the girl thinking of?”</p> - -<p>“Of getting a change, my dear—being -mistress in a house instead of number two or -three in a string of daughters. Time is apt to -seem long at eighteen, and a middle-aged -bachelor, when he comes to woo, has many -advantages. If she cannot admire the brightness -of his eyes or the elegance of his figure, -she may esteem him for his experience and -intelligence, and diamonds and knicknacks -are powerful persuasors to some natures.”</p> - -<p>“And really, mamma, if you think of it, -it may not be so bad, after all. Shakespeare -says—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent12">‘Let still woman take</div> - <div class="verse indent0">An elder than herself, so wears she to him,</div> - <div class="verse indent0">So sways she level in her husband’s heart.’</div> - </div> -</div> -</div> - -<p>Don’t you remember? we read it last night.”</p> - -<p>“I remember that Shakespeare makes Duke -Orsino say so. Perhaps, as Shakespeare had -married a woman older than himself, he might -set value on the opposite qualification; but it -is not fair to make him answerable for the -opinions of his characters. But now, Eva, -you must go and dress, or Aunt Elgitha will -not be able to start her tennis.”</p> - -<p>And so the pleasant August days went by, -and Mark visited his old friends, the farmers, -enjoying the gathering-in of the harvest, the -golden lights of the sun, the heavy whispering -of the trees, and all the harmonies of country -life, a thousand times the more for the contrast -with the city life he had been leading -for the last nine months. There was but one -thing in which he was disappointed—he -wanted to spend a large part of his handsome -salary in the decoration of his mother’s cottage; -but both his mother and Eveline were -unaccountably indifferent to it, and Mrs. Fenner -at last put him past the idea by saying that if -there should be changes in Manchester-square, -it might be desirable, for Eveline’s sake, that -she should go to town for a few months, and -then he could come and stay with them.</p> - -<p>So Mark went back to town refreshed and -happy. He was too much engrossed with -his work to note all that was being done at -Manchester-square, and too modest to ask -questions; but the conviction of impending -change grew on him.</p> - -<p>So September passed, and October, with its -bracing days and shortened evenings, was -come. It was already the fifth, and Mark, -after a rather hasty breakfast, was about to -start for town, when Mr. Echlin said—</p> - -<p>“Mark, you’ll be sure to be home in time -to dress for dinner. I expect some friends—ladies.”</p> - -<p>“Certainly, sir,” said Mark, and went his -way, thinking that now it was coming, and -wondering that he had not heard from his -mother for nearly a week.</p> - -<p>Business, which had been slack in August -and September, was very brisk again. -Mark’s work was increasing in interest and -importance; he had several important proofs -to read and a long journey to take in the afternoon. -It was already a quarter to six as he -let himself in at Manchester-square. He -glanced into the dining-room; all looked -bright and cosy, and a crisp fire sent out a -rosy, joyous, frolicsome radiance, that was very -pleasant to see. The table was laid for four. -Mark was hungry enough to regard even the -dinner rolls with satisfaction, and to eye the -mats with a vague wonder as to what dishes -were to be set on them—a warm odour of -roasting meat rose from the culinary region.</p> - -<p>“Is Mr. Echlin in, Martin?” he inquired -of the butler, who was putting a finishing touch -to his table.</p> - -<p>“Yes, sir, dinner at six sharp. The ladies -are dressing.”</p> - -<p>“Oh, indeed; they have come then?”</p> - -<p>“Yes, sir, we druv to meet ’em at four -o’clock; the train was five minutes late.”</p> - -<p>“Hullo! Mark, only just in,” called Mr. -Echlin over the banisters. “Make haste, lad, -we’re as hungry as hunters.” And Mark ran -up three stairs at a time and plunged into the -work of the toilette, too busy to wonder who -the ladies might be.</p> - -<p>The clock struck six as he left his room. As -he ran downstairs the unwonted sound of -music struck his ear; someone was playing a -<i>Lied ohne Worte</i>, one that Eveline often -played in the twilight at home. Mark was -glad that one of the ladies played, and played -softly, but Martin’s inexorable gong began to -boom, and he must go in.</p> - -<p>Miles Echlin had never used the drawing-room, -and when Mark opened the door, and -the great chandeliers were reflected from -mirror to mirror, he started back dazzled. Two -ladies rose at his entrance and came towards -him; both called him by his name. What did -it mean? Were they in very truth his own -mother and sister, the ladies dearest in the -world to his loyal heart?</p> - -<p>The wonder of it almost took away his -breath, and he gave a great gasp as he uttered -their names.</p> - -<p>“Mother! Eveline!”</p> - -<p>“Forgive me, Mark,” said Mr. Echlin, -taking his hand, “it was selfish of me to take -you so by surprise, I ought to have told you.”</p> - -<p>“Oh, sir, are they come to stay?” asked -Mark, looking from one to the other, still -incredulous.</p> - -<p>“To stay, to live with us if we can make -the old house homelike enough for them, or -rather if they will make it homelike for me and -my adopted son.”</p> - -<p>“Oh, sir, how good you are to me.”</p> - -<p>“And are you not good to me? Ever since -you came to me, have you not thought, -worked, and cared for me? My own dear son -was taken from me, he who must ever be -first in my heart, but do not think that I -cannot love and honour loyalty and worth, -that I cannot thank God for cheering me with -such a friend as you! But there is old Martin -pounding away at his gong! You all know -what I would say. Come, Margaret, Mark -will bring his sister.”</p> - -<p>He led Mrs. Fenner down with old-fashioned -courtesy, and placed her in the seat -which his wife had once filled, then motioned -to Eveline to sit at his right while Mark took -his customary seat on his left. There were -many larger parties in the square that night, -but not one where there were more grateful -hearts, and of the silent covenant made that -night no one of the four ever repented.</p> - -<p>With the presence of those good women, -all that was happy and homelike came back -to the big house. Music and soft laughter -filled its chambers—Mr. Echlin loved to have -it so. The portraits of his wife and of his son -hang where they used to hang, and some -beautiful landscapes now adorn the walls, -and in Mrs. Echlin’s pretty sitting-room the -grave, sweet face of Michael Fenner looks -down on the children to whom he bequeathed -the best possession, <span class="allsmcap">THE INHERITANCE OF A -GOOD NAME</span>.</p> - -<p class="center">[THE END.]</p> - -<div class="figcenter illowp100" id="i_276" style="max-width: 31.25em;"> - <img class="w100" src="images/i_276.jpg" alt="" /> -</div> - -<p><span class="pagenum" id="Page_277">{277}</span></p> - -<div class="figcenter illowp57" id="i_277" style="max-width: 28.125em;"> - <img class="w100" src="images/i_277.jpg" alt="" /> - <div class="caption"><p class="center">“HE STARTED BACK, DAZZLED.”</p></div> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_278">{278}</span></p> - -<h2 class="nobreak" id="HISTORICAL_SKETCHES_OF_MUSICAL_FORMS">HISTORICAL SKETCHES OF MUSICAL FORMS.</h2> -</div> -<p class="ph3"><span class="smcap">Sketch III.—Cantatas and Church Music.</span></p> - -<p class="ph3"><span class="smcap">By</span> MYLES B. FOSTER, Organist of the Foundling Hospital.</p> - - -<h3><span class="smcap">Cantata.</span></h3> - -<div class="ddropcapbox illowe12_5" id="i_278"> - <img class="w100 idropcap" src="images/i_278.jpg" alt="A" /> -</div> -<p> <span class="uppercase">form</span> belonging -equally to sacred -and secular music, -viz., the cantata, in -all probability first -emanated from -desire to possess in -chamber music the -recitative, invented -by Peri and others, -and supposed by -themselves and their -admirers to be a revival -of Greek art. You will best judge of the -primitive nature of the earliest cantatas, and understand -the difference between them and the -compositions which have since appeared under -the same title, when I tell you that they were -short dramatic stories, declaimed or recited -by one voice to the accompaniment of a single -instrument. In the seventeenth century this -simple form was extended, by the insertion, at -various intervals, of an air, the repetition of -which gave the cantata the appearance of a -rondo. The Italian school of that period, -already mentioned in connection with the -opera, did much to perfect this style of composition. -Foremost amongst these masters -stands Carissimi, who is credited with first -adapting the cantata to church purposes. -Amongst his secular cantatas there is one -written to commemorate the death of Mary -Queen of Scots. About the same time, Marcello, -Cesti, and Lotti wrote in this form, and -Alessandro Scarlatti contributed very many -specimens, in which the accompaniments were -elaborate and difficult. Some of Marcello’s -are published for soprano and contralto, with -clavecin accompaniment.</p> - -<p>In the early part of the next century Domenico -Scarlatti, the son of the Alessandro above -named, considerably extended the form by -making use of various movements in the one -work. Pergolesi (1710-36) also wrote several -cantatas, introducing important developments. -A well-known one of his was <i>Orfeo ed Euridice</i>, -written shortly before his death. Handel -wrote several for the single voice, either with -clavier or orchestral accompaniment, mostly -for oboes and stringed instruments. In the -life of Handel, published soon after his death -(in 1760), the number is put down as two -hundred; but this total will include his -Church cantatas, a much more advanced form -of composition, although composed when he -was quite a young man.</p> - -<p>The modern name for the primitive form of -cantata is undoubtedly “Concert aria,” or -“Scena,” into which it has merged. Under -the latter titles we have splendid examples by -Mozart, such as “Misero, O sogno?” “Bella -mia fiamma,” “Misera dove son!” and “Non -temer,” and single specimens by Beethoven, -“Ah, perfido,” and by Mendelssohn, “Infelice.” -The most important and valuable -Church cantatas are those composed by John -Sebastian Bach, consisting of five sets for -every Sunday and holy day in the year, besides -many single ones, such as “God’s time -is the best,” and a sort of requiem ode for the -Electress of Saxony. These Church cantatas -are for four voices and full orchestra, and have -from four to seven various movements. Bach -wrote many secular cantatas as well, two of -them being comic ones. His works abound -in contrapuntal skill, and contain great beauties.</p> - -<p>It remains to be said that in our times the -word cantata is used as a title to choral works -which, if sacred and written in oratorio style, -are too short for that title or have no <i>dramatis -personæ</i>; or, if secular, such as lyric dramas -set to music, are not intended to be acted. -Sir Sterndale Bennett’s <i>May Queen</i> is a good -specimen of the latter, which may be said to -bear the same relationship to opera that the -sacred cantata of the present day does to -oratorio.</p> - - -<h3><span class="smcap">Motett and Anthem.</span></h3> - -<p>Winterfeld, a German writer on musical -matters, derives the word motett from “mot,” -the French for “a word,” referring to the verse -of Holy Scripture which constitutes a motett; -whilst other learned men connect it with the -Latin verb “movere,” indicative of the livelier -motion and the briskness it possesses, when -compared with the Cantus Fermus; and there -is yet a third derivation from “mutare,” to -change—a reference to the changing sentiments -and emotional characteristics of these -musical settings, a noticeable feature in such -stiff and formal times.</p> - -<p>At one time the motett was made up of a -theme and its treatment in different variations, -after the manner of the Spanish “moto” in -poetry. Motetts were also set to profane words -in the early periods of their history, and they -were forbidden to be used in church in the -thirteenth and fourteenth centuries.</p> - -<p>Dr. Stainer, in his “Dictionary of Musical -Terms,” mentions the term “motett” as -being synonymous with “pulpitre” in the -fifteenth century, but for the last three hundred -years the term has meant a piece of sacred -music adapted to Latin words, and to be sung -at high mass in the Roman Catholic Church, -either instead of or as an addition to the offertory, -which was to be set to the music of the -plainsong. Motetts by Philip of Vitrisco -date back as far as the year 1300. At the -commencement of that century the motett -became a much more living form, when represented -by such composers as our English -John Dunstable, the Flemish Du Fay, and -others. Following these composers came the -Netherlanders of Okenheim’s school, in the -latter half of the fifteenth century, and they -more definitely separated their motetts from -the style of the masses in vogue.</p> - -<p>In the latter there is a painful striving -apparent, consequent on the feeling, almost -of duty, that severe contrapuntal exhibitions -must be displayed, whereas in the former -there is breadth of style and general fitness of -things, untrammelled by this artificiality.</p> - -<p>In the sixteenth century the Flemish writers, -headed by Josquin des Prés, made great moves -onward, and gained the leading position in -musical Europe by earnest work and pure -and noble endeavours. They chose passages -from the Gospels and the Book of Canticles -for their motetts, and imbued them with -characteristic individuality. At the same period -the Lamentations of Jeremiah were largely -drawn upon for subjects. In this and the -fifteenth centuries we find a large collection -of funeral motetts, named nœniæ, very reverent -and beautiful. One by Josquin des -Prés, founded on plain chant, and written in -memory of his friend Okenheim (who was -also his master), is very fine.</p> - -<p>Petrucci, the father of type music printing, -gave most of the earliest nœniæ to the world, -many of which may be seen in the British -Museum. In the middle of the sixteenth -century motetts were, perhaps, influenced for -good by the wonderful progress of the madrigal, -but each part was written with a different -text, and this confusion became an -abuse. However, towards the latter part of the -century that bright genius, Palestrina, proved -himself to be as great a writer of motetts as -he was of masses. He composed over three -hundred to our knowledge, and in all probability -there are more than that which have -been lost. Cotemporary with this great light -we find, in Italy, Morales, Anesio, Luca Marenzio, -and, above all, Vittoria, who was -almost as great a motett composer as Palestrina -himself; in the Netherlands, Orlando -di Lasso; in Venice, Willaert, and, later, -Croce and the two Gabrielis.</p> - -<p>Our English writers, Tallis and Byrd, whom -we shall refer to again immediately, wrote as -fine motetts as any produced by the foreign -schools, under the title, “Cantiones Sacræ.” -Dr. Tye, Dr. Fairfax, and others also added -specimens to the English list. These motetts, -as we shall see, became (after the Reformation) -full anthems, which were in musical form -motetts, but were set to English words. In -some cases the English words are translations -from the Latin. It is curious to find that -Orlando Gibbons, in the seventeenth century, -writing anthems for the church, christened his -secular part-music “Madrigals and Motets,” -thereby reverting to the old use of the term -in connection with secular words only.</p> - -<p>In the seventeenth century the motett still -flourished in the Roman Church, but not for -long, according to its old form. Mr. Rockstro -attributes the downfall of the old motett -to the invention, by Monteverde, of dominant -unprepared dissonances, which “sapped the -foundation of the Polyphonic School.”</p> - -<p>Thus, after 1660 the motett was a composition -in modern tonality and with orchestral -accompaniments. Amongst composers in -this style we find Scarlatti, Pergolesi, Durante, -and others, followed later on by Keiser in -Germany and Sebastian Bach, and then -Graun, Hasse, and Hiller. Handel wrote -motetts in his earlier years. In modern -times, as I have had reason to point out to you -in other forms, titles are appended to works -which are, to say the least, inappropriate, and -the only claim these have to the name motett -is that they were originally intended to be -sung at High Mass. Such are the “Insanæ -et vanæ curæ” of Haydn, “Splendente te -Deus” of Mozart, and the “O Salutaris” of -Cherubini. The term “motetus,” given in -early times to the medius or middle voice -part, is probably in no way connected with -the derivation of the word motett.</p> - -<p>The motett form appears in Church music -of Queen Elizabeth’s time, and although the -anthem was gradually substituted, some of -the earliest anthems after the Reformation -were in motett style, especially those of Tallis -and Byrd.</p> - -<p>About the derivation of “anthem” there is -as much dispute as there is over the word -“motett.” Some consider it to be derived -from “ant-hymn,” a kind of antiphony, -though the very ancient custom of choir responding -to choir, or choir to priest, has -entirely disappeared in the modern form of -anthem. This responsive or antiphonal singing -may, in a highly-developed form, yet -become the anthem of the future, at any rate -in churches and cathedrals where the voices -at disposal are good and in large numbers. -By some writers “anthem” is derived from -ανατιθημι, to set up (as an offering), and by<span class="pagenum" id="Page_279">{279}</span> -some from ανθημα, a flower, the anthem being -considered the flower of the service. It is -regrettable to find that the idea of attending -service for the sake of the anthem alone is not -yet extinct.</p> - -<p>The anthem is thoroughly English; it supplied -the attraction to our Reformed Church, -which the church cantatas and passion music -did for the Lutheran Church. Nearly all -our eminent musicians have written numbers -of them, many examples containing the finest -of English composition. From early in the -sixteenth century the anthem was permitted -as a part of Divine service, but it is not until -the revision of the Prayer Book in 1662 that -we find the rubric, “In choirs and places -where they sing, here followeth the anthem,” -which retains its place to this day.</p> - -<p>The first writers of note were Dr. Christopher -Tye, who appears as a verse-writer -also, having translated the Acts of the -Apostles “into Englyshe meter”; Thomas -Tallis, to whom our Church owes so much; -and William Byrd, joint organist with Tallis -of the Chapels Royal. By this period, that is, -near the end of the sixteenth century, Church -music was beginning to free itself from the -fetters of vague tonality and old modes, and -was gradually being clothed in clear and -expressive harmonies, and this improvement -becomes most marked in the works of our -“English Palestrina,” as Orlando Gibbons -has been appropriately named. He was -born in Queen Elizabeth’s reign, but most of -his grand Church compositions date from the -commencement of the next century and the -reign of James I. Though some of his anthems -are “verse” and have solos in them, we -may well classify this early period as that of -the “full anthem.” Viols were used as accompaniments -to the verse parts, and the -organ was only added for the full choruses. -I must remind you that the organ was a very -different affair to our modern instrument. It -had one advantage in its smallness, viz., that -it could be carried about, being known as the -<i>portative</i> organ, as opposed to the fixed or -<i>positive</i>, and could therefore be placed close -to wherever the singers were, to support their -voices.</p> - -<p>Passing to the latter half of the seventeenth -century, we have come through the strongest -period of the history of English music. The -great madrigal school has flourished for nearly -a century, and now we find Pelham Humphrey -or Humfrey, born 1647, studying in Paris -under Lulli, and under his influence helping -to create a new era in anthem composition. -He died very young. Then there was -Michael Wise, and Dr. John Blow, private -musician to King James II.; Dr. William -Croft, his pupil, whose anthems are so grand -and solemn, and to whom, we may mention in -passing, we owe the introduction of music -engraving on pewter plates. We must also -name Jeremiah Clarke, another pupil of -Blow’s, and Weldon. Anthems by all these -men are still sung in our churches.</p> - -<p>Towering above them all stands Henry -Purcell, whose earnest, devotional Church -music puts to shame much of the frivolous -composition which is nowadays devoted to that -high purpose. In this age which follows the -period of the early “full anthem” writers, we -have the “solo” and “verse” anthem brought -to the front. Purcell’s knowledge of the -singer’s requirements and his gift of beautiful -melody enabled him to perfect the solo -anthem.</p> - -<p>Instrumental accompaniments became more -important at the hands of these composers, -and at the end of the seventeenth century the -organ was becoming a more perfect instrument, -through the workmanship of -Father Schmidt and Renatus Harris, and -others.</p> - -<p>The anthems written by Handel, such as -the Chandos Anthems, were scored for larger -orchestras, and were more like a combination -of the German church cantata and motett -than the anthem strictly so called. But this -increase in the size of the church orchestra -led to a full band in Attwood’s Anthem -for the Coronation of George IV., who, as -Prince of Wales, had been his warm-hearted -patron.</p> - -<p>In the latter half of the eighteenth century -we have a few good anthem-writers, such as Dr. -Greene, who wrote over forty anthems; Dr. -Boyce, his articled pupil, whose “Cathedral -Music” is a most valuable collection of church -compositions. There were also Jonathan Battishill, -Dr. William Hayes, his son Dr. Philip -Hayes, the two Walmisleys, and Attwood. Dr. -T. F. Walmisley only died in 1866, and therefore -some of these compositions almost belong -to our own times.</p> - -<p>This fragmentary sketch brings us to the -present form of anthem; but before we speak -of this we must mention in passing the masterly -double psalms and anthems by Mendelssohn, -several of them being composed to -English words.</p> - -<p>The country that owns such anthem-writers -as Dr. S. S. Wesley, Sir John Goss, Sir G. -Elvey, Dr. Hopkins, Dr. Stainer, and Rev. -Sir F. Gore Ouseley has just reason to be -proud. Many other names could be added to -this list, and the outlook seems to be most -hopeful.</p> - -<p>We are bound to notice an excrescence, -going by the name of anthem, which has been -largely introduced into our cathedral services. -We allude to those arrangements of portions -of masses, etc., coupled to words totally different -in sentiment to those for which the music -was originally composed, and which are strung -together, like so many beads on a string, as -Dr. Monk aptly says (in Sir George Grove’s -Dictionary), “for the sake of pretty phrases -or showy passages.”</p> - -<p>Such adaptations would almost point to a -scarceness of the genuine anthem; and yet -how opposite to this is the fact, and how few -of the really fine anthems of the best period of -our great English school receive the amount -of hearing to which they are justly entitled! -To verify this, you have but to peruse Novello’s -Catalogue of Sacred Music with English -words.</p> - - -<h3><span class="smcap">Mass. Cathedral Service.</span></h3> - -<p>The mass, or missa (“missa est,” the congregation -is dismissed), has been used, in part, -at any rate, from the very earliest times, and -has been sung to most impressive and solemn -music. St. Ambrose and St. Gregory appear -as the earliest compilators of the mass music. -When counterpoint was invented, Church -composers clothed the early plain-song tunes -with its artistic embroideries, and polyphonic -masses arose, gradually brought by the great -schools of the sixteenth century to such a -pitch of excellence that they have never since -been equalled. The mass then consisted, as -it does now, of six movements, viz., the -Kyrie, Gloria, Credo, Sanctus, Benedictus, and -Agnus Dei. The masses were named after the -plain-song melody upon which they were developed; -but occasionally the melody used was -a profane one, so that a mass would be named -after its secular melody, as, for instance, -“L’homme armée,” an old French lovesong! -and the masses founded upon an original -theme were rare, and known as “Missa <i>sine -nomine</i>.” The tenor Du Fay, already named -in connection with the motett, wrote many -of a very devotional but unmelodious character. -At the end of the fifteenth century -Josquin des Prés, also mentioned previously, -wrote many masses, in which, strange to say, -a great want of reverence is most evident from -time to time. A purer style will be found -later on in the masses of Goudimel, Morales, -and notably in those of Festa. But about -this period the abuse spoken of in treating of -the motett had crept into the mass, and the -device was to give different sets of words to -each singer! Even Morales is guilty of this, -mixing up, as he does, the text of the Liturgy -and an Ave Maria. Devotional feeling was -sacrificed to a desire to puzzle, and masses -were esteemed according to the difficulty of -the solution of the canons employed in -them.</p> - -<p>At the Council of Trent (1562) these abuses -were condemned, and polyphonic music would -have been forbidden a place in the Church, -but for one great, earnest man, and that man -was Palestrina. His now celebrated “Missa -Papæ Marcelli” decided the fate and fixed the -style of Church music. In it he demonstrated -that these intricacies and learned forms might -be well and devotionally used as a means to -the highest end, but not as a substitute for -that great end itself. He wrote nearly a -hundred masses, and greatly influenced the -future of Church music.</p> - -<p>William Byrd wrote a mass for five voices -of great interest. Vittoria, Orlando di Lasso, -Gabrieli—each represented their different -schools and advanced their Church music on -Palestrina’s great model.</p> - -<p>After Allegri, at the end of the seventeenth -century, the old mediæval style died out, and -Durante, Scarlatti, and others of that school -appear as a link between the old and new. -After them, with their strong tendencies -towards elaboration of the instrumental accompaniment, -comes Bach, whose mass in B -minor, now familiar to us, thanks to Mr. -Goldschmidt and the Bach Choir, stands -alone. It is not only free from ancient ecclesiastical -tradition, but it is actually prophetic -in its marvellous harmonic changes and combinations. -It is also in style almost an oratorio. -Later on we have magnificent masses -by Haydn, Mozart, and Beethoven, but more -like sacred cantatas than masses. To quote -Mr. Rockstro, he rightly says, “Their style -has steadily kept pace, step by step, with the -progress of modern music, borrowing elasticity -from the freedom of its melodies, and -richness from the variety of its instrumentation; -clothing itself in new and unexpected -forms of beauty at every turn; yet <i>never -aiming at the expression of a higher kind of -beauty than that pertaining to earthly things, -or venturing to utter the language of devotion -in preference to that of passion</i>.” The italics -are my own, and I suppose that it is owing to -the fact that this individuality and frequent -dramatic realism of the composer usurped -the abstract sense of the words used, and -the devotional idealism of the old schools, -that not one note of any of them has ever -been heard within the Sistine Chapel at -Rome.</p> - -<p>The general distribution of the movements -of the mass are, strange to say, the same -to-day that it was in Palestrina’s time. -A mass for the dead, called Requiem, is composed -of different numbers, viz., “Requiem -æternam dona eis,” “Kyrie,” the grand -hymn, “Dies iræ,” “Domini Jesu Christo,” -Sanctus and Benedictus, Agnus, and “Lux -æterna.”</p> - -<p>Of the more modern specimens, those of -Cherubini and Mozart, and of the most modern, -that by Verdi, are all fine examples, the work -by Mozart standing high above all the others. -It was, as you will remember, mostly written -on his deathbed. At the Reformation the -mass disappeared from the English Church, -and from then until 1840 no choral communions -were written. Since the latter date, -however, the English versions of the Sanctus, -Kyrie, Creed, and Gloria have been used and -set to music by most of the writers of Church -music already named in connection with the -anthem.</p> - - -<hr class="chap x-ebookmaker-drop" /> -<p><span class="pagenum" id="Page_280">{280}</span></p> - -<div class="figcenter illowp100" id="i_280" style="max-width: 46.875em;"> - <img class="w100" src="images/i_280.jpg" alt="" /> - <div class="caption"><p class="center">A SERIOUS DISCUSSION.</p></div> -</div> - -<div class="chapter"> -<p><span class="pagenum" id="Page_281">{281}</span></p> - -<h2 class="nobreak" id="DRESS_IN_SEASON_AND_IN_REASON">DRESS: IN SEASON AND IN REASON.</h2> -</div> -<p class="ph3"><span class="smcap">By</span> A LADY DRESSMAKER.</p> - - -<p><span class="smcap">As</span> a rule there are not many changes of dress -or cut to be chronicled this month. Everyone is -thinking of the sales, and the truly wise and -economical (of which there are a great many -in these days) are more occupied in making -the fashions subservient to their purchases, to -either inventing or thinking of new designs in -dress. We were never so rich in the way of -materials as we are this year, though the most -popular of all effects in woollen is the serge-weaving, -which is mixed with everything—crossbars, -and lines of velvet, silk cording, -fancy braids, and borders which resemble -patchwork in monotone, or inlaid wood -flooring, or parqueterie. The serge with -velvet crossbars and lines on black serge are -very effective and handsome. Indeed, serge -seems to have taken the place of cashmere, -and is infinitely more becoming in wear.</p> - -<p>Ladies’ cloth is also much worn in both dark -and light colours. On these a selvedge of a -different colour is left, which is sometimes -pinked-out, or edged with a cord. These are -trimmed with facings, cuffs, and collars of -velvet, plush, and moiré, which is now much -used for trimmings. Besides this, there are -vicuna and camels’ hair, and a large selection -of Darlington serges, and others in plain and -in stripes, which are at once cheap, ladylike, -and extremely durable in wear.</p> - -<p>Nun’s cloth is still used with velvet trimmings, -and a material called “wool <i>crépon</i>” is -used as well for evening frocks for girls, and -is trimmed profusely with woollen lace. Velveteen -is not seen as composing entire dresses, -though so largely mixed with woollens of all -descriptions.</p> - -<p>In colours worn by well-dressed people, -heliotrope is still in great favour, and is really -lovely in silks, satins, and the handsome cut -velvets and <i>frisés</i>—dark sapphire blues, carbuncle, -red brown, and a mossy green, with -an earthy brown and a stone-colour, which -are both useful, well-wearing colours.</p> - -<p>Now that people are beginning to wear -more colour than they formerly did, it is needful -to consider harmony in colour more than -we did. For young people this is everything. -In wearing brown, for instance, it should be -harmonised by a little yellow or a lighter -shade of brown. In the same way dark-red -must be harmonised with pink, and both -shades must be seen together, so as to be -quite sure that they will not “swear at each -other,” as the French funnily express it. -With grey a little pale blue must be put in -somewhere in the bonnet. Stone-colour will -harmonise with a pink, and heliotrope with -a paler shade of itself. With grey, blue, and -slate silver ornaments look best; but with -brown, red, and green shades gold ornaments -give the required harmony in colouring.</p> - -<p>All very bright hues should be kept away -from the face, as only the best of complexions -can stand them near the skin. A portrait-painter -once told me that the colour of the<span class="pagenum" id="Page_282">{282}</span> -hair or the hue of the eyes should always be -repeated in some part of the dress. But I -fancy it may answer for painting, but not to -be exemplified in everyday life and habiliments.</p> - -<div class="figcenter illowp83" id="i_281" style="max-width: 31.25em;"> - <img class="w100" src="images/i_281.jpg" alt="" /> - <div class="caption"><p class="center">AN AFTERNOON VISIT.</p></div> -</div> - -<p>Now that belts are coming in again, or rather -have come in, it is well to remember that -when the waist exceeds twenty-five inches round -bands are not becoming, and pointed bodices -should be resorted to, and if the front darts -be cut very much bowed-in, an effect of slenderness -is given to the waist which does not -really belong to it. Frills at the neck and wrists -are most becoming to thin people with long -necks. Short-necked and stout people look -best with plain bands of muslin or lace. High -shoulders do not consort well with fur capes -nor wide fur collars at the neck. The long -paletôts or pelisses are very suitable to short -people, as the straight lines add to their apparent -height. But even in giving these few -directions towards helping my readers to -becoming and tasteful dress, I fully realise -the fact that very few people take the trouble -to ascertain what they look like, and perhaps -would be grievously offended if they were to -be told where the faults of their appearance -really lay.</p> - -<div class="figcenter illowp29" id="i_282" style="max-width: 12.5em;"> - <img class="w100" src="images/i_282.jpg" alt="" /> - <div class="caption"><p class="center">NEW BLOUSE POLONAISE.</p></div> -</div> - -<p>Mantles, as I have frequently said, are all -short, none of them coming more than a few -inches below the waist at the back, though all -are long in front. They are, many of them, -much trimmed, though not too much. There -are braces to the shoulders, or a kind of yoke -of beading, or flat bands of beaded <i>passementerie</i>, -laid on. Plush seems to be the great -material for these mantles, and will be worn -not only in the winter, but late in the spring. -Some of these plush mantles are coloured, but -very few. Sapphire blue, carbuncle red, and -a dark mossy green are the most popular -colours. They are trimmed with black jet—not -a very satisfactory trimming, nor very -elegant.</p> - -<p>Hoods are seen on jackets and pelisses more -than on small mantles. The new shape of -sling mantelette is called “Pelerine,” and is -nearly a cape in being all round of the same -length; but the edges are turned under all -round, and in front the linings show, which -are of some pale, contrasting colour. The -fronts are quite of the sling shape, and if a -hood be worn with them it is lined to match. -The newest hoods are square, and of the -monk order—not gathered up in any way, to -make them bunchy at the back. The newest -shape of paletôt we now call a “pelisse,” but -it is really nothing but a long paletôt, or tight-fitting -jacket lengthened to the edge of the -skirt. The newest cloaks of this kind brought -out this winter have hanging sleeves, and a -hood or fur facing, which wraps across at the -waist, one end of the fur crossing the other -end. The side of the skirt is often opened -and then laced together with thick cords, but -it may be also edged with fur. Very long -cloaks are worn as wraps for carriage use, but -only in that way; and for travelling, small -mantles are much more fashionable at present.</p> - -<p>Jackets are worn as much as ever by young -ladies, and are universally plain and rather -severe in cut. They are of two kinds, the -first with a fur trimming, wide round the neck -and shoulders and on the chest, but pointed -at the waist, and tight-fitting both at the back -and front. The other jacket has a tight back -and loose-fitting front, and is either simply -stitched round with the machine or bound -with galloon or leather—the last the newest -and most <i>recherché</i> of bindings. Pilot cloth -is used for jackets, as well as Cheviot homespuns, -also corduroy, Melton of various -kinds, and numbers of fancy cloths under different -names. The Irish Claddagh cloth, introduced -by Mrs. Ernest Hart, and to be -obtained in all colours at the depôt of the -Donegal Industrial Fund, is becoming more -popular for large wrap-cloaks, little children’s -ulsters, and babies’ pelisses. Plush has been -adopted as a lining for thin mantles of silk -and wool, instead of wadded silk. It is far -less clumsy, and quite as warm. In this way -many ladies have made use of their handsome -summer mantles, and made them warm enough -for winter. On mild days no jacket nor -mantle is used, but the long boa, or Victorine, -or else one of the new large handkerchiefs, -knotted on the chest and spread out over the -shoulders. These large handkerchiefs are even -to be seen worn on the outside of the small -tight-fitting jackets.</p> - -<p>I have mentioned leather bindings on -jackets. They are also used for trimming -dresses by the first ladies’ tailors. The colour -of the bands or bindings is usually of the -lightest shade of the cloth used. Polonaises -are growing in popularity every day, and the -spring will probably see them well established -in favour. The idea of blouse-jackets has -produced the blouse-polonaise, which I have -selected for the paper pattern of the month. -It is draped at the side, but some of the new -polonaises are draped at both sides. The -edges may be lined with a light harmonising -colour which will show when the wearer moves -about. Thus a pale grey vicuna would have -pale rose-pink linings. Polonaises are becoming -fashionable for evening and dinner -dress, and have high Marie Stuart collars and -long angel sleeves. The neck-bands of dresses -are as wide and fit as tightly as ever. They -are generally of velvet, and the cuffs also, the -latter being only as wide as the collar.</p> - -<p>The bodices of ordinary gowns show no -change in shape. The favourite front-trimming -which has taken the place of waistcoats -is a long <i>revers</i> front, the point of the -waist to the neck. In fur-trimmed dresses -this <i>revers</i> is of fur; also the cuffs, neck band, -and a band round the skirt. Many dresses -for wear in the house have ruches round the -hem; but they are not suitable for wear out -of doors, as they are perfect traps for dust. A -new style is to put a <i>dépassant</i> (the modern -name for a <i>balayeuse</i> frill) round the edge of the -dress. This is about an inch and a-half in -width, and is pleated in small single box-pleats, -and is generally of silk of the same -colour as the dress.</p> - -<p>The sketch, under the name of “<a href="#i_281">An Afternoon -Visit</a>,” shows one of the new polonaises, -which buttons across the front. It is of grey -cloth, over a petticoat of very dark crimson. -The young lady in the hat wears a walking-gown, -trimmed with fur, which is put on with -plain bands; the material is “ladies’ cloth.” -Of the two figures in indoor costume one -shows the method of making-up striped -materials, and also the new “catogan knot,” -with a puff of hair and a curled front. The -other dress has a tucked bodice, with a draped -front, which simulates a polonaise; the collar -and cuffs being of velvet.</p> - -<p>In “<a href="#i_280">The Serious Discussion</a>” we have -several dresses, one for out-of-doors, trimmed -with fur, and showing the method of trimming -a short jacket which I have before described. -The other dresses are plaids, and show the -way in which plain materials are mixed with -them. The bodice is of plain material, with a -waistcoat-front, and cords and buttons. The -figure at the back is an illustration of this -month’s paper pattern, the new “blouse -polonaise,” which is a very charming adaptation -of the “Norfolk” or pleated blouse, now -so much worn; it is both easily made and -cut out, and is a very useful garment. It may -be cut long enough to reach to the edge of -the underskirt, and thus follows the fashions -of the long lines now in vogue. In this way -it is more graceful, but it may be cut shorter, -and in this case the skirt must have the box-pleated -frill at the edge, which is now called -a <i>dépassant</i>. The material of which our -illustration is made is one of the rough, hairy -“vicuna serges,” of a light grey tone, with a -darker grey stripe. The bands of the -shoulders, front, waist, and collar and cuffs -are of this dark grey, in velvet or plush; the -first being the most becoming. The ribbon-bow -is of the same hue of silk and velvet -reversible ribbon. The hem of the polonaise -is quite plain, and is machine-hemmed. The -paper pattern consists of nine pieces, <i>i.e.</i>, two -sleeve pieces, back, front, cuffs, collar, -shoulder-piece, and front-strap. The polonaise -will require about ten yards of thirty inch -material, and about half a yard of velvet and -three yards of ribbon.</p> - -<p>All paper patterns supplied by “The Lady -Dressmaker” are of medium size—viz., 36 -inches round the chest—and only one size is -prepared for sale. No turnings are allowed in -any of them. Each pattern may be had of -“The Lady Dressmaker,” care of Mr. H. G. -Davis, 73, Ludgate-hill, E.C., price 1s. each. -It is requested that the addresses be clearly -given, and that postal notes may be crossed -“& Co.,” to go through a bank, as so many -losses have recently occurred. The patterns -already issued are always kept in stock, as -“The Lady Dressmaker” only issues patterns -likely to be of constant use in home-dressmaking -and altering; and she is particularly -careful to give all the new patterns of hygienic -underclothing, both for children and old and -young ladies, so that no reader of the “G.O.P.” -may be ignorant of the best methods of dressing.</p> - -<p>The following is a list of the patterns already -issued, price 1s. each.</p> - -<p>April, 1885, braided loose-fronted jacket; -May, velvet bodice; June, Swiss belt and full -bodice with plain sleeves; July, mantle; Aug., -Norfolk or pleated jacket; September, housemaid’s -or plain skirt; October, combination-garment -(under-linen), with long sleeves; November, -double-breasted jacket; December, -Zouave jacket and bodice; January, 1886, -Princess under-dress (under-linen, under-bodice<span class="pagenum" id="Page_283">{283}</span> -and underskirt combined); February, -polonaise, with waterfall back; March, new -spring bodice; April, divided skirt and -Bernhardt mantle, with sling sleeves; May, -Early English bodice and yoke bodice -for summer dress; June, dressing jacket -and Princess frock, with Normandy -bonnet for a child of four years old; -July, Princess of Wales’s jacket, bodice, -and waistcoat, for tailor-made gown; August, -bodice with guimpe; September, mantle with -stole ends; October, Pyjama, or night-dress -combination, with full back; November, new -winter bodice; December, patterns of Norfolk -blouses, one with a yoke, and one with pleats -only; January, 1887, blouse-polonaise, with -pleats at back and front.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="THE_BROOK_AND_ITS_BANKS">THE BROOK AND ITS BANKS.</h2> -</div> -<p class="ph3"><span class="smcap">By the Rev.</span> J. G. WOOD, M.A., Author of “The Handy Natural History.”</p> - - -<h3>CHAPTER IV.</h3> - -<div class="blockquot"> - -<p>Another enemy of the water-vole—The -pike—Pike in brooks—The Oxford giant pike—A -sad failure—An ignominious end—The pike -and the eel—The pike and the duck—Links in -Nature—Cousins of the water-vole—The -campagnol, or short-tailed field mouse—Damage -which it works—Its natural enemies—the -kestrel and the owls—How to detect -and catch a campagnol—The kestrel—Its -peculiar mode of flight—Altering the focus of -the eye—The nest of the campagnol—Beans -and the mouse—The humble-bee and wasp—More -connecting links—Store chambers of the -campagnol—Its bird-purveyors—The blackbird, -thrush, and campagnol—The winter and -summer nests—A beautiful specimen and remarkable -locality—Mode of eating.</p> -</div> - -<p><span class="smcap">We</span> have not yet completed the life-history of -the water-vole, which, as I remarked on <a href="https://www.gutenberg.org/files/18414/18414-h/18414-h.htm#CHAPTER_II">page -34</a>, involves that of several other creatures.</p> - -<p>One of its two worst foes has just been -described, and we now come to the second—<i>i.e.</i>, -the <span class="allsmcap">PIKE, OR JACK</span> (<i>Esox lucius</i>). N.B.—The -latter name may perhaps recall to the -reader the ancient family of the Lucys, of -Charlcote Hall, Warwickshire, so mercilessly -satirised by Shakspeare. They bore upon -their shield the “luce”—<i>i.e.</i>, the pike, the -coat of arms being a good example of “canting” -heraldry—<i>i.e.</i>, in which the blazonry of -the shield contains a play upon the name of -the bearer.</p> - -<p>There is no more inveterate foe of the water-vole -than the pike. In the stomach of a single -pike were found the remains of three water-voles -and some bird, which was probably a -duck.</p> - -<p>It might be imagined that a pike large -enough to swallow a water-vole would not be -likely to venture into a brook, and would -restrict itself to the river where it would have -plenty of room. But experience has shown -that a very large pike will sometimes make its -way into a very small brook, partly for the -sake of food, but sometimes through sheer -cunning, in the hope of evading its enemies.</p> - -<p>By the time that a pike has attained the -weight of twelve or fifteen pounds, he has had -to face many and varied dangers, and escape -from many foes.</p> - -<p>While he is young and small his worst foes -are those of his own species. Anglers know -that there is scarcely any bait so attractive to -an old pike as a small pike. All the earlier -part of his life is spent in perpetual watchfulness, -he having to be always on the look-out -for prey by which he can still his insatiable -hunger; while he has to be equally on guard -lest a larger pike should satisfy its hunger with -him.</p> - -<p>No pike, therefore, can attain to a large size -without developing a considerable amount of -cunning, and anyone who sets himself the task -of catching such a fish will find that he must -employ all his resources of intellect, aided by -experience, before he can delude the fish even -into touching the bait. In spite of its large -size, the fish manages to elude observation in -a most puzzling manner, and it is no easy -matter to make sure of its position. An old -fox or old rat is scarcely more cunning and full -of devices than an old pike.</p> - -<p>The largest pike that I ever saw at liberty -was in a small tributary streamlet of the Cherwell -river, near Oxford.</p> - -<p>A pike of enormous dimensions had for some -time been reported as having been seen in -various parts of the Cherwell, the general -rumours giving its weight as at least thirty -pounds. All the anglers of the neighbourhood -had tried to capture this mighty prize, -but had failed. Contrary to the habit of most -large pike, it did not seem to have established -itself in any particular spot, but roamed about -from place to place.</p> - -<p>Now, the Cherwell itself is but a very small -river, so that the locality of a large fish might -appear easily discoverable. But it is a very -“weedy” river, and its banks are edged with -willows, whose long, red, plume-shaped roots -hang into the water from the banks, and form -admirable hiding-places for the fish.</p> - -<p>One day I was trying my fortune at trolling -in the Cherwell, with a six-inch gudgeon for -bait, and, on coming to a tributary stream, -walked along the bank until I could find a -spot narrow enough to be jumped.</p> - -<p>Coming to a deep-looking pool, I dropped -in the bait, by way of not wasting time, and -almost immediately felt the bait taken by a -pike. Following the golden rule then, and -perhaps now, in force among anglers, I sat -down on the bank, watch in hand, in order to -wait through the weary ten minutes prescribed -by custom, and which almost seem to drag -themselves out into as many centuries.</p> - -<p>Barely half the time had elapsed when a -huge head rose to the surface, and the bait was -blown out, as it seemed, into the water, the -head sinking with a swirl of water where -it disappeared. On examining the rejected -bait, which had naturally been seized crosswise, -I found that it was pierced from head -to tail with the teeth of the pike.</p> - -<p>I learned that the big fish was afterwards -ignominiously taken with a net in one of these -tributary brooks, so that its cunning was -baffled at last. I also learned that the fish -had repeatedly treated other anglers as it -treated me, holding the bait for a short time -in its mouth and then rejecting it.</p> - -<p>So it is clear that the water-vole will by -no means be safe from the pike when it is the -inhabitant of the brook instead of the river.</p> - -<p>Moreover, it does not need a very large -pike to devour a full-grown water-vole. The -pike can swallow an animal which seems quite -disproportionate to its size. A young pike -of barely five inches in length was seen -swimming about with the tail of a gudgeon -projecting from its mouth. The gudgeon was -quite as long as its captor, and there is no -doubt that if the fish had been let alone the -pike would soon have digested the gudgeon -sufficiently to swallow it entirely.</p> - -<p>The late Frank Buckland mentions that a -pike weighing eight pounds was caught in the -River Itchen. After it was taken out of the -water it disgorged a trout of a pound weight. -This must have been a sore disappointment -for the captor, who would think himself defrauded -of a pound weight in his angling -record.</p> - -<p>The reader will remember that a heron and -a cormorant lost their lives by capturing an -eel which was too large for them, and it is a -remarkable fact that a pike has been known -to suffer a similar fate. It can easily be understood -that an eel, twisting itself about convulsively -in the struggle for life, should coil -itself round a bird’s neck long enough to -cause its death by strangulation; but it seems -almost impossible that a pike, being a fish, -and therefore breathing by gills, should be -suffocated while in the water by an eel.</p> - -<p>Yet in the Fisheries Exhibition of 1883 -there were two very remarkable stuffed groups, -illustrating the voracity of the pike. In one -of them a pike weighing ten pounds had -attacked an eel weighing only one pound less. -Now, an eel of nine pounds weight is a very -large one, lithe, active, and muscular as a -snake, and by no means a despicable antagonist. -The pike had begun to swallow the -eel, but the latter in its struggles forced its -way out of the mouth through the gills, and -thence into the water beneath the right gill-cover. -But it could go no farther, the -teeth of the pike having almost met through -its body.</p> - -<p>The result was fatal to both. The body -of the eel having been forced beneath the gill-cover, -the gills could not perform their office, -and so the pike was as effectually suffocated -for want of breath as were the heron and the -cormorant. The dead bodies of the pike and -eel were found on the bank of the River Bure -in October, 1882.</p> - -<p>The second group consisted of a pike and a -duck. The pike had attacked the duck as the -bird was diving, and had tried to swallow it. -It succeeded in getting the head, neck, and -part of the breast down its throat; but the -duck, in its struggles for life, had naturally -spread its wings. These formed an insurmountable -obstacle to the fish, and the result -was that the duck was drowned and the pike -suffocated, both having died for lack of respiration.</p> - -<hr class="tb" /> - -<p>So the “plop” of the water-vole into the -brook from the bank has not been to us the -mere splash of a frightened animal into the -stream. It has opened for us many trains of -thought, and taken us into several sciences. -It has shown us something of the links which -connect it with man, birds, and fishes, and so -has led us into ornithology and ichthyology. -It has shown how the inventions of man have -their prototypes in the animal kingdom. -Comparative anatomy and physiology have -also been shown to form portions of the life-history -of the familiar animal, and have demonstrated -the truth of the axiom enunciated -on <a href="https://www.gutenberg.org/files/18414/18414-h/18414-h.htm#CHAPTER_II">page 34</a>, that no animal and no branch of -science can stand alone.</p> - -<hr class="tb" /> - -<p>Like other beings, the water-vole has its -relatives, two of whom will come within the -range of our subject. Being small creatures, -they go by the popular name of mice, just as<span class="pagenum" id="Page_284">{284}</span> -their larger relative is popularly called a rat. -These are the <span class="allsmcap">FIELD-VOLE</span> and the <span class="allsmcap">BANK-VOLE</span>, -both of which we may expect to find on the -banks of our brook, especially when the banks -are clothed with shrubs. The former of these -animals is a very old acquaintance of mine, -and when I was a lad I could go into a field -and make almost certain of catching a field-vole -(<i>Arvícola agrestis</i>) within about ten -minutes.</p> - -<div class="figcenter illowp47" id="i_284" style="max-width: 15.625em;"> - <img class="w100" src="images/i_284.jpg" alt="" /> - <div class="caption"><p class="center">A CORMORANT STRANGLED BY AN EEL.</p></div> -</div> - -<p>This little animal looks very much like a -water-vole seen through the wrong end of an -opera-glass, except that the fur is redder and -the ears are longer in proportion to the size of -the head. The tail is only about one-third as -long as the body—a peculiarity which has -earned for it the popular name of “short-tailed -field-mouse.” A more appropriate -name for it is “campagnol.”</p> - -<p>Even in this country the campagnol is apt -to be one of the worst foes of the agriculturist, -especially at harvest and seed time.</p> - -<p>Not only does it devour the ripe corn in the -field, but it makes its way into ricks and barns, -and eats large quantities of the gathered corn. -Moreover, just after the seed-corn has been -sown it digs the grains out of the ground, -thus doing mischief which is often attributed -to the sparrow and other small birds. In -France, however, where not a kestrel, or, indeed, -any unprotected bird, can be seen, the -campagnol can carry out his depredations -without hindrance, and consequently increases -until it becomes an actual plague. In the -Department of Aisne alone a few years ago -the fields were honeycombed with the burrows -of the animal, and the farmers spent some -seventy thousand pounds in ridding their -fields of the nuisance. First poison was -laid down; but so many hares and rabbits -were killed that another plan had to be tried. -Stacks of hay and straw were then made, containing -quantities of poisoned carrots, turnips, -and beetroot. The agriculturists, therefore, -had to pay heavily for doing that which the -kestrel would have done to a great degree, if -they had suffered it to live and carry out its -appointed work in preserving the balance of -Nature.</p> - -<p>The owls, again, are determined enemies of -the campagnol, more than half the food on -which they and their young live being composed -of these mischievous little animals. -Fortunately for the owls, their nocturnal habits -save them from the destruction which would -have befallen them had they sought their food -in the light of day.</p> - -<p>If we wish to see this pretty little creature, -we have only to watch carefully the field -through which our brook runs, and we shall -be almost certain to find it. But we must -know where to look and how to look.</p> - -<p>The favourite locality of the campagnol -has already been mentioned; but the detection -of the little animal requires some practice. A -novice in the art may traverse a low-lying -field, and hunt along the banks of the brook -from daybreak to dewy eve, and never catch a -glimpse of a campagnol. Another will go -into the same field, and in a quarter of an -hour will produce several specimens.</p> - -<p>Those who wish to catch it must know its -ways. It is not of the least use to hunt up -and down the field in chase of the campagnol, -and those who wish to see it must reverse the -old aphorism about Mahomet and the mountain. -They cannot go to the campagnol, for -it will keep out of their way; but if they will -wait patiently, the campagnol will come to -them.</p> - -<p>The secret for catching the campagnol is as -follows:—</p> - -<p>Go into any field which is bounded by a -brook, and lie down, taking care that the sun -faces you; otherwise your shadow will be -thrown on the grass, rendering the detection -of the animal extremely difficult.</p> - -<p>When you have arranged yourself in an -easy posture, keep your eyes on the ground, -and try to look between the green blades, -so as to see the colour of the soil. On a first -trial you may probably wait until your patience -is exhausted, and yet see nothing. But -do not be disheartened, and try again, as -nothing but practice will give the needful -skill.</p> - -<p>Only a small portion of ground can come -under your observation as you recline on your -arm, and a few minutes ought to make you -acquainted with the colour of every inch of -the soil. Presently you will become aware -that a little patch of soil is redder than it was -a minute or two ago. Bring your free hand -down smartly on the spot, and you will find a -campagnol in your grasp.</p> - -<p>Immediately afterwards you will find that -the campagnol has teeth, and knows how to -use them. But if you understand the animal’s -ways, you will seize it without danger of being -bitten, just as if you know the nettle’s ways -you can grasp it without danger of being -stung.</p> - -<p>Like its larger relative, the campagnol, -when suddenly startled, loses its presence of -mind, and remains for a moment or two without -motion. During that moment of consternation, -shift your grasp so that the body -of the animal rests in the palm of the -hand, while the finger and thumb seize the -sides of the head, so that the creature cannot -turn its head to bite. The knack is soon -learned, though perhaps at the expense of a -bite or two, and the shifting of the grasp becomes -instinctive.</p> - -<p>Want of practice soon causes the eyes to -become slow to detect the creature which -steals so silently among the grass-blades, and -the ready knack of the fingers is equally apt -to fail just when it is wanted. However, a -little practice soon restores the keenness of -sight and deftness of touch, and in a short -time the campagnol will be unable to pass -under the observer’s eyes without detection, -or to escape the grasp of his fingers without -capture.</p> - -<p>So stealthily does the campagnol glide -among the grass stems, that the field may be -swarming with them, and yet their presence will -not even be suspected by man. This fact -brings us to another illustration of the assertion -that the life-history of one animal always -involves that of others.</p> - -<p>The natural food of the <span class="allsmcap">KESTREL</span> (<i>Tinnúnculus -alaudârius</i>) largely consists of the campagnol, -so that where the one is seen the other will -probably be at no great distance. High in air -the kestrel hovers with quivering wings, its -bright eyes directed downwards, and scanning -the field below. Suddenly it drops down to -the ground, rises with something in its claws, -and flies away. It has seen and caught a field-vole, -and is carrying it home to its young. -From its custom of balancing itself in the air -with its head to the wind, it is often known -by the name of “windhover.”</p> - -<p>With what astonishing sight must not the -kestrel be gifted to perform such a feat! It -is difficult enough for a human being to watch -a square yard of ground so carefully that a -field-vole shall be seen as it glides among the -grass. How wonderful, therefore, must be -the powers of vision which enable the bird to -watch a large field, to detect from that height -the little, dusky animal, and pounce down -upon it with unerring swoop!</p> - -<p>How astonishing must be the optical -mechanism of those eyes which at so great a -distance from the prey can act like telescopes, -and yet can alter their range so rapidly that -in the few seconds which are consumed in -making the stoop, they have accommodated -themselves to an entirely different focus.</p> - -<p>In his “At Last,” C. Kingsley mentions -that in passing through a tropical forest the -traveller is frequently checked by some creeper -which hangs in the path, and which is not -seen because the eye cannot focus itself with -sufficient rapidity. Yet the traveller is only -proceeding at a walking pace, whereas the -stoop of the kestrel on its prey is swift as the -fall of a stone through the air, and in a second -or two the eye has to accommodate itself -from a range of many yards to that of a few -inches.</p> - -<p>The value of the kestrel in keeping down -the numbers of the field-vole, and so aiding in -preserving the balance of Nature, can hardly -be over-estimated.</p> - -<p>There have been cases where the field-voles -had increased to such a degree that pitfalls had -to be dug for their capture, and they had to be -destroyed artificially, because the kestrels and -other predacious birds and animals had been -almost extirpated.</p> - -<p>Other enemies to agriculture are also destroyed -by the kestrel. Mr. Johns mentions -an instance where the stomach of a kestrel was -opened, and was found to contain, beside a -field-vole, nearly eighty caterpillars, twenty-four -beetles, and a leech!</p> - -<p>Now, we will return to our field-vole. Like -the squirrel and several other rodents, it makes -two nests, one for the winter and the other for -the summer.</p> - -<p>The winter nest is mostly made at some -distance from water, is formed at the end of a -burrow, and seldom reaches more than a few -inches below the surface of the ground. It is -to this winter nest that the poet Burns refers -in his exquisite stanzas addressed to a mouse -whose nest had been destroyed by his ploughshare, -and beginning,</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“Wee, sleekit, cow’rin’, tim’rous beastie.”</div> - </div> -</div> -</div> - -<p>Such, indeed, is the fate of many a winter -nest. Supposing, however, that the creature -should be snapped up by the kestrel while out -in search of food, the nest will be deserted, -but it will not be wasted. There are always -beings who are glad to find a ready-made -burrow which will save them the trouble of -excavating one for themselves. Among them -are several species of wasp and humble-bee, -most of whose nests are made in the deserted -burrow of the campagnol.</p> - -<p>Here, again, is an example of the manner in -which the life-histories of dissimilar animals<span class="pagenum" id="Page_285">{285}</span> -are linked together. Few persons would think -that there could be any connection between -the wasp and the kestrel, and yet our walk -along the banks of our brook has shown us -that such is the case, and that the connecting -link is the campagnol.</p> - -<p>Like the water-vole, the campagnol lays up -a store of winter provisions, not in its living-room, -but in a chamber excavated for the -purpose. The treasure-house sometimes contains -a very miscellaneous store, the fruit of -the hawthorn and wild rose being the staple.</p> - -<p>Cherry-stones mostly form a large proportion -of the stores, as many as three hundred -having been found in a single chamber. The -mode in which the campagnol obtains the -cherry-stones would hardly be suspected except -by those who are in the habit of watching -the varied phases of animal life.</p> - -<p>The chief purveyors of cherry-stones are the -blackbird and thrush.</p> - -<p>Both these birds are exceedingly destructive -among the cherry crops, as I know from personal -experience. My study overlooks a -number of fine cherry-trees, one of them being -so close to the house that by leaning out of -the window I can touch the fruit with an -ordinary walking-stick. As soon as the fruit -ripens, the thrush and blackbird hold high -festival, eating the cherries from the branches -and feeding their young with the ripe fruit.</p> - -<p>It is really amusing to watch the proceedings -of the birds, especially the unmerciful -manner in which the young birds peck their -parents when they considered that they are -not fed fast enough. Neither young nor -parent is in the least afraid of me as I sit at -the open window, so that I can see every -movement.</p> - -<p>Sometimes the entire cherry is pulled off the -branch, but when the fruit is very ripe the soft -portion only is eaten, the stone still being -attached to the stalk. In either case, the -stone will be sure, sooner or later, to fall to -the ground, whence it is picked up by the -campagnol and added to its store for the -coming winter.</p> - -<p>Here, again, is a link connecting together -the life-histories of the blackbird, thrush, and -campagnol. Furthermore, it affords an example -of the care that is taken that nothing -on the earth shall be wasted.</p> - -<p>Whenever a living being has no further use -for anything which once was connected with -its life-history, there is sure to be some other -animal which wants it and is waiting for it.</p> - -<p>We have already seen how the abandoned -winter nest of the campagnol is utilised -by the wasp or humble-bee, and we now see -that when the blackbird and thrush have -abandoned the cherry-stones as useless to -them, there is the campagnol waiting for them -and ready to carry them off to the store-chamber -which it has previously prepared.</p> - -<div class="figcenter illowp100" id="i_285a" style="max-width: 31.25em;"> - <img class="w100" src="images/i_285a.jpg" alt="" /> - <div class="caption"><p class="center">A PIKE STRANGLED BY AN EEL.</p></div> -</div> - -<p>Beside the winter nest, there is the summer -nest, which is primarily intended for the reception -and nurture of the young. This, like -the corresponding nest of the squirrel, is made -of slight materials and loose structure, so that -the air is freely admitted. It is generally -composed of grass blades, which have been -torn in strips by the campagnol. It is -globular in shape, and is mostly placed on the -ground, amid concealing grass or herbage.</p> - -<p>There is, however, before me a photograph -of the nest of a campagnol, which was discovered -in a very remarkable position, and -made of very unusual materials. It was found -in a garden store-house at Castle Carey, by the -Rev. W. Smith-Tomkins, Vicar of Durstow. -He kindly sent me a copy of the photograph, -together with the following description—</p> - -<div class="blockquot"> -<p> -<span class="ml2">“Bedford Villa,</span><br /> -<span class="ml4">“The Shrubbery,</span><br /> -<span class="ml6">“Weston-super-Mare.</span><br /> -</p> - -<p>“August 8th, 1886.</p> - -<p>“This nest of the short-tailed field-mouse -was found by me a few years ago on a -heap of barley straw, which was used -to cover a small store of potatoes. -Its chief interest to the finder, in -addition to its beauty, consists in this. It was -all manufactured out of one kind of raw -material, namely, the leaves of the barley -straw, which the maker shred up into thin -threads according to her taste, so as to suit -the different parts of the structure. There -was no other material available for use.</p> - -<p>“The mouse had found its way into the -storehouse through a hole under the wall. I -am sorry to say that she was killed when -found, and before the nest had been used for -its proper purpose. Two or three weeks -before I had looked over the place, and she -had not commenced operations.</p> - -<p>“On referring to ‘Homes without Hands,’ I -find it stated by Mr. J. J. Briggs that he could -never find an entrance to the interior (the -nests being closed up, as you say is the case -with the nest of the harvest mouse). I infer -from this, that it is due to its incompleteness -that the entrance in this case is open and -visible, and that its structure is therefore so -open to inspection.”</p> -</div> - -<p>With the description and photograph Mr. -Tomkins sent a few portions of the nest, some -of the barley leaves being of their original -width, and others split up into fibres as fine as -ordinary sewing cotton. In a subsequent -letter he states that the hole through which -the campagnol made her entrance into the -house opened into the stable yard of a neighbour.</p> - -<p>Its mode of eating the provisions which it -stores is rather remarkable. It would naturally -be supposed that, as other beings (including -man) do, it would eat the thick, soft, and -sweet exterior of the “hip” or fruit of the -wild rose, and reject the hard, small seeds, -with their fluffy envelope. But it does just -the contrary, eating the seeds and rejecting -the exterior.</p> - -<p>When in America in 1884, I saw a flock of -pine grosbeaks busily feeding upon the berries -of the mountain ash at Worcester. Very -pretty they looked, the rosy plumage of the -two or three males contrasting boldly with the -dark, sombre green of the many females. I -should not have noticed them but for their -mode of feeding.</p> - -<p>It was at the beginning of February—the -very depth of a New England winter. I had -to make my way up a rather steep hill, and -over paths which, by reason of constant -traffic over snow, were as slippery as ice. -Many persons are in the habit of scattering -sand or pulverised brick on the paths, and -seeing, as I fondly thought, a few yards of -the latter material, I gladly made my way -towards it. To my disappointment—on that -ground at least—I found that the red material -was not brick, but the soft, external part of -the mountain ash berry, the birds only eating -the seeds, and allowing the rest of the fruit to -fall to the ground.</p> - -<p>Then, the campagnol has a remarkable way -of eating the cherry stones.</p> - -<p>When the squirrel eats a nut, it nibbles off -a little piece of the sharp end, inserts the -edges of its incisor teeth in wedge fashion, -and splits the nut in two. The campagnol -begins like the squirrel, but when it has -bitten off the end of the cherry-stone, it does -not split the shell asunder, but in some way of -its own contrives to get the kernel out.</p> - -<p class="center">(<i>To be continued.</i>)</p> - -<div class="figcenter illowp100" id="i_285b" style="max-width: 21.875em;"> - <img class="w100" src="images/i_285b.jpg" alt="" /> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_286">{286}</span></p> - -<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> - - -<h3>CHAPTER XVI.</h3> - -<p class="ph3">MOLLY.</p> - -<p><span class="smcap">One</span> afternoon, much to Hannah’s delight, -I took the children to Wheeler’s -Farm. Rolf did not accompany us; -Mrs. Markham had sent up word to the -nursery that morning that he was to -drive with her into Orton. He had -complied with this order rather sulkily, -after extracting from me a promise that -I would play soldiers with him in the -evening.</p> - -<p>It was rather a hot July afternoon, but -we put Joyce in the perambulator, and -Hannah and I carried Reggie by turns, -and in spite of the heat we all enjoyed -the walk, for there was a lark singing -so deliciously above the cornfields, and -the hedgerows of Cherry-tree-lane were -gay with wild flowers, and every few -minutes we came to a peep of the sea.</p> - -<p>I recognised Hannah’s description -when we came in sight of the old black-timbered -house; there was the pear tree -in the courtyard, and the mossy trough; -a turkey cock Gobbler, of course, was -strutting about in the sunny road, and -from the farmyard came the cackling -of ducks and the hissing of snow-white -geese. Just then a little side gate -opened, and a robust-looking woman in -a sun-bonnet came out, balancing two -pails of water with her strong bare arms. -Hannah exclaimed, “Well, Molly!” -and Molly set down her pails and came -to meet us.</p> - -<p>She kissed Hannah heartily with, -“Glad to see thee, lass,” and then -shook hands with me.</p> - -<p>“Come in, come in, and bring the -children out of the sun,” she said, in -a kind, cheerful voice. “Father is -smoking his pipe in the kitchen, and -will be fine and glad to see you all. -Eh, but I am pleased to have you at -Wheeler’s Farm, Miss Fenton. Hannah -says she has a deal to be grateful to you -for, and so have we all for being good to -our girl.”</p> - -<p>I disclaimed this, and sang Hannah’s -praises all the time we were crossing -the courtyard to the porch.</p> - -<p>Molly shook her head, and said, -“Nay, she is none too clever,” but -looked gratified all the same.</p> - -<p>She was a plain, homely-looking -woman, as Hannah said, with high -cheek bones and reddish hair, but she -looked kindly at the children and me, -and I think we all liked her directly.</p> - -<p>“Look whom I am bringing, father,” -she exclaimed, proudly, and Michael -Sowerby put down his pipe and stared -at us.</p> - -<p>He was a blue-eyed, ruddy old man, -with beautiful snow-white hair, much -handsomer than his daughter, and I -was not surprised to see Hannah, in her -love and reverence, take the white head -between her hands and kiss it.</p> - -<p>“You will excuse our bad manners, I -hope,” he said, pushing Hannah gently -away, and getting up from his elbow -chair. “So these are Squire Cheriton’s -grandchildren. He is fine and proud -of them, is the squire. Deary me, I -remember as if it were yesterday the -squire (he was a young man then) -bringing in their mother, Miss Violet, -to see me when she wasn’t bigger than -little miss there, and Molly (mother I -mean) said she was as beautiful as an -angel.”</p> - -<p>“Mother is beautifuller now,” struck -in Joyce, who had been listening to -this.</p> - -<p>The old farmer chuckled and rubbed -his hands.</p> - -<p>“Beautifuller, is she? Well, she -was always like a picture to look at, -was Miss Violet, a deal handsomer and -sweeter than Madam, as we call her. -Eh, what do you say, my woman?” for -Molly was nudging him at this point. -“Well, sit ye down, all of you, and -Molly will brew us some tea.”</p> - -<p>“There is Luke crossing the farmyard,” -observed Molly, in a peculiar -tone, and Hannah took the hint and -vanished.</p> - -<p>I sat quietly by the window with -Reggie on my lap, talking to Michael -Sowerby and glancing between the pots -of fuchsias and geraniums at a brood of -young turkeys that had found their way -into the courtyard.</p> - -<p>Joyce was making friends with a -tabby cat and her kittens, while Molly, -still in her white sun-bonnet and tucked -up sleeves, set out the tea-table and -opened the oven door, from which proceeded -a delicious smell of hot bread. -She buttered a pile of smoking cakes -presently, talking to us by snatches, -and then went off to the dairy, returning -with a great yellow jug of milk thick -with cream, and some new laid eggs -for the children.</p> - -<p>I did not wonder at Hannah’s love for -her home when I looked round the old -kitchen. It was low, and the rafters -were smoke-dried and discoloured, but -it looked so bright and cheery this hot -July afternoon, with its red tiles and -well-scrubbed tables, and rocking chairs -black with age and polish. The sunshine -stole in at the open door, and the -fire threw ruddy reflections on the brass -utensils and bright-coloured china. A -sick chicken in a straw basket occupied -the hearth with the tabby cat; a large -shaggy dog stretched himself across -the doorway, and regarded us from -between his paws.</p> - -<p>“It is Luke’s dog, Rover; he is as -sensible as a human being,” observed -Molly, and before we commenced tea -she fetched him a plate of broken meat -from the larder, her hospitality extending -even to the dumb creatures.</p> - -<p>A wooden screen shut us off from the -fire. From my place at the table I had -a good view of the inner kitchen and a -smaller courtyard with a well in it; a -pleasant breeze came through the open -door.</p> - -<p>As soon as the children were helped, -Hannah came back looking rather -shamefaced but extremely happy, and -followed by Luke Armstrong. He -greeted us rather shyly, but seated himself -at Molly’s bidding. He was a -short, sturdy-looking young fellow, with -crisp, curling hair and an honest, good-tempered -face. He seemed intelligent -and well-mannered, and I was disposed -to be pleased with Hannah’s sweetheart.</p> - -<p>I found afterwards from Molly when -she took me into the dairy that Michael -Sowerby had consented to recognise the -engagement, and that it was looked -upon as a settled thing in the household.</p> - -<p>“Hannah is the youngest of us girls, -and a bit spoiled,” observed Molly, -apologetically. “I told father it was -all nonsense, and Hannah was only a -chit, but it seemed he had no mind to -cross her. The folks at Scroggin’s Mill -is not much to our taste, but Luke is the -best of the bunch, and a good, steady -lad with a head on his shoulders. He -was for going to London to seek his -fortune,” continued Molly, “for Miller -Armstrong is a poor sort of father to -him, and Martin elbows him out of all -chances of getting any of the money; -but Squire Hawtry, of the Red Farm, -where Lydia lives as dairymaid, has -just lost his head man, and he offered -Luke the place. That is what he has -been telling Hannah this afternoon in -the farmyard; so if Hannah is a good -girl, as I tell her, and saves her bit of -money, and Luke works his best, Squire -Hawtry will be letting them have one of -the new cottages he has built for the -farm servants, and a year or two may -see them settled in it to begin life together.” -And here Molly drew a hard -work-roughened hand across her eyes -as though her own words touched her.</p> - -<p>“I am very glad for Hannah’s sake,” -I returned. “She is a good girl, and -deserves to be happy.”</p> - -<p>“Ah, they are all good girls,” replied -Molly. “Hannah is no better than the -rest, though we have a bit spoiled her, -being the youngest, and mother dead. -There’s Martin at Scroggin’s Mill wants -Lydia, but Lyddy is too sensible to be -listening to the likes of him. ‘No, no, -Lyddy,’ I say, ‘whatever you do, never -marry a man who makes an idol of his -money; he will love his guineas more -than his wife; better be doing work all -your life and die single as I shall, than -be mistress of Scroggin’s Mill if Martin -is to be master.’”</p> - -<p>“You give your sisters very good -advice,” I returned.</p> - -<p>“I have not much else to give them,” -was the abrupt answer; “but they are -good girls, and know I mean well. The -boys are rather a handful, especially -Dan, who is always bird-catching on -Sunday, and won’t see the sin of it. -But there, one must take boys as one -finds them, and not put ourselves in the -place of Providence. They want a deal<span class="pagenum" id="Page_287">{287}</span> -of patience, and patience is not in my -nature, and if Dan comes to a bad end -with his lame leg and bird-traps, nobody -must blame me, who has always a -scolding ready for him if he will take -it.”</p> - -<p>I saw Dan presently under rather disadvantageous -circumstances, for as we -came out of the dairy who should come -riding under the great pear tree but Mr. -Hawtry, with a red-headed boy sitting -behind him, with a pair of dirty hands -grasping his coat. I never saw such a -freckled face nor such red hair in my -life, and he looked at Molly so roguishly -from under Mr. Hawtry’s shoulder, -there was no mistaking that this was -the family scapegrace.</p> - -<p>“Good-evening, Molly,” called out -Mr. Hawtry, cheerfully; “I am carrying -home Dan in pillion fashion, -because the rogue has dropped his -crutch into the mill dam, and he could -not manage with the other. I found -him in difficulties, sitting under the mill -hedge, very tired and hungry. You will -let him have his tea, Molly, as it was -accident and not mischief. I forgot to -say the other crutch is lying in the road -broken; it broke itself—didn’t it, Dan?—in -its attempt to get him home?” and -here Mr. Hawtry’s eyes twinkled, but he -could not be induced, neither could -Dan, to explain the mystery of the -broken crutch.</p> - -<p>“You will come to a bad end, Dan,” -remarked Molly, severely, as she lifted -down the boy, not over gently; but she -forbore to shake him, as he was wholly -in her power—a piece of magnanimity -on Molly’s part.</p> - -<p>Mr. Hawtry dismounted, perhaps to -see that Dan had merciful treatment; -but he need not have been afraid, Molly -had too large a heart to be hard on a -crippled boy, and one who was her -special torment and pet. Molly could -not have starved a dog, and certainly -not red-headed Dan.</p> - -<p>He was soon established in his special -chair, with a thick wedge of cold -buttered cake in his hand. Scolding -did not hurt as long as Molly saw to his -comforts, and Dan looked as happy as a -king in spite of his lost crutches.</p> - -<p>Mr. Hawtry came into the kitchen, -and when he saw us I thought he started -a little as though he were surprised, and -he came up to me at once.</p> - -<p>“Good-evening, Miss Fenton; I did -not expect to see you here, and my -little friend, too,” as Joyce as usual ran -up to him. “What a lovely evening you -have for your walk home! You did not -bring Miss Cheriton with you?”</p> - -<p>“No; she has visitors this afternoon; -the children and I have had our tea -here, and now it is Reggie’s bed-time.”</p> - -<p>“Shall I call Hannah?” he returned, -hastily, for I was putting Reggie in his -perambulator. “I saw her walking -down the orchard with Luke Armstrong -and Matthew.” And as I thanked him -he bade Molly good-bye, and, putting -his arm through his horse’s bridle, in -another moment we could hear a clear -whistle.</p> - -<p>Hannah came at once; she looked -happy and rosy, and whispered to Molly -as we went down the courtyard together. -Mr. Hawtry was at the horse-block; as -he mounted he called me by name, and -asked if the little girl would like a ride.</p> - -<p>I knew he would be careful, but all -the same I longed to refuse, only Joyce -looked disappointed and ready to cry.</p> - -<p>“Oh, nurse, do let me,” she implored, -in such a coaxing voice.</p> - -<p>“My horse is as quiet as a lamb. -You may safely trust her, Miss Fenton,” -he said so persuasively I let myself be -over-ruled. It was very pretty to see -Joyce as he held her before him and -rode down the lane. She had such a -nice colour, and her eyes were bright -and sparkling as she laughed back at me.</p> - -<p>It was very kind of Mr. Hawtry. It -seemed to me he never lost any opportunity -of giving children pleasure. -But I was glad when the ride ended, -and I lifted Joyce to the ground.</p> - -<p>She clasped me tightly in her glee. -“It was so nice, so werry nice, nursey -dear,” she exclaimed.</p> - -<p>As I looked up and thanked Mr. -Hawtry, I found that he was watching -us, smiling.</p> - -<p>“I am afraid your faith was not equal -to Joyce’s,” he said, rather mischievously. -“I would not let Peter canter, -out of pity for your fears.”</p> - -<p>“I beg your pardon,” I stammered, -rather distressed by this, “but I cannot -help being afraid of everything. You -see the children are entrusted to me.”</p> - -<p>“I was only joking,” he returned, and -he spoke so gently. “You are quite -right, and one cannot be too careful over -children; but I knew I could trust old -Peter,” and then he lifted his hat and -cantered down the lane. He could not -have spoken more courteously; his -manner pleased me.</p> - -<p>It caused me a little revulsion when -Mrs. Markham met us at the gate with -a displeased countenance. She motioned -to Hannah to take the children -on to the house, and detained me with a -haughty gesture.</p> - -<p>“Nurse,” she said, harshly, “I am -extremely surprised at the liberty you -take in my sister’s absence. I am quite -sure she would be excessively angry at -your taking the children to Wheeler’s -Farm without even informing me of your -intention.”</p> - -<p>“I mentioned it to Miss Cheriton,” I -returned, somewhat nettled at this, for -Gay had warmly approved of our little -excursion.</p> - -<p>“Miss Cheriton is not the mistress of -the house,” she replied, in the same -galling tone. “If you had consulted -me, I should certainly not have given -my consent. I think a servant’s relatives -are not proper companions for my -little niece, and, indeed, I rather wonder -at your choosing to associate with them -yourself,” with a concealed sneer hidden -under a polished manner.</p> - -<p>“Mrs. Markham,” I returned, speaking -as quietly as I could, “I should certainly -not have taken the children to -Wheeler’s Farm without my mistress’s -sanction. I had her free permission to -do so; she knew the Sowerbys were -highly respectable, and, for my own -part, I wished to give pleasure to -Hannah, as I take a great interest in -her.”</p> - -<p>“I shall certainly write to my sister -on the subject,” was her answer to this. -“You must have entirely mistaken her -meaning, and I owe it to her to watch -over her children.”</p> - -<p>My temper was decidedly rising.</p> - -<p>“You need not trouble yourself,” I -replied, coldly, “my mistress knows -everything I do. I should have written -to her myself to-night; she has perfect -confidence in me, and I have never -acted against her wishes; my conscience -is quite clear about this afternoon, -but I should not have taken Rolf -without your permission.”</p> - -<p>“I should hope not,” still more -haughtily, but I would not listen to any -more; I was not her servant—I could -not have served that hard mistress. I -found nothing to reverence in her cold, -self-absorbed nature, and without reverence, -service would be bitter drudgery.</p> - -<p>As I passed down the avenue a little -sadly, I came upon a pretty scene; a -tea-table had been set under one of the -elms, and Gay had evidently been presiding -over it, but the feast had been -long over. She was standing by the -table now, crumbling sweet cake for the -peacock. Lion was sitting on his -haunches watching her, and Fidgets -was barking furiously, and a little behind -her stood Mr. Rossiter.</p> - -<p>Mrs. Markham swept up to them, and -I could hear her say in a frosty voice -that showed evident ill-temper, “Why -has not Benson removed the things? It -is nearly seven, and we must go in to -dress for dinner; you know Mr. Hawtry -is coming.”</p> - -<p>“I was not aware of it, Adelaide”—how -well I knew that careless voice!—“but -it is of no consequence, that I can -see; Mr. Hawtry is always here.”</p> - -<p>“He cannot come too often,” in a -pointed manner. “We all think highly -of Mr. Hawtry, I know.”</p> - -<p>“Oh, are you going, Mr. Rossiter? -Well, perhaps it is rather late.”</p> - -<p>“What are you doing, Gay?” so -sharply that though I had reached the -house I heard her, and turned my head -to look.</p> - -<p>Benson and the under-footman were -coming out of the side door, but Mrs. -Markham stood alone under the trees. -Gay was sauntering down the avenue -with the young curate still at her side, -and Lion was following them, and I -wondered if Mrs. Markham saw her stop -and pick that rose.</p> - -<p>I went up to the nursery rather -thoughtfully after that. I knew girls -were odd and contrary sometimes. Mr. -Rossiter was very nice; he was a good, -earnest young man, and I liked his -sermons; but was it possible that Gay -could seriously prefer him to Mr. Hawtry, -or was she just flirting with him -<i>pour passer le temps</i>, after that odious -custom of some girls? But I could not -believe it somehow of Gay Cheriton; -she was so simple, so unselfish, so free -from vanity. It needed a coarser nature -than hers to play this sort of unfeeling -game. “We shall see,” I said to myself, -as I put Reggie into his cot, and -then I sat down and wrote to Mrs. -Morton.</p> - -<p class="center">(<i>To be continued.</i>)</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_288">{288}</span></p> - -<h2 class="nobreak" id="ANSWERS_TO_CORRESPONDENTS">ANSWERS TO CORRESPONDENTS.</h2> -</div> - - -<h3>EDUCATIONAL.</h3> - -<div class="blockquot_ans"> - -<p><span class="smcap">Daughter of Gentleman Farmer.</span>—The book for -which you inquire is “The Englishwoman’s Year-Book,” -published by Hatchard, Piccadilly, London, -W. We believe it may be had in parts. The yearly -volume is about half-a-crown.</p> - -<p><span class="smcap">Josie.</span>—We advise you to write to the London School -of Medicine, 30, Henrietta-street, Brunswick-square, -London, W.C., for all information you require on the -subject of your letter. You should state the fact of -your having passed the College of Preceptors, the -senior local Cambridge and Oxford examinations, -and the science subjects (elementary) set by the -South Kensington authorities; also name your age, -and address the dean of the school, Mrs. Elizabeth -Garrett-Anderson, M.D. This school is in connection -with the Royal Free Hospital, Gray’s Inn-road, -W.C.</p> - -<p><span class="smcap">Spotted Crash.</span>—We think you are mistaken as to -the origin of the name Billingsgate. The name -“Billing” belongs to an old Teutonic tribe or clan, -whose traditions are old enough to be mythical. It -is probable that some of its members may have been -amongst those Low German adventurers who conquered -Britain and made it England. This conjecture -explains many names beginning with Billing -in this country, besides Billingsgate.</p> - -<p><span class="smcap">Heather Bell.</span>—We regret that we cannot help you -in your quest in any way.</p> - -<p><span class="smcap">Cinderella.</span>—It would depend upon what examination -you went in for, of course. Girton College is at Cambridge. -It is for women over eighteen years of age. -The entrance examinations are in March and June. -The address of the secretary is 22, Gloucester-place, -Hyde Park, London, W.</p> - -<p><span class="smcap">Mizpah.</span>—We should advise you, as you are so young, -to go in for teaching as a profession, and to study at -a training college, or at the College of the Home and -Colonial School Society, Gray’s Inn-road, W.C., or -else at the Teachers’ Training Society, Training -College, Fitzroy-street, W. Governesses’ situations -are yearly more and more difficult to obtain, and -it is better to be trained so as to command school -situations of a high class.</p> - -<p>K. B.—1. The ancient name of Constantinople was -Byzantium. The present city occupies its site, but -was named after Constantine the Great, who built -it. 2. Cardinal Wolsey erected Christ Church -College, Oxford, Ipswich, and also Hampton Court. -A Life of King Robert “the Bruce” was written -by the Scottish poet, Barbour, in a poem called the -“Brus.”</p> -</div> - - -<h3>ART.</h3> - -<div class="blockquot_ans"> - -<p><span class="smcap">A Tomato.</span>—See article in <i>Silver Sails</i> (Summer -Number for 1881) on crystoleum painting. The -12th of April, 1873, was a Saturday.</p> - -<p><span class="smcap">Jane.</span>—If you really wish to learn drawing and painting, -buy a shilling manual on perspective and study -from natural objects. Begin with some simple object, -such as a village pump or wayside stile, but do not -attempt such composite subjects as that sent for our -opinion until you can accomplish the former subjects -fairly well.</p> - -<p><span class="smcap">Cloe.</span>—As a rule, if a girl shows any taste for using -her pencil, in however trivial a way, she imagines -that she could make money by it; but she forgets, -like the swarms of verse-writers, that ideality to a -very considerable degree is requisite for both the -poet and painter. If you have a gift for designing, -as well as the practical skill, you might find an -opening amongst the lace manufacturers of Nottingham -and other places, amongst the cotton printers -at Manchester, or the silk manufactories at Macclesfield. -It could be available for wall-paper printers, -for carpet weaving, and for pottery. Turn your -attention to one of these openings.</p> - -<p><span class="smcap">Miss Fiennes</span>, of Castle-hill, Reading, Berkshire, -conducts a girls’ club, called the Daub Society, to -which members (amateur beginners) send an original -painting or drawing every month. The annual subscription -is one shilling, and the members adopt fancy -names.</p> -</div> - - -<h3>MISCELLANEOUS.</h3> - -<div class="blockquot_ans"> - -<p>J. W. must accept our best thanks for her kind letter -and the assurance that the “girls’ own mothers” -take as much delight in our paper as the girls themselves.</p> - -<p><span class="smcap">Kartoffel.</span>—“What is the best thing to do if anything -is seen in a haunted house?” Shut your eyes, -and don’t see it.</p> - -<p><span class="smcap">Swetsche.</span>—To invent “a cure for sleeplessness” -would be to become a millionaire. If we were so -fortunate we could not promise to take you into -partnership, but would advertise our decoction -widely.</p> - -<p><span class="smcap">Cousin.</span>—You have fallen into a careless and injurious -mode of walking. You should plant your feet -straight on the ground, and might also have a little -brass or iron heel put on those of your shoes. If -your blue serge dress be so soiled with dust, you had -better get it re-dipped by a dyer. They can do so -without your unpicking the dress.</p> - -<p><span class="smcap">Firefly.</span>—You seem to have overtaxed your brain-power -during these examinations, and you need rest; -change of air, good diet, early retirement to bed at -night, and late rising (say at 8 a.m.) might in time -restore the powers of memory. At the same time, -you should obtain the advice of an experienced -physician.</p> - -<p><span class="smcap">Millicent Thornton.</span>—The quotation commencing—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“Absence of occupation is not rest,”</div> - </div> -</div> -</div> - -<p class="noindent">is taken from Cowper’s poem “Retirement,” line 623. -You will probably find the other poem in some -popular reciter. You write well for your age.</p> - -<p><span class="smcap">E. M. Searle.</span>—The Latin words, <i>Nocturna versate -manu, versate diurno</i>, mean, “Turn (them) over with -nightly hand, turn (them) over by day.” The words -are from Horace. The word “them,” which is understood, -refers to examples of Grecian style.</p> - -<div class="figcenter illowp42" id="i_288" style="max-width: 17.5625em;"> - <img class="w100" src="images/i_288.jpg" alt="" /> - <div class="caption"><p class="center">TEMPTATION.</p></div> -</div> - -<p><span class="smcap">Potts.</span>—Your brother’s “eating dinner enough for -two” does not thereby give evidence of a fine constitution. -Some lean folks eat enormously, but, as -the Scotch express it, “put their food into an ill -skin;” they do not assimilate it, and it does them -but little good, and so they are always craving for -more. There are other reasons for voracious eating, -for which a doctor’s advice would be most desirable. -It is a disgusting sight, in any case, to see anyone -eating double what others do, and it should be -checked, not gratified, in youth, if not attributable to -disease, in which case recourse should be had to -medicine.</p> - -<p><span class="smcap">Moses.</span>—The Psalms, as given in the Book of Common -Prayer, were not <i>altered</i>, but only a different version -from the translation used in our Bibles was employed, -called the Vulgate or Latin version, attributed to St. -Jerome, about 384. There was an older version of -the Holy Scriptures called the Italic, said to have -been made in the beginning of the second century, -little more than one hundred years after Christ. Gutenberg -and Fust were the first who printed the Vulgate -translation, probably about 1455, and that by Fust -and Schœffer in 1462.</p> - -<p><span class="smcap">Mary Elizabeth T.</span>—The evil thoughts that seem -forced into your mind against your will, of which -you are ashamed, over which you grieve, and against -the recurrence of which you pray, are temptations of -the devil and his wicked ministers. They are clearly -not your own; they are, as it were, whispered in -your ears. So long as you pray to be delivered from -them, and heartily strive to drive them away, their -guilt does not lie at your door. Ask for deliverance, -and humbly claim it in the name of the Lord Jesus, -and “He is faithful that promised.” See St. John -xiv. 12, 13, 14, and xvi. 23, 24.</p> - -<p><span class="smcap">A Gardener.</span>—Sow the hardy annual’s seeds in -February, and in March all the perennials and -biennials, and the half hardy annuals in a hot-bed. -There are several varieties of honeysuckle, and all of -them may be propagated by cuttings.</p> - -<p><span class="smcap">Blank</span> had better write for the directory to the matron, -London National Training School for Cookery, Exhibition-road, -South Kensington, S.W. The fee for -the training for the post of cookery instructor is -twenty-one guineas for the full course of twenty -weeks; plain cookery, eight guineas for fourteen -weeks. The Edinburgh School of Cookery, 6, Sandwick-place; -hon. secretary, Miss Guthrie Wright; -also trains teachers in cookery for a fee of fifteen -guineas the course, from November to April.</p> - -<p><span class="smcap">An Anxious One.</span>—You do not give sufficient information -for us to judge what you are fit for, and you -had better read the series of articles in vol. v., entitled -“Work for All.”</p> - -<p><span class="smcap">Tarentelle.</span>—Twopenny-piece, 1797 (weighing 2 oz. -av.), worth 1s. to 5s.; penny, same date (1 oz. av.), -1s. to 2s. 6d. The other coins are worth from 6d. -to 2s.</p> - -<p><span class="smcap">Pompey.</span>—The “Heaven-sent Minister” was William -Pitt, 1759-1806.</p> - -<p><span class="smcap">Catherine A. M.</span>—We think the tale about the tramcar -tickets, and the getting of a deaf and dumb -child into an asylum or home by means of a collection -of 10,000 of them, must be placed by the side of -many other such figments of the imagination. The -pity is that sensible people like yourself should be -misled by them. Tramcar tickets can be made over, -and there is a special machine for performing the -nefarious work.</p> - -<p><span class="smcap">Dunedin.</span>—Many thanks for your kind letter. There -does not seem to be anything to answer in it, however, -so we merely acknowledge its kindly expressions.</p> - -<p>C. S. L.—The idea is a good one, but we fear we could -not impose such a weight on our own over-burdened -shoulders. As a rule, you may depend on the catalogues -of the Religious Tract Society, the Christian -Knowledge Society, and others of the kind. Would -they not help you if you wrote for them?</p> - -<p><span class="smcap">Ray.</span>—If she have asked to have you taken to see her, -waive all ceremony and go. Mutual family interchanges -of visiting will follow. It would be in better -taste on your part to call yourself Mrs. John B——, -rather than cause a jealous feeling or one of injury on -the part of a mother-in-law. Do all things “that -make for peace,” “in honour preferring one another.” -You write fairly well.</p> - -<p><span class="smcap">Guilda.</span>—The second “h” is mute in the word -“height,” but not in the word “width.” We congratulate -you on gaining a certificate.</p> - -<p><span class="smcap">Ruby.</span>—Sometimes old copies of bound magazines may -be had at secondhand or reduced prices at booksellers’ -stalls. You should study the rules of metrical -composition before you attempt to write verses.</p> - -<p><span class="smcap">A Troubled Mother.</span>—It is a difficult matter upon -which to advise you, and you do not say where you -live. The first thing to do is to give the girl a good -education, and also to include music and singing. -As she grows older she may forget her youthful ideas. -You might write for advice to Mr. C. E. Todd, -Macready Mission House, Henrietta-street, Covent -Garden; or, if in London, you might go and see him, -perhaps.</p> - -<p><span class="smcap">A Sufferer</span> might try mustard oil to rub on for her -rheumatism. It sometimes does wonders for it, and -is to be got at any chemist’s, and is sold by the -ounce. Rub on with the palm of the hand, round -and round.</p> - -<p><span class="smcap">Daisy.</span>—Dandriff may be cured by using a wash of -one pint of water and half an ounce of glycerine. Rub -well into the skin of the head twice a day (this can -be done with a sponge), without wetting the head too -much. Another wash is composed of one pint of -water and one ounce of borax, used in the same -manner. Dandriff is considered to be caused by -digestive troubles, especially when accompanied by -watering of the eyes, nose, or mouth.</p> - -<p><span class="smcap">Swygs.</span>—We thank you for the kind feeling that -prompted the giving of your advice for the benefit -of sufferers. But for certain reasons, into which we -cannot enter, we must decline to make our paper a -means of advocating mesmerism. You write a good -hand.</p> -</div> - -<hr class="chap" /> - -<p>⁂ <i>The Editor regrets to say that the -poem entitled “The Beggar’s Christmas,” -which appeared in</i> Feathery Flakes, <i>was -copied from</i> Little Folks <i>for January, 1886, -and sent to him by J. H. A. Hicks, as his -own original composition. The copyright belongs -to Messrs. Cassell and Co., and to them -apologies for this unwarrantable reproduction -are due.</i></p> - -<hr class="full" /> - -<p>[Transcriber’s Note—the following changes have been made to this text.</p> - -<p>Page 276: miror to mirror—“mirror to mirror”.</p> - -<p>Page 279: aud to and—“and this improvement”.</p> - -<p>Page 288: Gutenburg to Gutenberg—“Gutenberg and Fust”.</p> - -<p>Schœfer to Schœffer—“Fust and Schœffer”.]</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE GIRL'S OWN PAPER, VOL. VIII, NO. 370, JANUARY 29, 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. 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