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The Moths of the British Isles/Chapter 14

This extensive assemblage of moths, commonly known as noctuas, and locally as "millers," "owlets," and "buzzards," has been divided by Staudinger into five sub-families—Acronyctinæ, Trifinæ, Gonopterinæ, Quadrifinæ, and Hypeninæ. These divisions are here adopted, and the arrangement of species is adhered to pretty closely, except in the Trifinæ, where it has been considered necessary to make sundry alterations so as to fall more in line with later classification, at least so far as concerns genera.

The eggs of species in this family are round and somewhat flattened in shape, and the shell is fluted or netted. Some few examples of these have been figured.

Most of the larvæ conceal themselves during the day, in the ground, among low herbage, or in spun-together leaves, and only leave their retreat at night to feed. Most kinds change to the chrysalis state underground, but some pupate among leaves or in chinks of tree bark, etc.

With some few exceptions the moths fly only at night, by far the larger number will visit the sugar patch, and others come readily to flowers or to light.

Distribution abroad will only be referred to where this is restricted in Europe, or extends far beyond European limits.

This pretty moth has the fore wings green variegated with white stripes and black cross lines; the hind wings are greyish, marked with white at the anal angle. The spaces between the interrupted cross lines of the fore wings are often marked with black, and this is the typical form of the species; the plainer specimens—those less spotted with black—being referable to var. runica, Stephens. Stephens in 1829 notes that the species was then little known in England. It is still very local, inhabiting oak woods in Sussex (Hailsham), Hampshire (New Forest, sometimes common), Devonshire (Plymouth district), Cornwall (East Looe), Essex (Colchester), and Suffolk (Ipswich). The moth is out in June; on September 5, 1906, Mr. L. W. Newman bred a small specimen that had only been in the chrysalis seventeen days. Usually it rests by day on boughs, and sometimes on the trunks of trees (see Fig. 8, p. 9); it flies at night and then patronizes the sugar patch, but often is a late visitor. The caterpillar, which feeds upon oak in July and August, is black on the back with a yellow or whitish blotch on rings four, six, and nine; the reddish warts are crowned with tufts of brown or whitish hairs. Head black marked with yellow except on the top. It is also said to eat leaves of beech and birch. Staudinger gives alpium, Osbeck (1778), as an earlier name than orion, Esp. Hampson refers alpinum to Daseochæta, Warren.

Distribution: Central and Northern Europe, and represented by var. murrhina, Graes., in Amurland, China, and Japan.

The moth is depicted on Plate 100, Fig. 1, and the caterpillar and chrysalis on Plate 101, Figs. 2, 2a.

Usually the fore wings of this moth appear to be brownish, or reddish brown on the basal half, and whitish, more or less suffused with greyish, or sometimes reddish brown, on the outer half; the hind wings are pale brownish, or greyish, lighter towards the base. Not infrequently the fore wings are greyish white with some brownish clouding between the two blackish cross lines. The caterpillar is variable in colour, but generally of some shade of brown, ranging from dark chocolate brown to pale ochreous, covered with soft hair; the pencils of long hairs on the first ring, and the tufts of hairs on rings four, five, and eleven, may be red, greyish, or blackish; the broken stripe along the back is greyish, and the stripe low down on each side may be red, brown, or greyish. It feeds in June and July, and as a second generation in September, on the foliage of beech, birch, hazel, hornbeam, etc.: bushes growing in exposed positions such as a hedge bank or hill side are chiefly fancied. The moth flies in May and June, and again in August and September. It probably occurs in most of the English counties, but is most frequent in Berkshire, Bucks, and Devon. Not uncommon in Clydesdale, but more plentiful in Aberdeenshire, and is also obtained in Perthshire, and in other parts of Scotland. Widely distributed in Ireland.

The moth is shown on Plate 100, Fig. 2, and the early stages on Plate 101, Figs. 3, 3a, 3b.

In its typical form the wings are quite white with but little in the way of marking. Most, if not all, the specimens occurring in Britain are the more or less greyish suffused and more marked, variety known as bradyporina, Treits. (Plate 100, Figs. 3 ♂, 4 ♀.) Sometimes the outer margins of the fore wings, beyond the second cross line, are shaded or dusted with blackish (var. semivirga, Tutt). In the Liverpool district a form is occasionally obtained in which the fore wings are darkly suffused, and the thorax is black (var. melanocephala, Mansbridge). A specimen with black fore wings and white fringes has been bred from a caterpillar found in Essex (Entomologist, xxxviii., 289, and xxxix., 97).

The caterpillar is pale green clothed with long white, and a few black hairs; these fall downwards, and on the one side curve forwards, and on the other side backwards. Sometimes in the south of England, more frequently in the north, the ground colour and hairs are yellow, and there are more or less distinct reddish brown bands on the back and sides. It may be found from July to September, or even later, on birch or alder, rarely on oak and poplar. The moth occurs in May and June, as a rule. In 1904 I took a freshly emerged specimen on July 23, at Byfleet in Surrey, and some half-grown caterpillars were obtained on the same day, and very near the same spot. The species is found in woods, and on heaths and mosses, where birch or alder flourishes, from Devonshire in England to Sutherlandshire in Scotland. It is not common anywhere in our islands, but is perhaps most frequently met with in the south and east of England. In Ireland it appears to have been found only in the southern counties.

The dark mottled grey moth on Plate 100, Fig. 5, is not much given to variation, but occasionally brownish suffused forms occur (var. candelisequa, Esp. = infuscata, Haworth).

The caterpillar (Plate 102, Fig. 3) feeds in August and September upon sycamore, maple, and sometimes plum and chestnut. It has some black-edged white marks along the middle of the back; the pointed tufts of long hairs are yellow or reddish. When it is at rest on the underside of a leaf, or coils in a ring on being disturbed, the hair tufts gave the creature a somewhat prickly appearance. The moth is out in June and July.

The species is more or less common pretty well through the southern and eastern counties, and fairly so in and around London. Its range extends to Warwickshire and Herefordshire; but it is scarce in both counties. The Irish localities for it are Claring Bridge and Ahascragh, Co. Galway; Glandore and Timologue, Co. Cork; Enniskillen, Co. Fermanagh.

This moth is somewhat like that last noticed, but the fore wings are darker grey; the whitish orbicular mark is margined with black, and has a dark central dot. Sometimes the fore wings are clouded with blackish, and occasionally entirely suffused with black. In several species of Acronycta newly disclosed specimens have a faint pinky tinge, but this is especially noticeable in the present species. (Plate 100, Fig. 6.)

The caterpillar is ochreous or grey brown, marked with blackish; a conspicuous character is a black-edged whitish or ochreous patch on ring ten; the hairs are whitish, those on the sides rather long. It feeds from July to September on the foliage of poplars. (Plate 101, Fig. 1).

This well-known cockney species is on the wing from late May to mid-August. Has been bred in September from a caterpillar taken in July, also in October from August larvæ. It is often abundant on poplars (especially the caterpillars) in London and suburbs. Common all over the southern parts of England, except perhaps in Devon and Cornwall; its range extends through Northern England to Ross in Scotland; and it is found in the south of Ireland.

The sexes of this black-clouded grey moth are shown on Plate 100, Figs. 8 and 9♀. Except that the black clouding sometimes spreads over a greater area of the fore wings, there is little to note in aberration, at least in a general way. In 1906 a melanic specimen was bred from a chrysalis taken from alder in Delamere Forest, Cheshire; this is probably referable to var. steinerti, Caspari.

The caterpillar (Fig. 26) is black, marked with yellow; the curious clubbed hairs are its distinguishing feature. Although named after the alder, it feeds on the leaves of most trees and bushes in July and August, sometimes earlier or later. The moth is out in May and June, but although an occasional specimen has been taken at sugar or light, once resting on nettles, it is rarely met with. Caterpillars also are not by any means common, and any one who may obtain even a single example in a season may congratulate himself on a good find. They are perhaps most frequent in the Hampshire (New Forest) district and some of the Sussex woodlands, but have occurred now and then in almost every county of England up to Yorkshire; also in Glamorganshire, Carmarthenshire, and at Trefriw in Wales. The only Irish locality is Powerscourt, Co. Wicklow. The range abroad extends to Armenia, Amurland, and Japan.

This little moth, known also as the "Grisette," seems confined, as a British species, to the country around Cambridge; but it has been twice recorded from Norfolk, two specimens have been reported from Worcestershire, and one from Gloucestershire; the latter at sugar in June, 1897. The latest records that I have seen refer to a moth taken at sugar near Chatteris in 1904, two caterpillars beaten out of hawthorn in August, 1905, and a moth on an ash tree, Wicken, July 31, 1907. (Plate 100, Fig. 7).

The caterpillar is yellowish green, with a red brown stripe along the back; two small elevations on ring four, and one on ring eleven; the hairs are blackish on the back, one of each tuft longer than the others. It feeds on hawthorn in August and early September. The moth is out in July. This species is found abroad in Central Europe and Southern France; also in Amurland, Corea, and Japan.

The English name of this moth is not very suitable, as in general colour it is often really paler than many examples of the next species. Specimens with a blackish cloud at the base, and a dark band-like suffusion on the outer margin of the fore wings are referable to var. virga, Tutt. It is widely distributed in England and Wales, but apparently not common; rare in Scotland and in Ireland. I am unable to indicate any character that will serve to distinguish this moth from the Grey Dagger. The moth flies in June; a second brood sometimes occurs in confinement in October. The caterpillars of the two species are very distinct. That of the present species is black, with a broad reddish stripe along the back, and one on each side; the first is interrupted with white, and the others with black; there is a black hump on the fourth ring, and a broader one on the eleventh ring. It feeds from August to October on hawthorn, sloe, plum, pear, and apple; also on birch and sallow.

The moth is shown on Plate 100, Fig. 10; and the caterpillar on Plate 101, Fig. 4.

The ground colour varies from whitish to blackish grey, Var. bivirgæ, Tutt, is similar to var. virga of the last species. In var. bidens, Chapman, the first cross line is double, enclosing a pale stripe; the upper part of second cross line is more angled, and the dagger mark at the anal angle is much shortened.

The caterpillar has a taller and more slender hump on ring four, and the stripe along the back is clear yellow, with black edged red spots on each side of it. Generally distributed, and often common.

The moth is shown on Plate 100, Fig. 11; and the caterpillar and chrysalis on Plate 101, Figs. 5 and 5a.

Portraits of this moth will be found on Plate 103, Figs. 1♂, 2♀. Several modifications have been named, the most important of these are var. scotica, Tutt, which is larger and brighter than the type, with the markings clear and distinct; var. suffusa, Tutt, is much suffused with black. The former is chiefly found in Scotland, and the latter in Yorkshire.

The caterpillar is black or sooty-brown, with a red stripe, or blotches, low down along the sides; hairs black or red-brown. In August and September feeding by day on sweet-gale or bog myrtle (Myrica gale), bilberry, heather, dwarf sallow, etc. The moth flies in June and July, and may be found on the mosses and moorlands of North England and Scotland. It rests by day on rocks, stones, and, where they are handy, on posts and rails. I found several on Danes Moss, Cheshire, sitting on a derelict tub. Also occurring in Ireland, but not common.

The pale grey, darker-mottled moth depicted on Plate 103, Fig. 3, is very local, and only occurs in some of the woods of Kent and Sussex; the districts mentioned being those of Rochester, Canterbury, Hailsham, and Hastings.

The caterpillar is figured on Plate 102, Fig. 2. It is slaty grey in colour with a black plate on the first ring; on the back of each ring is a broad black band, and four orange warts from which arise golden-yellow silky hairs; the hairs on the sides are pale drab (adapted from Buckler). It feeds in June and early July, sometimes in September, on oak, birch, various kinds of Rubus, such as blackberry and raspberry, and also on bilberry (Vaccinium). The moth is out in late April and in May; occasionally late July and in August. It is rarely seen in the day time, but has been found resting on tree trunks. The range abroad extends to Southern Russia and Siberia.

Our form of this species—var. myricæ, Guenée (Plate 103, Fig. 4), is rather larger and much darker than the type; but although it is generally somewhat smaller than the Alpine var. montivaga, Guenée, it is not otherwise separable from that form. So far as concerns the British Isles, it is only found in Scotland and, rarely, in Ireland. It was first obtained in Perthshire, in 1846, by Weaver, and it is now known to occur more or less commonly through Scotland from Ayr to Sutherlandshire. In Ireland it occurs in Cork, Kerry, Galway, and Sligo, and Kane considers that specimens from Markrea, and Lough Gill in the latter county are referable rather to var. montivaga, than to var. myricæ. The moth is out in April, May, and June.

The dark greyish caterpillar has a deep black, broken, stripe along the middle of the back, and a series of pale yellow marks on each side of it; along the black-margined white spiracles there is a reddish orange line, or broken stripe; pale brownish hairs arising from yellowish warts on the back, and a cross-bar of reddish orange near the head. It feeds on sweet gale, heather, birch, sallow, etc., and may be found from July to September. Two figures of it, from coloured drawings by Mr. Alfred Sich, will be found on Plate 102.

The ordinary form of this moth is shown on Plate 103, Figs. 6♂, 7♀. The species varies greatly in the amount of dark mottling and clouding on the fore wings; sometimes this is much reduced, and the pale grey ground colour is then clearly seen; more often these wings are entirely clouded over with blackish or sooty brown, leaving only the white bracket-like mark above the inner margin, and the submarginal cross line, distinctly visible (var. salicis, Curtis). The moth flies in June and July, and sometimes in August and September.

The hairy caterpillar, which is somewhat humped on rings four and eleven, is figured in Plate 102, Fig. 1. It is dark brownish grey, marked on the back with a central series of black patches in which are reddish spots, and a row of white spots on each side; below the white spiracles is a yellowish wavy line with reddish warts upon it. Various low-growing plants, such as plantain, dock, sorrel, and also hawthorn, sallow, and bramble, afford it nourishment, and it is found in July, August, and September.

Generally distributed throughout England and Wales, its range extending into Scotland as far north as Morayshire; also in Ireland. The var. salicis occurs northwards from Shropshire through northern England into Scotland, but is perhaps most common in Ireland.

This is also the Crown Moth of Moses Harris, both English names referring to a fancied resemblance of the whitish or pale greyish mark, just beyond the reniform stigma, to a crown or coronet (Plate 103, Fig. 5). The greenish or brownish-olive fore wings are subject to modification in the depth of tint; sometimes they are blackish in tone—var. nigra, Tutt, or dark olive-green—var. olivacea, Tutt. In both of these named forms the whitish markings are obscured, and in this respect they seem to be about identical with var. sundevalli, Lampa.

The caterpillar is bluish green above, and yellowish green below; a slender whitish line along the middle of the back, and a yellowish line on each side; the spiracles are reddish, and the raised spots, from each of which a single black hair arises, are black. It feeds in August and September on ash, and less frequently, perhaps, on privet. It is stated to eat hazel and alder, also.

The moth flies in June and July, and its occurrence in any locality depends largely upon the presence of ash. Widely distributed throughout England, Wales, and Scotland to Ross-shire. In Ireland it has only been noted from a few localities in Co. Galway.

In its typical form (Plate 103, Fig. 10), the fore wings are whitish ochreous with the veins showing up white more or less clearly. A form with reddish ochreous fore wings has been named var. ochracea, Tutt; and another with silvery-white wings var. argentea by the same author. These seem to be identical with forms of this species named flavida and albida by Aurivillius some eight years earlier.

The hairy caterpillar is blackish or dark grey brown freckled with black; two stripes along the back and one on each side are yellow, sometimes marked with orange; the warts are orange with pale, and a few black, hairs; head black, marked with yellowish.

It feeds from July to September on the leaves of reeds, at night; hiding by day under leaves low down. The moth is out in June, but an autumn brood is sometimes obtained. It only occurs in fenland, chiefly Norfolk and Cambridgeshire.

Typically the fore wings of this species are white, marbled with slaty grey, and with the stigmata dark grey (Plate 103, Figs. 9♂, 12♀). There is less colour variation than in the last species, but in some localities greenish, ochreous, and ochreous brown forms have been obtained. The caterpillar is pale slaty grey, with an irregular yellowish stripe on the back, with black spots forming a central line; the raised spots are black and shiny, as also is the head. Feeds on lichens growing on old walls from August to May. The moth, which occurs throughout England, Wales, Ireland, and Scotland up to the Clyde, is to be found, commonly as a rule, on walls by day, and gas lamps at night, in July and August. Sometimes I have found specimens on tree trunks.

Two forms of this very variable little moth are represented on Plate 103, Figs. 8♂ (typical), 11♀. The ground colour of the fore wings ranges from almost white through pale green to bluish green or to a deep olive green, or through pale ochreous to orange brown. The markings, too, vary in intensity, and are sometimes very obscure. Several forms have been named, but only the Cambridge race, known as var. impar, Warren, can here be referred to. In this form the colour is more often greyish or brownish white, than green; the markings are cloudy and not clearly defined.

The caterpillar is obscure greenish, with whitish and rather shining raised spots; there is a black plate on the first ring, and from this three broken yellowish lines run along the back. Head black and glossy. It feeds from October to May on the lichens growing on walls and rocks; during the day it hides in a chamber formed of silk and lichen, which is not easy to detect in dry weather. The moth is out in July and August, and at Eastbourne I have found it in September. It may be found generally on walls, but sometimes on rocks at various places on the coast of Kent, Sussex, Dorset, Devon, and Cornwall; also in the Scilly Isles. Its range, according to Barrett, extends to Bath and Wells, Somersetshire, Marlborough and Chippenham in Wiltshire, and it has also occurred in Gloucestershire.

The only record of this species in England that I am aware of is that by Mr. Edleston, in the Intelligencer for 1860, p. 11, as follows: "Two specimens of this pretty species (B. algæ) were taken in this district last July." The district referred to was Manchester, and the note was written on September 28, 1859.


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LTERING A PATTERN FOR A FIGURE BROAD IN BACK IN PROPORTION TO THE FRONT. Several women may have exactly the same bust measure but the bust size may be distributed in different ways. The first type of figure to be considered in this chapter is the figure that is broad across the back in proportion to the chest measure. Usually this type of women is hollow-chested. If her back is broader than the average, she has discovered it in making her own clothes.

The alteration for this type of figure is very simple. Slash the back pattern from the shoulder to the bottom on a line with the back edge and separate the pieces as much as is necessary to fit the figure. (Ill. 40.) This will make the shoulder of the back longer than the shoulder of the front. (Ill. 40.)

Half of this difference in width should be sloped off the armhole edge of the back. (Ill. 40.) Half the difference should be filled in at the armhole edge of the front, letting the allowance slope to nothing at the notches. (Ill. 40.) The dotted line in Illustration 40 shows you where to fill in and where to slope off.

ALTERING WAIST LININGS AND WAISTS TO FIT SQUARE OR SLOPING SHOULDERS. Illustration 41 shows how a waist lining will draw across the chest on a square-shouldered figure. The alteration is so simple that it doesn't have to be made in the pattern but

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 To EDWIN GEORGE MONK, Mus.Doc. Oxon. Organist and Choirmaster of York Minster.

My dear Monk,

In placing your name at the head of this page, I not only wish to express my opinion of your talents as a Church musician, but also to record my high esteem for you as a man.

Our friendship dates far back (some quarter of a century), and during that time I have watched not only the growth of your talents and intellectual powers, but also your rise in the profession; first as organist of the comparatively humble College of S. Columba, Ireland; second, as organist, precentor and fellow of St.


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text: Garden Cities of To-morrow

title: Garden Cities of To-morrow


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ii Peter's College, Radley; and finally to your present station as organist and choirmaster of the Cathedral of York—a post beyond which your fondest ambition can scarce advance.

''You richly deserve all the honours you have attained, and the present state of the York choir will bear ample witness to the excellence of your training. You have set a pattern, and one which I devoutly wish were followed in other cathedrals. The glorious services of our Church would then be rendered as they ought to be, and organists escape the censure that is daily heaped upon them.''

''In the pleasant walks of Radley, in the old-fashioned recesses of Bodley's rich library, and in the beautiful aisles of York Cathedral, I have held converse with you. Your mind was ever open to the beauties of nature, the charms of ancient book-lore, or the glories of ancient architecture.''


text: Popular Science Monthly/Volume 67/November 1905/Some of the Localities in France and England Where Monuments of the Late Stone and Bronze Ages Have Been Found


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Rh It is to you that I owe my knowledge of the old Fabric Rolls of the Cathedral in which you so worthily preside—so largely used in the following Lecture, I thought it, then, not inappropriate to dedicate these pages to one whom I felt certain would deem the information they convey not worthless, or beneath the notice of the musician. EDWARD F. RIMBAULT. 29 St. Mark's Crescent, Regent's Park.


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Collier's New Encyclopedia (1921)/Whitman, Walt

WHITMAN, WALT, an American poet, born at West Hills, Long Island, May 31, 1819. His education was obtained under difficulties and was not extensive. From twelve years of age he worked for his living, chiefly in printing shops, and soon began to try his hand at writing. He became one of the editors of the Brooklyn “Daily Eagle,” and in 1848 he went to New Orleans, where he worked on the “Crescent.” He returned to Brooklyn in 1850, most of the way on foot, by the Great Lakes, thus he saw at first hand the great variety of the States and came into contact with all sorts of people, laying up material on which much of his future poetry was to be based. He was fascinated by people, masses of them as seen on a Brooklyn ferry or the New York streets, or lonely hunters and trappers, pioneers in the Western wilderness.

WALT WHITMAN

In 1855 these meditations and observations bore fruit in the first edition of “Leaves of Grass,” henceforth to be the chief interest of his life and the receptacle for all his most characteristic work. A second edition appeared in 1856, a third in 1860, and others in succession until 1891. In each new edition further material was added. In these poems Whitman departed widely from conventional American poetry both in subjects and in form. His theme may be defined as an attempt to realize the complexity of ordinary American life through his own personal experience, both real and in imagination. More than others of our poets he has expressed a conception of democracy, not as affording opportunity for the development of individuals, nor yet as crystallized in institutions, but as mass. The countless multitudes, living and yet to live, that make up the population of these States, he visualizes in many forms—the pioneers, marching resistlessly to their conquest of lands yet uninhabited; the crowds on the ferry or in the city streets; men and women of all occupations in every part of the country. It is the average man, he says, that he sings; his physical life, his religion, his capacity for friendship. In “the dear love of comrades” he found argument for the coming of a time when wars shall cease and a new golden age be ushered in. Life seemed good to him, all of it, and he spoke with a frankness that has given offense to many. Of himself he speaks much, meaning not merely himself as a type of the average man, but as a personification of all men. He also has a vivid sense of the eternal succession of the generations of the immortality of the race.

While some of Whitman's poems have rhyme, metrical regularity, and stanzas of the usual types, these are not his most characteristic writings. He speaks of them as chants. They are divided into highly rhythmical units, without rhyme, varying in length of lines, held together by some pattern or cadence. In so great a mass of poetry there must be passages that are prosaic, mere catalogues. But there is also abundance of poetry of marvelous variety and beauty. Poems like “When Lilacs Last in the Dooryard Bloomed” or “Out of the Cradle Endlessly Rocking,” though differing widely in form and structure from the older English tradition, are instantly felt to be creations of supreme beauty. But he uses little narrative; he is unable or unwilling to give the little pictures of simple life that we find in Whittier, in Riley, and other poets who have phrased the thoughts and lives of the multitude of ordinary men and women; he lacks

the expression of simple religious faith and household virtues that we find in Longfellow; and he uses difficult, unusual, often bizarre diction, so that though he sets up the claim to be the poet of democracy he has never found wide audience among the people whom he wished to represent.

Whitman's wide sympathy for all sorts and conditions of men was quickened by experience during the Civil War. He became a hospital nurse in Washington. In his prose “Specimen Days” he has recorded many of his experiences. Others found verse form in a collection named “Drum Taps.” This whole experience was summed up in the series of poems that he wrote on the death of Lincoln, whom he tenderly loved. These portions of his work reveal the kindness and human sympathy of the man, the beauty of humble service rendered to suffering boys on both sides of the great conflict, a deep pathos mingled with “Clear notes of faith and triumph.” In “Democratic Vistas,” a collection of prose pieces, he put his thoughts about America and her destiny, themes also found in “Leaves of Grass.” His vivid sense of the two laws of individuality and comradeship, the keynote of his poetry, finds, when applied to his theory of the nation, a counterpart in his doctrine of the sacred individuality of the States, or separate units, as merged in the larger personality of the nation. This idea he develops mystically and with great earnestness; it becomes the means by which he prophesies a higher evolution in which the nations of men shall be as the states in a larger union, a league of nation-states, uniting all the world in a common brotherhood. “Great as they are,” he says, “and greater far to be, the United States, too, are but a series of steps in the eternal process of creative thought.”

Whitman's rise to fame was slow. As was to be expected in the case of one who so openly flouted convention, he was alternately derided and made the basis of a cult. The poems were recognized sooner in Europe than in America. But gradually his fame has increased. His peculiarities of diction and form, his inequality, his constant repetition, his need of revision and compression, seem less important as the propheti: elements of his work become more apparent. Since his death, at Camden, N. J., in 1892, his circle of readers has constantly increased.


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text: Popular Science Monthly/Volume 67/November 1905/The Value of Non-Euclidean Geometry


text: Popular Science Monthly/Volume 67/November 1905/University Education and National Life


text: Popular Science Monthly/Volume 67/November 1905/The Cattle Problem of Archimedes


text: Popular Science Monthly/Volume 67/November 1905/The Progress of Science


text: Popular Science Monthly/Volume 67/December 1905/Fresh-Water Springs in the Ocean


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text: Popular Science Monthly/Volume 67/December 1905/Economy in Irrigation


text: Garden Cities of To-morrow/Introduction

title: Garden Cities of To-morrow/Introduction


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responding to the wish of the Council of the College of Organists, that I should deliver a lecture before its body, I have chosen for my subject "The Early English Organ Builders and their Works, from the Fifteenth Century to the Period of the Great Rebellion." This offers a new field of inquiry, and one of great interest to the English organist. I have not adopted it, however, without some little hesitation, fearing that it might be considered of too archæological a character to come within the legitimate objects of this institution. But, after giving the matter due consideration in all its 2


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Collier's New Encyclopedia (1921)/Whitman College

WHITMAN COLLEGE, an institution for higher education, founded at Walla Walla, Washington, in 1859. It has an endowment of about $1,000,000. In 1919 there were 25 instructors and 310 students. President, S. B. L. Penrose, D. D.


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Rh can be made in the actual waist lining and waist. You cut your waist or lining in the ordinary way by your pattern and put it together according to the Illustrated Instructions. Try it on, pinning the fronts together. (Ill. 41.) You will find that it draws across the chest and needs to be taken up at the shoulder seams at the neck as much as necessary to remove these wrinkles, letting this alteration slope toward the shoulders. (Ill. 42.) Tapering in the shoulder at the neck will make the neck size too small. Slash the neck edge of the lining at intervals until it feels comfortable. (Ill. 42.)

Take off the lining and baste the shoulder seam and trim off the neck edge on a line with the slashes. Try the lining on again to be sure the alteration is right before stitching the shoulder seams. If there are crosswise wrinkles at the back, the back lining can be altered in the same way. The same alteration that is made in the lining should be made in the outside waist. ALTERING A WAIST TO FIT SLOPING SHOULDERS. Sloping shoulders make the diagonal wrinkle from the neck to the armhole. (Ill. 43.) This alteration, too, can be made in the lining and the waist without altering the pattern. Make up your lining in the usual way and put it on, pinning carefully at the center front. In Illustration 43 the shoulders are very sloping, and in your case the wrinkle cannot be as pronounced. The wrinkle is due to the fact that the shoulders are not high enough to take up the full size of the pattern. The extra size must be taken up on the shoulder seams. Take in the shoulders as little as possible at the neck and as much as necessary toward the arm. (Ill. 44.)

Taking in the shoulder seams will decrease the size of the armhole and make it bind. Slash the armhole a little until it feels just right. Do not slash it too much or your armhole will be too large. (Ill. 44.) Take off your lining, baste the shoulder seams and cut out the armhole on a line with slashes. Try the lining on again to be sure that it is comfortable and then stitch the shoulder seams.

Diagonal wrinkles in the back of the lining may be handled in the same way. The same alteration that is made in the lining should be made in the outside waist.

ADAPTING PATTERNS TO A FIGURE WITH AN UNUSUALLY LARGE BUST. This is the case, not necessarily of a large figure, but of a figure in which the bust is

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text: Popular Science Monthly/Volume 67/December 1905/Mining and Use of Metals by the Ancient Egyptians


text: Popular Science Monthly/Volume 67/December 1905/Anaximander, Earliest Precursor of Darwin


text: Popular Science Monthly/Volume 67/December 1905/The Philosophy of Friedrich Nietzsche


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text: Popular Science Monthly/Volume 67/December 1905/The Study of Locality


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text: Garden Cities of To-morrow/Chapter 2

title: Garden Cities of To-morrow/Chapter 2


text: Popular Science Monthly/Volume 67/December 1905/The Cause, Nature and Consequences of Eyestrain


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Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/86

52 XLIV.

Enough of Battle's minions! let them play

Their game of lives, and barter breath for fame:

Fame that will scarce reanimate their clay,

Though thousands fall to deck some single name.

In sooth 'twere sad to thwart their noble aim

Who strike, blest hirelings! for their countiy's good,

And die, that living might have proved her shame;

Perished, perchance, in some domestic feud,

Or in a narrower sphere wild Rapine's path pursued.

XLV.

Full swiftly Harold wends his lonely way

Where proud Sevilla triumphs unsubdued:

Yet is she free? the Spoiler's wished-for prey!

Soon, soon shall Conquest's fiery foot intrude,

Blackening her lovely domes with traces rude.

Inevitable hour! 'Gainst fate to strive

Where Desolation plants her famished brood

Is vain, or Ilion, Tyre might yet survive,

And Virtue vanquish all, and Murder cease to thrive


text: Popular Science Monthly/Volume 67/December 1905/The Status of American College Professors Once More


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Rh strolling player or the conjuror! Again, one of our modern popular writers of fiction, who masks himself under the designation of "Cornelius O'Dowd," thus gives his opinion of the musical profession in one of the recent numbers of "Blackwood":

"Mendelssohn alone of all our present-day men had genius: as for the others, there is not one of them whose worst ballad is not better than he who wrote it. They are the shallowest thinkers, the worst informed on matters of general interest, and the poorest conversationalists the world produces. They are as circumscribed as the actor, and they have not that humoristic tendency which gives to the actor all the emphasis of his character. Next in order to musicians come hairdressers."

What shall we say to the pitiful scribbler whose knowledge of our glorious art and its professors is so warped and so shallow! Words are useless; it were better to leave him in the undisturbed possession of his own feelings. We have, however, the satisfaction of believing in the maxim of our immortal poet, that "such a man is


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text: Popular Science Monthly/Volume 67/December 1905/The Progress of Science


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text: Popular Science Monthly/Volume 67/Index

title: Popular Science Monthly/Volume 67/Index


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text: Garden Cities of To-morrow/Chapter 1

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text: Garden Cities of To-morrow/Chapter 3

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Collier's New Encyclopedia (1921)/Whitney, Adeline Dutton (Train)

WHITNEY, ADELINE DUTTON (TRAIN), an American author; born in Boston, Mass., Sept. 15, 1824. Besides writing a great deal for magazines, she published: “Footsteps on the Seas: A Poem” (1857); “Mother Goose for Grown Folks” (1860; revised ed. 1882); “The Boys at Chequasset” (1862); “Faith Gartney's Girlhood” (1863); “The Gayworthies: A story of Threads and Thrums” (1865); “A Summer in Leslie Goldthwaite's Life” (1866); “Patience Strong's Outings” (1868); “Hitherto: A Story of Yesterdays” (1869); “Real Folks” (1872); “Pansies” (1872), verse; “The Other Girls” (1873); “Sights and Insights” (1876); “Bonnyborough” (1885); “Homespun Yarns” (1887); and two volumes of poems, “Bird Talk” (1887) and “Daffodils” (1887); “Square Pegs.” She died March 20, 1906.


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 large in proportion to the bust measure. A woman might measure 36 inches at the bust and yet have a narrow back and a very full bust. If the bust is only a little full, the alteration can be made on the underarm seam when you try on the lining and waist. For an unusually large bust the alteration must be made before you cut your good lining and outside material.

Get some inexpensive lining material. Unbleached muslin will answer perfectly. Lay out your pattern, following the instructions, and cut it out carefully, marking the perforations with tailors' tacks. (Page 85.) Put the lining together and turn under the hems, following the pattern instructions.

Take a piece of the lining material six inches wide and long enough to reach across your figure to the underarm seams. Place it over your bust and pin it carefully to your lingerie.

Put the lining on, pinning the front together with the front edges just meeting, placing the pins about 1½ inch apart. The lining will draw in wrinkles that run from the bust downward toward the underarm seam. (Ill. 45.) Get some one to cut the lining straight across the figure to the side-front seam and from the side-front seam upward to within three-quarters of an inch of the notches in the armhole. When the lining is cut, it will separate as much as the figure requires and will drop in place over the bust. (Ill. 46.) Pin the edges carefully to the piece of lining underneath. (Ill. 46.) Take the lining off and baste the edges of the slash to the piece underneath. Try the lining on again to be sure that it fits perfectly. Take it off and rip it apart, cutting through the material underneath on a line with the seams.

These lining pieces are not to be used as a pattern, for muslin stretches and is not accurate. Take each piece of this altered lining and the corresponding piece of the pattern and make the same alteration on the pattern, using the lining, pieces as a guide. Slash the pattern fronts like the muslin and separate the pieces of the pattern in the same way, and to the same extent, and paste a piece of tissue-paper under the slash. Keep the corrected tissue-paper and use it for any dress that calls for a French lining.

This alteration as it is illustrated here is for a figure unusually full at the bust. It will not, of course, be necessary to to make such an extensive alteration for figures of a more normal shape.

ALTERING PATTERNS FOR A FIGURE WITH AN UNUSUALLY SMALL BUST. For the woman with an unusually small bust it is wiser to make up the lining first in unbleached muslin before cutting into the regular lining. Where the bust is just a little under the average the alteration can be made at the underarm seam. The alteration illustrated here is for an extreme case.

Cut a lining of unbleached muslin, baste it together, turning under the hems and putting it on with the edges of the hems just meeting. Pin it carefully. It will fall in wrinkles below the bust. (Ill. 47.) Here again the lining should be slashed straight across to the side-front seam and from the side-front seam upward to within ¾ of an inch of the armhole notches. (Ill. 48.) Lap the slashed edges until the lining sets smoothly over the figure. Don't try to make it snug or tight. You should have plenty of room to breathe comfortably, and the lining should not compress the figure.

Pin the edges of the slash. (Ill. 48.) Take off the lining, baste in the alterations,

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Price 3s. 6d. (Cloth, 4s. 6d.)


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 been a prevailing practice, but this is the only instance I have met with of it at an early date.

According to a notice preserved in Mr. George Roberts' "Social History of the People of the Southern Counties of England," this maker was paid by John Hassard, Mayor of Lyme Regis, in 1551, "his year's rent, 10s."

Robartt's instrument seems to have been in the hands of an adept whose services were appreciated, as we learn from the following entry:

"'1552. The Mayor and his brethren grant to John Coke £5 yearly in consideration of the good service that he hath performed in the church of King's Lyme from time to time, in singing and playing at organs, and which the said John Coke was to continue during his life, in the best manner he could, as God had endued him to do.'"

How long Robartt and Coke continued to exercise their harmonious calling is not known; but probably until the


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 of the clergy of the Lower House, within the province of Canterbury, pronounced "that synging and saying of mass, matins or even-song, is but roaring, howling, whisteling, mummyng, conjuring, and jogelyng, and the playing at the organys a foolish vanity."

One word more about John Coke, the "organ-player." He made himself useful to the Mayor, when there were no poor laws, in carrying out charitable objects. The Town Account Book of Lyme Regis has this entry, under the date 1553:—"John Coke found [i.e., provided with all necessaries] the poor children and the clerk." Let us hope that this was not a solitary instance of good feeling, and that worthy John Coke's example was not lost upon his brother organists of the neighbouring localities.

There was an organ in the parish church of Doncaster prior to the magnificent instrument destroyed in the fire; for in the churchwardens' accounts of 1569, Mr. Fenton was paid "13s. 4d. for an


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Index talk:The Early English Organ Builders and their work.djvu

sup
sup results in smaller font size. Both sup and  are used in this text. Should one be decided upon? Londonjackbooks (talk) 13:41, 6 January 2013 (UTC)

M$c$

Mc

 * Make a choice, I will run a bot through to make the changes. — billinghurst  sDrewth  23:20, 6 January 2013 (UTC)

 * I vote  ... easier on the eyes. Londonjackbooks (talk) 23:32, 6 January 2013 (UTC)
 * ✅ — billinghurst  sDrewth  02:27, 7 January 2013 (UTC)
 * thx. Londonjackbooks (talk) 03:25, 7 January 2013 (UTC)

Appendix 4
I have kept the formatting simple. If we wish to put in a right pointing brace, then we will have to add a third column (as column 2), utilise brace2 and width restrict the table to maintain the brace height with regard to a restrained row height. I can do it the other way if people think that it is a necessity. At this stage, I don't see that it is. It is a width restricted typography due to being small sized work. — billinghurst  sDrewth  23:20, 6 January 2013 (UTC)
 * I wouldn't care if the braces were dropped entirely. Moondyne (talk) 02:52, 7 January 2013 (UTC)
 * I've validated the pages as not requiring the braces. I see them as a typographical device on a short page. Beeswaxcandle (talk) 03:06, 7 January 2013 (UTC)

ccclxxili xvijs jd
I guess that li is £ (or is it guineas?), s is shillings, d is pence. What does j represent in Roman numerals? Moondyne (talk) 02:52, 7 January 2013 (UTC)
 * At this time j was often used instead of i at the end of a numeral. Beeswaxcandle (talk) 03:05, 7 January 2013 (UTC)
 * Ah. Thanks. Moondyne (talk) 03:45, 7 January 2013 (UTC)


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Rh {|align=left |

Round-shouldered || Ill. 50. The Lining Will Require More Size Across try it on again and if it fits perfectly take it off and rip it apart. The edges of the side-front seams will be jagged where the lining was lapped. Even them off following the original seam line.
 * Ill. 49. If the figure is
 * Ill. 49. If the figure is
 * }

Correct your paper pattern, slashing the front and side front, lap the edges as much as in the lining, and paste the edges together.

Alterations for an unusually large or small bust may be made on a French lining; a lining with one or two darts, or a lining with a straight or curved front edge.

ALTERING A PATTERN FOR A ROUND-SHOULDERED FIGURE.

The lining must be made up in cheap material, fitted to the figure and the alterations transferred to the paper pattern itself. Place a strip of the lining material about 4 inches wide across your shoulders from one arm to the other. Then put on the trial lining which will run in wrinkles from the underarm to the side-back seams and stand out across the back (Ill. 49) because of the round shoulders.

Have some one cut the lining across the shoulders to the side-back seams (Ill. 50) and from the scrams to within ⅜ of an inch of the underarm seam. The lining will spread apart and drop to the right place on your figure. (Ill. 50.) Have some one pin the cut edges of the lining to the piece beneath it. Baste the pieces underneath and try it on again. If it sets satisfactorily, cut it apart and use the pieces in correcting your tissue pattern. Slash the pattern just where you slashed the lining, separate the pieces the same distance and place the tissue-paper underneath the slash.

If you are only a little round-shouldered, you will not require as great a separation.

For a very bad case of round shoulders a second cut should be made across the trial lining about one-third the distance between the neck and first slash. Slash across the center-back and side-back portions nearly to the armhole edge. Separate the slashed pieces as much as the figure requires, generally ⅛ to ½ inch.

In cutting out the side back preserve an even curve along the back edge. The underarm gore seldom needs any change.

ALTERING A PATTERN FOR AN OVER-ERECT FIGURE. On an over-erect figure the lining will wrinkle across the shoulders. (Ill. 51.) Make up the lining in cheap muslin and put it on correctly. Have some one slash it across the center-back portion and down to side back to within ⅜ of an inch of the underarm seam. (Ill. 52.) The edges of the slash should be lapped and pinned to remove the fulness in the lining. Don't lap the edges too much or the shoulders will pull back.

Baste the slash, try the lining on and then rip it apart. Where it has been lapped the seam edges will be uneven. Trim them off. Alter your paper pattern, using the trial lining as a guide, slashing it and lapping and basting the edges.

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Collier's New Encyclopedia (1921)/Whitney, Eli

WHITNEY, ELI, an American inventor; born in Westboro, Mass., Dec. 8, 1765; was graduated at Yale College, in 1792, where he paid his expenses partly by school teaching, partly by mechanical labor. He went to Georgia as a teacher, but finding a generous patron in the widow of General Greene, of the Revolutionary army, he resided on her estate and studied law. The cotton culture at this period, especially that of the best kind, the “green seed,” was limited by the slow and difficult work of separating the cotton from the seed by hand. Whitney set to work to remedy this under great disadvantages, for he had to make his own tools; but the reports of his success prompted some lawless people to break into his workshop and steal his machine, and get others made before he could secure a patent. He, however, formed a partnership with one Miller in 1793, and went to Connecticut to manufacture cotton gins; but the lawsuits in defense of his rights carried off all his profits and $50,000 voted him by the State of South Carolina. Finally in 1798 he got a Government contract for the manufacture of firearms, and was the first to effect the division of labor by which each part was made separately. He made a fortune by this manufacture, carried out with ingenious machinery at Whitneyville, Conn.; while he received little credit for the perfection of the gin, one of the most important of the whole series of inventions connected with the cotton manufacture. He died in New Haven, Conn., Jan. 8, 1825.


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 CHAPTER 5

ALTERING SKIRT, YOKE AND DRAWERS PATTERNS FOR FIGURES THAT VARY FROM THE AVERAGE

Altering Gored Skirts for Figures with Round or Prominent Abdomen or Prominent Hips—Altering Circular Skirt Patterns for Figures with Round or Prominent Abdomens or Prominent Hips—Altering Yoke Patterns for Figures that are Large or Small in the Waist—Altering Drawers Patterns for Figures with Prominent Abdomens

LTERING A GORED SKIRT PATTERN FOR A PROMINENT ABDOMEN. On figures of this type a skirt pattern unless it is altered will stand out at the front and at the sides. These women as a rule have flat backs. A small pad worn under the corset at the back will fill in the hollow of the figure below the waistline.

For a round or prominent abdomen or prominent hips it is advisable to cut half the skirt in cheap muslin before cutting your good material. In working with the muslin find out just what changes are necessary to make the skirt fit your figure. Then it will be safe to cut your material.

Illustration 53 shows the alteration that is necessary to make a pattern fit a figure with a prominent abdomen. The front of the skirt pattern must be extended an inch or more at the top, this extension gradually decreasing to nothing at the hip.

In extending the gores the waistline becomes smaller, so the side edges of the gore must be increased to keep the waistline the original size. (Ill. 53.) This extension at the sides should slope to nothing at the hipline. (Ill. 53.) Lay your pattern on a cheap muslin, mark the allowance at the top and side edges of the gores. Mark the outline of the original pattern on the muslin with colored chalk so that you will have the original shape as a guide in fitting, but cut the muslin by the new larger outline.

Cut out the muslin, put it together and baste the skirt to an inside belt. Try it on. If it takes a good line on your figure and does not swing toward the front it is safe to cut your good material just as you cut the muslin. Do not use the muslin for a cutting pattern for its edges stretch and become unreliable. Always cut from a paper pattern.

A WOMAN WITH A ROUND ABDOMEN should take the side-front gore of the pattern and mark the hipline on it seven inches below the normal waistline. (Ill. 54.) At the hipline on the back edge of the gore take up ¼ of an inch. (Ill. 54.) This ¼ of an inch will change the entire balance of the gore, making the pattern hang straight instead of swinging toward the front.

If it is necessary in a skirt of many gores you could do the same thing to the next side-gore, but do not carry this alteration back of the hip. You can increase the size of the dart-shaped plait if necessary until the back edge of the gore above the hip forms a 28

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Collier's New Encyclopedia (1921)/Whitney, Josiah Dwight

WHITNEY, JOSIAH DWIGHT, an American geologist; born in Northampton, Mass., Nov. 23, 1819; was graduated at Yale in 1839, and the year after joined the survey of New Hampshire. The years 1842-1847 he spent in study

in Europe, returning to explore, together with J. W. Foster, the Lake Superior region. Their “Synopsis” of the explorations was published in 1849; their “Report” on the geology, 1850-1851. Whitney next spent two years traveling in the States E. of the Mississippi, of which the fruit was “The Metallic Wealth of the United States” (1854). Appointed State chemist and professor in the Iowa State University in 1855, together with James Hall, he issued the “Reports” on its geological survey (1858-1859); and in 1858-1860 took part in the survey of the lead region of the Upper Missouri, publishing, again with Hall, his “Report” (1862). He was appointed State Geologist of California in 1860, and labored on the survey of that State till 1874, publishing in six volumes his “Geological Survey of California” (1864-1870). In 1865 he was appointed to the chair of geology at Harvard, received the LL. D. degree from Yale in 1870, and had the honor of giving his name to one of the highest mountains in the United States. His “Yosemite Guidebook” was published at San Francisco in 1869; his “Contributions to American Geology” in 1880; and his “Studies in Geographical and Topographical Nomenclature,” in 1888. He died at Lake Sunapee, N. H., Aug. 18, 1896.


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 condescend to submit his Organ to the same Scrutiny, which, all Artists of the same Profession do in all Countries? And if it be deny'd whether it will not give the World, and particular the Dean and Chapter of St. Paul's reason to fear, that this Noli-me-tangere proceeds from some secret Cause? And to Question—

XII. Whether the Cupolo, or the Organ at St. Paul's, will be first finished?


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Collier's New Encyclopedia (1921)/Whitney, William Collins

WHITNEY, WILLIAM COLLINS, an American capitalist; born in Conway, Mass., July 15, 1841; was graduated at Yale College in 1863, and at the Harvard Law School in 1865; studied law with Judge Abraham R. Lawrence in New York City, and was there admitted to the bar. He took an active part in the proceedings against the “Tweed Ring”; served as corporation counsel in 1875-1882; and was Secretary of the Navy in 1885-1889. For many years he was a large financial operator in New York City. He died in New York, Feb. 2, 1904.


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Collier's New Encyclopedia (1921)/Whitney, William Dwight

WHITNEY, WILLIAM DWIGHT, an American educator; born in Northampton, Mass., Feb. 9, 1827; was graduated at Williams College in 1845; spent some vears abroad in study; in 1854 was made Professor of Sanskrit at Yale, in 1870 of comparative philology, holding both positions till death. His writings are authority on all philological questions, and his rank as a Sanskrit scholar is of the first order. From 1849 he was a member of the American Oriental Society, and its president from 1884. His contributions to the “North American Review,” the “New Englander,” and other periodicals, were numerous and varied. His earliest work was the preparation, in company with Rudolf Roth of Tübingen, of an edition of the

“Atharva Veda Sanhita” (Berlin, 1856). Among his other works are: “Language and the Study of Language” (1867); “On Material and Form in Language” (1872); “Darwinism and Language” (1874); “Logical Consistency in Views of Language” (1880); “Mixture in Language”(1881); “The Study of Hindoo Grammar and the Study of Sanskrit” (1884); “The Upanishads and their Latest Translation” (1886). He has also written “Compendious German Grammar” (1869); “German Reader in Prose and Verse” (1870); “Essentials of English Grammar” (1877); “Sanskrit Grammar” (1877); and “Practical French Grammar” (1886). Professor Whitney was the superintending editor of the “Century Dictionary” (1889-1891), and assisted in the preparation of “Webster's Dictionary” (1864). He died in New Haven, Conn., June 9, 1894.


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Collier's New Encyclopedia (1921)/Whitney, Mount

WHITNEY, MOUNT, one of the highest mountains of the United States; in the Sierra Nevada in southern California; height, 14,522 feet.


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Rh oil of colza, and after having waited until the needle recovered its original position we reestablished the calorific communication.

The deviations obtained through the different thicknesses of the liquid are exhibited in the following table.

The free radiation being always represented by 1000, the respective quantities of the rays transmitted and those stopped are found to be:

If we suppose the last layer (of 108mm·274) subdivided into six parallel slices of the following degrees of thickness: 6mm·767, 6·767, 13·535, 27·069, 27·069, and 27·069, we shall be able to determine, by means of the numbers contained in the two last columns, the quantity of heat incident to the first surface of each of these slices and the quantity lost in the passage. Dividing the second by the first we shall ascertain the loss. It is unnecessary to exhibit the operations in detail, as they are in all respects similar to those which have been performed in reference to the screens of glass. Here are the final results:


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The Times/1894/News/Mercantile Failure: Daniel Hipwell

.—Daniel Hipwell, described as a colonial merchant, against whom a receiving order was made on the 21st ult., states that he commenced business, originally in 1854, but had no offices until 1877, when, with abut £2,000 capital, he took premises at 36, Crutched-friars, E.C., removing in 1881 to 9, Idol-late, E.C., and again in August, 1892, to 17, Water-late, E.C., where he was traded down to the date of the receiving order. The debtor attributes his failutre to badness of trade; and to his expenses having been in excess of his profits for some time past. He returns his liabilities at £1m012, of which £890 are unsecured, with assets estimated to produce £128. The Official Received (Mr. H. Brougham) states that the debtor makes no proposal.

[Category:News article]]


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 V.

(From Harleian MS., British Museum, No. 4240 fol. 116b.)

1. To make the three bellows new, to repair and perfect the inner trunks and wind chests, to new hang both sets of keys, to rectify all defects in the roller-boards, to repair the sound-boards and conveyances, and to make them as good as at the first.

2. To mend all the pipes and conduits in both organs, and perfectly to voice and tune them, which, voicing shall be done after the modern, best and sweetest manner that either the work or proposer is capable of.

3. Whereas the great organ consists of eight stops, namely, two diapasons, two principals, two fifteenths and two two-and-twentieths, one of which stops, and several pipes in the other, have been spoiled by Preston; finding by experience that when two unisons are together in an organ as two principals, two fifteenths, etc., that


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 they never agree well together in time, and one stop of each sort is in a manner as loud as two of the same name; for which reason neither in my organ at the Temple, nor in those which I make for the King, after the open and stopped diapasons, none of the rest are of the same denomination; so that I propose to make your eight stops to consist of these following, one open diapason, one stopped diapason, one principal, one great twelfth, one fifteenth, one tiers, one furniture of two or three ranks, according as there is room for it, in place of the two two-and-twentieths. In the choir organ there are one stopped diapason, two principals, one recorder and one fifteenth, so that in these five stops there are no less than three unisons; which five stops ought to be reduced to these four, namely, one stopped diapason, one principal, one stopped twelfth and one fifteenth; the recorder being left out will give more air to the rest of the work. With these amendments, alterations, additions and varieties of stops, it will be an extraordinary good instrument, and the best old organ in England, and exceed the best organ in your university, with only the cost of one hundred and fifty pounds.


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User talk:Yizhenwilliam

Welcome
Welcome

Hello, Yizhenwilliam, and welcome to Wikisource! Thank you for. I hope you like the place and decide to stay. Here are a few good links for newcomers:
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Again, welcome! Beeswaxcandle (talk) 03:14, 4 January 2013 (UTC)

title: User talk:Yizhenwilliam


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Author:Charles John Cornish

Works

 * Life at the Zoo (1895)
 * Wild England of To-Day and the Wild Life in it (1895)
 * The New Forest (1895)
 * The Isle of Wight (1895)

Works about Cornish

 * review of in: The Zoologist, 4th series, vol. 3 (1899), issue 691—January, p. 36–37.
 * review of in: The Zoologist, 4th series, vol. 6 (1902), issue 732—June, p. 234–235.
 * review of in: The Zoologist, 4th series, vol. 6 (1902), issue 732—June, p. 234–235.

title: Author:Charles John Cornish


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User talk:Scillystuff

Welcome
Welcome

Hello, Scillystuff, and welcome to Wikisource! Thank you for. I hope you like the place and decide to stay. Here are a few good links for newcomers:
 * Help pages
 * Style guide
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 * For Wikipedians

You may be interested in participating in Add the code active projects, PotM or CotW to your page for current wikisource projects.
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I hope you enjoy contributing to Wikisource, the library that is free for everyone to use! In discussions, please "sign" your comments using four tildes ( ~ ); this will automatically produce your IP address (or username if you're logged in) and the date. If you need help, ask me on my talk page, or ask your question here (click  [ edit] ) and place  before your question.

Again, welcome! Beeswaxcandle (talk) 03:17, 4 January 2013 (UTC)

title: User talk:Scillystuff


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Author talk:Charles John Cornish

Some additional bibliographic information

 * Cornish 1898:
 * Cornish 1902:

title: Author talk:Charles John Cornish


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Author:Charles Emil Bendire

Works

 * Life Histories of North American Birds

About Charles Emil Bendire

 * Obituary notice, in The Zoologist, 4th series, vol 1, issue 671 (May 1897), p. 229–230

title: Author:Charles Emil Bendire


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Page:History of England (Froude) Vol 3.djvu/356

336 character of the offender. The via media Anglicana, on which Henry had planted his foot, prescribed an even justice; and as Cromwell, in this name of the via media, had struck down without mercy the adherents of the Church of Rome, there was no alternative but to surrender him to the same equitable rule, or to declare to the world and to himself that he no longer held that middle place which he so vehemently claimed. To sustain the Six Articles and to pardon the vicegerent was impossible. If the consent to the attainder cost the King any pang, we do not know; only this we know, that a passionate appeal for mercy, such as was rarely heard in those days of haughty endurance, found no response; and on the 28th of July the most despotic minister who had ever governed England passed from the Tower to the scaffold.

A speech was printed by authority, and circulated through Europe, which it was thought desirable that he should have been supposed to have uttered before his death. It was accepted as authentic by Hall, and from Hall's pages has been transferred into English history; and 'the Lord Cromwell' is represented to have confessed that he had been seduced into heresy, that he repented, and died in the faith of the holy Catholic Church. Reginald Pole, who, like others, at first accepted the official report as genuine, warned a correspondent, on the authority of persons whose account might be relied upon, that the words which were really spoken were very different, and to Catholic minds were


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1540.] far less satisfactory. The last effort of Cromwell's enemies was to send him out of the world with a lie upon his lips, to call in his dying witness in favour of falsehoods which he gave up his life to overthrow. Clear he was not—as what living man was clear?—of all taint of superstition; but a fairer version of his parting faith will be found in words which those who loved him, and who preserved no record of his address to the people, handed down as his last prayer to the Saviour:—

'O Lord Jesu, which art the only health of all men living, and the everlasting life of them which die in Thee, I, wretched sinner, do submit myself wholly to Thy most blessed will; and, being sure that the thing cannot perish which is submitted to Thy mercy, willingly now I leave this frail and wicked flesh, in sure hope that Thou wilt in better wise restore it to me again at the last day in the resurrection of the just. I beseech Thee, most merciful Lord Jesu Christ, that Thou wilt by Thy grace make strong my soul against all temptation, and defend me with the buckler of Thy mercy against all the assaults of the devil. I see and acknowledge that there is in myself no hope of salvation; but all my confidence, hope, and trust is in Thy most merciful goodness. I have no merits nor good works which I may allege before Thee: of sin and evil


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Author:Robert Alan Mowbray Stevenson

Works

 * Peter Paul Rubens. (1898)

title: Author:Robert Alan Mowbray Stevenson


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Author:Julia Mary Cartwright Ady

Works

 * Mantegna and Francia (1881)
 * Sacharissa; some account of Dorothy Sidney, countess of Sunderland, her family and friends, 1617-1684 (1893)
 * Madame : a life of Henrietta, daughter of Charles I. and duchess of Orleans (1894)
 * The painters of Florence from the thirteenth to the sixteenth century (1901)  (1911) transcription project (1915)
 * Jean François Millet, his life and letters (1902)
 * Isabella D'Este, Marchioness of Mantua, 1474-1539: A Study of the Renaissance (1903) (transcription: volume 1 and volume 2
 * Beatrice D'Este, Duchess of Milan, 1475-1497: A Study of the Renaissance (1903)
 * Sandro Botticelli (1903)
 * The Early Work of Raphael. (1907)
 * Baldassare Castiglione the perfect courtier, his life and letters, 1478-1529; (1908)
 * The Pilgrims' way from Winchester to Canterbury (1911)
 * Christina of Denmark, Duchess of Milan and Lorraine, 1522-1590 (1913)
 * Italian gardens of the Renaissance and other studies (1914)

title: Author:Julia Mary Cartwright Ady


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 This enigma so accurately describes the ancient monument I have just brought under your notice, that, taking them together, the pictorial representation and the poetical description, we have a complete refutation of M. Fétis's opinion, that it was not the organ but the bag-pipe, that was known to the ancients.

I do not intend to follow the various steps that were made from time to time to bring nearer to perfection the rude instrument we have just seen; suffice it to say that the organ had its origin from these primitive attempts. If we admit this, which I think we must, what a marvel then, it is, that our glorious organ, with its myriads of pipes, its net-work of mechanical detail, its powerful wind apparatus, its array of stops, and its tiers of key-boards for hands and feet; what a marvel, I say, that this "king of instruments" should have arisen out of such rude and simple beginning.

Very little is known of the organs of ancient Greece; and it is very difficult to


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 understand the classic authors who mention them. M. de Caumont, a modern French writer, says, "The ancients appear to have known two sorts of organ—the hydraulic and the pneumatic, but they were both acted upon by means of æriform fluid, which in the first would be the effect of a fall of water, as in our forges, or of a current of water which turned a wheel, which of itself moved some secret handle; or rather by the steam of boiling water, as in our steam engines; or lastly by means of hydraulic bellows."

Ctesibius of Alexandria (who flourished according to the best accounts, about a century before Christ), a great mechanic, is said to have made many improvements in the wind apparatus of the organ, but the descriptions of his labours that have been handed down to us are scarcely intelligible, and certainly would not repay the time and thought required to elucidate them.


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 One thing is certain with regard to the ancient organ of Greece—it was unprovided with a wind-chest. The air was generated in certain cylindrical vessels and supplied direct to the pipes, the number of vessels, depending, of course, upon the number of pipes and the size of the instrument. The supply of wind thus obtained must have been very unequal, but it was probably adequate to the small requirements of this early period.

A very interesting treatise on pneumatics by one Hero of Alexandria, supposed to have been a pupil of Ctesibius, has lately been translated from the original Greek, and published by Mr. Bennet Woodcroft. Hitherto we have been content to rely on Vitruvius for our


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 of the ancient organ, but now we have an independent authority; for the work of Hero was unknown to Vitruvius, and both describe, with considerable differences, the construction of the hydraulic and of the pneumatic organ.

Having briefly pointed out the treatise of Hero of Alexandria, for the benefit of those who think it worth while to investigate the subject, I shall merely call your attention to this ancient author's drawing of "An altar organ blown by the agency of a wind-mill." The cylindrical vessel forcing the air into the pipes by means of a piston is here shown.

In our own days, in a journal of only twenty-five years back, we read that "a


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30 "one" and "two," I think I see before me dimly "one" or "two" dots or small strokes, and I perceive that two and one of these dots or strokes make up three dots or strokes. When I speak of "twenty" and "thirty," I do not see any images of these existences; and when I say that "twenty" and "thirty" make "fifty," I do not realize the process of addition at all visibly; I merely repeat the statement on the authority of previous observations and reasonings mostly made by others and not by myself. But so far as I approximate to the realization of an abstract number, I do it by a kind of negative imagination. And in any case we can hardly deny that all arithmetical propositions, since they employ terms that denote mere imaginary ideas, must be regarded as based on the imagination.

It is the same with Geometry. The whole of what we call "Euclid" is based upon a most aerial effort of the Imagination. We have to imagine lines without thickness, straightness that does not deviate the billionth part of an inch from perfect evenness, perfectly symmetrical circles, and—climax of audacity!—points that have "no parts and no magnitude!" Obviously these things have no existence except in the dreams of Imagination; yet Euclid's severe reasoning applies to none but these things. If you step from your ideal triangle in Dreamland into your material triangle in chalk-land, you step from absolute truth into statements that are not absolutely true. The angles at the base of your chalk isosceles triangle are not exactly equal, if you measure them with sufficient accuracy. In a word the whole of Geometry is an appeal to the Imagination in which the geometer says to us, "I know that my propositions are not exactly true except with respect to invisible, ideal, and imaginary figures, planes, and solids. These ideas, therefore, you must endeavour to imagine. In order to relieve the strain on


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Letter 4] your imagination, I will place before you material and visible figures about which my reasoning will be approximately true. From these I must ask you to try to rise upward to the imagination of their archetypes, the immaterial realities."

What shall we reply to our overbearing mathematician who in this abrupt and audacious manner introduces the non-existent and imaginary creatures of his brain as being "realities"? Shall we deride him, and the arithmetician likewise? Shall we bid the latter exchange his calculations in abstract numbers for manifestly useful sums about sacks of wheat and casks of beer? Shall we bid the mathematician descend from his high geometrical theories to the practical measurements of agriculture? Pouring scorn on his avowal that the objects of his reasoning are "invisible, ideal, and imaginary," shall we decline to study a science that is confessedly—so we can word it—visionary and illusive? If we do, he will not be without a reply, somewhat after this fashion: "My practical friends, it will be the worse for you if you despise these invisible, ideal and imaginary objects. I say nothing about the mental training and development to be derived from the study of these things; for to this argument you do not appear to me to be at present accessible: but I will take your own line—the practical. Do you then want to measure your fields with ease and to make accurate maps and charts; to construct houses that shall stand longer, ships that shall sail faster, cannon that shall shoot further, engines that shall pull harder, than any known before; do you want to utilize electricity for lighting, gas for motion, water for pressure; in a word do you wish to make yourselves lords over the material world and to have all the forces of Nature at your beck and call? If you do, you must not despise the non-existent numbers of my arithmetical brother, nor my


text:
Author:Claude Phillips

Works

 * Antoine Watteau. (1907)

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32 immaterial and imaginary lines. Give me leave to repeat, in spite of your indignation, that though they are (in this present visible world of ours) non-existent, yet these lines and numbers are 'realities.' That they are realities, and that our conclusions about them are real and true, is proved by the one test of truth: our conclusions work. Our discoveries are in harmony with the universe. A perfect circle you never saw and never will see: yet it is as real as a beefsteak and a pint of porter. I believe in a perfect circle by Faith; I accept it with reverence as an impression, if I may so dare to speak, on the Mind of the Universe, which He has communicated to me. What is more, I believe that He intended us to study this and other immaterial realities that our minds might approximate to His. Take a cone, my practical friends. What do you see in it? Nothing, I fear, except a shape that reminds you of an extinguisher or a fool's cap. Yet this little solid contains within itself the suggestions of all the mysteries of motion in heaven and earth. Slice your cone parallel to the base: there you have the perfect circle. Slice it again, parallel to one of the sides: there you have the parabola, the curve of terrestrial motion. Slice it once more, midway between these two sections: there you have the ellipse, the curve of celestial motion for which all the astronomers were seeking in vain through something like a score of centuries. Seriously now, my half-educated friends, in spite of the sense you may for the most part entertain of your own importance, do you not in your more modest moods sometimes feel inclined to say that, 'A circle is, after all, a reality, perhaps more real than I am myself'?"

What do you think of all this? For my part, I am inclined to think the Mathematician has the best of it. A good deal will turn upon the meaning of that dangerous word "reality," about which I will give you my notions,


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Letter 4] perhaps, hereafter. But even if you dispute his assertions about the reality of his "ideas," you cannot, I am sure, deny the immense practical importance, as well as the universal acceptance, of his conclusions and discoveries; and you will do well to remember that this immensely important, this undisputed and indisputable knowledge, could never have been attained if we had not called in the Imagination to create for us ideas that never will be, and never can be, realised in this present material world.

Let us pass now from knowledge about things to knowledge about persons, i.e. about actions and motives.

Our knowledge about actions depends on (1) personal observation; (2) testimony; (3) circumstantial evidence or any combination of these three.

The knowledge that we derive of actions from our own observation is of course independent of Faith, so far as concerns the past; but it is very limited, and entirely useless and unpractical, except as a basis for knowledge about the present and future; for which knowledge (as we have seen) Faith in the permanence of Nature is absolutely necessary.

The knowledge of actions that comes to us from evidence, direct and circumstantial, is largely dependent on Faith. "Julius Cæsar invaded Britain"—how certain we all feel of that! Yet how slight the testimony! Simply a few pages of narrative, written by the supposed invader himself, and some casual remarks by one or two contemporary letter-writers about Cæsar's doings in Britain and the Senate's reception of the news. Why should we believe on so apparently flimsy a basis? Why should not Cæsar have sent one of his lieutenants to invade the island, and afterwards have taken the credit of it himself? Or there might have been no invasion at all, nothing but a reconnaissance grossly exaggerated and


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34 intermixed with facts derived from travellers. Yet we believe in the invasion without the slightest hesitation. Cæsar, we say, would not have told the lie; or, if he had, it would have been quickly exposed by his enemies. In other words, we believe in the truth of the narrative, because a belief in its falsehood does not "work," that is to say, does not suit with what we know (or, more properly, with what others know) of Cæsar's character and Cæsar's times. Of precisely the same kind is almost all our knowledge about history: it is based upon evidence, but it is belief; and the only test of its truth is, does it "work," i.e. does it fit in with other knowledge which we regard as established truth?

But you see that, even in dealing with a simple action of Cæsar's, we have already drifted into a reference to Cæsar's motives: and obviously knowledge about "motives" is an important and indeed a paramount element in knowledge about persons. "My father," says the child, "has his brows knit; his face looks dark; he speaks very loud; his eyes look brighter than usual:"—this is knowledge about actions derived from personal observation, but, so far, perfectly useless, until something is added to it. "Whenever my father has looked and spoken like this before, he has been angry and has punished somebody: therefore he is angry and will punish somebody now"—this is not knowledge, it is only belief; but it is belief not about actions simply, but about motives as well as actions, and it may be of the greatest use.

How do we gain knowledge about motives, the moving powers of the human machine? Since we cannot take this machinery to pieces, or experiment with it freely, we must derive our knowledge largely from the consciousness of our own motives. Tickling produces laughter in us, and pricking, a cry; affection, and the command of those whom we love, produce in us obedience; desire of a result


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Letter 4] or reward produces effort; fear of pain or penalty produces avoidance of certain actions, performance of others. Hence we infer that, in others also, similar effects have been produced, or will be produced, by similar causes. In either case, our inference is based partly upon our observation that these causes have preceded these effects in other persons, and partly upon our faith that other people's machinery is like our own.

But we have not yet touched one of the most powerful of motives, that power within us which we call Conscience ("joint-knowledge"); as though there were in us an Assessor sitting in judgment by the side of the mysterious "I," the two together pronouncing sentence of "Right" or "Wrong" upon the several propositions and intentions which are, as it were, called up before their tribunal. The development of Conscience and our sensibility to its dictation appears to me largely due to the Imagination. If a philosopher tells me that when Conscience appears to us to say "Right" it really says "Expedient for society and ultimately for yourself," or "Calculated to gain esteem for yourself," or "Conducive to your own peace of mind," I am obliged, with all deference to him, but with greater deference to truth, to assure him that (however correct he may be as to the origin of this feeling in my own infant mind or in the matured mind of my primæval ancestors) he is mistaken, at all events in my own case, as to the action of Conscience now. I may possibly have been long ago guided to my idea of "Right" by my observation of what is expedient: but, to me, now, the sense of "right" is as different from the sense of "expedient," as the eye is different from some sensitive protuberance which may ultimately be developed into an eye, but is at present responsive only to the touch.

How then do we gain this knowledge of right and wrong? For of course it is not enough to reply that we


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36 gain it by the voice of Conscience: such an answer only makes us repeat our question in a different shape: "In the very young, Conscience, though it may be existent, is certainly latent; when and whence does it begin to work?" I should reply that the first idea of good and evil is communicated to the very young through the habit of obedience to their parents or those who stand to them in the parental position. A child is so created as to be in constant dependence on the favour and good-will of his mother. When he is obedient to her he finds himself at peace and happy, and he welcomes on her face that sunshine which indicates that she is pleased with him. When he is disobedient, harsh sounds follow, a lowering darkness on the countenance close to his, obstacles to his freedom, restrictions of his pleasures, perhaps sharper pains or penalties: and he is now out of harmony with his little Universe. All this strange and subtle evil inside him and outside him he has brought on himself by disobeying the maternal will; and hence there gradually springs up in his mind an Imagination of some unnameable thing, which is his first idea of right. But as he grows older and widens his sphere of observation he finds—if he is placed in anything like those favourable circumstances which Nature has appointed for most of us—that this parental will is in harmony with the widening world around him. The parents say, "Do not play with fire;" Nature says the same, and punishes him if he transgresses. The parents say, "Do not touch that knife;" again Nature confirms their authority by inflicting a penalty on disobedience. Thus, if the parents have anything of parental forethought, the child gradually associates them with the governing powers of his growing Universe, and begins to feel that the parental will is also the will, or order, of Nature. They are as God to him: and the confirmed habit of obedience to them deepens in


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Letter 4] his heart the conviction—but still a conviction rather springing from Imagination than from Reason—that the power which thus induces him to obey is a great and grand Power, orderly, not to be resisted; wise and justified by results, but to be obeyed without thinking about results; it ought to be obeyed; it is Right.

Now he steps out into the world of other human beings; and here he learns to widen his idea of Right. Perhaps he also learns to alter it. If he was born and reared among thieves, his conscience may have been altogether perverted so that he actually thought it honourable to steal. But in any case, even though he may come from the best of homes, he often learns that the parental will is not always in harmony with the highest and best will; and gradually he forms a different standard of "Right" from that which he held before. It was once the will of his parents, now it is often the will of Society. Conforming himself to the will of Society he is free from pains and penalties; he is at peace with those around him, and he is generally at peace with himself. I say generally, not always: for by this time he has begun to think for himself and to see that Conscience ought to speak in the interests not merely of his parents, nor of a select circle of his own friends or companions, but of all mankind. His Imagination pictures for him an ideal Order such as he has never actually experienced. He feels that he "ought" to be at peace and in harmony with this imaginary Order, and not with some distorted and narrowed conception of it conveyed to him by his "set," his class, his city, his nation, or his church. In his conscience, he hears the voice of this Moral Order of humanity. Hence it is that men have been sometimes impelled to thoughts beyond, or even against, the conscience of their contemporaries; to protest, for example, against unjust wars, against war of any kind, against slavery, against duelling,