summaryrefslogtreecommitdiff
path: root/old/66599-h
diff options
context:
space:
mode:
Diffstat (limited to 'old/66599-h')
-rw-r--r--old/66599-h/66599-h.htm3208
-rw-r--r--old/66599-h/images/cover.jpgbin260057 -> 0 bytes
-rw-r--r--old/66599-h/images/header.jpgbin47012 -> 0 bytes
3 files changed, 0 insertions, 3208 deletions
diff --git a/old/66599-h/66599-h.htm b/old/66599-h/66599-h.htm
deleted file mode 100644
index 0e64f08..0000000
--- a/old/66599-h/66599-h.htm
+++ /dev/null
@@ -1,3208 +0,0 @@
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
- "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
- <head>
- <meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
- <meta http-equiv="Content-Style-Type" content="text/css" />
- <title>
- Chambers’s Journal, by Various&mdash;A Project Gutenberg eBook
- </title>
- <link rel="coverpage" href="images/cover.jpg" />
- <style type="text/css">
-
-body {
- margin-left: 10%;
- margin-right: 10%;
-}
-
- h1,h2,h3,h4,h5,h6 {
- text-align: center; /* all headings centered */
- clear: both;
-}
-
-.ph3{
- text-align: center;
- font-size: large;
- font-weight: bold;
-}
-
-
-p {
- margin-top: .51em;
- text-align: justify;
- margin-bottom: .49em;
-}
-
-hr {
- width: 33%;
- margin-top: 2em;
- margin-bottom: 2em;
- margin-left: 33.5%;
- margin-right: 33.5%;
- clear: both;
-}
-
-hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;}
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-@media print { hr.chap {display: none; visibility: hidden;} }
-hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;}
-
-.header {text-align: center; margin-top: 0;}
-.header p {text-align: center; text-indent: 0;}
-.header .floatl {float: left;}
-.header .floatr {float: right;}
-.header .floatc {padding-top: .5em;}
-
-@media handheld
-{
-.header {text-align: center; margin-top: 0;}
-.header p {text-align: center; text-indent: 0;}
-.header .floatl {float: left;}
-.header .floatr {float: right;}
-.header .floatc {padding-top: .5em;}
-}
-
-
-div.chapter {page-break-before: always;}
-h2.nobreak {page-break-before: avoid;}
-
-.pagenum { /* uncomment the next line for invisible page numbers */
- /* visibility: hidden; */
- position: absolute;
- left: 92%;
- font-size: smaller;
- text-align: right;
- font-style: normal;
- font-weight: normal;
- font-variant: normal;
-} /* page numbers */
-
-
-.center {text-align: center;}
-
-.right {text-align: right;}
-
-.smcap {font-variant: small-caps;}
-
-
-/* Images */
-
-img {
- max-width: 100%;
- height: auto;
-}
-img.w100 {width: 100%;}
-
-
-.figcenter {
- margin: auto;
- text-align: center;
- page-break-inside: avoid;
- max-width: 100%;
-}
-
-
-/* Poetry */
-.poetry-container {text-align: center;}
-.poetry {text-align: left; margin-left: 5%; margin-right: 5%;}
-/* uncomment the next line for centered poetry in browsers */
-.poetry {display: inline-block;}
-.poetry .stanza {margin: 1em auto;}
-.poetry .verse {text-indent: -3em; padding-left: 3em;}
-/* large inline blocks don't split well on paged devices */
-@media print { .poetry {display: block;} }
-.x-ebookmaker .poetry {display: block;}
-
-/* Poetry indents */
-.poetry .indent0 {text-indent: -3em;}
-.poetry .indent2 {text-indent: -2em;}
-
-
-
-
- </style>
- </head>
-<body>
-<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 47, Vol. I, November 22, 1884, by Various </p>
-<div style='display:block; margin:1em 0'>
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online
-at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 47, Vol. I, November 22, 1884</p>
- <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Various </p>
-<p style='display:block; text-indent:0; margin:1em 0'>Release Date: October 23, 2021 [eBook #66599]</p>
-<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p>
- <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Susan Skinner, Eric Hutton and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p>
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CHAMBERS'S JOURNAL OF POPULAR LITERATURE, SCIENCE, AND ART, FIFTH SERIES, NO. 47, VOL. I, NOVEMBER 22, 1884 ***</div>
-<p><span class="pagenum" id="Page_737">{737}</span></p>
-
-<h1>CHAMBERS’S JOURNAL<br />
-OF<br />
-POPULAR<br />
-LITERATURE, SCIENCE, AND ART</h1>
-
-<div class="chapter">
-<h2 class="nobreak">CONTENTS</h2>
-</div>
-
-<p class='center'>
-
-
-<!-- Autogenerated TOC. Modify or delete as required. -->
-
-<a href="#CURIOSITIES_OF_THE_BANK_OF">CURIOSITIES OF THE BANK OF ENGLAND.</a><br />
-<a href="#BY_MEAD_AND_STREAM">BY MEAD AND STREAM.</a><br />
-<a href="#MORE_USES_OF_PAPER">MORE USES OF PAPER.</a><br />
-<a href="#ONE_WOMANS_HISTORY">ONE WOMAN’S HISTORY.</a><br />
-<a href="#CHRISTMAS_TREES">CHRISTMAS TREES.</a><br />
-<a href="#THE_MISSING_CLUE">THE MISSING CLUE.</a><br />
-<a href="#WOUNDER_AND_HEALER">WOUNDER AND HEALER.</a><br />
-
-<!-- End Autogenerated TOC. -->
-
-</p>
-
-
-<hr class="full" />
-
-<div class="chapter">
-<div class="figcenter w100" id="header" style="max-width: 43.75em;">
- <img class="w100" src="images/header.jpg" alt="Chambers’s Journal of Popular Literature, Science,
-and Art. Fifth Series. Established by William and Robert Chambers, 1832. Conducted by R. Chambers (Secundus)." />
-</div>
-
-
-<hr class="full" />
-<div class="center">
-<div class="header">
-<p class="floatl"><span class="smcap">No. 47.—Vol. I.</span></p>
-<p class="floatr"><span class="smcap">Price</span> 1½<em>d.</em></p>
-<p class="floatc">SATURDAY, NOVEMBER 22, 1884.</p>
-</div></div></div>
-
-<hr class="full" />
-
-
-<div class="chapter">
-<h2 class="nobreak" id="CURIOSITIES_OF_THE_BANK_OF">CURIOSITIES OF THE BANK OF
-ENGLAND.</h2>
-</div>
-
-
-<p><span class="smcap">Considering</span> the world-wide reputation of the
-Bank of England, it is remarkable how little is
-generally known as to its internal working.
-Standing in the very heart of the largest city
-in the world—a central landmark of the great
-metropolis—even the busy Londoners around it
-have, as a rule, only the vaguest possible knowledge
-of what goes on within its walls. In truth,
-its functions are so many, its staff so enormous,
-and their duties so varied, that many even of
-those who have spent their lives in its service
-will tell you that, beyond their own immediate
-departments, they know but little of its inner
-life. Its mere history, as recorded by Mr Francis,
-fills two octavo volumes. It will be readily
-understood, therefore, that it would be idle to
-attempt anything like a complete description of
-it within the compass of a magazine article.
-There are, however, many points about the Bank
-and its working which are extremely curious and
-interesting, and some of these we propose briefly
-to describe.</p>
-
-<p>The Bank of England originated in the brain
-of William Paterson, a Scotchman—better known,
-perhaps, as the organiser and leader of the ill-fated
-Darien expedition. It commenced business
-in 1694, its charter—which was in the first
-instance granted for eleven years only—bearing
-date the 27th July of that year. This charter has
-been from time to time renewed, the last renewal
-having taken place in 1844. The original capital
-of the Bank was but one million two hundred
-thousand pounds, and it carried on its business
-in a single room in Mercers’ Hall, with a staff
-of fifty-four clerks. From so small a beginning
-has grown the present gigantic establishment,
-which covers nearly three acres, and employs in
-town and country nearly nine hundred officials.
-Upon the latest renewal of its charter, the Bank
-was divided into two distinct departments, the
-Issue and the Banking. In addition to these,
-the Bank has the management of the national
-debt. The books of the various government funds
-are here kept; here all transfers are made, and
-here all dividends are paid.</p>
-
-<p>In the Banking department is transacted the
-ordinary business of bankers. Here other banks
-keep their ‘reserve,’ and hence draw their supplies
-as they require them. The Issue department
-is intrusted with the circulation of the notes
-of the Bank, which is regulated as follows. The
-Bank in 1844 was a creditor of the government
-to the extent of rather over eleven million pounds,
-and to this amount and four million pounds
-beyond, for which there is in other ways sufficient
-security, the Bank is allowed to issue notes without
-having gold in reserve to meet them. Beyond
-these fifteen million pounds, every note issued
-represents gold actually in the coffers of the Bank.
-The total value of the notes in the hands of the
-public at one time averages about twenty-five
-million pounds. To these must be added other
-notes to a very large amount in the hands of the
-Banking department, which deposits the bulk of
-its reserve of gold in the Issue department, accepting
-notes in exchange.</p>
-
-<p>All Bank of England notes are printed in the
-Bank itself. Six printing-presses are in constant
-operation, the same machine printing first the
-particulars of value, signature, &amp;c., and then the
-number of the note in consecutive order. The
-paper used is of very peculiar texture, being at
-once thin, tough, and crisp; and the combination
-of these qualities, together with the peculiarities
-of the watermark, which is distributed over
-the whole surface of the paper, forms one of
-the principal guarantees against imitation. The
-paper, which is manufactured exclusively at one
-particular mill, is made in oblong slips, allowing
-just enough space for the printing of two notes
-side by side. The edges of the paper are left
-untrimmed, but, after printing, the two notes are
-divided by a straight cut between them. This
-accounts for the fact, which many of our readers
-will doubtless have noticed, that only one edge
-of a Bank-note is smooth, the other three being
-comparatively ragged. The printing-presses are<span class="pagenum" id="Page_738">{738}</span>
-so constructed as to register each note printed, so
-that the machine itself indicates automatically
-how many notes have passed through it. The
-average production of notes is fifty thousand a
-day, and about the same number are presented
-in the same time for payment.</p>
-
-<p>No note is ever issued a second time. When
-once it finds its way back to the Bank to be
-exchanged for coin, it is immediately cancelled;
-and the reader will probably be surprised to hear
-that the average life of a Bank-note, or the time
-during which it is in actual circulation, is not
-more than five or six days. The returned notes,
-averaging, as we have stated, about fifty thousand
-a day, and representing, one day with another,
-about one million pounds in value, are brought
-into what is known as the Accountant’s Sorting
-Office. Here they are examined by inspectors,
-who reject any which may be found to be
-counterfeit. In such a case, the paying-in bank
-is debited with the amount. The notes come in
-from various banks in parcels, each parcel accompanied
-by a memorandum stating the number
-and amount of the notes contained in it. This
-memorandum is marked with a certain number,
-and then each note in the parcel is stamped to
-correspond, the stamping-machine automatically
-registering how many are stamped, and consequently
-drawing immediate attention to any
-deficiency in the number of notes as compared
-with that stated in the memorandum. This done,
-the notes are sorted according to number and
-date, and after being defaced by punching out
-the letters indicating value, and tearing off the
-corner bearing the signature, are passed on to the
-‘Bank-note Library,’ where they are packed in
-boxes, and preserved for possible future reference
-during a period of five years. There are one
-hundred and twenty clerks employed in this one
-department; and so perfect is the system of
-registration, that if the number of a returned
-note be known, the head of this department, by
-referring to his books, can ascertain in a few
-minutes the date when and the banker through
-whom it was presented; and if within the period
-of five years, can produce the note itself for
-inspection. As to the ‘number’ of a Bank-note,
-by the way, there is sometimes a little misconception,
-many people imagining that by quoting
-the bare figures on the face of a note they have
-done all that is requisite for its identification.
-This is not the case. Bank-notes are not
-numbered consecutively <i>ad infinitum</i>, but in
-series of one to one hundred thousand, the
-different series being distinguished as between
-themselves by the date, which appears in full in
-the body of the note, and is further indicated,
-to the initiated, by the letter and numerals
-prefixed to the actual number. Thus 25/O 90758
-on the face of a note indicates that the note in
-question is No. 90758 of the series printed on
-May 21, 1883, which date appears in full in the
-body of the note. 69/N in like manner indicates
-that the note forms part of a series printed on
-February 19, 1883. In ‘taking the number’ of a
-note, therefore, either this prefix or the full
-date, as stated in the body of the note, should
-always be included.</p>
-
-<p>The ‘Library’ of cancelled notes—not to be
-confounded with the Bank Library proper—is
-situated in the Bank vaults, and we are indebted
-to the courtesy of the Bank-note Librarian for
-the following curious and interesting statistics
-respecting his stock. The stock of paid notes
-for five years—the period during which, as before
-stated, the notes are preserved for reference—is
-about seventy-seven million seven hundred
-and forty-five thousand in number. They fill
-thirteen thousand four hundred boxes, about
-eighteen inches long, ten wide, and nine deep.
-If the notes could be placed in a pile one
-upon another, they would reach to a height
-of five and two-third miles. Joined end to end
-they would form a ribbon twelve thousand
-four hundred and fifty-five miles long, or half-way
-round the globe; if laid so as to form a
-carpet, they would very nearly cover Hyde Park.
-Their original value is somewhat over seventeen
-hundred and fifty millions, and their weight is
-about ninety-one tons. The immense extent of
-space necessary to accommodate such a mass in
-the Bank vaults may be imagined. The place,
-with its piles on piles of boxes reaching far away
-into dim distance, looks like some gigantic wine-cellar
-or bonded warehouse.</p>
-
-<p>As each day adds, as we have seen, about fifty
-thousand notes to the number, it is necessary to
-find some means of destroying those which have
-passed their allotted term of preservation. This
-is done by fire, about four hundred thousand notes
-being burnt at one time in a furnace specially constructed
-for that purpose. Formerly, from some
-peculiarity in the ink with which the notes were
-printed, the cremated notes burnt into a solid
-blue clinker; but the composition of the ink has
-been altered, and the paper now burns to a fine
-gray ash. The fumes of the burning paper are
-extremely dense and pungent; and to prevent
-any nuisance arising from this cause, the process
-of cremation is carried out at dead of night,
-when the city is comparatively deserted. Further,
-in order to mitigate the density of the fumes,
-they are made to ascend through a shower of
-falling water, the chimney shaft being fitted
-with a special shower-bath arrangement for this
-purpose.</p>
-
-<p>Passing away from the necropolis of dead and
-buried notes, we visit the Treasury, whence
-they originally issued. This is a quiet-looking
-room, scarcely more imposing in appearance than
-the butler’s pantry in a West-end mansion, but
-the modest-looking cupboards with which its
-walls are lined are gorged with hidden treasure.
-The possible value of the contents of this room
-may be imagined from the fact that a million
-of money, in notes of one thousand pounds, forms
-a packet only three inches thick. The writer
-has had the privilege of holding such a parcel
-in his hand, and for a quarter of a minute
-imagining himself a millionaire—with an income
-of over thirty thousand per annum for life! The
-same amount might occupy even less space than
-the above, for Mr Francis tells a story of a lost
-note for thirty thousand pounds, which, turning
-up after the lapse of many years, was paid by the
-Bank <i>twice over</i>! We are informed that notes
-of even a higher value than this have on occasion
-been printed, but the highest denomination
-now issued is one thousand pounds.</p>
-
-<p>In this department is kept a portion of the<span class="pagenum" id="Page_739">{739}</span>
-Bank’s stock of golden coin, in bags of one thousand
-pounds each. This amount does not require
-a very large bag for its accommodation, but its
-weight is considerable, amounting to two hundred
-and fifty-eight ounces twenty pennyweights,
-so that a million in gold would weigh some
-tons. In another room of this department—the
-Weighing Office—are seen the machines
-for detecting light coin. These machines are
-marvels of ingenious mechanism. Three or
-four hundred sovereigns are laid in a long
-brass scoop or semi-tube, of such a diameter
-as to admit them comfortably, and self-regulating
-to such an incline that the coins gradually
-slide down by their own weight on to
-one plate of a little balance placed at its lower
-extremity. Across the face of this plate two
-little bolts make alternate thrusts, one to the
-right, one to the left, but at slightly different
-levels. If the coin be of full weight, the balance
-is held in equipoise, and the right-hand bolt
-making its thrust, pushes it off the plate and
-down an adjacent tube into the receptacle for
-full-weight coin. If, on the other hand, the
-coin is ever so little ‘light,’ the balance naturally
-rises with it. The right-hand bolt makes its
-thrust as before, but this time passes harmlessly
-beneath the coin. Then comes the thrust of the
-left-hand bolt, which, as we have said, is fixed
-at a fractionally higher level, and pushes the
-coin down a tube on the opposite side, through
-which it falls into the light-coin receptacle. The
-coins thus condemned are afterwards dropped into
-another machine, which defaces them by a cut
-half-way across their diameter, at the rate of
-two hundred a minute. The weighing-machines,
-of which there are sixteen, are actuated by a
-small atmospheric engine in one corner of the
-room, the only manual assistance required being
-to keep them supplied with coins. It is said
-that sixty thousand sovereigns and half-sovereigns
-can be weighed here in a single day. The
-weighing-machine in question is the invention
-of Mr Cotton, a former governor of the Bank,
-and among scientific men is regarded as one
-of the most striking achievements of practical
-mechanics.</p>
-
-<p>In the Bullion department we find another
-weighing-machine of a different character, but
-in its way equally remarkable. It is the first
-of its kind, having been designed specially for
-the Bank by Mr James Murdoch Napier, by
-whom it has been patented. It is used for the
-purpose of weighing bullion, which is purchased
-in this department. Gold is brought in in bars of
-about eight inches long, three wide, and one inch
-thick. A bar of gold of these dimensions will
-weigh about two hundred ounces, and is worth,
-if pure, about eight hundred pounds. Each bar
-when brought in is accompanied by a memorandum
-of its weight. The question of quality
-is determined by the process of assaying; the
-weight is checked by means of the weighing-machine
-we have referred to. This takes the
-form of an extremely massive pair of scales,
-working on a beam of immense strength and
-solidity, and is based, so as to be absolutely
-rigid, on a solid bed of concrete. The whole
-stands about six feet high by three wide, and
-is inclosed in an air-tight plate-glass case, a
-sash in which is raised when it is desired to
-use the machine. The two sides of the scale
-are each kept permanently loaded, the one with
-a single weight of three hundred and sixty ounces,
-the other with a number of weights of various
-sizes to the same amount. When it is desired
-to test the weight of a bar of gold, weights to
-the amount stated in the corresponding memorandum,
-<i>less half an ounce</i>, are removed from the
-latter scale, and the bar of gold substituted in
-their place. Up to this point the beam of the
-scale is kept perfectly horizontal, being maintained
-in that position by a mechanical break;
-but now a stud is pressed, and by means of delicate
-machinery, actuated by water-power, the
-beam is released. If the weight of the bar has
-been correctly stated in the memorandum, the
-scale which holds it should be exactly half an
-ounce in excess. This or any less excess of
-weight over the three hundred and sixty ounces
-in the opposite scale is instantly registered by
-the machine, a pointer travelling round a dial
-until it indicates the proper amount. The function
-of the machine, however, is limited to weighing
-half an ounce only. If the discrepancy
-between the two scales as loaded is greater than
-this, or if on the other hand the bar of gold is
-more than half an ounce less than the amount
-stated in the memorandum, an electric bell rings
-by way of warning, the pointer travels right
-round the dial, and returns to zero. So delicate
-is the adjustment, that the weight of half a penny
-postage stamp—somewhat less than half a grain—will
-set the hand in motion and be recorded
-on the dial.</p>
-
-<p>The stock of gold in the bullion vault varies
-from one to three million pounds sterling. The
-bars are laid side by side on small flat trucks or
-barrows carrying one hundred bars each. In a
-glass case in this vault is seen a portion of the
-war indemnity paid by King Coffee of Ashantee,
-consisting of gold ornaments, a little short of
-standard fineness.</p>
-
-<p>One of the first reflections that strike an
-outsider permitted to inspect the repository of
-so much treasure is, ‘Can all this wealth be
-safe?’ These heaps of precious metal, these piles
-of still more precious notes, are handled by the
-officials in such an easy-going, matter-of-course
-way, that one would almost fancy a few thousands
-would scarcely be missed; and that a
-dishonest person had only to walk in and help
-himself to as many sovereigns or hundred pound
-notes as his pockets could accommodate. Such,
-however, is very far from being the case. The
-safeguards against robbery, either by force or
-fraud, are many and elaborate. At night the
-Bank is guarded at all accessible points by an
-ample military force, which would no doubt give
-a good account of any intruder rash enough to
-attempt to gain an entrance. In the event of
-attack from without, there are sliding galleries
-which can be thrust out from the roof, and which
-would enable a body of sharpshooters to rake the
-streets in all directions.</p>
-
-<p>Few people are aware that the Bank of England
-contains within its walls a graveyard, but such is
-nevertheless the fact. The Gordon riots in 1780,
-during which the Bank was attacked by a mob,
-called attention to the necessity for strengthening
-its defences. Competent authorities advised that
-an adjoining church, rejoicing in the appropriate<span class="pagenum" id="Page_740">{740}</span>
-name of St Christopher-le-Stocks, was in a military
-sense a source of danger, and accordingly an
-Act of Parliament was passed to enable the directors
-to purchase the church and its appurtenances.
-The old churchyard, tastefully laid out,
-now forms what is known as the Bank ‘garden,’
-the handsome ‘Court Room’ or ‘Bank Parlour’
-abutting on one of its sides. There is a magnificent
-lime-tree, one of the largest in London, in
-the centre of the garden, and tradition states
-that under this tree a former clerk of the Bank,
-<i>eight feet high</i>, lies buried. With this last, though
-not least of the curiosities of the Bank, we must
-bring the present article to a close. We had
-intended briefly to have referred to sundry eventful
-pages of its history; but these we are compelled,
-by considerations of space, to reserve for
-a future paper.</p>
-
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak x-ebookmaker-important" id="BY_MEAD_AND_STREAM">BY MEAD AND STREAM.</h2>
-</div>
-
-
-<h3>CHAPTER LVII.—THE SECRET IN THE OAK PARLOUR.</h3>
-
-<p><span class="smcap">At</span> Willowmere, the rapidity with which Mr
-Hadleigh regained strength astounded Dr Joy,
-and delighted the patient’s nurses, Aunt Hessy
-and Madge.</p>
-
-<p>‘Wonderful nerve, wonderful physique he must
-have,’ whispered Dr Joy admiringly on the fifth
-day; ‘and yet, according to all accounts, he did
-not study the economy of either in the course
-of his life. Well, well; we do come across extraordinary
-constitutions occasionally, and his is one
-of them.’</p>
-
-<p>The peculiarity of the case was that, after the
-first shock, the patient was perfectly calm, and
-showed not the remotest symptom of delirium.
-He understood everything that passed around
-him, and when permitted, talked quietly about
-the fire, and listened attentively to all that was
-related to him regarding it.</p>
-
-<p>He heard with pleased surprise the account
-of how Caleb had rescued him, and said to
-Madge: ‘I must do something for that man;
-but it will have to be by your hand, for he
-is evidently resolved to accept nothing from
-mine.’</p>
-
-<p>‘We will have to find out where he is, before
-we can do anything for him. He intended to
-go to Australia; but the day after he regained
-his freedom, he wrote to Philip saying that he
-had altered his mind, and was going to the United
-States.’</p>
-
-<p>‘Why did not Philip keep him here?’</p>
-
-<p>‘He tried to persuade him to remain, but
-could not. Poor Caleb, he does not know what
-a sorry heart he has left behind him.’ Here
-she checked herself, feeling that she was entering
-upon delicate ground. ‘He sent good wishes to
-you, and to all of us, and promised to write again
-to Philip, so that we may have an opportunity
-of serving him yet.’</p>
-
-<p>‘He is a headstrong fellow,’ said Mr Hadleigh;
-‘and I hope he may not ruin his own prospects
-by his too great eagerness to secure the independence
-of his neighbours. You see, Miss Heathcote,
-he is one of those unhappy people who have
-reached the stage of education in which they
-discover that they have certain rights, without
-having got education enough to recognise the
-responsibilities which these rights entail. Well,
-we must wait till we have news of him....
-Has my safe been dug out of the ruins yet?’</p>
-
-<p>That was a question he had been asking daily
-from the moment when he comprehended the
-disaster which had befallen him; and the answer
-had been hitherto always the same: ‘Not yet.’
-At length came the information that the safe had
-been found, and was apparently little damaged
-by its ordeal of fire.</p>
-
-<p>Then Mr Hadleigh bade Philip take his keys
-and bring him from the safe a little deed-box
-marked ‘<i>L. H. Private</i>.’ When Philip returned
-with the box, his father had been moved into
-the Oak Parlour, where he was reclining in a
-big armchair, supported by down cushions. A
-cheery fire with one of Madge’s oak-logs was
-blazing on the hearth, raising the temperature
-of the apartment to summer heat.</p>
-
-<p>When the box was placed on the table beside
-him, he desired to be left alone until he should
-ring a hand-bell which was within his reach. He
-had caused Philip to place the key in the box,
-and for a space he remained motionless, staring
-at it, as if hesitating to touch again the spring
-of emotions which he had intended should be
-there shut up from him for ever. His eyelids
-drooped, and in spite of the bright glow of
-the fire, a shadow fell on his pale face.</p>
-
-<p>‘Yes, I thank God that I am spared to do
-this thing,’ he muttered at length. ‘Let the
-secret die with me—it was a cruel as well as
-a selfish wish that prompted me to reveal it to
-them. What matter to me how they may hold
-me in their memory? They may think of me
-as that which circumstances made me appear,
-not as what I wished to be. What matter?
-The dead are beyond earthly pain and passion.
-I shall not stretch my hand from the grave
-to cast the least shade of regret over their
-lives.’</p>
-
-<p>He slowly took from the box the two packets
-he had so carefully sealed and put away on the
-night of the fire. The one was addressed to
-Madge as Mrs Philip Hadleigh; the other, to
-his son Philip, with the injunction that he, after
-reading, was to decide whether or not to show it
-to his wife. The paper addressed to Madge, he
-took up and held in the long thin scarred hands
-as if it were a thing capable of feeling. He
-broke the seal and took the paper from the
-envelope, performing the operation mechanically,
-whilst the far-away look was in his eyes, and
-the Something he had sought but could not reach
-was fading from his vision altogether. His was
-the kind of expression with which one who
-knows he is doomed watches the last sunset
-displaying its brief, changing glories on the
-horizon. The broad streams of gleaming amber
-and opal are quietly transfused into the pensive
-gray of twilight, and the darkness follows.</p>
-
-<p>‘They must never know.’</p>
-
-<p>He made a movement as if to drop the paper
-into the fire, paused, and his eyes rested on the
-writing, although they did not distinguish the
-words. And there was no need; for they only
-represented in a feeble way thoughts which were
-always present to his mind.</p>
-
-<p>‘I must speak’—such were the written words—‘or
-I shall lose all self-restraint. You cannot
-be harmed by what is put down here. Perhaps<span class="pagenum" id="Page_741">{741}</span>
-you will never see it; you certainly shall not
-until after my funeral, and then you may be
-able to understand and think none the less kindly
-of me for this confession.</p>
-
-<p>‘You have seen me in my darkest moods, and
-you have wondered at my melancholy—wondered
-why I who had been granted such a large measure
-of what the world esteems prosperity should find
-no contentment in it. I have partly explained
-the cause to Philip: I could not explain it to
-you.</p>
-
-<p>‘With bitter reason I early learned to believe
-that money—mere money—was the source of all
-earthly happiness. I was mistaken, and found
-out my mistake too late. I should have been
-content, perhaps happy in a way, if I could have
-gone on to the end without the knowledge that
-the want of Love is the only real sorrow which
-can enter into man or woman’s life. But there
-was nobody to lead me out of the miserable conviction
-which took possession of my mind as I
-watched those dearest to me fall one by one, not
-with the merciful swiftness of soldiers in battle,
-but in the lingering torments of soul and body
-which come to those who are poor.</p>
-
-<p>‘Left alone, I looked around. The whole
-world was my enemy, to be conquered by force
-and stratagem. Any man may be rich, I said,
-who has a clear head and no conscience; who
-is willing to abandon all sentiment, forego all
-trivial pleasures, and give himself absolutely to
-the service of the world’s idol. I gave myself to
-the idol; and wealth came to me in increasing
-stores year by year, month by month, day by day.</p>
-
-<p>‘At first, the sense of my victory sufficed; but
-soon there came the consciousness that this was
-not happiness; it was the successful working of
-a machine. I craved for something more, but
-did not know what it was. My wife’s affection,
-I knew, belonged to another: I had married her
-with that knowledge. I tried to win the friendship
-of my children; but the girls had learned
-to regard me with a kind of fear, Coutts with
-indifference, and Philip was the only one who
-could speak to me with frankness. His generous
-nature comforted me, but did not fill up the
-void in my life.</p>
-
-<p>‘I was still seeking the Something which was
-necessary to me, and at length I found it in
-<span class="smcap">You</span>.... Yes, you taught me what love was—I
-loved you with all the fervour of youth.
-My years, my experience of the world intensified
-the love which I had never known before. I
-was prepared to sacrifice all my possessions, all
-my hopes, for you.</p>
-
-<p>‘Do not start away and cast the paper from
-you; I have made the sacrifice.</p>
-
-<p>‘At the same moment in which the treasure
-that would have made life beautiful was revealed
-to me, there was also revealed the impossibility
-of its ever becoming mine. I was like a seaman
-who is shipwrecked and sinks within sight of
-land. I will not try to tell you through what
-pain I passed to the recognition of the duty Love
-imposed—to help forward your happiness in any
-direction in which you might think it lay. I will
-not try to tell you with what agitation I learned
-for the first time, what must have become known
-to me long before, had it not been for the morbid
-isolation in which my days were passed, that you
-and Philip were betrothed.</p>
-
-<p>‘My first desire then was to bring about your
-union as speedily as possible, believing that I
-should find my peace in having the privilege of
-calling you daughter. Meeting your uncle Crawshay
-in the market-place, I took him to a private
-apartment in the inn and endeavoured to explain
-my wishes. I must have spoken stupidly, for
-he misunderstood me, and fancied that the proposal
-was on my own account. His misconception
-startled and confused me, and he left me
-in great indignation.</p>
-
-<p>‘I thought of following him to Willowmere
-and explaining; but the effort already made had
-tried me so much, that not feeling sure of what
-awkwardness of speech or what irrepressible sign
-of emotion might betray my secret, I determined
-to let matters take their course, whilst my task
-should be to keep Philip at home and to hasten
-the marriage. You know how earnestly I strove
-to carry out that resolution.</p>
-
-<p>‘You and Philip will be happy. You two have
-found in time the golden key of life, and in your
-happiness I shall find mine at last. I want to
-live till then; and, after, I shall pass away
-content.’</p>
-
-<hr class="tb" />
-
-<p>The invalid seemed to arouse from a sad and
-yet pleasing dream, for there was a faint smile
-on his worn face, and the eyes seemed to brighten
-as with the consciousness of victory—that greatest
-of all victories, the conquest of self.</p>
-
-<p>He rang the hand-bell, and Madge herself
-promptly answered the summons.</p>
-
-<p>‘It is you I wanted, my child.... How good
-and patient you have been with me—Madge.
-Take notice, I am to call you henceforth, Madge,
-my child.’</p>
-
-<p>‘And I shall call you father,’ she said tenderly,
-taking one of his hands and stroking it affectionately.</p>
-
-<p>He was silent for a few moments; then lifting
-his head, he drew her towards him and kissed
-her with strange solemnity on the brow.</p>
-
-<p>‘Yes, my child,’ he said calmly, ‘that is the
-name which commands a portion of your love—and
-you will give me a little of it?’</p>
-
-<p>‘A great deal of it—you may be sure of that,’
-she answered, blushing slightly, and thinking
-how could she do otherwise than give a great deal
-of love to Philip’s father.</p>
-
-<p>‘You give me more comfort than you know,
-my dear daughter. Now take this paper and
-place it on the fire, so that I may see it burn to
-ashes.’</p>
-
-<p>She obeyed unquestioningly; and he watched
-the flame stretching its white fingers round the
-secret which was to die with him; saw the paper
-curl into black and white films; and then he
-drew a long breath of relief.</p>
-
-<p>‘They can never know now,’ was his mental
-exclamation. ‘Thank God it is done, and by
-her hand.’</p>
-
-<p>There was a little while of dreamy silence,
-during which Madge stood by his side, holding
-his hand, and anxiously noting every change on
-his countenance. The changes were rapid and
-curious as those of a kaleidoscope: now there
-was pain; again a stern frown, as if checking
-some rebellious spirit, and anon a serene smile
-of resignation and content. With this latter
-expression he looked up to her.</p>
-
-<p><span class="pagenum" id="Page_742">{742}</span></p>
-
-<p>‘Call Philip.’</p>
-
-<p>The son was immediately in attendance.</p>
-
-<p>‘I hope you are not exerting yourself too much,
-sir,’ was his anxious observation.</p>
-
-<p>‘O no; I am wonderfully strong this afternoon,
-and am taking advantage of the renewed
-strength to put some matters straight, which being
-done, will relieve my mind, and so give me the
-better chance of a speedy recovery. But it is
-as well to be prepared for the worst; and therefore
-I wish to have the satisfaction of handing
-you this packet in Madge’s presence. You will
-learn from it that when I took from you the
-portion of my fortune which would have been
-yours in the ordinary course of events, I gave
-it to your future wife. I did not intend you
-to know this until after my death; but as your
-uncle has come to grief, I am desirous of relieving
-your mind as soon as possible from any fear of
-the future; and I should have been glad to have
-helped Austin Shield out of his difficulties,
-for your mother’s sake—but he would refuse
-any help that came from me.—What is that?’</p>
-
-<p>The exclamation was caused by one of the
-oak panels facing him slowly moving aside and
-revealing the form of a man.</p>
-
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="MORE_USES_OF_PAPER">MORE USES OF PAPER.</h2>
-</div>
-
-
-<p><span class="smcap">The</span> place of timber in construction bids fair
-to be taken by papier-mâché, and it may claim
-to rival iron itself in the multiplicity of its industrial
-applications. Besides the advantage of its
-cheap construction, papier-mâché is not affected
-by changes of temperature, does not crack, like
-wood or plaster, and is never discoloured by rust.
-It can be bronzed, painted, polished, or gilded,
-made heavy or light as required, and possesses
-greater adaptability for quick removal or adjustment
-than most other materials. Its uses in architecture
-seem to have no limit, as has been shown
-by building and completely furnishing a dwelling-house
-entirely of this material. According to
-report, a huge hotel is about to be constructed
-in America in which paper will take the place
-of stone and brick. The fourth paper dome in
-the United States and, it is thought, in the
-world, will crown the new Observatory at
-Columbia College, in New York. A trade
-journal remarks that besides the paper dome
-at the Troy Polytechnic, there is a second at
-West Point, and a third at Beloit College. That
-at West Point is said to be the largest, but that
-at Columbia College the best in construction
-and arrangement. The method used in the
-manufacture of the paper is kept a secret, the
-makers using a patented process. The dome is
-made in sections—twenty-four in number. They
-are bent over towards the inside at the edges
-and bolted to ribs of wood. The shell, though
-very thin, is as stiff as sheet-iron. On one side
-of the dome is the oblong opening for the telescope,
-and over this a shutter, also of paper, but
-stiffened with wood-lining, which slides around
-on the outside of the dome. The whole dome
-is so light that the hand can turn it.</p>
-
-<p>As regards the uses of papier-mâché in Europe,
-we hear of a complete church being built in
-Bavaria, having columns, walls, altar, roof, and
-spire all of this material. Some of the most
-tasteful halls on the continent and in this country
-are finished in it in preference to wood. Mantels,
-mirrors, frames, and gilded chandeliers are of its
-composition. Pedestals, newels, vases, furniture,
-and ornaments of all kinds, no less than floors
-and staircases, gas-pipes, and even chimney-shafts,
-can be made of it. In Breslau, a chimney-shaft
-fifty feet high is said to have been made of paper-pulp
-chemically impregnated so as to resist combustion.</p>
-
-<p>Incombustible as well as water-proof paper is
-now no novelty, and has before been alluded to
-in this <i>Journal</i>; but an account of some further
-experiments in this line has since reached
-us. M. G. Meyer of Paris recently exhibited to
-the ‘Société d’Encouragement pour l’Industrie
-nationale’ specimens of an incombustible paper
-capable of taking on inks of various shades, and
-also paintings, and preserving them even in the
-fire of a gas-flame. It was stated by him that
-the papers and documents shown had been for
-four hours in a pottery furnace, and had displayed
-undoubted fire-resisting properties. Paper of this
-indestructible nature should be in good demand
-for wills, deeds, and account-books, &amp;c. It is
-also suitable for wall-covering, and ought, we
-should think, to be of great value for theatrical
-decorations and scenery. The latter can be
-rendered uninflammable by using this inventor’s
-material as well as his incombustible colours.
-While on the subject of decoration may be mentioned
-the new kind of satin paper recently
-brought out for this purpose. It is made by
-covering common paper with adhesive size, and
-sprinkling dyed asbestos powder on its moist
-surface. Asbestos readily takes up all colours,
-especially those of aniline, so that some very rich
-effects can be produced.</p>
-
-<p>Paper curtains, counterpanes, sheets, and so
-forth, are said to have been among the objects
-of interest at the Sydney Exhibition; and so
-there is no reason to doubt the report that table-napkins
-of the same adaptable substance are regularly
-supplied at the cheap dining-rooms of Berlin.
-The napkins are of tissue-paper with a coloured
-ornamental border—not only because paper is
-cheaper than diaper, but as a protection against
-pilfering. Indeed, so common are paper table-napkins
-said to be at Berlin, that the manufacturers
-advertise them regularly in the newspapers
-at the rate of about nine or ten a penny.</p>
-
-<p>When we think of the extraordinary uses to
-which paper is applied, it is not so startling to
-learn that this material may even enter into the
-composition of our post-prandial cigar. If we
-are to believe the newspapers, millions of cigars
-are annually manufactured in Havana without
-so much as a single fibre of tobacco-leaf being
-utilised in the process of their fabrication. The
-great straw-paper factory in New York State
-has for some time been making a peculiar sort
-of extremely thin fine paper, which it has been
-discovered is used for making cigars. This we
-are told is thoroughly soaked in a solution composed
-of tobacco refuse boiled in water, then dried
-and pressed between stamps, which impart to it
-the appearance of the finest leaf so exactly as
-to defy detection even on the part of the experienced
-in such matters. Of these paper-leaves are
-fabricated the spurious cigars alluded to, which
-are exported from Cuba to all parts of the world
-as genuine tobacco. The cost of their production<span class="pagenum" id="Page_743">{743}</span>
-is nothing in comparison with the prices at which
-they are disposed of. A slight difference in
-weight between the genuine and the spurious
-cigar of identical brand and size, affords, it is
-stated, the only certain means of detecting this
-fraud, so alike in appearance are the weeds of
-real tobacco and their counterfeit presentments
-in straw-paper.</p>
-
-<p>As delicate sheets of paper can be made to serve
-for steel or iron, it is easily understood that
-school-slates can be manufactured from similar
-apparently unpromising beginnings. They are
-made of white cardboard, covered with a film
-formed by the action of sulphuric acid on tissue-paper.
-This covering, according to an American
-journal, is probably a modification of celluloid.
-The slates can be used with a lead-pencil or with
-ink; and to remove the marks, the slate is washed
-with cold water. A special ink is also prepared
-for use with these white slates. Another form
-of slate is made by coating the white cardboard
-with water-glass. It may be used with lead-pencils
-or coloured crayons. When the surface
-becomes soiled, the water-glass may be rubbed off
-with sand-paper, and a new film may be put on
-with a sponge or brush dipped in water-glass.</p>
-
-<p>To the number of paper-making materials now
-in use must be added an old weed of the nettle
-species, not of the stinging kind. From the bark
-of certain shrubs, also, several kinds of Japanese
-paper are made. The strongest and commonest
-is made from the bark of the mitsuma.
-A paper of superior quality is likewise made
-from the kozu, a small tree of the mulberry
-family, imported from China. The inner bark of
-both shrubs is washed and dried, softened in
-steam and boiling water, and afterwards beaten
-with staves until a fine paste is formed. This
-paste mixed with water is then made into paper
-in the ordinary way.</p>
-
-<p>A new use of cedar-bark has been undertaken
-at New Bedford, Massachusetts. The Acushnet
-paper-mill at that point is, it appears, nearly
-completed, and was built for the express purpose
-of manufacturing pulp and paper from cedar-bark.
-This, we are told, is the first enterprise
-of the kind ever undertaken. The bark is taken
-from shingle butts that are sixteen inches long,
-and are bundled for shipment like laths. The
-new mill will work up three cords of bark a
-day. The first product will be for carpet linings;
-but the paper is said to be equally adapted to
-other purposes.</p>
-
-<p>A new method of preparing soluble wool from
-tissues in which wool and cotton are combined
-has been discovered. When subjected to a current
-of superheated steam under a pressure of
-five atmospheres, the wool melts and falls to
-the bottom of the pan, leaving the cotton, linen,
-and other vegetable fibres clean and in a condition
-suitable for paper-making. The melted
-wool is afterwards evaporated to dryness, when
-it becomes completely soluble in water. The
-increased value of the rags is said to be sufficient
-to cover the whole cost of the operation.</p>
-
-<p>With the use of the papyrus, as is well known,
-the Egyptians were early acquainted, and its
-manufacture was a government monopoly, as paper-making
-is to this day at Boulak, the river-port
-of Cairo. The remarkable aptitude for paper-making
-displayed by the Boulak Arabs is an
-hereditary accomplishment. The Daira paper
-manufactory in the suburb of Boulak regularly
-employed, we are told, more than two hundred
-hands before the late war, almost all natives.
-Most of the paper turned out is for packing
-purposes; but thousands of reams of good writing
-and printing paper are also manufactured.
-The writing-paper is made specially for Arabic
-writing; and what is produced in excess of the
-requirements of the country is exported eastward,
-partly to Arabia, and a small portion even to
-India. Though linen and cotton rags are used
-in this factory, the interior of the stalk of the
-sugar-cane furnishes an endless supply of paper-making
-material. In the production of what is
-called ‘straw’ paper in Europe, the <i>hilfa</i> grass
-plays a very important part. The Daira factory
-at Boulak enjoys a monopoly of this industry
-in Egypt; and in connection with it is the
-National Printing Office, also under the control
-of the same administration.</p>
-
-<p>In conclusion, some reference may be made
-to a published work entitled <i>The Paper Mill
-Directory of the World</i>, which will appear annually.
-It contains a complete catalogue of all the
-paper and pulp mills on the globe. The total
-number of mills existing is four thousand four
-hundred and sixty-three. The German Empire,
-with over eleven hundred, heads the list in point
-of numbers, the United States following very
-closely. Then we have France with considerably
-more than five hundred, Austro-Hungary, England,
-Italy, Russia, Spain, Sweden, Canada and
-Norway, the remainder being scattered over
-various parts of the world. It appears that
-the mills in the United States are capable of
-turning out seven million some odd hundred
-thousand pounds-weight, in round numbers, of
-pulp and paper daily. Over a million pounds
-is produced in Massachusetts alone.</p>
-
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="ONE_WOMANS_HISTORY">ONE WOMAN’S HISTORY.</h2>
-</div>
-
-
-<h3>CHAPTER VIII.</h3>
-
-<p><span class="smcap">At</span> the very time Mr Dulcimer was assisting
-Miss Wynter across the stepping-stones, the
-stranger whose unexpected appearance the previous
-night had so startled Madame De Vigne
-was pacing leisurely up the valley in the direction
-of the waterfall.</p>
-
-<p>When, on inquiring for Madame De Vigne
-at the hotel that morning, he was told that
-she had gone out for the day with a picnic
-party, his suspicious nature at once took the
-alarm. Might she not by some means have
-discovered his presence in the hotel? he asked
-himself; and might not this story of the picnic
-be nothing more than a subterfuge, by means
-of which she would obtain a start of several
-hours in her efforts to escape from him? He
-at once ordered a fly and set off in pursuit.
-On reaching the place where the wagonettes
-had been left, he found that if he persisted in
-his search for Madame De Vigne, he would be
-compelled to do the rest of the distance on foot.
-He disliked walking, but in this case there was
-no help for it; accordingly, he set out on his
-way to the glen with such grace as there might
-be in him.</p>
-
-<p>He was a man to all appearance about forty<span class="pagenum" id="Page_744">{744}</span>
-years of age—he might be a little older; but
-his figure was still as lithe and active as that of
-many a man of twenty. He had jet-black hair,
-and his closely cropped beard and moustache
-were of the same hue. He had large, white, carnivorous-looking
-teeth, and small black eyes as
-piercing as gimlets, with now and then a strange,
-furtively suspicious look glancing at you out of
-their corners. His features were aquiline, rather
-finely cut, and his complexion sallow. By the
-majority of people he would have been accounted
-a fairly handsome man. He was fashionably
-dressed, but it was after the fashion of a Parisian
-dandy, not that of a London swell; and there
-is a vast difference in the styles of the two.</p>
-
-<p>When he had passed through the wicket which
-gave admittance to the glen and was within a
-few yards of the bridge, he paused and gazed
-around. Not a creature was to be seen, for,
-before this, Dick and Bella had gone on a further
-journey of exploration and were no longer visible.</p>
-
-<p>‘So! This must be the place where they told
-me that I should find her,’ said the stranger to
-himself in French. ‘But she is not here. Well,
-I can wait.’ He advanced a few yards farther
-up the glen. ‘We could not have a better place
-for our meeting. There will be no one to overhear
-what we shall have to say to each other.
-Ah, <i>ma chère</i> Mora, what a surprise for you!
-How enchanted you will be to find that your
-brave Hector is not dead, as they wrote and told
-you he was, but alive, and burning to embrace
-you! What happiness for both of us!’</p>
-
-<p>He had been climbing slowly up the ravine,
-and by this time he had reached the spot where
-Mora had been sitting but a short time before.
-Her sketch-book attracted his eye; he took it
-up and opened it.</p>
-
-<p>‘Hers! Here is her name. She cannot be
-far away. A man’s head—a likeness evidently.
-The same again—and yet again. I must find
-out the name of this monsieur. I shall have
-much pleasure to introduce myself to him.’ A
-slight noise startled him. He shut the book and
-raised his eyes. ‘Ah! here comes my angel,’
-he exclaimed. ‘<i>Sacre bleu!</i> she is handsomer
-than ever.’</p>
-
-<p>For the moment Mora did not perceive him.
-When she did, she put a hand quickly to her
-heart and gave a great gasp.</p>
-
-<p>‘Ah!’ What a volume of meaning that little
-word conveyed!</p>
-
-<p>Monsieur De Miravel—for such was the name
-he now chose to be known by—advanced a step
-or two smilingly, and bowed with all a Frenchman’s
-grace. ‘<i>Me voici!</i>’ he said. ‘Hector—thy
-husband—not dead, but alive and’——</p>
-
-<p>She stopped him with an imperious gesture.
-‘Wretch—coward—felon!’ she exclaimed, and
-her voice seemed to express the concentrated
-passion and hatred of years. ‘I could never quite
-believe that I had been fortunate enough to lose
-you for ever. I had a presentiment that I should
-some day see you again. Why have you followed
-me? But I need not ask. It is to rob me again,
-as you robbed me before. <i>Voleur!</i>’</p>
-
-<p>She stood before him drawn up to the full
-height of her magnificent beauty, her bosom
-heaving, her eyes dilating, her head thrown
-slightly back, her clenched hands hanging by
-her sides, her shoulders a little raised. Even
-the scoundrel whom she had addressed could not
-help admiring her as she towered before him in
-all the splendour of her passion.</p>
-
-<p>A small red spot flamed on either cheek, but
-his voice had still a smile in it when next he
-spoke. ‘Ah ha!’ he said. ‘You are still the
-same charming Mora that you always were! You
-still call me by the same pretty names! How it
-brings back the days of long ago!’</p>
-
-<p>‘How much money do you want of me?’ she
-demanded abruptly. ‘What price do you expect
-me to pay that I may rid myself of your
-presence?’</p>
-
-<p>‘Softly, <i>ma chère</i>, softly. I have not been at
-all this great trouble and expense to discover
-you, without having something to say to you.
-I want to talk what you English call business.’</p>
-
-<p>‘Name your price and leave me.’</p>
-
-<p>‘Taisez-vous, je vous prie. You are here, and
-you must listen to me. You cannot help yourself.’</p>
-
-<p>Madame De Vigne bit her lip, but did not reply.</p>
-
-<p>De Miravel sat down, crossed his legs, leant
-back a little, and looked up at her with half-shut
-eyes. ‘Five years ago,’ he began, ‘you received
-a certain letter in which you were informed
-that I was dead. That letter, by some strange
-error, was forwarded to the wrong person. It
-was not I, your husband, who was dead, but
-another man of the same name—another Hector
-Laroche. When the mistake was discovered, you
-had left the place where you had previously
-been living, and no one knew what had become
-of you. Two years ago I found myself in Paris
-again. When I had arranged my private affairs,
-which had suffered during my long absence, I
-began to make inquiries concerning the wife from
-whom I had been so cruelly torn, and whom
-my heart was bleeding to embrace.’</p>
-
-<p>‘<i>Menteur!</i>’ ground out Mora between her
-teeth.</p>
-
-<p>He waved, as it were, the epithet aside with
-an airy gesture of his hand, and continued:
-‘For a long time I could hear nothing concerning
-her, and I began to fear that I had lost her for
-ever. But at length a clue was put into my
-hands. I discovered that, in consequence of the
-death of a relative, my incomparable wife had
-come into a fortune of twelve thousand francs
-a year—that she had changed her name from
-Madame Laroche to that of her aunt, Madame
-De Vigne, and that she and her sister had gone
-to make their home in England. Naturally, I
-follow my wife to England, and here, to-day,
-<i>me voici!</i>’</p>
-
-<p>‘Your price—name your price,’ was all that
-the lady deigned to answer.</p>
-
-<p>‘Pardon. I am not in want of money—at
-present. It was my wife whom I sought everywhere,
-and now that I have found her, I do
-not intend ever to leave her again.’</p>
-
-<p>‘Liar and villain!’</p>
-
-<p>‘Doucement, je vous prie. Listen! I am no
-longer so young as I once was. I have travelled—I
-have seen the world—I am <i>blasé</i>. I want
-a home—I want what you English call my own
-fireside. Where, then, should be my home—where
-should be my fireside, but with my wife—the
-wife from whom I have been torn for so
-many cruel years, but whom, <i>parole d’honneur</i>,
-I have never ceased to love and cherish in my
-heart!’</p>
-
-<p><span class="pagenum" id="Page_745">{745}</span></p>
-
-<p>‘Oh! this is too much,’ murmured Mora under
-her breath, the fingers of one hand griping those
-of the other like a vice. The tension was becoming
-greater than she could bear.</p>
-
-<p>‘But there need be no scandal, no éclaircissement
-among my dear wife’s English friends,’
-went on De Miravel with the same hard, set
-smile. ‘I have thought of all that. Madame
-Laroche is dead—Hector Laroche is dead. In
-their place we have here, Madame De Vigne, a
-charming widow; and Monsieur De Miravel, a
-bachelor not too antique to marry. Monsieur
-De Miravel has known and admired Madame
-De Vigne before her marriage to her late husband.
-What more natural than that he should admire
-her still, that he should make her an offer of
-his hand, and that she should accept it? So
-one day Madame De Vigne and Monsieur De
-Miravel are quietly married, and, <i>pouf!</i> all the
-respectable English friends have dust thrown in
-their eyes!’</p>
-
-<p>For a moment or two Mora stared at him in
-silence; then she said in a low voice: ‘And you
-propose this to me!—to me!’</p>
-
-<p>‘Sérieusement, ma chère—sérieusement. It is
-a beautiful little scheme.’</p>
-
-<p>‘If you will not take your price and leave me,
-I at least can leave you,’ she answered in low,
-determined tones. ‘No power on earth can
-compel me to live with you for a single hour
-as your wife, and no power shall. I would
-sooner drop dead at your feet.’</p>
-
-<p>The Frenchman bent his head and sniffed at
-the flower in his button-hole. When he lifted
-his face again there was a strange expression in
-his eyes, which his unhappy wife remembered
-only too well, and caused her to shudder in spite
-of herself. She felt that the scorpion’s sting of
-what he had to say to her was yet to come.
-When he next spoke, there was the same cold,
-cruel glitter in his eyes that travellers tell us is
-to be seen in the eyes of a cobra at the moment
-it is about to strike.</p>
-
-<p>‘Mademoiselle your sister—what a beautiful
-young lady she is!’ he said, speaking even more
-softly than he had done before, and balancing his
-cane on a couple of fingers as he spoke. ‘I saw
-her this morning for the first time. She is to
-be married in a little while to the son of a rich
-English <i>milord</i>. Is it not so? <i>Eh bien!</i> I wonder
-what this rich <i>milord</i>, this Sir William, would
-say, and what the young gentleman, his son,
-would say, if they were told that the sister of
-the charming Mademoiselle Clarice was the wife
-of a <i>déporté</i>—of Hector Laroche, a man who had
-worked out a sentence of penal servitude at
-Noumea. Of course the rich Sir William would
-at once take Monsieur Laroche to lunch with
-him at his club, and the young gentleman would
-present him with a little cheque for five or six
-thousand francs; and he would be asked to give
-the bride away at the wedding, and he would
-sign his name in the register, thus—“Hector
-Laroche, <i>ex-déporté</i>, number 897.”’</p>
-
-<p>For a moment or two it seemed to Mora as if
-earth and heaven were coming together.</p>
-
-<p>‘So, fiend! miscreant! that is your scheme,
-is it?’</p>
-
-<p>‘I have shown you my cards,’ he answered
-with a shrug. ‘I have hidden nothing from you.
-So now, <i>chère</i> Madame De Vigne, you have only
-to give your promise to marry your devoted De
-Miravel; and the moment you do that, Hector
-Laroche dies and is buried out of sight for ever,
-and neither Sir William nor his son will know
-that such a <i>vaurien</i> ever existed.’</p>
-
-<p>‘Leave me—leave me!’ she exclaimed in a
-hoarse whisper.</p>
-
-<p>He glanced at her keenly. It was evident that
-just at present she could bear no more. It was
-not his policy to drive her to extremities. He
-rose from his seat.</p>
-
-<p>‘I will go and promenade myself for a little
-while,’ he said. ‘In half an hour I will return.’</p>
-
-<p>He raised his hat as he might have done to
-a duchess. She stood a little aside, to let him
-pass, but did not allow her eyes to rest on him
-for a moment. He turned and took the path
-which led up the ravine.</p>
-
-<p>Mora sank down wearily on the seat he had
-vacated. At that moment she felt as if she
-would have been grateful for the earth to open
-and swallow her up. She was appalled at the
-blackness of the gulf to the edge of which her
-husband had just dragged her. What should
-she do? Whither should she turn? To whom
-should she look for help? Alas! in all the wide
-world there was no one who could help her—least
-of all the man whose strong protecting love
-had seemed but yesterday as though it were able
-to shield her from every harm.</p>
-
-<p>‘I am in the coils of a Python that will
-slowly but surely strangle me,’ she said. ‘Yes—death
-alone can release me. And only yesterday
-I was so happy! If I could but have died at
-the moment Harold pressed his lips to mine!
-Why does he not come? I must tell him
-everything—everything. And after that?’ She
-shuddered, and rose to her feet. ‘And he loves
-me so much!’ she said with a heart-broken sigh.
-‘Poor Harold! Poor Harold!’</p>
-
-<p>Scarcely conscious of what she was doing, she
-turned and took the same path that she had
-taken before when she went to watch for Colonel
-Woodruffe’s coming up the valley. Her one
-burning desire now was to see him; beyond that,
-her mind at present refused to go.</p>
-
-<hr class="tb" />
-
-<p>‘I am afraid that as an ambassador the colonel
-was a failure.’</p>
-
-<p>The speaker was Mr Etheridge, and it was to
-Clarice Loraine that his remark was addressed.</p>
-
-<p>Mr Etheridge had had pointed out to him
-and had duly admired the view so much extolled
-by the young girl, and the two were now slowly
-sauntering back to their starting-point. By this
-time Clarice felt herself quite at ease with her
-companion, so much so, indeed, that in her
-prettily confidential way she had told him all
-about how Archie and she became acquainted,
-how they grew to love each other, how Archie
-proposed and was accepted, and how surprised
-they all were afterwards to find that he was a
-baronet’s son. Then she went on to tell him
-of Archie’s letter to his father, the first result of
-which was Colonel Woodruffe’s visit at the vicarage.</p>
-
-<p>‘Well, and what happened after the colonel’s
-visit?’ continued Mr Etheridge.</p>
-
-<p>‘Archie wrote again, twice; but there came
-no answer till yesterday, when he received the
-telegram which summoned him to meet his father
-in London.’</p>
-
-<p><span class="pagenum" id="Page_746">{746}</span></p>
-
-<p>‘Supposing Sir William should refuse his
-consent, what would the result be in that
-case?’</p>
-
-<p>‘That is more than I can tell,’ she answered
-with a little trembling of her lips. ‘But before
-Archie left us, my sister told him that he went
-away a free man—that if his father were
-opposed to the marriage, we should look upon
-his promise as if it had never been given; and
-that if we never saw him again, we should
-know the reason why, and never blame him in
-our thoughts.’</p>
-
-<p>‘And you agreed with what your sister said?’</p>
-
-<p>‘With every word of it.’</p>
-
-<p>‘That was very brave of you. But what had
-Mr Archie to say to such an arrangement?’</p>
-
-<p>‘He laughed it to scorn. He said he would
-do all that lay in his power to win his father’s
-consent, but that—that’——</p>
-
-<p>‘In any case, he would hold you to your
-promise, and come back and claim you for his
-wife? Mr Archie would find himself a very
-poor man if Sir William were to cut off his
-allowance.’</p>
-
-<p>‘That is a prospect which does not seem to
-frighten him in the least.’</p>
-
-<p>‘But doubtless it would not be without its
-effect upon you, Miss Loraine. You would
-hardly care to tie yourself for life to a
-pauper.’</p>
-
-<p>‘O Mr Etheridge, what a strange opinion
-you must have formed of me! I would marry
-Archie if he had not a sovereign to call his
-own.’</p>
-
-<p>‘The charming imprudence of a girl in love.
-Then you would marry him in opposition to his
-father’s wishes?’</p>
-
-<p>‘Now you ask me a question that I cannot
-answer. That, and that only, would cause me
-to hesitate.’</p>
-
-<p>‘Why should the wishes of a selfish valetudinarian—of
-a man whom you have never seen—cause
-you to hesitate, or be allowed to come
-between you and the happiness of your life?’</p>
-
-<p>‘Ah! but could I ever be really happy with
-the knowledge for ever in my mind that I had
-been the cause of separating a father from his
-son, and that by becoming Archie’s wife I had
-blighted the fairest prospects of his life? And
-then, perhaps—who can tell?—after a time he
-might become a little tired of me—men do
-sometimes tire of their wives, don’t they?—and
-then he might begin to remember and
-regret all that he had sacrificed in marrying
-me; and that, I think, would nearly break my
-heart.’</p>
-
-<p>The old man laid his hand caressingly on her
-arm for a moment. ‘Well, well, we must hope
-for the best,’ he said. ‘We must hope that Sir
-William will not prove a very flinty-hearted
-papa.’</p>
-
-<p>She smiled up gratefully in his face. ‘Tell
-me, Mr Etheridge, is Sir William a very terrible
-person to have to do with?’</p>
-
-<p>He broke into a little laugh. ‘Terrible, miss?
-No; hardly that, I think; but eccentric, if you
-please. The fact is that Sir William is one of
-those men of whom it can never be predicated
-with certainty what view he will take, or what
-conclusion he will arrive at, with regard to any
-matter that may be brought before him. He
-has an obnoxious habit of thinking and deciding
-for himself, and is seldom led by the opinions
-of others. Yes, undoubtedly Sir William is a
-very eccentric man.’</p>
-
-<p>They had got back to the bridge by this
-time. ‘Why, I declare, yonder comes Colonel
-Woodruffe!’ exclaimed Clarice. ‘I am <i>so</i> pleased—and
-so will Mora be.’</p>
-
-<p>‘Evidently the colonel is a favourite,’ said Mr
-Etheridge drily.</p>
-
-<p>‘Of course he is. Everybody likes Colonel
-Woodruffe. But probably you know him already,
-Mr Etheridge?’</p>
-
-<p>‘I have met him occasionally at Sir William’s
-house. I have no doubt he would remember
-me if you were to mention my name.’</p>
-
-<p>‘I will go and speak to him, if you will excuse
-me for a few moments.’</p>
-
-<p>Clarice sped quickly across the bridge. Mr
-Etheridge sat down on the parapet and fanned
-himself with his hat.</p>
-
-<p>The colonel, who had been gazing round him
-in some perplexity, hurried forward the moment
-he perceived Miss Loraine.</p>
-
-<p>‘Good-morning, Colonel Woodruffe,’ said the
-girl as she held out her hand. ‘I am delighted
-to find that you have discovered us.’</p>
-
-<p>‘Your sister told me that you were all to be
-at High Ghyll to-day, so I have driven round
-in search of you. But where are the rest of
-the party?’</p>
-
-<p>‘Gone in search of the picturesque, I have no
-doubt. Mora was here a little while ago; and
-see’—pointing with her finger—‘yonder are her
-sketch-book and shawl, so that she cannot be
-far away.’</p>
-
-<p>The colonel had been gazing over Clarice’s
-shoulder at Mr Etheridge. ‘Whom have you
-yonder?’ he asked. ‘I seem to know his face.’</p>
-
-<p>‘Such a dear old gentleman!—Mr Etheridge,
-Sir William Ridsdale’s secretary.’</p>
-
-<p>‘Sir William Ridsdale’s secretary!’ echoed the
-colonel with an air of stupefaction.</p>
-
-<p>‘Yes; he recognised you the moment he saw
-you. He says that he has met you occasionally
-at Sir William’s house.’</p>
-
-<p>‘Oh, indeed! But what has brought him here,
-may I ask?’</p>
-
-<p>‘He has come all the way from Spa with a
-letter for Archie from his father. But when he
-reached here this morning, he found that Archie
-had been telegraphed for last evening to meet
-his father in London.—It seems very strange,
-doesn’t it? But then, as Mr Etheridge says, Sir
-William is a very eccentric man.’</p>
-
-<p>‘Very eccentric, indeed,’ responded the colonel
-absently.</p>
-
-<p>‘So that of course accounts for it.—But yonder
-comes Mora.’</p>
-
-<p>The colonel turned eagerly. ‘Then, with your
-permission, I will leave you to Mr Etheridge.’</p>
-
-<p>‘We shall see you at luncheon, of course?’</p>
-
-<p>‘You may rely upon me not to miss that,’
-answered the colonel with a laugh.</p>
-
-<p>Clarice kissed her hand to her sister, and then
-went back to Mr Etheridge. She wanted to
-afford the colonel an opportunity for a <i>tête-à-tête</i>
-with Mora, so she at once proposed another ramble
-to Mr Etheridge, who assented with alacrity.</p>
-
-<p>The moment Colonel Woodruffe drew near Mora
-De Vigne, he saw that something was amiss.<span class="pagenum" id="Page_747">{747}</span>
-She looked an altogether different woman from
-her whom he had parted from only a few hours
-before with a tender light of love and happiness
-in her eyes. His heart misgave him as he walked
-up to her.</p>
-
-<p>‘What has happened?’ he asked in anxious
-tones as he took her hand. ‘What has wrought
-this change in you? Your hand is like ice.’</p>
-
-<p>She gazed up into his face for a moment or
-two without speaking, with a dumb, pitiful wistfulness
-in her eyes, that affected him strangely.
-Then she said: ‘Why did you not read the
-letter which I gave you last evening?’</p>
-
-<p>He gazed at her for a moment. ‘You know
-my reasons for not reading it. But why do you
-ask that now?’</p>
-
-<p>‘Because, if you had read it, you would have
-saved me from having to tell so much to-day,
-which, in that case, you would have known
-yesterday.’</p>
-
-<p>‘Pardon me, but you speak in enigmas.’</p>
-
-<p>‘You have read of earthquakes, although you
-may never have felt the shock of one. One
-minute all is fair, bright, and beautiful; the next,
-there is nothing but ruin, disaster, and death.
-Since I saw you yesterday, the foundations of
-my life, which I thought nothing could ever
-shake more, have crumbled into utter ruin around
-me.’</p>
-
-<p>‘How can that be, while I am here to guard
-and cherish you? Yesterday, you gave me your
-love—your life. What power on earth can tear
-them from me?’</p>
-
-<p>‘Ah me! Listen, and you shall learn.’</p>
-
-<p>She sat for a few moments with bent head,
-as if scarcely knowing how to begin. The
-colonel was standing a little way from her, one
-of his arms twined round the slender stem of a
-sapling.</p>
-
-<p>‘What I am about to tell you is the life-story
-of a most unhappy woman,’ she said, lifting her
-head and gazing sadly into his eyes. ‘My father
-was an Englishman, who was engaged for many
-years in business near Paris. I was educated
-in a convent, as girls are educated in France.
-I had left the convent about a year, and was
-keeping my father’s house—my mother having
-died meanwhile, and my sister being away at
-school—when a certain Monsieur Laroche became
-a frequent visitor. Before long, my father told
-me that his affairs were deeply involved. Laroche
-was the only man who could or would save
-him, and that only on condition that I became
-his wife. I was little more than a child in
-worldly knowledge; I knew that in France the
-question of a girl’s marriage is always settled
-by her parents; so, although I already detested
-the man, I yielded to my father’s entreaties, and
-became Madame Laroche. Within a year, my
-father died—by his own hand.’</p>
-
-<p>‘My poor Mora!’</p>
-
-<p>‘Whatever wreck of property he left behind,
-my husband contrived to obtain possession of.
-But before that time, I knew him to be an
-inveterate gambler, and worse! Of my life at
-that time I care not now to speak. Can there
-be many such men as he in the world—such
-tigers in human form? I hope not.</p>
-
-<p>‘Some time after, when my life had become
-a burden almost greater than I could bear, there
-came news of the death of my godmother, and
-that she had left me a legacy of two thousand
-pounds. The money had not been six hours in
-my possession, before my husband broke open
-my bureau and robbed me of the whole of it,
-together with my own and my mother’s jewels.
-I was left utterly destitute. A few months later
-came the war, the siege of Paris, and the famine.
-Oh! that terrible time. I often live it over
-again in my dreams even now.’</p>
-
-<p>‘And you have gone through all this!’ said
-the colonel.</p>
-
-<p>‘I had no tidings of my husband till the war
-was over,’ resumed Mora. ‘Then came news
-indeed. He had been detected cheating at cards—there
-had been a quarrel—the lights had been
-blown out, and the man who had accused him
-had been shot through the heart. My husband
-was tried, found guilty, and condemned to a
-long term of penal servitude.’</p>
-
-<p>‘A happy riddance for you and every one,’
-remarked the colonel with a shrug.</p>
-
-<p>‘I had friends who did not desert me in my
-extremity. I gave lessons in English, and so
-contrived to live. One day there came an official
-notification that my husband was dead. He had
-died in prison, and had been buried in a convict’s
-grave. Was it wicked to feel glad when I read
-the news? If so, then was I wicked indeed.’</p>
-
-<p>‘No one but a hypocrite could have pretended
-to feel otherwise than glad.’</p>
-
-<p>‘My sister was with me by that time. I never
-told her the history of my marriage, and my
-husband she had never seen. She knew only
-that I had been deserted and was now a widow.
-Our quiet life went on for a time, and then, by
-the death of an aunt, I came into possession of
-a small fortune. I changed my name, as requested
-in my aunt’s will, and after a little while Clarice
-and I came to England. The rest you know.’</p>
-
-<p>The colonel looked puzzled. ‘Pardon me,’ he
-said, ‘if I fail to see why you have thought it
-needful to tell me to-day that which I did not
-wish or ask to be enlightened about yesterday.’</p>
-
-<p>‘I have told you this to-day because yesterday,
-a little while after you left me, I saw—my
-husband.’</p>
-
-<p>‘Your husband!—But how’—— He stared
-at her as though he could not say another word.
-Mora was now the calmer of the two.</p>
-
-<p>‘The letter which I received five years ago
-informing me of his death was sent to me in
-error. Another man bearing the same name as
-my husband—a <i>déporté</i> like him, had died; and
-somehow one convict would seem to have been
-mistaken for the other.’</p>
-
-<p>‘O Mora, Mora, and am I then to lose you!’
-cried the colonel.</p>
-
-<p>She did not speak; but at that moment all
-the anguish of her soul was revealed in her
-eyes.</p>
-
-<p>Involuntarily he moved from the place where
-he had been standing and sat down by her
-side.</p>
-
-<p>‘And I love you so dearly!—so dearly!’</p>
-
-<p>‘And I you!’ she answered scarcely above a
-whisper. ‘I may tell you this now—for the last
-time.’</p>
-
-<p>Their hands sought each other, touched and
-clasped. In the silence that ensued, the leaves
-seemed whispering among themselves of that
-which they had just heard; while the stream<span class="pagenum" id="Page_748">{748}</span>
-went frothing and fuming on its way like some
-wordy egotist who cares for nothing save his own
-ceaseless babble.</p>
-
-<p>‘And this miscreant has tracked you?’ said the
-colonel at length.</p>
-
-<p>‘He was with me but just now. He may
-return at any moment.’</p>
-
-<p>‘Such vermin as he have seldom more than one
-thought, one want—Money. I am rich, and
-if’——</p>
-
-<p>Mora shook her head. ‘He wants more than
-money.’</p>
-
-<p>‘Ha!’</p>
-
-<p>‘You do not know Hector Laroche. As I
-said before, he is a tiger in human form. He
-loves gold; but he loves still better to have under
-his claws a writhing, helpless, palpitating victim,
-whom he can torture and play with and toss
-to and fro at his pleasure, over whose agonies
-he can gloat, and whose heart he can slowly
-vivisect and smile while he does it.’</p>
-
-<p>‘And he would make such a victim of you?’</p>
-
-<p>‘He has done it once, and he would do it
-again. He is now passing under a false name.
-What he demands is, that instead of claiming me
-as the wife whom he married several years ago,
-I shall go through a second form of marriage
-with him under the name he is now known by,
-and that by such means the dark story of his
-former life shall be buried for ever.’</p>
-
-<p>‘There is no law, human or divine, that can
-compel you to accede to so monstrous a demand,’
-exclaimed the colonel in tones resonant with
-indignation.</p>
-
-<p>‘As I said before—you do not know the man.
-Should I refuse to accede to his wishes, he
-threatens to go to Sir William Ridsdale—for with
-his usual diabolical ingenuity, he has found out
-all about Clarice’s engagement—and say to him:
-“Are you aware that your son is about to marry
-a person whose sister is the wife of a <i>déporté</i>—of
-a man who has undergone a term of penal
-servitude?” And, O Colonel Woodruffe! if he
-does that—if he does that, what will become of
-my poor Clarice!’</p>
-
-<p>‘A scheme worthy of the Foul Fiend himself!’
-exclaimed the colonel as he sprang to his feet.</p>
-
-<p>There was a painful pause. The colonel was
-thoroughly taken aback by what he had just
-heard. At length he said slowly: ‘Surely—surely
-there must be some way of escape.’</p>
-
-<p>Mora shook her head. ‘I know of none,’ she
-answered simply.</p>
-
-<p>A few moments later, there was a noise of
-approaching footsteps. The colonel drew a pace
-or two farther away.</p>
-
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="CHRISTMAS_TREES">CHRISTMAS TREES.</h2>
-</div>
-<p class="ph3">THEIR SHADY SIDE.</p>
-
-
-<p><span class="smcap">The</span> few words I am about to write upon the
-subject of Christmas Trees for children may perhaps
-be best illustrated by what originally gave
-rise to these remarks—namely, the first festivity of
-the kind attended by my own juveniles. It was
-given by a friend, whose rooms were narrow in
-proportion to the numbers of small people she
-expected, and seniors were therefore not included
-in the invitations. I was asked, however, to go
-on the morning of the party to inspect the tree
-when it was set up and loaded with its treasures.
-A goodly array they surely formed. Toys of
-every kind, most of them very costly; for my
-friend had been regardless of expense. He calculated
-that eighty pounds would scarcely cover
-the outlay upon the articles provided. When I
-considered how easy to please in their playthings
-children often are; how tenderly the battered
-doll or dilapidated horse is sometimes cherished;
-how the sixpenny toy with the charm of novelty
-upon it, will put out of favour its guinea predecessor—for
-children, unlike adults, do not estimate
-things because of their money value—I could
-not help thinking this was a sad waste of money.
-The delicate machinery of those expensive mechanical
-toys would also run great risk of being
-put out of order or broken among the crowd of
-eager children, with no parents present to guard
-them from injury. Altogether, the gorgeous
-Christmas tree seemed destined to be ‘a thing
-of beauty and of joy’ for a very short time
-indeed.</p>
-
-<p>The eventful evening arrived, and great was
-the excitement. My small daughter was a pretty
-child, and very comely she looked in her dainty
-lace-trimmed frock and pink ribbons, when, with
-her young brother, she came fluttering into my
-boudoir; nurse, proud and pleased, escorting the
-pair and carrying their wraps. With true feminine
-instinct, the little damsel betook herself
-to the tall pier-glass, surveying her finery therein
-with much satisfaction. ‘I daresay,’ she said,
-turning round after a prolonged gaze, ‘that I
-shall be the nicest-dressed little girl at the
-party!’</p>
-
-<p>‘No, indeed—that you won’t,’ promptly interposed
-nurse. ‘Don’t you go to think such a
-thing, dear. You’ll see, when you get into the
-room, there’ll be a-many little ladies just as nice
-as yourself, perhaps even nicer.’ Which speech
-was a sacrifice of candour on the part of nurse,
-who was given to regard her young charge as
-being as good as the best, though she felt called
-on by duty to nip vanity in the bud.</p>
-
-<p>The morning after a night’s dissipation is generally
-a trying one, when excitement has passed off
-and reaction set in. Late hours and hot rooms,
-fruits and pastries and unwholesome liquids at
-times when healthy slumbers would otherwise
-have been the order of the night, are apt to have
-a damaging effect upon the temper. The present
-occasion was no exception to the rule. My
-children were not looking their happiest when
-they appeared carrying a load of things which
-they laid roughly down and proceeded to turn
-over with a listless air.</p>
-
-<p>‘What lovely toys!’ I exclaimed. It was
-truly an <i>embarras de richesses</i>. There were treasures
-that, if gradually bestowed, would have
-driven the recipients wild with delight. ‘What
-fortunate young people you are!’ I added,
-examining the glittering heap that they were
-surveying so discontentedly. ‘Don’t you think
-so?’</p>
-
-<p>‘The little B——s got much better things!’
-they murmured.</p>
-
-<p>‘This doll, so beautifully dressed’——</p>
-
-<p>‘Ah, if you had seen the one Mary got!’
-pouted the little girl, pushing with her foot the
-despised doll. ‘It opened and shut its eyes, and
-had a pearl necklace and embroidered shoes.<span class="pagenum" id="Page_749">{749}</span>
-And Mary was so conceited and disagreeable
-about it; and so ill-natured, she’d scarcely let
-me look at it. I hate Mary B——!’</p>
-
-<p>‘You were great friends with her,’ cried the
-young brother, ‘until she got that better doll;
-and you were just as conceited, too, about your
-own, until hers cut it out.’</p>
-
-<p>‘Oh, <i>you</i> needn’t talk, after the way you
-behaved to poor little Fred H——. Would you
-believe it, mamma? he quarrelled with that poor
-child—a little mite of a fellow, not half his size—hustling
-and bullying him, and wanting to drag
-away his book that he got for a prize.’</p>
-
-<p>‘No; I did not want to drag it away from
-him. Don’t tell stories. ’Twas to be an exchange.
-I got a ridiculous toy-horse—a little rubbishy
-thing, only fit for a baby like him; and he said
-he would take it and give me the book—a lovely
-<i>Robinson Crusoe</i>, that he couldn’t read. And then
-the stupid little fellow howled when I went to
-get it from him.’</p>
-
-<p>‘And you flew into a rage, and smashed the
-toy; and the governess said it was a shame,
-and’——</p>
-
-<p>‘Oh, come!’ I said, interrupting recriminations
-that were getting angry, and putting a stop to
-the dispute.</p>
-
-<p>It was not the moment for impressing moral
-truths upon the young pair; but while deferring
-these to a more fitting opportunity, I made my
-own reflections upon Christmas trees in general
-and this party in particular.</p>
-
-<p>It was plain that envy, hatred, and much
-uncharitableness had resulted from it—feelings
-latent, alas! in our poor human nature, that need
-not premature development. Discontent too, and
-rivalry and greed were, it would seem from the
-nature of the entertainment, liable to be aroused
-in childish breasts. So I locked away the disparaged
-prizes, until later on, when the satiety
-produced by a glut had passed off and envious
-comparisons were forgotten.</p>
-
-<p>We had merry gatherings of small people at
-wholesome hours, and happy little feasts, and
-games and romps in every-day clothes. But this
-was my children’s first—and last—Christmas
-Tree.</p>
-
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="THE_MISSING_CLUE">THE MISSING CLUE.</h2>
-</div>
-
-
-<h3>CHAPTER VI.—HOBB DIPPING BEWILDERED.</h3>
-
-<p><span class="smcap">Mine</span> host of the <i>Saxonford Arms</i> sits in his
-lonely back-parlour, looking thoughtfully into the
-fire, and taking alternate whiffs and pulls from
-a clay pipe and a beer-jug which stands on the
-table at his elbow. During the past week, no
-traveller has entered Hobb Dipping’s ancient
-house of entertainment, and the worthy man was
-beginning to wonder whether it was within the
-bounds of possibility that any one would ever enter
-it again. For several days the snow had been
-drifting up against his front-door, and for over
-a week the howling wind had stormed and beat
-against the walls of the old inn. True, the wind
-had dropped somewhat during the night; but
-Jerry—the man-of-all-work, and old Dipping’s
-special informant upon all matters—had reported
-that the snow-drift was ‘alarmin’ deep in places;’
-while, if he needed any confirmation of this
-statement, he had but to turn his eyes towards
-the windows and gaze over the frozen waste
-which extended on every side.</p>
-
-<p>Hobb Dipping was an old man now, and fifteen
-years had whitened his hair since the fatal night
-when Sir Carnaby Vincent was shot by the military
-in his house. The innkeeper’s thoughts had
-apparently at this moment been dwelling upon
-that catastrophe, for he muttered to himself: ‘Fifteen
-years! I shouldn’t ha’ thought it!’ at the
-same time looking gloomily at a well-thumbed
-scrap of paper which he was turning over between
-his fingers. ‘Fifteen years!’ muttered old Dipping,
-who was enveloped in a thick volume of
-smoke, consequent upon his exertions with the
-clay pipe aforesaid—‘fifteen years, an’ no one’s
-guessed it yet. Why, what fools we all be!’</p>
-
-<p>‘Hi, master!’ says Jerry, popping his head in
-through the doorway. ‘Here’s a gentleman
-come; wants to know if he can be put up for
-a night or two.’</p>
-
-<p>Old Hobb peeped through a little latticed
-window into the courtyard, and saw a gentleman
-of military aspect sitting motionless in his saddle
-amidst a thin cloud of falling snow. It is
-Reginald Ainslie.</p>
-
-<p>‘Why do you keep the gentleman waiting out
-there?’ is the indignant exclamation of mine
-host, who seems to be endowed with sudden
-energy. ‘Put up for a night or two! Of course
-he can; for a month, if he likes. Show the
-gentleman in, and then go attend to his horse.’</p>
-
-<p>When the man has disappeared, old Dipping
-bustles out of the room to find something to
-tie over his head, before he dares to venture
-into the cold biting air. On his return, he finds
-his visitor has thrown aside his heavy riding-cloak,
-and is reclining in an armchair, with
-every appearance of fatigue expressed in his
-attitude and countenance. Jerry whispers that
-the gallant must be right bad, for it was all
-he could do to help him out of the saddle.
-‘And his nag ain’t much better,’ he goes on.
-‘They ha’ come a long bad road this day, I’ll
-warrant.’</p>
-
-<p>Dismissing his vassal hastily, Hobb Dipping
-pours out a mug of strong spiced ale, and presents
-it to his visitor.</p>
-
-<p>‘I ask your pardon, sir,’ said the old man,
-‘for letting you wait such a while outside; the
-snow lies so thick that I did not hear the sound
-of your horse’s hoofs.’</p>
-
-<p>Before honest Dipping could finish his speech,
-he was startled by his visitor making a quick
-movement and catching eagerly at the scrap of
-paper which the landlord had a short while
-ago held in his hand, and which, on rising to
-receive the traveller, he had laid on the table.
-There was a short uncomfortable pause, while
-Reginald eagerly turned over the object in his
-hand. ‘How did you come by this?’ he at
-length gasped out, the tone of his voice expressing
-great eagerness and anxiety.</p>
-
-<p>Hobb Dipping’s first thought was to hollo for
-Jerry, having some idea that his strange visitor’s
-head must be turned; his second, was to try
-and remember where he had placed his spectacles.</p>
-
-<p>‘My sight is bad, sir,’ he said as he fumbled
-in his pockets. ‘I can scarcely make out what
-you be askin’ of.’</p>
-
-<p>‘This—this piece of paper!’ exclaimed Ainslie,<span class="pagenum" id="Page_750">{750}</span>
-thrusting forward the identical scrap which old
-Hobb had been examining at the time of his
-arrival.</p>
-
-<p>‘It come here by accident, sir,’ answered old
-Hobb slowly and unwillingly.</p>
-
-<p>‘Was left here, eh?’</p>
-
-<p>‘Just so, sir—it were.’</p>
-
-<p>‘How long ago?’</p>
-
-<p>‘Well, sir, it’s something between fifteen and
-sixteen year.’</p>
-
-<p>‘Gracious powers!’ vociferated Ainslie, striking
-his fist on the table. ‘I believe the man was
-right.’</p>
-
-<p>The landlord stretched out one hand imploringly
-towards his excited visitor.</p>
-
-<p>‘What now?’ inquired Reginald, who was
-vainly endeavouring to peruse the writing with
-which the paper was covered.</p>
-
-<p>‘I want you to give me back that paper, sir.’</p>
-
-<p>‘Be good enough, landlord, to leave it with
-me for the present, and bring me something
-to eat!’</p>
-
-<p>Old Hobb looked wistfully at the scrap of paper
-which his visitor was handling, and proceeded to
-the larder, with considerable misgiving expressed
-on his countenance. When mine host at length
-returned, he found his guest a trifle more composed.
-Reginald Ainslie was still poring over
-the mysterious piece of paper; but it was evident,
-from his disappointed mien, that he was
-considerably perplexed.</p>
-
-<p>‘Landlord,’ he said in a low voice, when the
-arrangements for his meal were complete, ‘close
-the door!’</p>
-
-<p>Hobb Dipping obeyed, and then stood waiting,
-as if for further orders.</p>
-
-<p>‘Sit down,’ said the lieutenant.</p>
-
-<p>The landlord seated himself in silence, and
-watched his visitor. After a few minutes had
-passed in silence, Reginald Ainslie laid down his
-knife and fork and leaned back in his chair.</p>
-
-<p>‘Is your name Dipping?’</p>
-
-<p>‘It is so, sir.’</p>
-
-<p>‘Will you please to tell me,’ continued Ainslie,
-‘the particulars of how you became possessed of
-this scrap of paper?’</p>
-
-<p>Old Hobb waxed extremely uncomfortable
-under the visitor’s fixed gaze; he scratched his
-bald skull, looked wistfully round the room, and
-then asked in an affrighted whisper: ‘Be you
-anything to do with the magistrates, sir?’</p>
-
-<p>Reginald shook his head.</p>
-
-<p>‘If you’re not, sir,’ went on the landlord,
-evidently very much relieved, ‘would you mind
-first letting me know your reason for askin’ those
-questions?’</p>
-
-<p>‘My reason for asking them,’ answered
-Reginald, ‘is because your reply may prove to
-be of serious importance to me. I have ridden
-a long way, a very long way, and solely on purpose
-to communicate with the landlord of this
-inn upon a subject which may prove the means
-of benefiting us both.—Do you remember a
-gentleman named Sir Carnaby Vincent?’</p>
-
-<p>Hobb started a little at the abruptness of the
-question, but answered: ‘Ay, sir, that I do.
-And haven’t I good cause to remember him?
-That bit of paper, sir, I have always fancied
-belonged to the poor gentleman. I found it
-on the stairs while the red-coats were searchin’
-his room; they must ha’ passed it somehow.’</p>
-
-<p>‘That was on the night when he was shot
-here—was it not?’</p>
-
-<p>‘You seem to know pretty much about it, sir,’
-remarked the host, with an inquisitive look. ‘I
-ain’t going to deny the fact; it did happen on
-that night. But excuse me being so bold, sir;
-you must have been quite a young chap at that
-time; you can’t recollect it, surely?’</p>
-
-<p>‘I remember nothing about the matter myself,’
-replied Ainslie, ‘nor have I been in this part
-before. But Sir Carnaby’s attempted escape, and
-the fatal result, were officially reported to the
-government and to his friends. You think that
-this scrap of writing belonged to Sir Carnaby
-Vincent?’</p>
-
-<p>‘Yes, sir; though I didn’t know his name
-till I learned it from the soldiers, after all was
-over.’</p>
-
-<p>‘Why did you not deliver this up to them,
-when you discovered it on the stairs?’</p>
-
-<p>‘Well, you see, sir, it was like this,’ replied
-old Hobb unwillingly. ‘I was sorry for the
-poor gentleman, besides being angry with the
-soldiers. But little they cared about that. So
-I thought as how I’d just keep it to myself,
-in case the man-servant who got off should
-venture here again. Thinks I: “I’ll give it
-up to him, and disappoint the other parties a
-bit for what they’ve done in my house.”—I
-hope your honour won’t inform against me!’
-suddenly exclaimed the old man, who began to
-have an idea that he was disclosing somewhat
-more than was prudent to a total stranger.</p>
-
-<p>‘My intentions are quite the opposite, I assure
-you,’ said Reginald, eager to set his informant’s
-mind at rest. ‘Go on; pray, do not stop.’</p>
-
-<p>‘Well, sir,’ resumed Dipping, ‘as I said, I kept
-the paper, thinking that I might chance to drop
-across the man-servant. But though one of the
-labourers spoke to him that morning, I never
-see him again; and here I have been keeping
-this bit of writin’ over fifteen year without being
-able to make out what it means or anything
-about it. I should ha’ burnt it soon, I fancy.’</p>
-
-<p>‘Burnt it!’ exclaimed Reginald. ‘What madness!’</p>
-
-<p>‘Can you read it, sir?’ inquired old Hobb in
-a curious tone.</p>
-
-<p>‘Read it! No, I cannot; worse luck. Chinese
-looks quite easy compared with the jumble of
-letters which are set down upon this scrap of
-paper.—Has any one seen it besides myself?’</p>
-
-<p>‘Only one or two persons, sir,’ answered
-Dipping—‘I didn’t want the tale to get abroad—an’
-when they see it, they turned it over just
-the same as you’re a-doing now: they none of
-’em could make it out.’</p>
-
-<p>‘What became of the other papers?’ suddenly
-demanded Ainslie, looking up, and desisting from
-the occupation of gnawing his thumb-nail.</p>
-
-<p>‘There were none others as I know of, sir,’
-replied old Dipping. ‘A pair of saddle-bags, I
-think, was took—my memory ain’t quite so good
-as it used to be. But this I do know for certain—there
-were no papers found except this one
-little bit. The soldiers swore hard, and said
-that the man who got off had taken ’em with
-him.’</p>
-
-<p>‘Did it never occur to you that the attendant
-acted most strangely on that occasion?’ asked
-Ainslie.</p>
-
-<p><span class="pagenum" id="Page_751">{751}</span></p>
-
-<p>‘Ay, sir, I have thought of that many a time,’
-answered mine host, scratching his head. ‘It
-was a queer thing for him to do—to be sure it
-was. The man certainly was not running away
-cowardly-like, to leave his master in the lurch;
-he would never have hampered himself with the
-other horse in the way he did, and then go and
-cut his way through the middle of the redcoats.
-He might have got off t’ other way through the
-village without riskin’ his blessed neck. It’s my
-opinion, sir, an’ always was, that he did it to
-take the fire off on himself, while Sir Carnaby
-got away over Long Fen on foot. Very creditable
-it must ha’ been on him, sir; an’ had he
-drawn the redcoats away for a few minutes
-longer, the poor gentleman would have been
-clean away. He was nearly down at the foot
-of the stairs when they challenged him. It being
-dark, and getting no answer back, they blazed
-away. I let the soldiers in myself, or they
-would have beat the door down. But when
-they called out they would fire at the gentleman
-if he did not speak, I yelled to ’em not to do
-murder in my house. But it were too late,’
-said old Hobb, sternly knitting his brows—‘it
-were too late. God help me! what could I do?
-I couldn’t stop it.’</p>
-
-<p>‘It was no fault of yours, my man!’ said
-Ainslie, seeing that the old fellow faltered; ‘and
-do not imagine for an instant that you will get
-into any trouble by telling me all this. To set
-your mind easy on that score, I may as well
-inform you at once that Sir Carnaby Vincent,
-who so unfortunately lost his life here, was my
-uncle.’ Reginald paused for a moment to watch
-the effect which this announcement had upon
-his listener, and then went on once more.
-‘The affair,’ said he, ‘which brings me here
-is of the greatest secrecy, and whatever consequences
-may result from my taking this step,
-I strictly require of you that no word of it
-shall ever be mentioned hereafter.’</p>
-
-<p>‘Trust me for that, sir,’ returned the landlord:
-‘it shall never pass my lips to any
-one.’</p>
-
-<p>Directing mine host to draw his chair nearer
-to the fire, Reginald Ainslie commenced a narration
-which is sufficiently long to warrant its
-being the subject of another chapter.</p>
-
-
-<h3>CHAPTER VII.—REGINALD’S STORY.</h3>
-
-<p>‘My father,’ said the lieutenant, ‘was a gentleman
-of great property, and a close friendship
-existed between him and the brother of his wife—Sir
-Carnaby, to wit. They became mixed up with
-a discontented body of people named Jacobites;
-and a short time before the unhappy affair
-which we have been talking about, two warrants
-were issued for their apprehension. My father
-was seized at once; but Sir Carnaby Vincent
-contrived to make his escape for a time, till
-at length he closed his flight at this place.
-You know what happened when he and his
-servant arrived here; they were surprised by a
-party of military, who had received notice of
-their movements; and my uncle was shot dead.
-His attendant fortunately escaped, and returned,
-after a short time had elapsed, to our family
-with the sad news. The proceedings against
-my father, Sir Henry Ainslie, were suspended
-through want of sufficient evidence, and he was
-allowed to come back to his home, only to die
-shortly afterwards, broken both in spirits and
-in circumstances. Before his death, he made
-an appalling disclosure to my mother, the sum
-of it being this—that, trusting to the ultimate
-success of the revolution which he had been
-hoping to raise, both he and Sir Carnaby had
-heavily mortgaged their estates, and placed all
-their available money at the service of the king
-that was to be. Where this large amount had
-been placed, or to whom it had been intrusted,
-it is now impossible to say, for my father
-breathed his last ere he could impart any additional
-information. The consequences of this act
-proved most disastrous. Our mansion and estates
-were immediately seized upon; and beyond a
-small income which my mother possessed in her
-own right, we were left with scarcely any means
-of support. From the scanty information we
-could gather from Sir Carnaby’s attendant, it was
-considered not at all improbable that the disposal
-of this wealth had been intrusted to his master;
-and subsequent inquiries proved that he had
-actually taken with him in his flight a number
-of valuable papers and documents. What these
-papers referred to, it is equally impossible to say;
-but there has always existed among us a strong
-impression that they related to the immense
-sum which had been advanced upon the family
-estates.’</p>
-
-<p>‘Well, sir,’ exclaimed old Hobb, when the
-narrative had arrived at this stage, ‘you don’t
-suppose that the gentleman brought all that lump
-of money here?’</p>
-
-<p>‘Not the money exactly,’ answered Reginald,
-smiling. ‘I don’t credit my plotting relative with
-being such a fool as to carry that about with
-him.’</p>
-
-<p>‘The soldiers found but little in them saddle-bags,
-an’ he brought nought else with him; I
-can swear to that,’ said Dipping obstinately.</p>
-
-<p>‘My good man,’ returned Ainslie, ‘the documents
-I refer to might have been carried about
-his person.’</p>
-
-<p>‘Nothin’ was found on the body when it was
-searched, before being buried; I remember that
-right enough, sir,’ persisted old Hobb.</p>
-
-<p>‘That is the very point I wished to come to,’
-said the lieutenant triumphantly. ‘You are sure
-that no papers of any kind were discovered on his
-person?’</p>
-
-<p>‘Quite sure, sir,’ replied Dipping emphatically.</p>
-
-<p>‘Then just listen to what I have to say,’ continued
-Reginald, speaking in an impressive voice
-and fixing his eyes upon the landlord’s countenance.
-‘The man-servant who accompanied Sir
-Carnaby to this place swears that his master corresponded
-with no single person during his flight;
-moreover, that he handled the saddle-bags you
-have just now been speaking of, several times,
-and remembers to have noticed that one of them
-contained a small black box.’</p>
-
-<p>The wondering expression on old Hobb’s face
-had considerably increased by this time.</p>
-
-<p>‘We have now got to a critical point in my
-story,’ continued the lieutenant. ‘Derrick—the
-man who accompanied Sir Carnaby hither—told
-me he was the first to hear the sound of the
-approaching military, and that, being apprehensive
-of danger, he stole along the gallery with<span class="pagenum" id="Page_752">{752}</span>
-the intention of waking his master. When Sir
-Carnaby opened the door of his room, the man
-was surprised to find him fully dressed. Hurried
-as their conference must have been, Derrick
-was sharp enough to notice that his master
-had been using some sort of a knife, and that
-the black box which he had before seen that night
-on the table, had now disappeared, and that
-the saddle-bags were empty. However, all persuasion
-could not induce my unfortunate relative
-to flee, which in itself appears to be very
-strange. He told his attendant that he would
-follow him if he would take the horses to
-the place agreed upon—that more lives than
-his own depended upon his not leaving the
-place at once, and several other things equally
-incomprehensible. Derrick at last unwillingly
-consented to obey his instructions, and left the
-house, wondering much at his master’s conduct.
-The two, as you know, never met again.—This
-man,’ resumed Ainslie, after a pause—‘this
-man, Derrick, always expressed a belief—a
-strange one, truly—that Sir Carnaby was so
-anxious for the safety of the contents of that
-precious saddle-bag, that he would not retire to
-rest until he had placed it in a secure hiding-place.
-He might possibly have just been concluding
-his task as the attendant arrived at his
-door with the alarming news; at any rate, it
-seems not at all unlikely that his object in
-sending the man to a rendezvous was in order
-to gain time, while he made a desperate attempt
-to unearth again this mysterious box prior to
-escaping from the inn with it. Or, it is quite
-possible that my uncle, being startled by the
-report of firearms, resolved to let this precious
-property, which would implicate so many persons,
-remain in its place of concealment, trusting, in
-the event of his escape, to return and secure it
-once more.’</p>
-
-<p>‘Do you mean to say that the gentleman
-hid it in this very house?’ gasped the landlord,
-with considerable astonishment depicted on his
-countenance.</p>
-
-<p>‘That is what I think.’</p>
-
-<p>‘Well, well!’ exclaimed the old man, ‘to
-think that I should ha’ slept an’ eaten an’ drunk
-within them blessed walls for fifteen year, with—who
-knows—half a million of property hidden
-about the place unbeknown to me! Suppose
-there had been a fire, sir.’</p>
-
-<p>‘It is fortunate there has not been one,’ replied
-Reginald.</p>
-
-<p>‘Am I to understand that you wish to search
-the house?’ inquired old Hobb, whose imagination
-was fired with a variety of wild speculations,
-among which the probable discovery of a
-strong case of bullion figured not the least conspicuously.</p>
-
-<p>‘The whole house!—certainly not,’ answered
-Reginald with a faint smile. ‘I am afraid that
-would waste too much valuable time. What I
-want first is a bed for the night.’</p>
-
-<p>‘There’s the room which Sir Carnaby himself
-had: your honour wouldn’t have no objection
-to that?’</p>
-
-<p>‘Certainly not,’ said Ainslie. ‘The knowledge
-that the room has some unpleasant circumstances
-connected with it will not affect me in the least.
-I shall sleep as soundly in that apartment as in
-any other.’</p>
-
-<p>‘Very good, sir.’ And mine host was about
-to leave the apartment, when his visitor arrested
-him. ‘One word more, Mr Dipping.’</p>
-
-<p>‘Certainly, sir.’</p>
-
-<p>‘I have placed complete confidence in you,’
-said Ainslie, ‘and have intrusted to your keeping
-a secret, the importance of which you must be
-well aware of. I wish you to guard it carefully.
-You have kept <i>that</i> secret fairly enough,’ pointing
-to the scrap of writing; ‘try if you cannot
-keep this one too.—Do you understand?’</p>
-
-<p>The landlord intimated that he would do as
-his visitor wished, and then departed, leaving
-Reginald to digest such thoughts as this conversation
-had called up.</p>
-
-<p>The twilight was by this time gray, and very
-little light remained, while a few solitary objects
-that could be seen through the dimmed glass in
-the old casements, looked shadowy and opaque.
-With the exception of one small lamp, which
-Hobb Dipping had placed upon the table, the
-room was but imperfectly lighted by the flickering
-fire. Outside, the snow was silently falling,
-not thickly, but in large steady flakes. The
-wind had dropped, and with it the whirling drift,
-while the old walls of the <i>Saxonford Arms</i> had
-ceased to groan and creak.</p>
-
-<p>‘Sir,’ said Hobb, reappearing once more, ‘the
-room’s ready. Shall I show you the way?’</p>
-
-<p>Reginald motioned to the landlord to lead on,
-and they passed out together into a dark draughty
-passage.</p>
-
-<p>‘This here’s the staircase, sir,’ remarked old
-Dipping, who was in advance, bearing the light;
-‘and that be the very place where the poor
-gentleman fell.’</p>
-
-<p>The landing before them was lighted by a gray
-ghostly window, which faded into insignificance
-on the approach of the landlord’s yellow, flaring
-lamp. When this apparition was passed, there
-came three shallow steps up, then a short dusky
-gallery, and Reginald Ainslie found himself in
-the room with which his departed relative had
-had so mysterious a connection.</p>
-
-<p>‘This, sir,’ said old Hobb, extending his right
-hand somewhat after the manner of a travelling
-showman—‘this, sir, is Sir Carnaby’s room.’</p>
-
-<p>‘Well, landlord,’ said Reginald, ‘I think I
-need detain you no longer.’</p>
-
-<p>Bidding mine host good-night, Ainslie carefully
-fastened the door, and then sat down before the
-fire, to ponder over his strange situation, ere
-consigning himself to rest for the night.</p>
-
-
-<hr class="chap x-ebookmaker-drop" />
-
-<div class="chapter">
-<h2 class="nobreak" id="WOUNDER_AND_HEALER">WOUNDER AND HEALER.</h2>
-</div>
-<p class="ph3">(THE IDEA TAKEN FROM AGOUB’S TRANSLATION OF AN
-ARABIC SONG.)</p>
-
-
-<div class="poetry-container">
-<div class="poetry">
- <div class="stanza">
- <div class="verse indent0"><span class="smcap">Thy</span> witching look is like a two-edged sword</div>
- <div class="verse indent2">To pierce his heart by whom thou art surveyed;</div>
- <div class="verse indent0">Thy rosy lips the precious balm afford</div>
- <div class="verse indent2">To heal the wound thy keen-edged sword has made.</div>
- </div>
- <div class="stanza">
- <div class="verse indent0">I am its victim; I have felt the steel;</div>
- <div class="verse indent2">My heart now rankles with the smarting pain;</div>
- <div class="verse indent0">Give me thy lips the bitter wound to heal—</div>
- <div class="verse indent2">Thy lips to kiss, and I am whole again.</div>
- </div>
- <div class="stanza">
- <div class="verse right"><span class="smcap">Daphnis.</span></div>
- </div>
-</div>
-</div>
-
-<hr class="full" />
-
-<p class="center">Printed and Published by <span class="smcap">W. &amp; R. Chambers</span>, 47 Paternoster
-Row, <span class="smcap">London</span>, and 339 High Street, <span class="smcap">Edinburgh</span>.</p>
-
-<hr class="full" />
-
-<p class="center"><i>All rights reserved.</i></p>
-
-<hr class="full" />
-
-<p>[Transcriber’s note—the following changes have been made to this text.</p>
-
-<p>Page 750: Hobbs to Hobb—“answered old Hobb slowly”.]</p>
-
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CHAMBERS'S JOURNAL OF POPULAR LITERATURE, SCIENCE, AND ART, FIFTH SERIES, NO. 47, VOL. I, NOVEMBER 22, 1884 ***</div>
-<div style='text-align:left'>
-
-<div style='display:block; margin:1em 0'>
-Updated editions will replace the previous one&#8212;the old editions will
-be renamed.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks may be modified and printed and given away--you may
-do practically ANYTHING in the United States with eBooks not protected
-by U.S. copyright law. Redistribution is subject to the trademark
-license, especially commercial redistribution.
-</div>
-
-<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br />
-<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br />
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span>
-</div>
-
-<div style='display:block; margin:1em 0'>
-To protect the Project Gutenberg&#8482; mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase &#8220;Project
-Gutenberg&#8221;), you agree to comply with all the terms of the Full
-Project Gutenberg&#8482; License available with this file or online at
-www.gutenberg.org/license.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.A. By reading or using any part of this Project Gutenberg&#8482;
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg&#8482; electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg&#8482; electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the person
-or entity to whom you paid the fee as set forth in paragraph 1.E.8.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.B. &#8220;Project Gutenberg&#8221; is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg&#8482; electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg&#8482; electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg&#8482;
-electronic works. See paragraph 1.E below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
-Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg&#8482; electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg&#8482; mission of promoting
-free access to electronic works by freely sharing Project Gutenberg&#8482;
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg&#8482; name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg&#8482; License when
-you share it without charge with others.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg&#8482; work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E. Unless you have removed all references to Project Gutenberg:
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg&#8482; License must appear
-prominently whenever any copy of a Project Gutenberg&#8482; work (any work
-on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
-phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-</div>
-
-<blockquote>
- <div style='display:block; margin:1em 0'>
- This eBook is for the use of anyone anywhere in the United States and most
- other parts of the world at no cost and with almost no restrictions
- whatsoever. You may copy it, give it away or re-use it under the terms
- of the Project Gutenberg License included with this eBook or online
- at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
- are not located in the United States, you will have to check the laws
- of the country where you are located before using this eBook.
- </div>
-</blockquote>
-
-<div style='display:block; margin:1em 0'>
-1.E.2. If an individual Project Gutenberg&#8482; electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase &#8220;Project
-Gutenberg&#8221; associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg&#8482;
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.3. If an individual Project Gutenberg&#8482; electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg&#8482; License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg&#8482;.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg&#8482; License.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg&#8482; work in a format
-other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
-version posted on the official Project Gutenberg&#8482; website
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original &#8220;Plain
-Vanilla ASCII&#8221; or other form. Any alternate format must include the
-full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg&#8482; works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg&#8482; electronic works
-provided that:
-</div>
-
-<div style='margin-left:0.7em;'>
- <div style='text-indent:-0.7em'>
- &bull; You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg&#8482; works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg&#8482; trademark, but he has
- agreed to donate royalties under this paragraph to the Project
- Gutenberg Literary Archive Foundation. Royalty payments must be paid
- within 60 days following each date on which you prepare (or are
- legally required to prepare) your periodic tax returns. Royalty
- payments should be clearly marked as such and sent to the Project
- Gutenberg Literary Archive Foundation at the address specified in
- Section 4, &#8220;Information about donations to the Project Gutenberg
- Literary Archive Foundation.&#8221;
- </div>
-
- <div style='text-indent:-0.7em'>
- &bull; You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg&#8482;
- License. You must require such a user to return or destroy all
- copies of the works possessed in a physical medium and discontinue
- all use of and all access to other copies of Project Gutenberg&#8482;
- works.
- </div>
-
- <div style='text-indent:-0.7em'>
- &bull; You provide, in accordance with paragraph 1.F.3, a full refund of
- any money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days of
- receipt of the work.
- </div>
-
- <div style='text-indent:-0.7em'>
- &bull; You comply with all other terms of this agreement for free
- distribution of Project Gutenberg&#8482; works.
- </div>
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg&#8482; electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg&#8482; trademark. Contact the Foundation as set
-forth in Section 3 below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
-electronic works, and the medium on which they may be stored, may
-contain &#8220;Defects,&#8221; such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right
-of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg&#8482; trademark, and any other party distributing a Project
-Gutenberg&#8482; electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you &#8216;AS-IS&#8217;, WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg&#8482; electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg&#8482;
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg&#8482; work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg&#8482; work, and (c) any
-Defect you cause.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 2. Information about the Mission of Project Gutenberg&#8482;
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s
-goals and ensuring that the Project Gutenberg&#8482; collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg&#8482; and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Project Gutenberg Literary Archive Foundation is a non-profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation&#8217;s EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state&#8217;s laws.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation&#8217;s business office is located at 809 North 1500 West,
-Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
-to date contact information can be found at the Foundation&#8217;s website
-and official page at www.gutenberg.org/contact
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; depends upon and cannot survive without widespread
-public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine-readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular state
-visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-</div>
-
-<div style='display:block; margin:1em 0'>
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Please check the Project Gutenberg web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 5. General Information About Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-Professor Michael S. Hart was the originator of the Project
-Gutenberg&#8482; concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg&#8482; eBooks with only a loose network of
-volunteer support.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Most people start at our website which has the main PG search
-facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-This website includes information about Project Gutenberg&#8482;,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-</div>
-
-</div>
-</body>
-</html>
diff --git a/old/66599-h/images/cover.jpg b/old/66599-h/images/cover.jpg
deleted file mode 100644
index 7cb708c..0000000
--- a/old/66599-h/images/cover.jpg
+++ /dev/null
Binary files differ
diff --git a/old/66599-h/images/header.jpg b/old/66599-h/images/header.jpg
deleted file mode 100644
index 7892f08..0000000
--- a/old/66599-h/images/header.jpg
+++ /dev/null
Binary files differ