diff options
Diffstat (limited to 'old/63772-0.txt')
| -rw-r--r-- | old/63772-0.txt | 2942 |
1 files changed, 0 insertions, 2942 deletions
diff --git a/old/63772-0.txt b/old/63772-0.txt deleted file mode 100644 index 4b6776f..0000000 --- a/old/63772-0.txt +++ /dev/null @@ -1,2942 +0,0 @@ -The Project Gutenberg EBook of The Girl's Own Paper, Vol. XX, No. 1029, -September 16, 1899, by Various - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Girl's Own Paper, Vol. XX, No. 1029, September 16, 1899 - -Author: Various - -Release Date: November 15, 2020 [EBook #63772] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GIRL'S OWN PAPER, SEPT 16, 1899 *** - - - - -Produced by Susan Skinner, Chris Curnow, Pamela Patten and -the Online Distributed Proofreading Team at -https://www.pgdp.net - - - - - - - - - -[Illustration: THE GIRL’S OWN PAPER] - -VOL. XX.—NO. 1029.] SEPTEMBER 16, 1899. [PRICE ONE PENNY. - - - - -ROSA NOUCHETTE CAREY. - - -[Illustration: WRITING A NEW STORY FOR “THE GIRL’S OWN PAPER.”] - -_All rights reserved._] - - -In an age when many books on every sort of subject and vexed question -are being daily launched into the world, it is a relief to turn to the -pure, wholesome novels of Rosa Nouchette Carey, the popular authoress, -who has steadily held her ground with her public since the production -of her first book, _Nellie’s Memories_, composed and related verbally -to her sister, while yet in her teens, though not actually written -until some few years later. - -The youngest girl but one of a family of seven, and in her girlhood -delicate in health, which caused her education to be somewhat -desultory, Rosa Carey soon displayed an aptitude for composing fiction -and little plays which she and her sister acted, one of her chief -amusements being to select favourite characters from history and from -fiction, and trying to personify them, while her greatest pleasure -was to relate short stories to this same younger sister over their -needlework. It is a strange fact that, during her simple, happy, -uneventful girlhood, chiefly spent in reading, in writing poetry, and -in other girlish occupations, Rosa Carey, who was of a somewhat dreamy -and romantic disposition, feeling the impossibility of combining her -favourite pursuits with a useful domestic life, and discouraged by -her failures in this respect, made a deliberate and, as it afterwards -proved, a fruitless attempt to quench her longing to write. This -unnatural repression, however, of a strong instinct could not be -conquered, and after some years she yielded to it. - -She was born in London, near old Bow Church, but has no very distinct -remembrances of the house and place. Later, the family moved to -Hackney, into what was then a veritable country residence, and there -many happy years were spent. Her mother was a strict disciplinarian, -and very practical and clever, while her father was a man universally -beloved and respected, by reason of his singularly amiable character, -his integrity, and his many virtues. - -The next move was to Hampstead, where the young girl’s schooldays -began, and it was then that she met and formed a strong friendship -with the late Mathilde Blind, the talented author of _The Descent of -Man_, and translator of Marie Bashkirtseff’s Journal and other works. -This attachment, mutually enthusiastic and full of interest, was only -interrupted by a divergence of religious opinions. Rosa Carey, adhering -to the simple faith of her childhood, could not follow Mathilde Blind, -who was educated in the extreme school of modern free-thought, and the -friends, with sorrow but with yet unabated affection on each side, -drifted apart. - -Meanwhile, the large and happy family was being gradually broken up. -First the beloved father passed away. On the same day that, three -years before, had witnessed his death, their mother, too, was taken -to her rest, and shortly after, the two sisters went to Croydon, to -superintend their widowed brother’s home. Miss Carey’s real vocation -in life seemed to spring up, and the literary work was but fitfully -carried on, for, on the marriage of her sister to the Rev. Canon -Simpson, vicar of Kirkby Stephen, Westmoreland, and the subsequent -death of her brother, the sole charge of the young orphans devolved -upon her. - -As the years rolled by, circumstances tended to break up that home -also. The young people grew up and scattered, and out of Miss Carey’s -four charges three are now married. Then, her pleasurable duties being -accomplished, the partially disused pen was resumed, and the author -found leisure to return to literary pursuits. She has for the last -twelve years made her home in the ancient and historic village of -Putney, which, although it has lost much of its quaint and picturesque -environment since the destruction of the toll-house and the old bridge -of 1729, with its twenty narrow openings—erstwhile the delight of -artists—has yet a few “bits” left that have escaped the hands of the -Philistines. - -Miss Carey’s pretty red-brick house of the Queen Anne style of -architecture, and into which she has only more recently moved, is -situated near the bend of the road. A broad gravelled path, running -the whole length of the house in front, is bordered with shrubs and -flowering plants. The spacious hall opens on the right and front into -the chief living-rooms, the long French windows of which lead into -the conservatory. One of the great attractions of the commodious and -artistic residence is the pleasant garden at the back, at once the -pride and delight of the author, where countless blackbirds, thrushes, -and other singing-birds, are wont to congregate, and where in summer, -under the gigantic chestnut tree with its widely-spreading branches, -she and her home-mates spend many a happy hour. The home party consists -likewise of her widowed sister, Mrs. Simpson, and of her friend, Helen -Marion Burnside, the well-known poet and author of _The Deaf Girl Next -Door_, and of a lately-published volume entitled _Driftweed_. - -The drawing-room is bright and cheerful with its wide, lofty window, -and pretty side windows, its parquet floor liberally strewn with -Persian rugs, and its cosy corner hung with Oriental tapestries. Miss -Carey’s own study is upstairs, half-way up the wide staircase, and -overlooks the garden. There is an oak knee-hole writing-table, with -raised blotting-pad. On one side well-filled bookcases, here a low -spring couch, there lounging-chairs, big and little, and a cabinet -covered with photographs, together with vases of flowers, and many -little odds and ends of china. The whole is restful to the eye, -thoroughly comfortable and attractive. Amid these peaceful surroundings -Miss Carey writes her novels. She recalls to mind a little anecdote -connected with her earliest effort—_Nellie’s Memories_. With no -introduction, and quite unacquainted then with any publishers, she -took the MSS., with much trepidation, to Mr. Tinsley, who refused to -read it. This was a great disappointment, and some months later, she -mentioned the matter to Mrs. Westerton, of Westerton’s Library. This -kindly woman volunteered to induce him to change his mind, and did so -with such good effect that, on hearing at a wedding-party the reader’s -opinion was distinctly favourable, she hastened away from the festive -gathering to impart the good news to the young author, a kindness that -Miss Carey declares she “shall always remember with gratitude, and the -very dress that the good-natured messenger wore on the occasion is -stamped upon her recollection for evermore.” - -This pretty domestic story of English home-life found favour with the -public from the outset. It became widely known, and has been constantly -republished up to the present date. The girl-author’s name and fame -were made at once, at which no one seemed surprised but she. Old -and young alike “took to” the charming tale, free from any dramatic -incidents or mystery, owing to the unflagging interest, and the high -tone of the work, not to speak of the striking individuality of the -characters. _Wee Wifie_ followed, and the author, who alone pronounced -it to be a failure, actually refused at first to allow it to be brought -out again when demanded lately, as she feared it might not add to -her literary reputation, but upon being pressed, she re-wrote and -lengthened it, without, however, altering the plot, and it has passed -into a new edition. - -Among her succeeding novels, which are too well known to need more than -a passing comment, may be noted _Barbara Heathcote’s Trial_, _Robert -Ord’s Atonement_, _Wooed and Married_, _Heriot’s Choice_, and _Mary -St. John_. Ever anxious to do good and not harm, and to write books -that any mother can give her girls to read, Rosa Carey’s works are -characterised by a tendency to elevate to lofty aspirations, to noble -ideas, and to purity of thought. During her residence at Putney she -has also written _Lover or Friend_, _Only the Governess_, _The Search -for Basil Lyndhurst_, _Sir Godfrey’s Grand-daughters_, _The Old, Old -Story_, _The Mistress of Brae Farm_, and _Other People’s Lives_—a -collection of short stories—while her latest book is entitled _Mollie’s -Prince_. In THE GIRL’S OWN PAPER her short stories, which run serially -for six months, are well known and eagerly looked for. In these, -alike as in her longer works, the descriptive power, the fertility -of resource and originality, prove that unceasing interest can be -maintained while dwelling in a thoroughly healthy literary atmosphere. -The first chapters of a new story will appear in our next monthly part. - -It is clearly noticeable that while some of Rosa Carey’s earlier books -indicate a tone of sadness running through them—a circumstance that she -is somewhat inclined to regret, but they were tinged with many years -of sorrow—the healing hand of time has done its merciful work, and -she now writes in a more cheerful vein. Nor is there wanting a strong -sense of quiet fun and humour which especially permeates her delightful -novel _Not Like Other Girls_, a book that should surely stimulate many -young women to follow the example of the three plucky heroines therein -depicted with so much spirit. - -While never exactly forming plots, when Miss Carey is about to begin a -story, she thinks of one character, and works around that, meditating -well the while over the others to be introduced. Then she starts -writing, and soon gets so completely to live in and with her creations, -that she feels a sense of loss and blank when the book is coming to an -end, and while she has to wait until another grows in her mind. But, -after all, her writing—the real work of her life—has often to be made -a secondary consideration, for in her strong sense of family duty and -devotion, and being the pivot round which its many members turn in -sorrow or in sickness, the most important professional work is apt to -be laid aside if she can do aught to comfort or to relieve them. - -Nor have her sympathies been exclusively limited to her own people. -Ever fond of girls, and keenly interested in their welfare, Miss -Carey conducted for many years a weekly class that had been formed in -connection with the Fulham Sunday School for young girls and servants -over fifteen years of age, many of whom have had good reason to -remember with gratitude the kindly encouragement and the wise counsel -bestowed upon them by the gentle and sympathetic author, Rosa Nouchette -Carey. - - HELEN C. BLACK. - - - - -VARIETIES. - - -MANSIONS. - - “I am glad that His house hath mansions, - For I shall be tired at first, - And I’m glad He hath bread and water of life, - For I shall be hungry and thirst. - I am glad that the house is His, not mine, - For He will be in it, and near, - To take from me the grief I have brought, - And to wipe away every tear.” - - _T. O. Paine._ - - -DEATH THE GATE OF LIFE.—Plato, the great Athenian philosopher, who was -born 427 years before Christ, recognised the doctrine that death is -but the gate of life. “My body,” he says, “must descend to the place -ordained, but my soul will not descend. Being a thing immortal it will -ascend on high, where it will enter a heavenly abode. Death does not -differ at all from life.” - - -USELESS TROUBLE. - - “Why lose we life in anxious cares, - To lay in hoards for future years? - Can these, when tortured by disease, - Cheer our sick heart, or purchase ease? - Can these prolong one gasp of breath, - Or calm the troubled hour of death?” - - _Gay._ - - -WOMEN IN BURMA.—In Burma women are probably more free and happy than -they are anywhere else in the world. Though Burma is bounded on one -side by China, where women are held in contempt, and on the other by -India, where they are kept in the strictest seclusion, Burmese women -have achieved for themselves, and have been permitted by the men to -attain, a freedom of life and action that has no parallel amongst -Oriental peoples. Perhaps the secret lies in the fact that the Burmese -woman is active and industrious, whilst the Burmese man is indolent and -often a recluse. - - -SHE KNEW NOTHING OF CYCLES. - -Here is a story for cyclists. At a party on the Scottish Border last -autumn, to which many guests rode on their cycles, the hostess made -elaborate arrangements for the care of the machines, and a system of -ticketing similar to that in use at hotel cloak-rooms was adopted, each -cyclist being provided with a check ticket. - -The housekeeper was entrusted with the care of the machines and the -issuing of the tickets, and as they arrived the machines were carefully -stored and labelled so that there should be no difficulty when they -were required again. - -But the housekeeper was not a cyclist and did not understand the -mysteries of the pneumatic tyre. She pinned the labels on to the front -tyres of the machines, where they could best be seen, and took good -care that the pins were stuck well into the tyres. - -The language that was heard when the guests came to take their machines -away, was, as may well be supposed, more emphatic than polite. - - - - -THE HOUSE WITH THE VERANDAH. - -BY ISABELLA FYVIE MAYO, Author of “Other People’s Stairs,” “Her Object -in Life,” etc. - - -CHAPTER XXV. - -THE NEWS THAT CAME AT LAST. - -Mrs. Bray’s end did not prove so imminent as her faithful Rachel had -feared. She lingered on, though still unable to leave Bath for return -to her desolated home. So Florence Brand came back to London, but she -and Jem still often took “a week’s end” to run westward and visit the -old lady. They never offered to take Lucy with them, and if “Jem” could -not go Florence went alone. As for Lucy, she often yearned for those -associations with her old easy girlish life which she would have found -in Mrs. Bray’s presence. Such associations help to uphold our sense -of identity, and often comfort us by revealing our own growth. They -keep us tender, too, and tolerant, reviving the consciousness of what -we were ourselves before we learned bitter lessons which may not yet -have come to others. Also they strengthen us by revealing that not even -to regain our old careless joys could we willingly be again our old -careless selves. It is the “look backward” which best spurs us to go -forward. - -But Lucy could not afford any “unnecessaries” of leisure or railway -travel. She turned at once to her life of steady labour, knowing that -she must be henceforth a working woman, not for any temporary exigency, -but as part of the natural and persistent order of things. - -Even thus she had problems to solve. Her earned income, more or less -uncertain, was not adequate for the reliable upkeep of the home of her -married life. Nor could the demands upon it grow less, since Hugh’s -education and start in life had to be taken into account. - -Lucy could not yet give up all hope of her husband’s return. But her -sweet, sane nature speedily realised that whatever hopes she might -secretly cherish, she must nevertheless act as though Charlie had -indeed “sailed for that other shore” whence he “could not come back to -her.” - -Yet these secret hopes made it very hard to contemplate the surrender -of the home Charlie and she had made together—the sale of the -leasehold, the dispersion and shrinkage of the household gods. These -seemed almost sacred now when they might be all that remained of the -old life. - -The Brands warmly advocated giving up the house and selling off the -furniture. - -“It may not bring in much,” Florence said airily, “but what it does Jem -will get well invested in some paying concern. Then you and the boy -can board with somebody. You may do that moderately enough, for people -who are glad to take boarders can often be screwed down to low terms. -Then apart from that definite outlay, you’ll have whatever you can earn -for yourself, and you’ll have no more worry with housekeeping. Many -would envy such a lot. You see there are compensations in all things.” - -Then it struck Florence that Lucy’s hesitancy might arise from -reluctance to give up all hope of Charlie’s return, so she added -hastily— - -“And if what we all hope for should really happen, why, you would still -have your capital, and you could buy another leasehold and get new -furniture; it would just make a lovely new beginning!” - -Lucy shook her head. - -“I don’t want to do this if I can find some other way,” she said. “No -other house could be to us what this one is, nor any new furniture that -which Charlie and I bought bit by bit in our courting days. Practically -speaking, too, breakings-up and sales, and buyings again, all mean loss -in cash as well as in feelings.” - -“Then, too, if you and the boy were boarding,” Florence went on -hurriedly, “your wants would be drawn within narrow and defined limits, -so that if there was any sort of misfortune, it would not be difficult -for us to help you. We are not really rich, Lucy. We live as we do and -spend as we do only that we may go on getting more. That is the way -with one-half of the people in society. It’s trying. It tells upon Jem, -it’s that which makes him take so much wine,” she whispered. “I should -not like my family to heap any burdens on Jem.” - -“I shall not do that, Florence,” replied Lucy, cool and quiet now, -where once she would have been indignant and stung. “I shall certainly -not allow myself to get into debt. I will look well ahead. If we have -to go to the workhouse, I will make our own arrangements for going -there!” - -Other people took counsel with Lucy in a far different spirit. Miss -Latimer said Lucy might rely on her remaining with her as long as they -could possibly share a common home. That added her little income to the -household funds. “Little indeed,” she said, but Lucy answered— - -“Every little helps. And the greatest help is in the knowledge that one -does not bear one’s burden alone.” - -“Ay, two are better than one,” rejoined the old governess, “and a -threefold cord is not quickly broken.” - -“I’d like to be the third cord, but I’m only a bit of twine,” said Tom. - -Another and stouter strand was soon to be woven into the household -coil for that “long pull and strong pull” which Lucy was determined to -make. The death of his old landlord had broken up the house where Mr. -Somerset had hitherto lived. Diffidently, as if he were asking a great -favour, he inquired if Lucy could entertain the idea of allowing him to -rent her first floor, for which he was willing to pay a rent which at -once made a substantial addition to the household finance. - -As for poor Tom Black, he was distressed to think how small his -payments were. “If he went away,” he said, “somebody more profitable -might occupy his place.” Lucy had to reassure him by her own words and -by the sight of Hugh’s tears at the bare thought of “Tom’s going away.” - -Three months later Tom got a rise in his salary, and then he insisted -on raising his monthly board fee. Lucy was slightly reluctant and -almost aggrieved, but when she saw the lad’s face beaming with the -power of his new prosperity, she let him have his own way in the matter. - -So life settled down. Florence resented that her sister had chosen “to -turn into a lodging-house keeper.” Lucy marvelled to note how strangely -it “comes natural” to some women to belittle and contemn those ways of -honest industry which lie nearest to woman’s true nature—housekeeping, -house-serving, the care of the aged, and the young, and the solitary. -And, oh, the pity of it! if such belittlement and contempt tend to -relegate these high womanly functions only to unworthy “eye-servants”! - -Months passed, yet the silence of the seas remained unbroken. Now and -then Lucy and the captain’s wife wrote and asked how each fared. There -came no day when either drew a line across life and forbade that hope -should cross it. They did not put on widow’s mourning, yet when Lucy -had to buy a new dress or ribbon, Miss Latimer noticed that she bought -it of black or of soberest grey. - -Months of such waiting had gone by ere Lucy wonderingly observed -that there came to her no more her old nightmare vision of herself -struggling lonely between a wild heath and a dead wall against a -midnight storm. There was a sense in which the allegory of that vision -was converted into fact—the silence as of death on one hand, the great -rough world on the other, the storm of sorrow beating on herself. Yet -now she realised that God Himself was with her on the dark wild way—she -was not alone—and that made all the difference. God does not promise -to uphold us in our fears and forebodings. These ought not to be. He -has promised to be with us and to comfort us when the dark days shall -really come. - -Lucy never gave voice to many of her deepest experiences at that -time—that secret speech which the Father keeps for each of His -children. Sometimes it seemed to her as if shafts of light penetrated -her very being, revealing or illuminating the most solemn mysteries of -life. Sometimes she thought of Paul’s allusion to being “caught up into -the third heaven” and “hearing unspeakable words which it is not lawful -for a man to utter.” - -This fleeting glory would fade out of Lucy’s soul even as sunshine -fades off the earth. Yet Lucy felt that those “hours of insight” left -her seeing “all things new.” - -Lucy began to understand how martyrs can smile and speak cheerfully at -their stake, because from that standpoint their developed spiritual -stature lifts them to wider horizons than others know. What a message -the blue sky must have had for the white depths of the Colosseum! Yet -these things can never be told or written. Whoever would know them -must learn them for themselves, though it be but “in part.” But it is -because of these things that faith and hope and love have never died -out of the world, since all the forces of unfaith and despair and -cruelty end only in producing them afresh, because they are of the -eternal life of God. - -Lucy’s picture-dealer felt kindly towards the quiet client who gave -so little trouble, showed so little self-conceit, and, while steadily -business-like, was never exacting or suspicious. He thought “it would -do Mrs. Challoner no harm” if he told her that one or two purchasers -had said, “There is something in that lady’s sketches which we miss -in many greater artists,” one old lady adding that “when she looked -at Lucy’s pictures, she felt as if there was a soft voice beside her -whispering something pleasant.” - -That brought the tears to Lucy’s eyes and made her feel very humble, -possibly because she could not deny to herself that there was truth in -the gracious words. Oh, to have Charlie again, and yet to be all that -she had grown into since he had gone away—since this awful silence! And -an inner voice bade her take cheer, for was not this what was sure to -happen here or there—sooner or later? - -“What a pitiful bliss we should make for ourselves if we were left to -do it without God!” Lucy cried, thinking even of the sweetest dreams -of courting days, the best aspirations of married life. For after one -taste of “the peace which passeth understanding,” one vision of the joy -which has absorbed the strength of sorrow into it, mere “happiness” -looks but a poor thing, even as a child’s cheap, pretty toy shows -beside a masterpiece of genius. - -Lucy’s slumbers now were deep and calm. Almost every morning she awoke -with a sense of refreshment, as when one returns to labour after being -among kind hearts in lovely places. Sometimes she knew she had dreamed, -and such dream memories as lingered, elusive, for a few waking moments, -were always bright and cheering. Visions of Charlie had come during -the first nights after the great blow. He never seemed to speak, but -he was always smiling, always confident that all was well and would be -well. His dream form always appeared in positions and in scenes which -Lucy could recall as having figured in peculiarly happy times. And yet -these scenes had been at the time so slight and evanescent that Lucy -had quite forgotten them till the dream revived the remembrance. It was -as if, in her sleep, her soul was drawn so near the light and warmth of -love that even the invisible records of memory started into view. - -After those first few occasions Charlie came no more into any dream -which she could recall even at the instant of waking. But the soothing -spirit of hope and reassurance remained. If she dreamed of Florence, -Florence wore the simple frocks of her girlhood and spoke as she used -to do. Jem Brand, too, appeared only on his kind and helpful side. Once -she had a curious dream of seeing two Jem Brands exactly alike, save -that one was fresh and smiling and friendly, and inclined to nudge his -strange dissipated-looking twin, and to ask why he was so grumpy and -heavy. In her sleep, too, she saw Mrs. Morison, and Jane Smith, and -Clementina, and each was back in her old place and doing well. Lucy -could never remember what passed between them and her in the land of -sleep, but somehow she knew it was something that explained things, -something which made them feel that the past could not have ended -otherwise than it had, but which also made her feel that it was quite -natural that they should begin again and do better. - -She thought to herself once as she awoke— - -“I feel as if wherever Charlie is I am in his every thought, and that -his every thought is a prayer always ascending on every way by which it -can bring back blessing.” - -It was about this time that it struck Lucy that strangers very -often spoke to her. She scarcely ever entered an omnibus or a -railway carriage without somebody appealing to her for some trifling -assistance, or confiding to her some little difficulty which they -seemed to think might grow clearer if it were talked over. Once or -twice she noticed that old folks or little children let ever so many -people pass them by and then asked her to ring a stiff bell for them or -to decipher an address. - -Sometimes she caught herself softly repeating Adelaide Proctor’s lines— - - “Who is the angel that cometh? - Pain! - Let us arise and go forth to greet him. - Not in vain - Is the summons gone for us to meet him; - He will stay and darken our sun; - He will stay - A desolate night, a weary day. - Since in that shadow our work is done, - And in that shadow our crowns are won, - Let us say still, while his bitter chalice - Slowly into our heart is poured— - ‘Blessed is he that cometh - In the name of the Lord!’” - -Of course beneath all this high experience ran the undercurrent of -simple daily living. Lucy was in no danger of losing hold of the -practical. She had her regular duties at the Institute, and many little -opportunities for the exercise of tact and common sense at home. -The little household had a real organic unity in its common service -of true friendship, but that did not rub off all the little human -angles. Sometimes Pollie would say that “Mrs. May was more particular -than a real mistress.” Sometimes Miss Latimer found a trial in the -romps of Hugh and Tom Black. Mr. Somerset adopted vegetarianism and -puzzled Mrs. May by desiring her to concoct dishes which seemed to her -unsatisfactory and uncanny. But each trusted the other. Everybody knew -that everybody meant well. If a sharp word were spoken unwarily, a kind -word followed hard upon it. Each understood that all joys and trials -were common property; shares therein might differ, but everybody had a -share. - -So the weeks grew into months, and the months completed a year. One -evening Lucy was sitting in the dining-room glancing over her completed -balance sheet with its tiny “surplus,” when suddenly it seemed to her -that there was a new sound in the very rumble of the cab which was -depositing Mr. Somerset as usual at the door, after his day’s study at -the British Museum. She looked up, her pen in her hand listening. - -Mr. Somerset generally went straight to his own apartments. -Occasionally, however, when he had any news to tell or any request to -make, he looked in upon the little party in the dining-room. - -He did so now. - -He sat down on the sofa and said abruptly— - -“Mrs. Challoner, do you think joy ever hurts anybody?” - -“Surely not,” she said, looking up with wide eyes. “The Bible says that -hope deferred maketh the heart sick, but that when the desire cometh, -it is a tree of life.” - -“Do you feel sure, dear friend, that you could bear——” - -She had risen from her seat with clasped hands. - -“Mr. Somerset, Mr. Somerset!” she gasped. - -He rose too. - -“Trust me,” he said, gently leading her mind to its new attitude. “I -would not stir expectation ever so lightly for nothing. To-day I have -received a message from the shipping office to deliver to you. Listen! -The long looked-for word has come at last. Charlie lives! Charlie is -quite well! Charlie is coming home! He is on his way!” - -Lucy did not faint. She did not cry out. She sat quite quiet for a -moment, and then broke into a peal of low happy laughter, which died -away in a flood of soft healing tears, from which she looked up and -said— - -“Is it all true? Is it quite true? I can scarcely believe it!” - -(_To be continued._) - - - - -THE PLEASURES OF BEE-KEEPING. - -BY F. W. L. SLADEN. - - -PART V. - -August is the month we most associate with all the active interests of -the height of summer, but the bees in the hive are already quieting -down and making preparations for their long winter sleep. The duty -of the bee-keeper will be to make sure that these preparations are -properly carried out by assisting them if necessary. One reason -for their diminished activity is the disappearance of several -honey-producing flowers on which the bees depend for their main crop. -Breeding is not kept up so largely—the brood nest growing smaller; -and many cells that contained brood last month will now be filled up -with honey and pollen. Most of the bees now in the hive are to survive -the coming winter, and they must preserve their energies as much as -possible, because the colony will stand in great need of their services -in the following spring. The drones, who gather no honey, and are of no -further use in the hive are now attacked and killed, or turned out of -the hive to perish from exposure. The ejection of the drones is rather -a gruesome proceeding, but it is one that should give satisfaction to -the bee-keeper, because it shows that the colony possesses a healthy -and vigorous queen, and this, of course, is an essential condition for -its well-being. - -All through this month robbing will have to be guarded against, as, now -that honey is scarce, it is easily induced, especially where there are -a number of hives. To prevent robbing, the hives should not be opened -too often, and then only late in the afternoon, and the work done as -speedily as possible. No drops of honey or syrup should be left about, -and if feeding is going on, care should be taken to prevent any bees -from outside getting to the feeder. - -When robbing and fighting are found to be in progress, the best means -of checking the trouble will be to reduce the entrance of the hive with -perforated zinc, so as to allow only one bee to pass in or out at a -time. A rag soaked in a weak solution of Calvert’s No. 5 carbolic acid, -wrung out nearly dry, and spread out on the alighting board will also -help to keep the robbers off. - -These measures need not be taken unless there is considerable -excitement around the hive entrance. At this time of year there will -often be a few strangers on the alighting board, which get pulled about -rather roughly by little groups of over-zealous sentinels, but no -notice need be taken of this. - -The middle or end of August will be time enough to think about getting -the bees into condition for the winter. A careful inspection of all the -hives should now be made, and the following points carefully noted: - -(1.) Every colony should have a good laying queen. The appearance of -worker brood in all stages will be sufficient evidence of her presence -without our taking the trouble to hunt her up. - -(2.) The colony must be strong, the bees crowding on at least six -standard frames. - -(3.) The combs must contain not less than twenty pounds of good honey -for food during the winter. - -These three conditions being fulfilled, we may be satisfied that the -colony is in good condition to withstand the rigours of winter without -further attention, and only requires to be wrapped up warmly later on -before the advent of cold weather. - -If, however, the colony should happen to be queenless, or weak (that -is, covering less than six standard frames), it will have to be -_united_ to another colony. Thus, two colonies, neither of which, -alone, would be strong enough to stand the winter, can be united -together to form one strong colony, which, if properly looked after, -will almost certainly turn out strong in the spring and do well the -following year. - -The colonies which are to be united should stand near to one another; -by this I mean within a yard or two of one another. If they are further -apart or have several other hives standing between them, they will have -to be brought together, the moving being done by degrees, a yard or -two at a time, and only on fine days during which the bees fly freely, -otherwise many bees will be lost. - -For the operation of uniting a flour-dredger will be required, -containing about half-a-pint of flour. Also a goose-wing for brushing -the bees off the combs. The dome queen-cage is an appliance that may -come in useful. It is made of tinned wire-cloth, and shaped like the -strainer that is sometimes hung from the spout of a tea-pot to retain -the leaves. Such tea-strainers make very good queen-cages. To use the -queen-cage it is pressed into the comb with the queen inside. - -The hive to contain the united colonies should be placed midway between -the two old stands. The alighting-boards should be extended by means of -the hiving-board which was used in hiving the swarm. - -A bright calm afternoon will be the best time to do the uniting. We -have already seen that bees belonging to different colonies when mixed -will not, under ordinary circumstances, agree. If, however, they are -prevented from recognising one another they will unite together quite -peaceably, and this condition may be brought about by dusting them -over with flour. Every comb must therefore be lifted out of both hives -and the bees on them well powdered with flour from the dredger. In -replacing the combs, one from one hive should be put next to another -from the other hive, thus ensuring the better mixing of the bees. Combs -containing brood should be placed together in the middle of the hive. -The bees on the lightest of the outside combs may be shaken off on to -the hiving-board, where they should receive a sprinkling of flour, the -combs being then taken indoors at once. - -During the operation a sharp look out should be kept for the queens on -the brood combs, and if one of them should be preferred for heading -the new colony she should be caged by herself on a comb in the manner -described above to prevent any hostile workers from attacking her. The -other queen must then be found and removed, and the bee-keeper must -remember to liberate the caged queen on the following day. If left to -themselves, however, the workers soon learn to recognise one of the -queens as their mother, so that the trouble of finding and caging the -queen is not really necessary in uniting, but it is an additional -safeguard which the practised bee-keeper is glad to be able to take -advantage of. - -It was stated just now that the presence of _worker_-brood in the hive -was sufficient evidence of the presence of a good queen. In some cases -where there is a bad queen or no queen at all, _drone_-brood may be -found in the hive. Usually the bees build a special comb with cells -of a larger pattern for raising drone-brood in, but a bad queen will -often lay drone eggs in worker-cells. In either case drone-brood may -be known from worker-brood by its raised convex cappings, the capping -over the worker-brood being almost flat. The best thing to do with a -drone-raising colony is to unite it to another good colony without -delay in the manner described above. - -Having settled the question of strength, the next thing to see about -will be the food supply. If each hive does not possess the minimum -weight of 20 lb. of stored honey, combs containing food must be given -from another hive that can spare them, or syrup must be supplied -through the feeder. - -Syrup for winter use must be made thicker than that used for -stimulating in the summer, 10 lbs. of cane sugar being dissolved in -only 5 pints of water. The syrup must be given quickly (5 or 6 lb. -every day), otherwise much of it may be used for raising brood. For -this purpose special rapid feeders, made to hold 6 lb. of syrup, are -made. - -If the stock-box contains more than 30 lb. of honey, we may take and -extract the surplus from the outside combs, or one of these combs might -with advantage be given to a colony that stands in need of it. - -Bee-keepers who live in the heather districts of Scotland and the north -of England will now be reaping the late honey harvest that this plant -affords, getting their supers filled with the delicious heather-honey, -which is so highly esteemed for its fine flavour. Persons keeping a few -colonies a little distance from the moors find it worth their while to -send their bees there while the heather is in bloom. Heather-honey has -a deep colour. It is so thick that it is extremely difficult to remove -it from the comb by means of the honey extractor. It should therefore -be stored in sections, as these do not require extracting. Sections of -heather-honey should fetch about threepence more than ordinary sections. - -What to do with the honey obtained from their bees is a question, I -expect, that will not trouble many of my readers. Still it will be a -good thing to know some of the uses of honey. In the first place it -is delicious eaten with bread and butter. It contains grape sugar, -which makes it wholesome and easily digested, and particularly good -for children in moderate quantities. Honey-vinegar and mead when well -made are acknowledged to be excellent. As an ingredient in cakes and -confectionary, honey greatly improves them. A delicious flavour is -imparted to tea or coffee if sweetened with honey instead of sugar. “My -son, eat thou honey, because it is good” (Proverbs xxiv. 13) is the -recommendation the wise King Solomon gave honey. - -Honey is also valuable as a medicine. Mixed with the juice of lemons -it is universally acknowledged to be one of the best remedies for sore -throat and cough. It has been proved to be beneficial in cases of -rheumatism, hoarseness, and affections of the chest. - -(_To be concluded._) - - - - -THREE GIRL-CHUMS, AND THEIR LIFE IN LONDON ROOMS. - - -CHAPTER X. - -Marion’s wedding-day was near at hand. Mrs. Grant, her cousin, who -lived in Norfolk Square, had very kindly offered to have the wedding -from her house, and this arrangement was the most convenient for -everybody concerned. It had been at first intended that she should be -married from her own home in Northamptonshire, but there would have -been such a difficulty in putting up all the wedding guests, and Dr. -Thomas’s house was already a very full one. So when Mrs. Grant offered -the loan of her house for the occasion it was thankfully accepted. - -Marion was glad to be in London for a week or two beforehand as she -was so busy with her _trousseau_, and it made the shopping and trying -on of dresses so much more easy. Her mother came up to town to stay in -Norfolk Square for a fortnight before the wedding to help her with her -purchases. The rest of the family were coming up for the wedding on the -day and were going back to the country as soon as it was over. - -Marion was disappointed at not being married from her own home, but she -saw plainly that the present arrangement would save her mother a great -deal of fatigue and inconvenience, and as Mrs. Thomas was not at all -strong now, that was a great point gained. Anybody who has experienced -the difficulties of making ready for a party, added to the planning and -contriving necessary to the disposal of guests in an already over-full -house, will heartily appreciate the benefits of Mrs. Grant’s plan. - -Jane wrote to Mrs. Grant, whom she knew very well, and offered help -for the wedding breakfast. As the cook in Norfolk Square had not been -in her place very long and was rather inexperienced, Mrs. Grant was -very glad to agree to Jane’s suggestion. The wedding was to be on a -Saturday. Fortunately the day before was a free day for Jane, and so -she would be able to devote it to making ready for the wedding. - -There was to be a sit-down breakfast in the old-fashioned style, for -the guests were limited to the relations and very old friends of the -bride and bridegroom, and as several of these would be coming up from -the country for the day, they would be glad of a substantial repast. -The bride was to be married in a travelling dress, and was only to have -one bridesmaid—her sister Lily. - -As the weather was already crisp and cold this was a very sensible -plan, for nothing is more unbecoming than the utterly unseasonable -attire in which brides and bridesmaids are sometimes seen shivering. -Fortunately Marion was not to go straight to a very hot climate, as -Mr. Scott had work at Ootacamund for the next year. She received many -delightful presents. A very useful one from one of her pupils was a -cookery-book for Anglo-Indians, which she treasured very much, as she -knew how very useful it would be to her in her new home. - -Mrs. Holden gave her several presents, amongst which was some very -beautiful lace which Marion had made up on a white silk dinner dress. - -The enterprising Jane made the wedding-cake with Ada’s help. She had -to buy a special tin to bake it in as she had not one big enough. It -was cooked with the greatest care in the gas oven in which Marion had -prepared so many meals in the days of their joint housekeeping. - -The preparations took some days, for Jane had not very much time just -then. She prepared half the fruit one evening and half the next. On -the next afternoon she got home early, made the cake, and got it into -the oven by six o’clock, and had it baked before they went to bed. The -next evening she put on the almond icing and the plain royal icing, and -on the next she ornamented it. It was allowed two or three days to set -quite firm, and then the cake was wrapped in wadding, packed in a box -and taken over to Norfolk Square in a cab, where it was kept under a -glass case until the wedding. Our readers must have the recipe of this -wonderful cake in case they may wish to emulate Jane’s industry for the -benefit of their friends. Mrs. Oldham sent up a special box of eggs for -its concoction. - - -MARION’S WEDDING CAKE. - -_Ingredients._—Two pounds of Vienna flour, one pound of French plums, -one pound of sultanas, one pound of currants, one pound of citron peel, -one and three-quarter pounds of fresh butter, one and a half pounds of -castor sugar, ten eggs, one pound of sweet almonds, and vanilla essence. - -_For the Almond Icing._—Two pounds of ground almonds, three pounds of -castor sugar, almond flavouring, enough beaten egg to bind. - -_Royal Icing._—Three pounds of icing sugar, whites of egg to mix, lemon -juice. - -_Method._—Rub the flour through a hair sieve, stone the French plums -and chop them finely, wash and dry the currants, and pick and flour the -sultanas; cut up the peel, sift the sugar, blanch and chop the almonds. -Beat the butter to a cream, and then add the sugar and work together -until very light; add the eggs one by one, flour the fruit well, and -stir it in gradually, the almonds also: lastly, stir in the flour, the -essence, and the brandy. Line a tin with paper that has been brushed -with clarified butter; pour in the mixture, and bake in a moderate oven. - -_Almond Icing._—Mix the ground almonds and castor sugar together and -then work in enough beaten white of egg to bind; knead and roll out, -lay over the cake and put near the fire to dry. - -_Royal Icing._—Rub the icing sugar through a sieve and work in with -a wooden spoon enough white of egg to make the icing of the right -consistency to spread over the cake; add a little lemon juice. Dry the -icing in a cool oven, taking care it does not colour. Ornament the cake -the next day, using royal icing mixed rather more stiffly than that -which was spread over first. Put it on with a forcer. - - * * * * * - -Jane declared that she only breathed freely when she had deposited the -cake in Mrs. Grant’s house, and saw it waiting for the wedding under a -large glass globe! - -Here we have the menu for the wedding breakfast. - - -MENU DU DÉJEUNER. - - Ox-tail Soup. - Oyster Patties. - Glazed Pheasants. - Pigeon Pie. - Tongue. - Pistachio Cream. - Claret Jelly. - Fruits. - Coffee. - -The cook at Norfolk Square and Jane both worked hard all the day before -and everything turned out very well. To ensure the pheasants and the -tongue being well glazed and looking nice, Jane made some good glaze -and brought it with her. This she did by making a pint of good beef-tea -and boiling it rapidly down to a thick syrup. The pheasants and the -tongue had each two coats brushed on and were then suitably ornamented, -the tongue with a pretty design in creamed butter put on with a forcer -and slices of notched cucumber laid round the dish. The tongue was a -smoked one and was soaked for twenty-four hours before being cooked. -Jane made all the puff pastry for the patties and the pigeon pie; the -cook made the soup, cooked the pheasants and the tongue and prepared -the inside of the pie under her supervision. She also prepared the -moulds for the creams and jellies. Here are the recipes for the soup, -patties, creams, and jellies. The quantity made consisted of two quarts -of soup, two dozen patties, two creams (quart moulds), two jellies -(ditto), and two pies. - - -OX-TAIL SOUP. - -_Ingredients._—One ox-tail, one carrot, one turnip, two onions, two -sticks of celery, two tomatoes, four mushrooms, bay-leaf, blade of -mace, a bunch of herbs, twelve peppercorns, two teaspoonfuls of salt, -two quarts of stock, two ounces of butter, three ounces of brown -thickening. - -_Method._—Cut the ox-tail into joints and blanch it. Fry it well in the -butter, add the vegetables washed and sliced, the mace, herbs, salt, -and the stock, and simmer four hours. Strain and pick out the pieces of -meat; take off the fat and return to the saucepan. Thicken with three -ounces of brown thickening. Put in the pieces of ox-tail and the soup -is ready. - - -PUFF PASTRY. - -_Ingredients._—Two pounds of Vienna flour, two pounds of butter, lemon -juice, water to mix, two yolks of eggs. - -_Method._—Rub the flour through a hair sieve; wash the butter and rub -one-third into the flour. Turn this on to the paste-board and make a -well in the middle. Beat the yolks of two eggs with a gill of water -and a little lemon juice and mix into the flour, adding more water if -necessary until you have a flexible dough. Roll out to a strip, shape -the butter to a third the size of the dough and lay it on; fold the -dough over and roll out; repeat this and put it away to cool. Roll -out again and repeat this four times. Roll out, cut as required, and -use. For patties, cut into rounds with a cutter about the size of a -wine-glass and mark it at the top with a smaller cutter. Bake in a very -hot oven a pale golden brown, and when baked lift off the lid and scoop -out the inside; fill with the required mixture and put on the lid again. - -_Mixture for Oyster Patties._—Strain the liquor from two dozen oysters -and put it to boil for ten minutes with a blade of mace, three -peppercorns, a little lemon rind, and some salt; strain and mix with a -gill of cream. Work half an ounce of butter with as much cornflour as -it will take up, stir it into the liquor and boil up over the fire; cut -the oysters in small pieces, put them into the sauce and heat gently -for a few minutes without letting it boil again. - - -PISTACHIO CREAM. - -_Ingredients._—One pint of double cream, the whites of two fresh -eggs, four ounces of castor sugar, a quarter of a pound of pistachios -(chopped and blanched), one ounce of leaf gelatine, two tablespoonfuls -of water, a half-pint packet of lemon jelly. - -_Method._—Take a plain round cake-mould that will hold a quart, and -line the sides of it with lemon jelly. Sprinkle the bottom over with -chopped pistachio, using a little melted jelly to set it. Whip a pint -of double cream to a stiff froth, and mix it lightly with the stiffly -beaten whites of two fresh eggs and the castor sugar (sifted). Pound -the pistachios in a mortar, and add the sweetened cream to this. Have -ready the gelatine, and when it is lukewarm stir it quickly into the -cream. Pour at once into the prepared mould. - -Before the wedding-day, Jane, Ada, and Marion had a little tea-party at -“The Rowans,” at which it must be confessed they talked a great deal -and ate very little. - -“Well, we have had a very happy year at all events,” said Ada, “and if -_circumstances_ had not upset our previous arrangements, I should have -been quite content to go on in the same way for a long time.” - -“As _circumstances_, named Tom Scott and Jack Redfern, intervened, our -housekeeping is at an end,” said Jane decisively. “I think I am the one -to whom all apologies should be made. Of course, with you two gone, I -could not bear starting the same sort of thing again with anyone else, -but it has certainly been a most successful experiment. Has your dress -come home yet, Marion?” - -“Yes; and fits very well.” - -“It is the prettiest dress you can imagine,” said Jane to Ada. “A grey -Sicilienne skirt, with a grey glacé silk bodice, and cherry-coloured -velvet at the throat and waist. A dear little cherry-coloured toque to -wear with it, and a smart grey velvet cape with a delicate design in -steel on it. I can’t help talking like a fashion plate when I think of -it! Our dresses are sent back at last, and there is nothing that needs -alteration.” - -Jane and Ada were to wear their new winter dresses of green cashmere -and brown velvet; big brown “picture” hats with rowans under the brim. -Marion’s wedding-day dawned bright and sunny. The wedding was to be at -two o’clock. - -Jane had arranged to go over to Norfolk Square early to superintend -the laying of the breakfast before the party went to church. The -table was decorated with white flowers in specimen vases. Azaleas, -chrysanthemums, and orange-blossoms, and sprigs of rowan-berries were -laid on the pretty white satin table-centre which Ada had worked for -her friend. - -And now they are off to church. - -Marion makes a charmingly pretty but very nervous bride. Everybody is -bright and cheerful and there are no tears. Soon they come back and sit -down to the breakfast, prepared with so much care. And now the time has -come for us to bid farewell to our young housekeepers, whose plans and -contrivances our readers have followed for so long. If their example -will induce any to try the experiment for themselves, Mrs. Scott, Mrs. -Redfern, and Miss Jane Orlingbury will feel that they have not worked -in vain. - -[THE END.] - -[Illustration] - - - - -LETTERS FROM A LAWYER. - - -PART XI. - - The Temple. - -MY DEAR DOROTHY,—As you are one of the members of the committee for the -bazaar in aid of the Nursing Home for Old People, I may be able to give -you a few useful hints to avoid certain illegalities which beset the -path of the unwary promoters of such charitable entertainments. - -The great feature of a big bazaar should consist in having as many side -shows as possible, so that people may be able, by the expenditure of a -shilling or two, to escape from the importunities of the stall-holders -into a concert-room, waxwork show, or other attraction, and not be -driven out of the bazaar altogether. - -If you want to have anything in the nature of a farce, operetta -or comedietta played in the building, you ought to inquire if the -hall which you are going to hire for the bazaar has a licence for -stage-plays. If it has not such a licence, the performers and those -responsible for the entertainment will render themselves liable to a -fine, unless the proper licence is secured. - -Fish-ponds, bran-pies, lucky tubs, and similar contrivances, are -doubtless, strictly speaking, illegal, but are always tolerated at -bazaars, where people do not expect to get the value of their money; -but it is advisable to draw the line at roulette tables or anything in -the nature of a real gamble or a lottery. - -On the last day of the bazaar, it is often the custom to sell off the -undisposed-of stock of the stalls by auction. The person who holds -the auction should be a person having an auctioneer’s licence to sell -by auction, otherwise trouble may ensue, as the auctioneers have -recently made a determined stand against unqualified persons acting as -auctioneers. - -I think that these are the principal errors into which people who get -up bazaars are liable to fall; but perhaps I ought to enlarge a little -more upon stage-plays and the necessity for having a licence for their -performance. - -It is almost impossible to give any kind of a variety concert without -unwittingly performing what is the legal equivalent of a stage-play; -any song with dramatic action is a stage-play, and so are duologues and -monologues, as distinguished from recitations. - -Some people have an idea that so long as they do not take any money -at the doors, they are quite safe and within the law in giving a -performance in the cause of charity, but such is not the case. When -money or other reward is taken or charged, directly or indirectly, or -when the purchase of any article is made a condition for admission, the -performers and the owner or occupier of the building render themselves -liable to a fine. - -This may sound very alarming, and would, no doubt, considerably -startle those good ladies who lend their houses for performances -for charitable objects in the season; but every time they do so, and -anything in the nature of a stage-play is performed, they may be -prosecuted and fined, although personally they take no benefit from -such performances. The fact that they frequently do so with impunity -does not affect the law on the matter, which is perfectly clear. Why -it has not been altered before now, I am unable to say; hardly a day -passes without its being broken, exemplifying the old proverb that “one -man may steal a horse from a stable, and another may not look over the -hedge.” - -I know of a case where a gentleman who had turned part of his house -into the Theatre Royal back drawing-room, and who permitted a -performance of a play to be given on two occasions, to which admission -was by ticket only, which could be obtained beforehand on payment -of a fixed sum, in aid of the funds of a charity, was convicted and -fined under the Act. The gentleman appealed against the conviction, -but without success; the conviction was confirmed by the Court of the -Queen’s Bench. So be warned, my dear Dorothy, and do not allow your -friends to disregard my advice, and be assured that it is much better -to avoid these risky entertainments altogether. - - Your affectionate cousin, - BOB BRIEFLESS. - - - - -OUR LILY GARDEN. - -PRACTICAL AIDS TO THE CULTURE OF LILIES. - -BY CHARLES PETERS. - - -[Illustration: _Lilium Tigrinum_ (var. _Fortunei_).] - -We will conclude our remarks on the noble family of lilies by some -notes and tables, which will be found of great value to those who wish -to cultivate these beautiful flowers. - -We told you in the first part of this book that we kept a note-book—a -kind of diary—in which we kept a record of our work among the lilies. -We advise everyone who intends to grow these plants to follow our -example, and get a large manuscript book to put down the “proceedings” -of her lilies. The following points should be noted. (1.) The name -of the species and variety. (2.) The name of the person from whom -you obtained the bulb. (3.) The day on which the bulb was planted, -with a note as to the condition of the weather at the time. (4.) The -circumference of the bulb, and a brief description of it, stating -whether the flower-spike had begun to grow, or the new roots had -appeared, or if any scales were mouldy or diseased. (5.) The soil in -which the lily was planted. (6.) The date of the appearance of the -shoot. (7.) The date of flowering. (8.) A brief description of the -full-grown plant and its individual members. (9.) The condition of the -bulb when exhumed. - -Here is an example of the record of a bulb of _L. Auratum_. - -“_Lilium Auratum_, var. _Platyphyllum_, bought from Mr. ——. Potted -on the 3rd of November, 1897; a warm, dry day. Bulb seven inches in -circumference; new roots just appearing. A sound, heavy bulb. One -mouldy scale removed. Washed in lime-water; sprinkled with charcoal and -potted in an eight-inch pot in a mixture of fine peat (one part), rich -leaf-mould (two parts), a large handful of sand and a few small lumps -of clay. Shoot appeared March 17th, 1898; grew rapidly. No disease. -Flowered September 4th, 1898; five blossoms, all perfect, largest -eleven and a half inches across. No rain when in flower. Lasted in -blossom till September 20th, 1898. Bulb when exhumed quite healthy, -showing two crowns nine and a quarter inches in diameter. Exhumed and -replanted October 21st, 1898.” - -If you have a record like this of every lily, you possess a most -valuable book on the culture of lilies; and, as we said at first, the -cultivation of these plants is little understood. - -A thoroughly authentic, practical record will help you more to become -proficient in the art of lily-growing than any amount of impracticable -theory. - -Now some words to those who are growing lilies in pots. As we have -seen, most species grow well in pots. All do well except the following, -which are unsuitable for pot culture. The reason why they are suitable -is also given. - -_L. Cordifolium_ (too straggling). - -All the _Isolirions_, because they are not sufficiently ornamental for -pot culture. - -_L. Humboldti._ This lily does not do well in pots; why we do not know. - -_L. Martagon_, _L. Pomponium_, _L. Pyrenaicum_, _L. Chalcedonicum_, _L. -Monodelphum_, _L. Testaceum_. - -The last six lilies are unsuitable for pot culture because they require -to become established before they will condescend to flower. - -Most lilies grown in pots can be kept in the open air or in a room, or -anywhere you please, but the following require protection of some sort:— - -Half-hardy species. These should not be put out in frosty weather; -otherwise they may be grown out of doors. If you have planted them -in the ground at a sufficient depth, they will stand all but a very -severe winter. _L. Giganteum_, _L. Cordifolium_, _L. Formosanum_, _L. -Wallichianum_, _L. Washingtonianum_, _L. Catesbæi_, _L. Polyphyllum_, -_L. Roseum_, _L. Hookeri_, _L. Oxypetalum_, _L. Alexandræ_. - -The following usually need a greenhouse to grow them well:—_L. -Philippinense_, _L. Neilgherrense_, _L. Nepaulense_, _L. Lowi_. - -Would you like to have lilies in pots in your room? You can have them -even if you do not possess a greenhouse. You can grow the lilies in -the ground and transfer them to pots just before they begin to flower. -For this purpose plant the bulbs in the open ground in rather lighter -soil than you would if the lilies were to flower in the open. Place the -bulbs about four inches deep. You need not remove the plant until the -flower-buds are nearly fully developed. Then take up the lily with the -surrounding earth, place it in a big pot, drench it with water, and -leave it in a cool, shady place for three days. Then give it a good -dose of liquid manure. You may then take it into your room, and it will -flower as though nothing had troubled the tranquillity of its existence. - -Not all lilies are suitable for this treatment; only those species -which will grow in light soils should be used for this purpose. _L. -Longiflorum_, _L. Auratum_, _L. Speciosum_, and _L. Rubellum_ are most -suitable for this form of culture. - -About the beginning of November all your lilies in pots will have -flowered and died down. What are you to do with them now? - -Shake the bulbs out of the pots; examine them; remove any off-shoots; -do _not_ cut off the roots; wash them in lime-water and re-pot without -delay. - -Lilies do not rest during the winter. The pots should be kept in a -place which is not too wet. The pots must not be kept too dry, but an -occasional watering should be administered. - -We append a list of the lilies, giving the exact composition of the -soil in which we have grown them best, both in the open air and in -pots. An asterisk is affixed to the most desirable species. - -Grown in a mixture of one part peat, two parts leaf-mould, and a good -sprinkling of sand: - - *1. _L. Longiflorum._ - 2. _L. Formosanum._ - *3. _L. Auratum._ - *4. _L. Speciosum._ - *5. _L. Krameri._ - 6. _L. Rubellum._ - 7. _L. Henryi._ - 8. _L. Medeoloides._ - -Grown in a mixture of equal parts of peat and leaf-mould, with plenty -of sand: - - *9. _L. Leichtlini._ - 10. _L. Maximowiczi._ - 11. _L. Catesbæi._ - 12. _L. Wallacei._ - *13. _L. Canadense._ - *14. _L. Parvum._ - *15. _L. Maritimum._ - *16. _L. Superbum._ - *17. _L. Roezlii._ - *18. _L. Pardalinum._ - 19. _L. Californicum._ - -Grown in equal parts of rich loam and leaf-mould, enriched with the -contents of an old hot-bed, but with no peat and very little sand: - - *20. _L. Candidum._ - 21. _L. Washingtonianum._ - *22. _L. Humboldti._ - *23. _L. Pomponium._ - *24. _L. Martagon._ - *25. _L. Pyrenaicum._ - 26. _L. Callosum._ - 27. _L. Carniolicum._ - *28. _L. Chalcedonicum._ - *29. _L. Monodelphum._ - -Grown in soil like the last, but with a fair admixture of peat: - - *30. _L. Giganteum._ - 31. _L. Cordifolium._ - *32. _L. Wallichianum._ - *33. _L. Parryi._ - *34. _L. Japonicum Odorum._ - *35. _L. Brownii._ - *36. _L. Tigrinum._ - 37. _L. Bulbiferum._ - *38. _L. Batmanniæ._ - 39. _L. Elegans._ - *40. _L. Croceum._ - 41. _L. Davuricum._ - *42. _L. Columbianum._ - 43. _L. Tenuifolium._ - 44. _L. Concolor._ - 45. _L. Hansoni._ - -The following species have never been grown by us:— - - *46. _L. Philippinense._ - *47. _L. Neilgherrense._ - *48. _L. Nepaulense._ - *49. _L. Lowi._ - *50. _L. Polyphyllum._ - 51. _L. Davidii._ - 52. _L. Oxypetalum._ - 53. _L. Roseum._ - 54. _L. Hookeri._ - 55. _L. Avenaceum._ - -During the greater part of the year you can have lilies in flower in -your garden. If you possess a greenhouse you can have lilies in flower -throughout the year. - -[Illustration: ASPIRATION.] - -Naturally the lilies flower in the open ground from April till October. -If you wish to have lilies in your garden in November you can do so, -but mind you, if the weather is unfavourable the blossoms will not be -worth much. - -The lilies which will flower in the open ground in November are _L. -Speciosum_ and _L. Auratum_. For very late flowering the bulbs should -be planted in May. Last Lord Mayor’s day we gathered a small bunch of -_L. Speciosum_, and one very fair example of _L. Auratum_. The tiger -lilies were also in blossom at that date. - -But this late crop of lilies is worth very little; and, unless you have -a greenhouse, we advise you to be contented with six months of lily -flowers. - -In a greenhouse it is easy to have lilies throughout the year. _L. -Longiflorum_ will flower from April to January, and _L. Speciosum_ will -flower from August to February if the bulbs are potted at intervals, -and _very_ gently forced when necessary. In the month of March you can -have _L. Rubellum_ in flower. - -Doubtless some of our readers will wish to grow lilies for show -purposes. Indeed, for this purpose few flowers are more satisfactory, -for lilies are extremely showy, they last very well in flower, and are -by no means impatient of removal. - -As a matter of fact, growing lilies for show purposes can be conducted -on two separate systems; either you can grow show plants or show -flowers. - -For the former purpose the stem, the leaves, the shape of the -inflorescence, and the number, shape, size and colour of the blossoms -must be above the average. For “show flowers” all your attention must -be concentrated upon one single blossom. - -For growing show plants choose a very big bulb. In our former articles -we warned you against these mammoth bulbs, because they are so often -unsatisfactory. But for show plants you must choose these big bulbs; -but do not imagine that from every “mammoth bulb” you will get a fine -spike. You will rarely get more than one really excellent plant out of -six bulbs. - -For prize plants pot the bulbs in large pots and keep them in a cold, -dark place for a fortnight. When the shoots appear, grow them on as -quickly as you can, but give no artificial heat. Keep the plants in a -place where they are not likely to be injured by the wind, and where -there is plenty of shade. As the flowering time arrives give plenty of -liquid manure. - -Of all manures, “Ichthumic guano” is the most satisfactory for show -lilies. - -You must turn your pots round every day, so as to keep the stems -straight. Lilies always bend towards the sun, and unless the pots are -carefully turned round every day the stems become twisted or bowed. - -For growing prize blossoms choose a small bulb. Grow it as you did for -a prize plant, but when the buds begin to turn colour, remove every one -except one—the finest. Cut the flower with as long a stem as possible, -and send it to the exhibition while it is opening, and before the -pollen has become free. - -Grow your show plants as carefully as you will, you will often find -that many uncared-for plants in the garden beat the pampered one in the -form and delicacy of their blossoms! - -Like all other flowers, the lilies possess many more names than they -desire, and in many cases even the slightest variation from the type -has been labelled with a new name. You must therefore beware of paying -high prices for cheap lilies with a new name—a fate which will damp the -ardour of most amateurs. - -Our work among the lilies is done. If our admiration for them has been -great, it has never been excessive. The lilies are the loveliest of all -flowers, and the study of them is wrought with delight. - -“Consider the lilies of the field, how they grow; they toil not, -neither do they spin: and yet I say unto you that even Solomon in all -his glory was not arrayed like one of these.” - - - - -“UPS AND DOWNS.” - -A TRUE STORY OF NEW YORK LIFE. - -BY N. O. LORIMER. - - -CHAPTER III. - -If you had peeped into the big attic bedroom the three girls occupied -at the top of the high New York boarding-house, you would have seen -Ada Nicoli in her pretty white dressing-gown—such a pitiful reminder -of her former luxury—putting little Sadie’s hair into curl-papers. In -her lonely life she had grown passionately attached to her two little -sisters who were so dependent on her, and the thing that hurt her most -about her poverty was seeing little Sadie look careless and neglected. -Often at night she was so tired and weary that it took all her courage -to brush and dress their two heads of hair, and see that their clothes -were in proper order for going to school the next day. A hat-box full -of Southern bank-notes, which had been Marjorie’s and Sadie’s amusement -for many a day in their old home for playing at store-keeping, came in -handy for curling Sadie’s hair, and the child always wanted Ada to tell -her the same story, how her mother’s mother had saved up the bank-notes -during the great war, believing that the South would be victorious, and -how she had made some of the notes during the war by making slippers -out of the felt carpets and selling them. - -“If they were all real good dollars now, Ada,” the child said, “we -needn’t live in this hen-roost any longer, need we?” - -Ada took the child in her arms. “Poor little Sadie,” she said. “While -we three are together, it doesn’t so much matter, does it? We can have -a little fun sometimes, can’t we?” - -“It isn’t so bad, siss,” the child answered, “but I do want to go to -Barnum’s, and I wish the girls at school wouldn’t say, ‘When’s your -father coming back? He’s been visiting for a long time.’” - -Then Marjorie chimed in with—“I passed two of the girls I used to go to -school with to-day, Ada, and they both looked in at a shop window when -I passed.” - -“Never mind,” Ada said, with her heart growing sadder every minute. -“It’s a good thing not to be at school with girls who are so vulgar.” -Ada’s own rich friends had also disappeared in a marvellous fashion. It -is true she had left her old home so suddenly, and had to avoid seeing -people whom it would be painful to meet in her altered circumstances, -so much that, perhaps, they were not altogether to blame. She had -been working for some months at Madame Maude’s now, and she had found -that she had very little time in her busy life for musing over the -faithlessness of her rich friends. Her mother’s mental condition had -not improved, and she had not had a single line from her father. He -had left the country to avoid disgrace as well as ruin. The cold -weather had come, and Ada was feeling the hardship of walking every -morning and evening to her business. It was a long way, and the girl’s -constitution was not suited to the strain made upon it. The people in -the boarding-house had watched her growing slighter and paler as the -weeks passed, and her eyes had grown feverishly bright. Marjory was -a selfish, peevish child, who did not do what she could to help her -sister. - -“She’s not worth Ada’s little finger!” the fat boarder would exclaim, -when the child deceived her sister by making friends with girls that -Ada had asked her not to know, and had spent Ada’s hardly-earned money -on candies, and iced-cream sodas. “She’s her father’s own child, that’s -what she is, and Ada Nicoli’s too fine a girl to kill herself for that -saucy brat.” - -But Ada could see no fault in Marjory, for Marjory was clever enough -to deceive her. And so while Ada was toiling night and day to bring -her up as a refined and cultivated child, Marjory was hankering after -the society of vulgar companions, and paying little attention to -her lessons. But little Sadie was a sweet and loving child, and her -devotion to Ada was touching. At the boarding-house dinner-table it was -a pretty sight to see Ada Nicoli with a little sister on each side of -her. She was the prettiest, daintiest creature herself, and it was her -greatest joy to see people look with admiration at her two children, as -she called them. They were always wonderfully clean and freshly dressed. - -“How long can she keep it up?” the fat boarder said. “She fairly amazes -me, that girl. She had never even brushed her own hair a year and a -half ago, and now she’s keeping these two children so sweet and fresh, -and bringing them up so well, too. They are a deal nicer children than -when they first came, but it’s wearing her out—that light burning up in -her room till past twelve at night, and she’s up by seven o’clock in -the morning.” - -Beside the people in the boarding-house there was someone else who had -been watching Ada working the soft curves of her face into sharper -lines, and seeing the deeper shadows come below her bright eyes. It -was an old man who drove to business every day on the Fifth Avenue -stage-coach. He always knew that, if it was a wet day, Ada would -be waiting at 20, East 32nd Street for the coach to pass, but if it -was fine, she would save her twenty-five cents and walk. He was an -observant old man, and somewhat of a character. He was supposed to be a -miser, and very wealthy, though he lived in a small tenement house, and -kept no servant. While he sat huddled up in the corner of the coach, -which rattled and shook over the stones of Fifth Avenue like a relic -from the last century, he had noticed every detail of the girl’s dress, -he had seen the once pretty frocks become almost threadbare, and the -dainty shoes lose their freshness. He had made inquiries, and found out -her story. One day she had given the conductor a five-dollar bill to -pay for her fare. The man gave her back a quarter too much change. The -old man watched her count the money, and look at the extra quarter. It -was bitterly cold weather, and he knew that that quarter would pay for -her journey there and back for another two days. The girl’s expression -said it as plainly as words could have done. “You’ve given me a quarter -too much,” she said, with a little tremble in her voice. The man did -not even say “Thank you,” but snatched the money out of her hand -roughly. The old man smiled; he had long ago lost his belief in human -nature, and this little act of honesty on the girl’s part did him good. -If was like going near a fire on a cold winter day. The meeting of Ada -coming and going from her work grew to be the one interest in the old -hermit’s life. He had watched her so carefully that he had gained a -knowledge of her life of which she was wholly unconscious. He had seen -her tenderness to her little sisters when he met them out together on -a Saturday afternoon. Often he had wandered over Central Park with his -keen eyes looking out eagerly for the graceful figure of Ada Nicoli -laced arm-in-arm with the two young children, and when they stopped -to feed the swans on the lake, or rest in some summer-house, the old -man seated himself where he could feast his eyes on his adopted family -unseen. - -Two or three times he had seen something very like tears in Ada’s eyes -when a carriage with some beautifully-dressed women in it would pass -the girl, and they would give her a stiff little bow of recognition. - - * * * * * - -It was one of the coldest winters New York had experienced for -many years, but the old man’s shrivelled-up heart was, day by day, -stretching and expanding towards the girl, who was always gentle. She -had many times helped him as he got in and out of the Fifth Avenue -stage-coach, and she had often offered to give up her seat in the snug -top corner in exchange for his draughty one near the door, but beyond -these natural, kindly little attentions, Ada Nicoli had thought little -about the old man, whom so many people laughed and poked fun at. He -had even taken the trouble to follow her to the private asylum where -her mother lived, and would wait there until she came out with her -sweet blue eyes filled with sadness. He had heard of her father’s cruel -desertion, and many a time the old man could feel his fingers close -upon the villain’s neck in his longing to thrash him. - -On this particular day, when everything was a world of snow, and the -temperature was twenty degrees below zero, the old man had been slowly -following Ada to her mother’s home. He had long since learnt that -Wednesdays were the visiting days in this house of sorrow, and that Ada -Nicoli never failed to be there in her lunch hour. The house was in a -quiet street, where there was little traffic or noise, and Ada hurried -along as fast as her numbed feet would carry her. In the old man’s eyes -she had never looked so beautiful, for the cold, crisp air had brought -a lovely colour to her cheeks, and her hair was bright gold in the -winter sunlight. Suddenly he saw her stop, and bend over something that -had fallen in the snow on the side-walk. It was the figure of a man, -and from his position it looked as if he was intoxicated, rather than -overcome with the cold. There was no one in sight but the old man who -was following her. Ada touched the man, and spoke to him, but he could -give no coherent answer. He was too drunk to tell her even what his -name was. When the old man came up to her she was searching the road -with a troubled look. - -“There is no sleigh in sight,” she said, “and he must not lie here, he -will freeze to death.” - -“Perhaps he ain’t of much account living,” the old man said; “folks -like that are better dead.” - -“Oh, don’t say that,” Ada cried, in a reproachful voice; “he may have a -wife and family dependent upon him.” - -“A mighty poor thing to depend on, lying drunk on the side-walk at -midday. Don’t you waste your pity on the likes of him.” The old man -knew that he would have been grievously disappointed if his pretty -young lady with the sweet blue eyes had gone on her way and left a -fellow creature to freeze to death. - -“It may be hours before a policeman passes this way,” Ada said. “It’s -sheer murder to leave him. I will run down this side street and see if -I can find a cab.” The old man waited for the girl’s return, walking -up and down the side-walk where the drunken man lay in an unconscious -sleep. Soon he heard the sound of sleigh-bells, and in another instant -one appeared round the corner with Ada seated in it. She jumped out -when she reached the spot where the man lay, and told the hackman -to get down and lift him into the cab. “Take him to the nearest -police-station,” she said, “and keep him there until he is himself -again.” - -“And who’s going to pay me?” the man asked sullenly. - -“I will,” Ada replied proudly, “if you do not care to do it for -charity.” - -“If I was plying round the city looking out for driving acts of -charity, I guess my wife and young ’uns would be as badly off as these -drunken brutes are.” - -Ada took her thin little purse from her pocket. “Will you do it for a -dollar?” she said; “it is all I have to give you. Will you help the -hackman to lift him in,” she said, turning to the old man. But as she -looked at his shrivelled old figure, in his badly-fitting clothes, she -seemed to regret what she had said, and stooped down to take the man by -the shoulders, while the hackman took his feet; but the old man quickly -put her aside, with almost a cry in his cracked old voice, as he said, -“Don’t touch him, don’t touch him. To think of you defiling your pretty -fingers on a drunken brute.” - -Ada looked at him in mild surprise, and gave up her place. When the -hackman drove off she turned and thanked the old man. - -“If the friendless and poor aren’t kind to each other,” she said sadly, -“where can we look for help?” She thought that he did not understand -that she was placing herself amongst the list of the poor and -friendless. She, his daintily-reared lady, standing there, a slight, -proud figure, with her queenly little head thrown back, and her cheeks -as delicate as the pink apple-blossom in his old garden at home. In -all the big city of New York where he had worked and toiled for forty -years, this girl was the one glad and beautiful thing for him; he felt -his time-worn heart beat young again when he looked at her. - -(_To be concluded._) - - - - -SELF-CULTURE FOR GIRLS. - - -PART VIII. - -FICTION AND ROMANCE. - -Self-culture by the reading of stories! One can imagine some pedant -of a generation or two ago shaking his head over such a suggestion. -As well write of education by the playing of games! And yet it has -come to be recognised that neither connection of ideas is, in itself, -at all absurd or preposterous. The influence of fiction is a force to -be reckoned with in the formation of character—a force, indeed, of -no small magnitude; for there are an enormous number of girls whose -reading begins and ends with the story. - -This is, of course, a mistake. In an earlier chapter of this series we -have sought to explain why fiction, even of the very best type, should -not form the staple of reading for anybody. But it will probably always -constitute a very large proportion of the mental food of young people, -and it is better to look the fact in the face than to bewail it and -preach! - -The first form in which literature appeals, with any charm or interest, -to the child is as the story; and children of larger growth love the -story still. What would those do, whose lives are dull, sordid, or -depressing, without the power to transport themselves into the lives -of other people? It is an actual necessity to exchange their own -experience, even for a brief time, for the experience of others. The -novel, the imaginative work, appeals more perhaps to girls than to any -other section of the community. If they are lonely, ill, unhappy from -any cause, they find their solace, companion, anodyne, here. If they -are happy, they seek the reflection of their own light-heartedness, and -greater happiness yet to come, in the story pages. - -The imagination is a factor too little understood in the training -of character. It is of the utmost importance to give this faculty -something good wherewith to nourish it, or it will prey upon itself. -Silly, vapid, or morbid girls might perchance have been made different -if they had been provided with books that were at once strong and -artistically beautiful, instead of the sentimental novelette. - -We hold a high opinion of the value of fairy-tales of the best kind for -children, and are always stirred to wrath by the superior infant who -says: “There are no such things as fairies.” Fortunately there are not -many children who cannot, for instance, enjoy the charm and pathos of -such a story as _The Little Sea Maiden_ or _The Snow Queen_, by Hans -Christian Andersen, with many others by that great author too numerous -to mention. There are also the exquisite creations of the Countess -d’Aulnoy and Perrault, not forgetting two French authors who were the -delight of our own childhood—Madame la Comtesse de Ségur and Léon de -Laujon. Those delicious volumes, the “Blue,” the “Green,” and the “Red” -fairy-book, by Andrew Lang, are a real treasure-store of delight. And -it must not be forgotten that some of the fairy-legends they contain -are of wonderful antiquity, being found, under different forms, in the -early literature of many lands. - -Girls, who are elder sisters, and possibly past the fairy-tale stage, -be gracious in the telling of stories to the little ones who cannot -read! It may be a trouble to hunt in your memory for these stories and -put them into words, but it is really worth while to do it, and do it -well, avoiding what is gruesome and fearful, but choosing all that is -charming and attractive. Even in the way of “self-culture” the task -will be good for you, and still better if you can succeed in telling a -story “out of your own head.” The present writer began her work in this -way when a child, writing fairy-tales, and recounting one by word of -mouth, entitled, _The Precipice Passage_, which continued from day to -day during many months, and was of the most thrilling description, as -well as of superhuman length. - -A most beautiful book, though not exactly a fairy-tale, for children is -_The Story without an End_, translated by Sarah Austin from the German -of Carové (Sampson Low & Marston). The child who possesses this book, -with the original coloured illustrations, to pore over, will have a -foundation of graceful and tender fancies for the “culture” of riper -years. - -“But,” you may object, “this paper is for girls, not for children, and -we have outgrown fairy-tales.” - -There is one fairy-tale which you ought to read whatever your age, if -it is not already familiar to you—_Undine_, by De la Motte Fouqué. -If you can understand German, you should certainly read it in the -original. If not, an English translation is to be obtained. It is, -perhaps, the sweetest and most pathetic legend of all romance. - -Romance! The charm of that word! One loves, even in middle age, to -linger regretfully upon it, and dream over the poet’s vision of— - - “Magic casements opening on the foam - Of perilous seas in fairy lands forlorn.” - -We do not envy the youth or maiden whose pulse is not thrilled by those -immortal lines; yet who can give a reason for their charm and spell? - -The present generation, it is to be feared, do not read the prose works -of Longfellow as they should. _Hyperion_ and _Kavanagh_ are tender -mystical romances, full of charm. - -It is, however, an impossible task to stand at the door of this vast -library of the world’s fiction, and point you to the volumes you may -take down from the shelves. One general observation may be made, seeing -that our title is “Self-Culture.” - -The best novels will aid you indirectly in “self-culture.” The -worst will not leave you where they found you, but will do you -actual harm. You will be just one little bit farther removed from -“self-culture”—will be nearer that which is vulgar and paltry, and poor -and mean, to go no farther—for the reading of a “trashy” novel. - -It is, therefore, not the indifferent matter you may think it, to take -up the silly sentimental story for the sake of an hour’s amusement. -Find your amusement where there is no need of repentance. - -How ashamed one feels, even if quite alone, while reading a really -foolish book! and the feeling of shame is a right and healthy one. - -Perhaps the type of story which does most harm to girls of the middle -and lower classes, is that in which a titled lover of fabulous wealth -appears suddenly like a “god out of a machine” to wed the heroine, who -is remarkable only for her beauty. He has a great deal to answer for, -that young aristocrat, whom we have not met outside the pages of such -literature. - -No girl would deliberately reflect: “I am going to read such and such -a novel to improve my mind.” If she did, she would show she had not -much mind to improve. But she may bear in mind one or two general -principles and suggestions. - -It is very desirable to read the best historical novels. For example, -_The Last Days of Pompeii_, by Bulwer Lytton, and _Hypatia_, by Charles -Kingsley, will help you to realise the early centuries of the Christian -era. _Hereward the Wake_, by Kingsley, and _The Last of the Barons_, -by Bulwer Lytton, may be read in connection with Freeman’s _History -of the Norman Conquest_. _The Cloister and the Hearth_, a magnificent -historical novel by Charles Reade, throws light upon the fifteenth -century, and _Romola_, by George Eliot, does the same so far as Italy -is concerned. _Westward Ho!_ by Charles Kingsley, is a stirring tale of -the sixteenth century. _John Inglesant_, by Shorthouse, will do more -to explain the Stuart period than any number of dry “Outlines,” while -Thackeray’s _Esmond and The Virginians_ may follow on. The _Tale of Two -Cities_, by Charles Dickens, will help you to realise the terror of the -French Revolution, and _The Shadow of the Sword_, by Robert Buchanan, -gives a forcible picture of the days of Napoleon. - -There are many other good historical novels; but, as Scott is always -regarded as _facile princeps_ in such work, it may be useful to arrange -his novels in chronological order. - -Before the end of the fourteenth century come _Ivanhoe_, _Count -Robert of Paris_, _The Betrothed_, _The Talisman_, and _The Fair Maid -of Perth_. After 1400—_Quentin Durward_, and _Anne of Geierstein_: -1500, _Kenilworth_, _The Abbot_, _The Monastery_, _Marmion_ (poem): -1600, _Fortunes of Nigel_, _Legend of Montrose_, _Woodstock_, _Old -Mortality_, _The Bride of Lammermoor_, _Peveril of the Peak_: 1700, -_The Antiquary_, _Guy Mannering_, _Waverley_, _Rob Roy_, and _Heart of -Midlothian_. - -That history should be made real is a matter of no small importance. -After all, it is the story of men and women like ourselves, and -Professor Seeley’s remark in _The Expansion of England_ (a valuable -book) is worth remembering— - -“When I meet a person who does not find history interesting, it does -not occur to me to alter history—I try to alter _him_!” - -There has, during the last few years, been a decided increase in the -writing of romances and tales of adventure, pure and simple, removed -from everyday experience, and one need only suggest the names of Robert -Louis Stevenson, Anthony Hope, Max Pemberton, to illustrate the class -of story which much delights the author, and probably also her young -friends. - -For the general run of fiction, here are a few names: Scott, Thackeray, -Dickens, Charles Kingsley and his brother, George Eliot, Mrs. Gaskell, -R. D. Blackmore (be sure you read _Lorna Doone_), George Macdonald, Sir -Walter Besant, Mrs. Oliphant, Charlotte Brontë—that wonderful, fiery, -lonely genius—you will read her _Shirley_ and _Villette_, whether we -advise you to do so or not. And, indeed, the list of writers of good -fiction is so enormous that it is absurd to attempt to give it. As soon -as a few names are written down, others press for mention. Therefore, -we will renounce the task; first, perhaps, reminding you not to omit -Mrs. Oliphant’s _Little Pilgrim in the Unseen_. All the stories of -this writer which have a tinge of the atmosphere of the spiritual -borderland, are deeply suggestive. - -Do not read a novel only because it has a startling title and -“everybody” is talking about it. In these days that is no proof of -excellence. A story shoots up like a rocket, and its swift trail of -brilliance dies down as suddenly. - -Do not read books which leave the impression that life is after all -rather a hopeless struggle, not worth the trouble. There are a great -many such stories in the present day, whose motto is Despair. Let -them alone. They may be works of art, beautiful and pathetic in -their tragedy; but you have to live, and make the best of your life; -therefore it is unwise to let yourself be paralysed by discouragement -near the outset. Some books have a way of arranging a perfectly -impossible combination of circumstances, and then calling upon the -universe at large to bewail the result. This is hardly fair. Choose -rather what makes you better able to live and to act, and inspires -you with a feeling that to do and to be your best, even in a world of -sorrow, is very much worth while indeed. - -There are, broadly speaking, two ways of viewing art and literature: -one from the point of the “Realist,” and one from the point of the -“Idealist.” In our day the Realists have come much into prominence, -especially in France; but they are known in England too. - -The Realist school in fiction cries out for “Life,” by which we -understand the visible, the material, that which can be seen, heard, -touched, handled. A realistic novel, for instance, may be made a mass -of information upon obscure and out-of-the-way subjects. Nothing comes -amiss—“Life, life above everything” its exponents cry. “You Idealists -have long enough been teaching men to dream with their heads in the -clouds. We lead them along a plain path and show them the world as it -really is. In our way lies safety.” - -The Idealist school, on the contrary, has an absolute standard of -excellence to which it refers; it loves the hero or heroine in fiction, -the beautiful in art, and it sets itself to find out the “reality” -which underlies appearances. - -To give a simple example. A “realistic” novel of poor life would depict -the bareness and misery of the cottage, the unlovely faces and clothing -of its inmates, the toil for daily bread; not one depressing item would -be spared, and one would rise from the story feeling as if one had -indeed looked for a moment into the poor household and shared in its -meagreness. - -A novel written from the idealist standpoint, while not inventing -untrue and therefore inartistic details, would look below the surface -and bring out, besides the poverty, the beauty and the pathos that are -sure to exist wherever the human affections are found. - -As an illustration of our meaning we may quote _A Window in Thrums_, by -J. M. Barrie, which, while sacrificing no vestige of truth, is the work -of an artist who is an idealist. Set in the humble interior of a Scotch -cottage, a lame homely mother, a workingman the father, a daughter of -whom we are not told she is startlingly lovely, or indeed startlingly -anything—this is the simple little company that, for the main part, -act out a drama of such pathos, and beauty, and charm, that the heart -is full of “thoughts too deep for tears” after reading some of the -inimitable chapters. - -This is Life, and life seen in the true way—the idealist’s way—by the -artist who has imagination. - -For imagination is the faculty, not of inventing falsehoods, but of -revealing a deeper truth than that which lies upon the surface of -things. - -Are we straying into reflections that are too obscure? It is better to -suggest some means by which really artistic work shall be detected than -to string together a list of books which might not appeal to many of -our readers at all, and which might prove unsuitable for others. - -Whatever is lovely, noble, and pure in fiction—whether it be the -telling of heroic deeds, or the discerning of significance in the -“commonplace,” the homely and trivial—choose and delight in it. Avoid -what makes you listless and dissatisfied with your daily life; choose -what helps you to live and to work, and to do and be the very best -that is in you; not forgetting that what is beautiful and exalted will -purify your taste, charm your mind, and remain with you as an abiding -power for good. - - LILY WATSON. - - - - -SHEILA’S COUSIN EFFIE. - -A STORY FOR GIRLS. - -BY EVELYN EVERETT-GREEN, Author of “Greyfriars,” “Half-a-dozen -Sisters,” etc. - - -CHAPTER XXIV. - -AT COSSART PLACE. - -“Effie, how well you look! You are quite brown. How glad I am to see -you again!” - -“I think you have got thinner, but you look well, Sheila. Oh, yes, I’m -ever so much better! I’ve said good-bye to doctors. I mean to go my own -way now and not take care anymore. I don’t believe in coddling. I’m -going to be my own doctor in the future. I’m not sure that any of them -really understood me. Anyhow, I’ve had enough of them, and now I shall -go my own way. Mamma can have Oscar to coddle. I’m sure he looks as -though he wanted it.” - -“He’s getting into the rebellious stage now,” answered Sheila. “I shall -be glad of your assistance in keeping him in order. Isn’t everything -looking lovely, Effie? Are you glad to be home again? And how is dear -Madeira and all the people there? Did you leave any there whom I knew?” - -“Not many. Mrs. Reid sent you a lot of messages, and I’ve got a -pen-tray for you from her too. We came back in the same boat as Ella -and Grace Murchison; but you never knew them well, did you? All the -Dumaresq party had been gone some time. I suppose you heard that from -May Lawrence.” - -“She told me they had gone on to Oratava when Sir Guy was so much -better, but Miss Adene did not write very often.” - -Effie had got her arm linked into Sheila’s by this time, and had walked -her out upon the terrace, leaving Mrs. Cossart with Oscar in the -drawing-room. She was all eagerness to learn the home news from him, -but Effie wanted Sheila’s attention for herself. - -“You know it was all a great mistake of mother’s packing you off home -in one of her tantrums. I told her so at the time. I know things were a -little uncomfortable, but I was against it. I can generally get my way -with mother, but I couldn’t that time. But you hadn’t been gone three -days before she found out what a mistake it was.” - -“What do you mean?” asked Sheila with a subdued eagerness in her voice. - -“Why, you know,” answered Effie, with her curious mixture of frankness -and self-consciousness, “it didn’t seem to answer a bit. Mother thought -Mr. Dumaresq was going to make love to me or something—as though I -wanted him! I liked him all right, but I was never particularly taken -by him. He has not brains enough for me, and he never understood me. I -always felt that when we were talking together. I was always above his -head somehow. Besides, she might have seen that the Dumaresqs had taken -a fancy to you, and that packing you off would vex them. They never -were a bit the same afterwards. They sat at a different table, and -we hardly saw them. And people talked so. I got it out of Mrs. Reid. -They all said you had been sent away because I was jealous—or mother. -I don’t care what people think. It makes no difference to me. I never -care a bit about gossip. But mother was terribly put about, and papa -was very vexed too. It seemed to spoil things very much. I do believe, -if it hadn’t been for Oscar’s illness, they would have had you back!” - -Sheila made no immediate reply; she was thinking how, but for Oscar’s -illness, many things might have been vastly different, and with what -sort of feelings she would have regarded a summons back to Madeira. - -“As for the Dumaresqs,” pursued Effie, “I never made any attempts to -make up to them. That isn’t my way. I can have plenty of friends of -my own sort; and some really very interesting people came who had -travelled a lot, and were not just society people like the Dumaresqs. -We thought them a little rough at first, but we got to like them very -much. One of them admired me very much. I think he rather hoped—but -I’m not that sort of girl, and he was going back to the Cape, so it -was quite out of the question. I never was one for having a man always -dangling after me. It bores me to death! But they talked so much of -things they’d done and places they had seen or were going to see that -papa got quite a travelling mania on, and so he sent for Cyril.” - -“And they have gone off together?” - -“Yes. It was very nice having Cyril, and we stayed a fortnight longer -than we had meant, and took some excursions. After all, when I got -Cyril again, I found I liked him a great deal better than all the rest -of them put together. Don’t you think he has a very distinguished air?” - -Sheila’s admiration for Cyril was a thing quite of the past; she had -regarded him of late with aversion and contempt. But she was learning -to curb her tongue, and to try and rule her thoughts also, so after a -little pause she said— - -“I think university men always have an air about them; but, of course, -you know—about Cyril—and that it is not quite easy for me to admire him -very much just now.” - -Effie flushed up a little. - -“Yes, of course, I know,” she answered. “Cyril told me himself. If -he hadn’t, I don’t think I should have heard. Papa knows, but he has -not told even mother. He thought it would be better put aside and -forgotten.” - -“And Cyril told you himself?” - -“Yes. I think Cyril found it a great comfort to find somebody -sympathetic and understanding. I’ve never set up for being a saint, and -I have plenty of sympathy for sinners. I’ve always got on with Cyril. -He knows more about me, I think, than anybody else. I don’t think him -perfect—I’m not so silly. I’ve too much insight into character to make -mistakes like that. But I can sympathise with him, and understand how -he feels when other people don’t seem able to see anything but the -other side of the question. I think healthy, robust people are often -rather dull and dense. I’ve had lots of time to think. Cyril said I -was so different from the rest of the world. I believe I was a great -comfort to him.” - -“Well, Aunt Tom will be very glad of that, for she was very miserable, -and was afraid he would go on being miserable too. He went away feeling -pretty bad, I think, though I did not see him. I was at Monckton Manor -with Oscar. I was surprised he didn’t come over to say good-bye to us. -Once I rather thought that he was falling in love with May.” - -“Oh, dear, no!” answered Effie quickly. “That I am sure he was not!” - -She spoke almost irritably, and Sheila answered at once— - -“Perhaps not, but he used to go there very often. May never liked him, -so perhaps she got bored and gave him a hint. Anyway, he stopped going -rather suddenly, and did not even say good-bye.” - -“I suspect he found May a very empty-headed girl. I daresay he was -thinking of her when he told me how difficult it had been, when I was -away, to find anyone with whom he could exchange ideas with any sense -of satisfaction. Girls were all so selfish and empty-headed, he said. -I thought he was rather severe, but that was his idea. I told him that -he mustn’t be hard on them, for perhaps they had never had the time to -read and think as I have.” - -“Well, May is not empty-headed!” answered Sheila warmly; “but Oscar -may have been mistaken in thinking Cyril admired her and went often. -Perhaps it was only for the boys he went. I know May has never cared -for him.” - -“No, I don’t think she would have the mind to appreciate him. Cyril -does not wear his heart upon his sleeve.” - -“May is engaged to North,” said Sheila, with a little smile dimpling -the corners of her lips. - -Effie gave a slight toss of her head and laughed. - -“A very suitable match! I should think they would just suit one -another!” - -“I think they do,” answered Sheila, laughing. “I have never seen two -people more thoroughly happy together.” - -“I almost wonder Mr. Lawrence approved, though,” added Effie. “North is -so thoroughly commercial in all his views.” - -“His views seem to suit May, at any rate, and he can give her a -comfortable home away from the town. But she is too much interested -in the works to care about being far away. She wants to understand -everything and help in everything. I think she will be splendid when -she gets her chance.” - -Effie listened with some wonder to the sort of thing which commanded -May’s enthusiasm, and then said with a little shrug— - -“Well, I hope they will be very happy. All that sort of thing is very -estimable, and people without nerves and keen senses may be able to do -it, but I don’t think I could.” - -“Nobody would expect it of you, Effie,” answered Sheila, with a sarcasm -of which neither was conscious. - -Cossart Place was a more comfortable home for Sheila just now than it -had ever been before. Her aunt met her like one who wished to efface an -unpleasing impression, and never was there any slightest allusion to -the stormy scene at Madeira. Poor Mrs. Cossart had learned a lesson, -and was really humiliated by the failure she had made. Sheila was -gentler, more considerate, more tractable than ever before, and Oscar’s -presence was a certain element of tranquillity and accord. - -Effie was so much stronger, and was so resolved to manage her case in -her own way, that Mrs. Cossart felt rather like a hen taken from her -chicks, and was delighted to have Oscar to coddle. And Oscar needed -care for a long while. He had thoroughly run down in health since his -father’s death, and this wasting fever had left him very delicate -and frail. There was no reason to think that he would not in time be -as strong as ever, but it would be a long business, and during this -period it was Mrs. Cossart’s great pleasure to nurse him up, cosset him -and care for him, much as she had cosseted and cared for Effie whilst -the girl had been so much out of health. - -Sheila could not but love her aunt for all her goodness to Oscar, and -he began to take almost a son’s place in that house, advising her, in -the absence of the master, on all points connected with the property, -and showing so much knowledge and insight that Mrs. Cossart would often -exclaim— - -“I can’t think how you come to know all these things!” - -“I was brought up to them, you see,” Oscar would answer with a smile -and a sigh. “I used to help my father, and I have been used to land -from babyhood. I am much more at home still with a steward’s books than -with the office accounts!” - -“Well, I wish your uncle would make you his man of business when he -comes back,” said Mrs. Cossart one day, after Oscar had helped her -through some accounts which had often been a source of bewilderment -to herself and her husband. “I believe we get imposed upon right and -left through ignorance. And I don’t like the thought of your going back -to that nasty stuffy office. You would be much better for an open-air -life, and I always do say that John is getting too old to look after -all the land he buys, and that he ought to have a regular agent.” - -Oscar laughed and stroked his aunt’s hand caressingly. - -“Quite too halcyon an idea to work,” he said, “but I like to think that -I am helping you in his absence.” - -“You are more than helping—you are doing everything, and I’m sure I’m -thankful for it, for I never could understand the rights of things -between landlord and tenant, and we want to do what is right and just -without being imposed upon. Well, you will stay on, at any rate, till -your uncle comes back, and he seems in no hurry to do so. I wonder he -wasn’t as glad to come home as I was; but perhaps he knew there’d be a -lot of worries waiting for him. He will be very glad to find them all -straightened out like this.” - -It seemed as though some idea was fermenting in Mrs. Cossart’s brain, -for once when she was sitting alone with Sheila in the drawing-room she -said suddenly— - -“Do you ever hear from the Dumaresqs now?” - -“Lady Dumaresq wrote once, and Miss Adene once. They are soon coming -back to England.” - -“Do you think you will see any more of them when they do?” - -“I don’t know,” answered Sheila in a low voice, with crimsoning cheeks. - -“Well, I was going to say I hope you won’t,” said her aunt, “for I -don’t know what I should do if I were to lose you both.” - -“I don’t understand,” said Sheila, bewildered. - -“Well, I was only thinking that Mr. Dumaresq seemed very much attracted -by you once. It may be only a passing fancy, but if it came to anything -and I lost you, and Effie were to go too, why, where should I be?” - -Sheila looked up suddenly; a number of hints that Effie had let drop -flashed back into her mind. - -“But do you mean that Effie—that Effie—is going——” - -“Well, my dear, we don’t talk of it yet, and being cousins, of course, -it is not exactly what we should have chosen, and we want to make sure -that her health is really restored. But you know she and Cyril have -never really cared for any but each other all their lives, and in -Madeira it seemed to come to a crisis with them. Nothing is actually -settled. Her father would not have an engagement, but I believe it will -come to that sooner or later, and then they will certainly live in -London, though they will always have a second home here. But they are -both so intellectual—however, we need not talk of that yet. Only if I -lose Effie, I do not want to lose you too.” - -Sheila laughed and blushed a little. - -“You are very kind to want me, for I have not always behaved well; but -I do not think you will get rid of me if you want to keep me.” - -“Well, I do. I am used to young people about, and the house would not -be itself without them. Still, of course, I shouldn’t wish to stand in -the way of anybody’s happiness. If I do have to lose you girls, I shall -adopt Oscar. He, at any rate, will not want to marry yet awhile, and he -is a very dear boy. I should like to keep him altogether, and not let -him go back to River Street at all. I don’t care how they have improved -the town, I always do say the country is healthier.” - -“I am sure of it!” cried Sheila eagerly. “Oh, how delightful it would -be if Oscar could always live here!” - -Mrs. Cossart nodded her head with some emphasis. - -“We must wait till your uncle comes back to settle things, but stranger -things than that have happened before now.” - -(_To be continued._) - -[Illustration] - - - - -ANSWERS TO CORRESPONDENTS. - - -MEDICAL. - -NAIAD.—Sea-sickness cannot be considered as a disease of the stomach. -It is caused by the motion acting in some way upon the brain. How -it acts is not quite certain; possibly it is by interfering with -the blood supply of the brain, or it might be due to a succession -of slight “concussions.” An exactly similar form of sickness occurs -in some persons from swinging, or who have been patronising the -“giddy-go-round.” Also any injury to the head may be followed -by sickness. How to prevent sea-sickness is a question which is -confessedly a puzzle to all. The peculiarity of this form of vomiting -is that it bears no relation to food. It is no more common after than -before meals, and the vomiting produces little or no relief. We think -everybody has her own little specific for sea-sickness, and it is as -useless as her neighbour’s. Obviously, from what has been said above, -no remedy which acts upon the stomach can prevent sickness, because it -is a nervous and not a gastric symptom. We may hope one day to discover -how to prevent sea-sickness; at present we cannot do so by any means. - -AN ANXIOUS GIRL.—Read our answer to “A Gaiety Girl.” The question -of infection and epidemics is a most puzzling one for the public to -understand. And yet it is of vast importance that it should understand -it, for with the public, and not with the medical profession, lies -the power of stamping out infectious diseases. As you only desire -information about influenza, we will leave all other fevers out of -court and confine our remarks to influenza alone. Influenza is an -epidemic, possibly infectious, disease, chiefly characterised by -inflammation of the mucous membranes, and by the exceedingly formidable -list of its sequelæ and complications. It is due to the multiplication -within the body of a definite germ. The disease never occurs without -this germ, nor is the germ ever found in the human body except in -those who are suffering from, or who have lately recovered from, -influenza. The great question of its causation is, “How does the germ -gain entrance into the body?” And this unfortunately we cannot answer. -It is not commonly an infectious disease in the usual meaning of the -term—that is, it is not commonly caught directly from person to person; -but we feel certain that one person can inoculate her fellow. The -disease is epidemic, and spreads in waves which have usually swept -from the east westwards. For this reason it has been suggested that -the germs are conveyed from place to place by the east wind—an utterly -untenable theory. Most probably the disease is spread by water, or by -dust infected with the dried spittle of persons suffering from the -disease. It is by no means a modern disease. There were epidemics of it -in 1833, 1847, 1848, and 1888. Nearly all the epidemics have started -in Russia, and hence the disease has been called Russian fever. When a -person has had pneumonia following influenza, it imports that she has -had a large dose, and probably a very virulent dose of the poison. Such -a person would be more likely to directly inoculate another. Up to the -present it has not been customary to isolate influenza patients, but -we think that isolation is unquestionably advisable wherever this is -possible. To disinfect the room afterwards there are no measures to be -compared with fresh air, and a pail of water, and a scrubbing brush. -Thoroughly clean out the room in which an infectious case has been -“warded”—use plenty of water, plenty of soap, and plenty of time. You -may use chloride of lime or carbolic acid if you like. Afterwards, let -the room get as much air and sunshine as possible, for both fresh air -and sunshine are fatal to injurious germs. We do not know what is the -incubation period of the disease, nor can we say for how long after -recovery the patient remains capable of conveying infection. - -LILY.—When you have removed the redness—which is inflammation—of the -eyebrows, the hairs will grow dark again. Apply a little zinc ointment -to the place every morning and evening. - - -STUDY AND STUDIO. - -PEGGY.—We think you would find the comic song you mention by going to -any good music-seller’s and giving the extract. Unless we are mistaken, -it has been sung by some popular entertainer, and is well known. - -WINTON.—1. We have already recommended the “York Road Sketching Club,” -and “Copying Club;” address, Miss H. E. Grace, 54, York Road, Brighton, -W.—2. The three staves in Grieg’s music are used simply because there -is not space in one set of five lines to clearly show the complicated -air and accompaniment which fall to the lot of the treble. - -MISS MUNN, Sandhurst, Hawkhurst, wishes to announce that a new year of -her Sketching Club began in June, but members may join at any time. The -subscription is 2s. 6d. the year. - -BRENDA.—There are plenty of such scholarships as you describe. You had -better write to The Secretary, Technical Education Board, St. Martin’s -Lane, W.C., or consult Mrs. Watson’s article on “What is the London -County Council doing for Girls?” (THE GIRL’S OWN PAPER, March, 1897). - -RITA (New Zealand).—1. Your question from _In Memoriam_ is a very -thoughtful one. The poet is describing a man who, being troubled by -religious doubts, does not try to stifle them by simply resting on -the authority of a Church and telling himself, “I must not doubt, for -it is wicked.” He looks these doubts—“the spectres of the mind”—fully -in the face, searches for the answer, and, as Truth does not fear -investigation, he succeeds in dispersing them; even as a fabled ghost -can usually be disproved by someone who will bravely face the supposed -apparition and find out what it really amounts to. The man who fights -this battle honestly, and conquers, wins in the end a stronger faith -than the man who merely asserts, without thought; and in the temporary -darkness of his perplexity God is with him still—for God is the God -both of the light and of the darkness. This magnificent passage you -must understand as applying only to those who really seek in an earnest -and reverent spirit after Truth, not to the flippant scoffer.—2. We -answered this question in July, 1897, and must refer you to the volume -_Twilight Hours_ (Messrs. Isbister & Co.) containing the poems of Sarah -Williams (Sadie). - -A MERRY SUNBEAM (Belgium).—1. Certainly a young girl of 15½ may wear -long skirts and put up her hair if she is unusually tall “without -looking ridiculous.” She will be taken to be older than she really is, -which may be a disadvantage to her.—2. The expression “teens” is taken -from the termination of the numbers thirteen to nineteen inclusive, and -“hazel” is brown, like the brown of the hazel nut. We go to press long -before you receive your magazine, and we are sorry you have to wait -so long for replies. You write English very well, considering it is -not your native language, but we have no objection at all to receiving -letters in French from any of our subscribers. - -BEATRICE CENCI.—The heroine whose name you adopt lived in Rome during -the sixteenth century, and a very touching and beautiful portrait of -her by Guido exists in the Barberini Palace there. Her father was -a monster of cruelty and wickedness, and she was driven at length -to plot with her step-mother and brother to murder him, in order to -escape from his tyranny. The deed was discovered, and Beatrice with -the other criminals was put to death by order of the Pope. Her father -had constantly bought his pardon from the Pope for the murders _he_ -had committed on his own account, and the infamy of his life, combined -with the natural gentleness of Beatrice, awoke a widespread feeling of -compassion for her doom, in spite of the nature of her act. - -ERICA.—Your quotation is from the first verse of a song by Thomas -Linley (1798-1865), written and composed by him for Mr. Augustus -Braham. The whole verse runs as follows:— - - “Tho’ lost to sight, to memory dear - Thou ever wilt remain; - One only hope my heart can cheer— - The hope to meet again.” - -We go to press long before you receive your magazine, so it would be -quite impossible for you ever to see an answer in “next week.” - -PILGRIM.—1. We should think a good history for your purpose would be -an illustrated abridgment by G. Masson of F. P. G. Guizot’s _History -of France from its Earliest Times_ (Low), published price 5s.; or W. -H. Jervis’s _Student’s History of France_, with maps and illustrations -(Murray), published price 7s. 6d.—2. The only satisfactory general -history of Russia is said to be Alfred Rambaud’s, illustrated and -well translated (Low), but it is expensive—21s. There is a popular -History of Russia in the “Story of the Nations Series” (Unwin) by -W. R. Morfill, published at 5s. We hope these are neither “dry” nor -“childish.” - -FLORENTIA.—We have searched through Charles Kingsley’s poems in vain -for the lines beginning— - - “In music there is no self-will.” - -Are you sure he is the author? Perhaps some reader may observe this -reply and come to your help. - -SNOWDROP.—We think your best way is to write to Messrs. Hachette & Co., -18, King William Street, Charing Cross, London, W.C., for a list of -French magazines, and choose one that seems suitable. We do not know of -one exactly answering to THE GIRL’S OWN PAPER. - - -OUR OPEN LETTER BOX. - -“WINTON” again has answers, from “AN OLD SUBSCRIBER” and an anonymous -writer, referring the hymn, “Come ye yourselves apart and rest awhile,” -to the _Hymnal Companion_ and _Sacred Songs and Solos_. - - -MISCELLANEOUS. - -CLEOPATRA II.—The term or nickname of a British soldier, i.e., “Tommy -Atkins,” had its origin in the little pocket-ledgers, at one time -supplied to them, in which all the necessary memoranda connected with -them—their name, age, date of enlistment, length of service, wounds, -or medals, received, etc., were entered. With this the War Office gave -a form to be filled in; the hypothetical name of “Thomas Atkins” was -entered, just as “John Doe and Richard Roe” are employed by lawyers; -“M. or N.” by the Church, and “Jack Tar” to designate a sailor. The -books at once were called by the name, which was afterwards applied as -a comprehensive name for the men themselves. We thank you for your good -wishes for the continued success of our magazine. - -S. A.—There are five Homes for Aged Poor People in the suburbs of town, -respecting which you must write to the Misses Harrison, 5, Grandacre -Terrace, Anerley, S.E. There is also the “Aged Pilgrims’ Friend -Society,” which grants annual pensions to aged Christians of both -sexes, and of all Protestant denominations. This institution has homes -at Camberwell, Hornsey Rise, Stamford Hill, and Brighton. Pensions are -granted to some not received into the homes. The Secretary is Mr. J. E. -Hazelton, office, 82, Finsbury Pavement, E.C. - -F. W.—We do not undertake to return answers in the next magazine after -hearing from correspondents. Boil sufficient milk for the amount of -wholemeal you wish to knead, adding a piece of butter of the size of an -egg (for a small cake), and melt it in the milk. Mix some bread-soda -with the meal; and then knead the milk with the latter, and roll out -on a paste-board. Make a round flat cake, and cut across, to make four -divisions, and bake on a girdle, putting dry flour on the girdle, or -a sufficient space on a hot oven. Butter-milk is much used for the -purpose in Ireland. Of course yeast may be had, instead of the soda, -from any baker. - -O’HARA.—The Celts were the first Aryan settlers in Europe. This -fact is placed beyond all doubt by their language, which bears a -close resemblance to Sanscrit, alike in grammatical structure and -vocables. Herodotus speaks of them (B.C. 450) under the name _Keltai_, -as mingling with the Iberians, who dwelt round the river Ebro. The -Romans called them _Galli_. It is maintained by many that these -Aryans in Spain, the French Pyrenees, and in Britain, found before -them a Turanian people, the descendants of whom are to be seen in the -Lapps and Finns, and the Basques of Spain and Portugal. The Aryans’ -original home was the plateau of Central Asia, from whence they spread -south-westward; and the Eastern tribes took possession of India and -Persia. - -PUZZLED ONE.—Adults do not need sponsors at their baptism, as in the -case of infants; but witnesses are essential; because the persons -baptised make thereby a public profession of their faith. Special -“witnesses” usually accompany adults; but you will observe (in the -last Rubric), that the baptised “answer for themselves,” and only the -godly counsel of “their chosen witnesses” is required, whose duty it is -to “put them in mind” of the “vow, promise, and profession they have -made.” Should there be no desirably religious and God-fearing friends -to present the adult, she should communicate this difficulty to the -rector or vicar of her parish, and he will, doubtless, provide for this -lack, as well as see to her preparation for the rite himself. - -MARCIA.—We are certainly of opinion that in earlier times the term -“Merry (or Merrie) England” was justly so applied, as distinguished -from its general condition in these days of strikes. It was enough -for the little educated to have their Maypole festivities, their -Christmas and Easter entertainments; and so they enjoyed a greater -light-heartedness, simpler recreations and brighter views of life; and -the people were united more closely together in a boyish _camaraderie_. -But, as the Anglo-Saxon word _mæra_ signifies “famous, great and -mighty,” and _mer_ in the old Teutonic means “illustrious,” the -original signification is probably not “mirthful.” - -DOT.—A nice little cake for home use is made with 1 pint of wholemeal, -1 teacupful of milk, a piece of butter of about the size of a walnut, -and a teaspoonful of baking powder. Mix well and bake for about half an -hour. - -HOPE.—The correct pronunciation of the Italian phrase, _Dolce far -niente_ (Sweet do nothing) is, “Dole-che far ne-ente.” We are glad that -our magazine gives you so much satisfaction. - -DIX-HUIT.—There is no way of improving your hand but the daily -copying of the copper-plate examples, or of some hand you admire. The -pronunciation of surnames is often very arbitrary. The name “Besant” -ought to be pronounced as having a double “s,” and the accent laid -on the first syllable, “Bes.” But its present owner, Sir Walter, -pronounces it “Be_sant_,” and of course he has the right to do so. - -CARNATION.—If you are a daughter of a younger brother, no matter -how old you may be, the eldest daughter of the eldest brother has -precedence of you. Should your father and uncle have a sister living, -neither of you could claim precedence of her. She is Miss —— so long -as she remains single; and she takes precedence, moreover, of all her -younger brothers and their wives. - -MISS H. MASON’S “Holiday Home, and Home of Rest” we always have -pleasure in naming for the benefit of our readers, who are engaged -in either teaching or business, or are clerks. Charge for board and -lodging 15s. a week; for a short visit, from Saturday afternoon till -Monday morning, 5s.; and till Tuesday, 7s. 6d. Oakwood Lodge, Ide Hill, -Sevenoaks. - -MARGUERITE.—There is a society for milliners and dressmakers, the -“Provident and Benevolent Institution,” 32, Sackville Street, for -members within twelve miles of the General Post Office, and which gives -grants in illness, and pensions from £25 to £35. You do not give an -address, therefore we are unable to tell you whether you be eligible. - - - - -DIAPER DESIGNS FOR EMBROIDERY. - - -[Illustration: A.—_Sixteenth century sprig._] - -Most of the patterns here given were suggested by sketches from the -celebrated 15th century painted screen in Ranworth Church, Norfolk, -which I made on the occasion of a visit there some time ago, and are -excellent specimens of diapers suitable for embroidery. It is a class -of design almost peculiar to the period and may be termed “conceits,” -for although nature is suggested in these diapers, the arrangement is -purely arbitrary, and the ornament is not necessarily developed out -of a particular plant, but is imported into it, wilfully. Thus you -get in A a sort of conventionalised leafage with flowers and berries, -and in B an ornamentalised fruit with flowers. This latter pattern I -have developed in C, the growth of the pine-apple having suggested -the design. The thistle, globe artichoke and many other plants could -be treated in this way. Always go to nature for your _motifs_, but -remember that you only take suggestions from nature, as design is not -transcribing nature, but the result of imagination, stimulated by -reference to nature, playing around the subject. Ingenuity is called -into play, and a good design may be likened to an interweaving of -pleasantly contrasted lines nicely balanced. - -[Illustration: B.—_Sixteenth century sprig, suggestive of a fruit._] - -So many amateurs think that a representation of a particular plant or -animal arranged symmetrically is designing, whereas designing is as -much an effort of the imagination as poetry or music. It is a good -exercise to start with some design as I did in B and do something -original on the same lines. Even if you are not very original in your -efforts, it is a good exercise of your skill. If you are content to -merely reproduce what others have originated, your mental faculties -are not brought into play at all, and you can never hope to make any -advance in original work. The growth of stem in C, going as it does -over and under the main stem, was suggested by the growth of the sprig -in D, which is a characteristic example of a “conceit.” - -[Illustration: C.—_Sprig founded upon the pine-apple, in the style of -sixteenth century German work shown in_ B.] - -Such diapers as A, B and C can be used to “powder” over a curtain. -Portions of them might be _appliquéd_, the “fruit” in C for instance, -while the leaves could be in outline. The diapers can be disposed -over the curtain in some sort of order, and you might work diagonal -lines, and put a sprig in each lozenge formed by the diagonal lines -crossing each other at right angles, as in Fig. 1 in a former article -on “Curtain Embroidery,” to which I must refer the reader. The running -border E would be effective worked in two colours, a light and a dark, -and could be used to border a curtain in which the other diapers are -used. - -[Illustration: D.—_Sprig suggested by sixteenth century German work._] - -The patterns on the screen in Ranworth Church were stencilled, and -these given in this article could be cut as stencils. It would be a -good way of transferring the designs to the material to lightly stencil -them on and then work over the impressions. - - FRED MILLER. - -[Illustration: E.—_Continuous border design for two colours._] - - * * * * * - -[Transcriber’s Note—the following changes have been made to this text. - -Page 803: comtemplate to contemplate—“contemplate the surrender”. - -Page 812: Repeated word “the” removed—“_The Shadow of the Sword_”.] - - - - - -End of the Project Gutenberg EBook of The Girl's Own Paper, Vol. XX, No. -1029, September 16, 1899, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK GIRL'S OWN PAPER, SEPT 16, 1899 *** - -***** This file should be named 63772-0.txt or 63772-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/7/7/63772/ - -Produced by Susan Skinner, Chris Curnow, Pamela Patten and -the Online Distributed Proofreading Team at -https://www.pgdp.net - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |