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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. 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