text:
Page:Newdressmakerwit00butt.djvu/127

Rh and again, as before, the two close buttonhole-stitches over this loop. Catch the needle into the edge of the fold, and pass on to the next stitch. The link bar is not so difficult to make as it appears, and really can be done more quickly than the plain buttonhole-bar.

MORE ELABORATE BEADING STITCHES are shown in Illustration 266. The upper design is a combination of the link bar (described in the preceding paragraph) run diagonally across the open space, and a simple twisted stitch run straight across from the apex of each of the triangles thus made.

To make the second design from the top in Illustration 266, bring the thread up from one edge of the fold over to the opposite edge, take a stitch from the under side and draw the thread taut. Then insert the needle three-eighths of an inch from that point allowing the thread to form a tiny loop. Insert the needle again directly opposite the last hole, and from this point make five buttonhole-stitches in the loop. Now catch up the edge of the fold just where the first plain stitch began, and on the under side bring it over to the second plain stitch, and draw it up for the next loop.

In the third design in Illustration 266 the thread is first carried across from one fold to the other and left rather loose. Then the thread is brought up through the same fold one-quarter of an inch from the point where it was just inserted. Make five buttonhole-stitches in the loop formed of the thread in crossing, and insert the needle in the opposite edge.

Now carry the thread over again to form the next loop, running the needle into the same hole. Bring it up one-quarter of an inch below this point, and continue as before.

To make the buttonhole cross-bar stitch illustrated in the fourth design of Illustration 266, first make a buttonholed bar as described in the paragraph on simple beading stitches but do not draw it tight; rather let it curve a trifle. Then proceed as if for the next bar, but when crossing catch into the preceding bar at the center buttonhole-stitch, and then continue to the opposite edge. Make an even number of buttonhole-stitches on each side on this thread. Allow a small space between the cross-bars.

ROLLED EDGES are used as a trimming on waists and dresses of thin materials and also on children's clothes. They are worked with twisted embroidery silk on silk materials and with mercerized cotton on cotton materials. Either self or contrasting colors may be used.

Hold the right side of the material toward you. Begin at the right end and roll the edge toward you between the thumb and forefinger of the left hand, keeping the edge rolled for about one and a half inch ahead of the sewing. Fasten the thread at the right and take slanting stitches over the roll. The stitches should be about one-quarter of an inch apart. Do not draw the thread tight. (Ill. 267.)

title: Page:Newdressmakerwit00butt.djvu/127


text:
Page:Newdressmakerwit00butt.djvu/128

124 Where two edges are joined as in a waist with a fancy lining both edges should be rolled separately. Place the rolled edge of the outer part directly beneath the rolled edge of the under part. (Ill. 267.) Sew them together with running stitches about one-quarter of an inch long just below the lower roll.

CROSS-STITCH, FRENCH-KNOT EMBROIDERY, BRAIDING, BEADING AND EMBROIDERY are worked from transfer designs. Designs for every kind of fashionable hand trimming will be found in Needle-Art. Every transfer gives illustrated directions for making the stitches suitable for that design.

COMBINATION RUNNING AND CROSS-STITCH is used as a trimming and around the edges of waists, dresses and children's clothes and to hold the hems of facings. (Ill. 268.) Work two rows of running stitches about three-eighths of an inch apart. Make the stitches about five-eighths of an inch long and the space between the stitches one-half an inch. Fasten your thread at the extreme right and bring the needle out at the lower left-hand corner of the space, near the running stitch. Insert the needle at the upper right-hand corner and bring it out at the lower right-hand corner of the same space near the running stitch. Insert the needle at the upper left-hand corner near the running stitch. This completes the first cross-stitch. (Ill. 268.) Take a long slanting stitch at the under side of the garment, bringing the needle out at the lower left-hand corner of the next space. Work a cross-stitch in each space according to the instructions just given.

TRIMMING STITCHES such as double overcasting, cross double overcasting, diagonal stitch, etc., may be worked in rope silk, wool or fine chenille on garments of silk or wool. In mercerized embroidery cotton these stitches may be used on garments of cotton materials.

DIAGONAL STITCH is used as a trimming and to hold hems and facings at the edges of necks, armholes, tunics, etc. As many rows may be used as desired. Use a Butterick smocking transfer with the dots three-eighths of an inch apart. Stamp two rows of dots for every row of diagonal stitches. (Ill. 269.)

Fasten the thread at the right * and bring the needle up through the first dot in the lower row. Insert the needle one dot to the left in the upper row and take a stitch straight down bringing the needle straight up through the dot directly beneath in the lower row.

Repeat from * till the end of the row. (Ill. 269.) This trimming works up quickly and is very effective in contrasting color.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Page:Newdressmakerwit00butt.djvu/128


text:
Page:Tensing Exercises.djvu/95

Rh taken to conform with that thought; then add to this, right living.

If I were asked as to the indications of health I would answer:
 * Correct position of the body.
 * Correct carriage of the body.
 * A light and elastic step.
 * A clear complexion.
 * A bright eye.
 * A sweet breath.
 * An odorless body.

These, all of these, may be obtained and then retained until long after passing three-score-and-ten.

If I were asked how to get and how to keep health (health is wholeness, so there is no modification or qualification of that term; no good health nor poor health nor tolerable health—just health), I would call attention to seven more important factors, viz.:
 * We eat and drink to make blood.
 * We should exercise to circulate it,
 * We should breathe deeply to oxygenate (purify) it. Then keep normally and naturally active the four eliminating agents:
 * The bowels.
 * The skin.
 * The lungs.
 * The kidneys.

To do this we should eat wholesome food (eating no more than the system requires), bathe daily (the temperature of the bath being suited more to the needs of the body than to the whims of the mind), exercise regularly (not spasmodically), and be temperate in all things.

Any one can theorize, but to live up to one's theory is quite another question. I am willing to be measured by the same standard wherewith I measure; therefore to encourage any that "may have come tardy off" I submit the following figures, which plainly indicate that I take my own medicine:

title: Page:Tensing Exercises.djvu/95


text:
Page:Newdressmakerwit00butt.djvu/129

Rh DOUBLE OVERCASTING is used to finish the edges of waists, thin dresses and children's clothes. Turn under a hem one-quarter of an inch deep and baste it. Hold the work loosely in the left hand. Fasten the thread at the right and overcast toward the left. (Chapter 16, page 82.) Make the stitches about the depth of the hem and place them three-eighths of an inch apart. When the entire edge is overcast, overcast in the opposite direction, inserting the needle at the base of each stitch in the previous row. (Ill. 270.) The stitches of the first and second rows will cross at the edge. (Ill. 270.)

CROSS DOUBLE OVERCASTING is used to finish the edges of waists, thin dresses and children's clothes. Turn under a hem about one-quarter of an inch deep and baste it. Hold the garment loosely in the left hand with the edge away from you. Fasten the thread at the right and overcast toward the left making the overcasting stitches (Chapter 16, page 82) three-eighths of an inch apart and the depth of the hem. Take care to keep them even. (Ill. 271.)

When the entire edge is overcast, insert the needle at the lower edge of the hem, directly under where the last stitch crossed the edge. Overcast in the opposite direction so that the stitches of the first and second rows cross in the middle of the hem. (Ill. 271.)

RUNNING STITCH used as a trimming consists of several alternating rows of the stitches at the edges of waists, dresses and children's clothes to hold the hem or facing. These stitches are about one-half inch long and one-quarter of an inch apart. (Ill. 272.) A space of one-quarter of an inch should be left (Ill. 272.)

BLANKET-STITCH is used as a trimming on organdy blouses and dresses, and on voile and Georgette crêpe. It can be worked in rope cotton or in wool. The wool is

Ill. 273. Variations of the Blanket-Stitch Used as Trimmings

title: Page:Newdressmakerwit00butt.djvu/129


text:
Author:Thomas Gage (1603-1656)

Works

 * A New Survey of the West Indies or The English American his Travel by Sea and Land

title: Author:Thomas Gage (1603-1656)


text:
Page:Newdressmakerwit00butt.djvu/130

126 Ill. 274. The Blanket-Stitch

especially pretty. It can also be used in the same way on thin dresses and in wool on serge dresses and on crêpe de Chine.

The blanket-stitch is also used to protect the edges of heavy woolen materials and to prevent them from fraying. It is used on silk, serge and voile dresses, instead of overcasting the edges of the seams.

The plain blanket-stitch is used for overcasting seams, but as a trimming you can use either the plain blanket-stitch or variations of it shown in Illustration 273, shown on page 125.

In working a blanket-stitch do not use a knot but secure the thread by running one or two stitches toward the edge, holding the thread under the left thumb. Insert the needle the depth required, bringing it out under the edge, allowing the thread beneath to form an edge. (Ill. 274.) Ill. 276. Simple Design

THE FEATHER-STITCH is one of the most frequently used of all ornamental stitches, for it can be worked with the coarsest of yarn or the finest of silk or linen thread according to the nature of the material on which it is used. It makes a most satisfactory trimming. The single, double and triple combinations are shown in Illustration 275.

title: Page:Newdressmakerwit00butt.djvu/130


text:
Author:Thomas Gage

 * Thomas Gage (1603-1656), English clergyman and traveller
 * Thomas Gage (1719-1787), British general

title: Author:Thomas Gage


text:
Page:Newdressmakerwit00butt.djvu/131

Rh Run a colored thread along the outline to mark the center line for the feather-stitching. To make the single stitch, knot the thread and then bring the needle up through the material. Hold the thread down over the line with the left thumb. Insert the needle a little to the left of this line, and take a short, slanting stitch toward the right, drawing the needle out while the thread is held down smoothly by the left thumb. Then hold down the thread on the center line and take a stitch of equal length on the right side and draw it out as before.

For the double combination, take two stitches to the left, and two to the right each time before crossing the center line, and for the triple combination, take three stitches. The beauty of feather-stitching depends on its evenness. Illustrations 276 and 277 show ornamental designs.

BAR TACKS make a very neat and serviceable finish for the ends of seams, tucks and plaits, and the corners of collars, pockets and pocket-laps of tailored garments. Illustration 278 shows the process of making the simple bar tack, generally used as a stay for pocket openings. Mark the length desired for the tack, stick the needle through the entire thickness of the goods, down on one side, up on the opposite, and repeat several times, according to the required strength of the tack. Then without breaking off the thread, make one short stitch across one end of the long ones, and continue stitching closely all the way across, firmly covering the threads of the long stitches. Keep these cross-stitches close together, and while working, press the long stitches with the needle, to produce a cord-like effect.

On garments having a finish of machine-stitches at pocket openings, etc., the bar tack, with small bars crossing the ends of the plain bar, is more ornamental. (Ill. 279.) The process of making is similar to that of the simple bar tack, with small bars worked in after the long one has been finished.

ARROWHEAD TACKS are used at the top or bottom of plaits and laps and at the ends of seams and pocket openings. (Ills. 280, 281, 282 and 283.)

First make an outline of the arrow with chalk or pencil. Bring the needle up at point A, then take a small stitch at point B as shown by the position of the needle in Illustration 280. Bring the needle down at point C (Ill. 281), up very close to point A along the line CA (Ill. 281), and take another stitch at point B close under the first one, and down very close to point C along the line CA. (Ill. 282.) The needle must go in on the chalk line BC and come up on the chalk line BA, keeping the outline of the triangle. Each successive stitch below point B will be a little longer than the previous one. Repeat this

title: Page:Newdressmakerwit00butt.djvu/131


text:
Page:Newdressmakerwit00butt.djvu/132

128 Ill. 283. Arrowhead

stitch until the entire space is filled. At the top of this page the completed arrowhead is shown in Illustration 283. It makes a neat, attractive finish.

THE CROW'S FOOT TACK is the most ornamental of the fancy tacks ordinarily used at the ends of pocket openings and seams. It is shown in Illustration 284, with the detail of the stitch in Illustrations 285 and 286.

Outline the tack with chalk or pencil. The dotted outline seen in Illustration 285 shows the correct design for the tack. Bring the needle up at point A, pass it down at B, and up again at B outside of and close to the stitch in line AB; then down at C, up at C outside of and close to the stitch in line BC, and down at A just outside the stitch in line AB, as illustrated in Illustration 285. Now bring the needle up on the dotted line AC outside the stitch on line AC close to A; pass it down on dotted line BC outside the stitch on line BC close to B; up on dotted line AB outside both stitches on line AB close to B; down on dotted line CA outside the stitch on line CA close to C; up on dotted line BC outside both stitches on line BC; and down on dotted line AB outside both stitches on line AB, as shown in Illustration 286. Fill in the entire outline in this way until the completed foot looks like Illustration 284. It will be noticed in making this tack that all the stitches are taken on the dotted lines and always outside the made stitches, thus compressing the first stitches so as to curve the sides of the tack like the outline.

For working these ornamental tacks, coarse buttonhole twist or twisted embroidery silk is usually employed, and it is generally the same color as the material. With a little practise these tacks can be well made, and any of them will add greatly to the finish of the garment.

The crow's-foot is generally worked in scarlet or dark blue silk on the pockets of serge sailor suits. When it is used to finish the end of a plait in a skirt it is worked in floss the color of the dress.

title: Page:Newdressmakerwit00butt.djvu/132


text:
Page:Newdressmakerwit00butt.djvu/133

ANDS OR FOLDS USED AS TRIMMING are made in a variety of ways. They may be lined, unlined, double of the material, or piped at the edges. Cut the band the required width, allowing for a turning at both edges.

THE UNLINED FOLD (Ill. 287) is made with its lower edge basted up in a hem and stitched evenly from the right side. The upper edge is turned over, and the band is then basted into position on the garment. The upper edge is stitched through the garment, making the one stitching serve two purposes. (Ill 287.)

THE LINED FOLD is finished before it is applied to the garment. Cut a strip of lining as wide as the band should be when completed. Baste it evenly on the wrong side of the strip of material, turning both edges down over it. (Ill. 288.) Catch-stitch the edges to the lining, (Ill. 288) and the fold is ready for use. (Ill. 288.)

THE PIPED FOLD is one in which a cord or piping (see page 131) has been applied to the edges with one or more rows of machine-stitching to give it a tailored finish. (Ill. 289.)

DOUBLE FOLDS are made of bias strips cut twice the width desired for the finished band with turnings or seam allowances extra. Fold them over on the center line and baste them flat. Turn the two raw edges in and baste them together. (Ill. 290.) Then join them neatly with slip-stitches, and apply to the garment by hand. If machine-stitching is desired, baste the fold in place first and then stitch. These folds are frequently used as a trimming in the place of tucks.

A MILLINERS' FOLD is made by turning the top edge of the strip over one-half the width of the finished fold. Bring up the lower turned-under edge, covering the raw upper edge. (Ill. 291.) Sew flat with slip-stitching, fine running stitches, or by machine. (Ill. 291.)

title: Page:Newdressmakerwit00butt.djvu/133


text:
Page:Newdressmakerwit00butt.djvu/134

130 If the material is very sheer, it is a good plan to have a small strip of paper, not quite the width of the fold, to slip along within the fold as the work progresses. If pressing is necessary, use only a warm iron.

Crêpe folds are cut on the straight of the goods, so that the crinkles will run diagonally.

TAILORS' STRAPS are folded bands used to strap seams, or as an ornamental trimming on tailored garments. They may be cut on the bias if of velvet or taffeta; crosswise if of woolen; lengthwise if of cotton materials. Fold the strip at the center and catch the raw edges together with loose whip-stitches as shown in Illustration 292. Spread out the fold and press it well. Baste into position on the garment and stitch by machine on both edges.

CORDING is a very useful trimming and is made with bias strips and Germantown or eider-down wool. The bias strips should be about an inch and a quarter wide. Fold the strips lengthwise through the center and run a seam a quarter of an inch from the fold edge. With the strips still wrong side out, slip the ends of several strands of Germantown or eider-down wool far enough into one end of the tube-like covering so that you can sew them securely to it. Then with the loop end of a wire hairpin push the wool farther and farther into the covering, at the same time turning the covering right side out. (Ill. 293.)

When cording is used to form a motif, stamp the motif on ordinary wrapping-paper. The cordings are first basted in place on the design with the seam uppermost so that the right side of the motif will be next the paper. They are then sewed together at the points of intersection and contact. (Ill. 294.)

A CORDED TUCK is shown in Illustration 295. The illustration shows the cord being put into the tuck for trimming. Mark the trimming line for the cord with colored thread. Hold the cord underneath with the left hand and enclose it in a tuck, sewing it with fine, even running stitches as close to the cord as possible. (Ill. 295.)

CORD PIPING is shown in Illustration 296. A bias strip of material is used for the pipings. The cord is run in the same way as for tuck cording and the piping is applied to

title: Page:Newdressmakerwit00butt.djvu/134


text:
Page:Newdressmakerwit00butt.djvu/135

Rh the edge the same way as a plain piping.(Ill. 298.)

PIPING is a finish which is much used in dressmaking. It is easy to use and gives an opportunity for attractive color combinations. It can be applied along the edge or included in a seam.

Cut bias strips an inch and a quarter wide, if the material to be used for the piping is firm, like taffeta, etc. If a loosely woven material is used, the strips should be a trifle wider. Join all the strips, as described on page 15, and press the seams open. Then fold the strip over at the center line and baste it flat, being careful not to let it become twisted.

Next prepare the edge of the material to which the piping is to be applied. If desired, cut a lining three-eighths of an inch narrower than the pattern or the piece to be lined. Baste this lining into position as shown in Illustration 297.

If the edge forms a fancy outline, as illustrated here, turn the edges over evenly all around, clipping at the corners and folding in at the points where necessary. (Ill. 298.) Then run a basting-thread an even width (about three-eighths of an inch) around the edge to serve as a guide. Next baste on the piping, following this line closely. Be careful

to avoid any scantiness at the points or bulginess at the corners, Illustration 299 shows the right side of a pointed edge neatly piped.

BIAS BINDINGS make attractive finishes either in same or contrasting material or color. Cut bias strips of material twice the width of the finished binding plus ⅜ of an inch for a seam on each edge.

Join all the strips (Ill. 15, page 15), press the seams open. Sew the binding on the right side of the garment and then turn it to the wrong side. Hem it by hand or machine to the first line of sewing. Be careful not to let the bias strips twist.

Bias bindings, instead of being turned in and blind-stitched on the wrong side, can be turned in on the right side and held down by running stitches, about three-eighths of an inch long, worked in embroidery silk, wool or embroidery cotton of a contrasting color. A ROLLED HEM makes a very pretty finish for bias or straight trimming bands. It can only be used on a straight edge and can not be used on a curved edge.

An allowance of one and a half inches will have to be made on the edge for this hem. Fold the edge over on the right side and sew one-quarter of an inch from the fold (Ill. 300). Then turn under the raw edge one-quarter of an inch and hem it over the stitches on the wrong side (Ill. 300). The hem must look round like a cord when finished—not flat (Ill. 300).

title: Page:Newdressmakerwit00butt.djvu/135


text:
Page:Tensing Exercises.djvu/96

Rh Age Does Not seem to Have Its Limitations. Began in 1868—Still at it in 1905. Note the Record of the Past Few Years.

title: Page:Tensing Exercises.djvu/96


text:
Page:Newdressmakerwit00butt.djvu/166

162 plenty of pins in pinning the pattern on the material and cut with sharp dressmaking shears, following the edge of the pattern exactly.

Mark all the working perforations with tailors' tacks (Chapter 16, page 85) and either mark the notches with two or three stitches in basting-cotton or clip them, making them no deeper than is necessary to see them distinctly.

PUTTING THE GARMENT TOGETHER—Follow the Deltor or the Illustrated Instructions for putting the pieces of the garment together, putting in the pockets wherever there are any. (Chapter 22, page 104.)

TROUSERS—The Fly. Baste a facing of lining material, cut from the fly-piece pattern, to the outside of the front edge of the left-front portion. Stitch a narrow seam. Turn the facing to the wrong side, and baste it flat, with the cloth at the seam edge entirely covering the lining.

Now lay together, face to face, two fly pieces, one of cloth and one of lining, and stitch a seam on the front edge. Turn it to the right side, baste flat and press.

It is more convenient to make the buttonholes in the fly now than after it is stitched in place. They are worked from the cloth side, the first one coming just below the waistband. Then baste the fly into position, its edge a trifle back of the edge on the left front of the trousers. Stitch one-quarter inch back of the buttonholes, through the four thicknesses of goods, down from the waistband, ending in a curved line on the lower edge. (Ill. 367.) Tack the fly between the buttonholes to the facing. Overcast the raw edges on the inside.

The underlapping fly piece for the buttons on the right front of the trousers should be faced with lining. The cloth piece is then basted and stitched to the edge of the right front of the trousers. This seam is then pressed open. Turn under the lining, clipping the edge to make it lie flat, and baste it to the cloth seam. From the right side stitch neatly an even line down close to the bastings and across the free edge at the bottom.

Small trouser buttons are sowed on in position corresponding to the buttonholes on the opposite fly.

For the Smaller Boy, when buttons and buttonholes are impracticable, the small facing provided for in the pattern is attached to the right side of both of the fronts, stitched and turned to the inside. (Ill. 369, page 163.) The front seam is then closed from the facing to the waistline.

The side pockets should be put in next.

SIDE POCKETS OF TROUSERS are usually made in a seam. Cut a square pieces of silesia or stout lining material the size desired, and, doubling it over, notch the edges to indicate the pocket opening. Make corresponding notches in the seam edges of the trousers. Face the back edge of the pocket on both the right and wrong sides with bias facings of the cloth one inch and a quarter wide and long enough to extend from the top of the pocket to an inch below the notch in the opening. (Ill. 368.) Lay the front edge of the pocket edge to edge with the front edge of the trousers on their wrong side and baste it to them. In the same seam baste a bias

title: Page:Newdressmakerwit00butt.djvu/166


text:
Page:Tensing Exercises.djvu/97

Rh I have no record of measurements previous to 1895. I remember, however, that my weight in 1871 (during my "sparring bouts" with my old chum, Charlie Nolting in the old Fourth Street gymnasium, in Cincinnati, Ohio.) was then but 145 pounds.

From 1895 to 1898 the measurements remained about the same, but in the latter part of 1898 (having passed my fifty-first birthday anniversary) I formulated my system of tense exercises (double contraction), which I now take daily.

Note the increase in the measurements of the forearm, upper arm, neck, calf, thigh and chest; the decrease in waist and hip measurements, and the great decrease in weight since 1895.

It will be observed that in 1902 I dropped down to 167 pounds (the lowest in twenty years). This was due to a change of diet—but only in one respect, viz.: the complete cutting out of meat for a period of three months. This occurred during our never-to-be-forgotten sojourn in that most charming city, country and climate—Victoria, B. C.

During that period I made no other change in my habits, but rode my wheel, as usual, in the early morning hours (covering 1,039 miles), and ate, as usual, but two meals a day.

Not being a vegetarian, I did not partake of those vegetables that are a substitute for meat (beans, peas, lentils), except occasionally the former. This was not because I do not believe in them, but because I do not like them. In the place of meat I ate eggs and cheese, daily. Notwithstanding the fact that I ate cereals with an abundance of sugar and cream, more potatoes in the three months than I would usually eat in a year, cheese (of which I am exceedingly fond); these and other fattening foods, I lost in weight instead of gaining. Physiologically considered, this may seem to be almost paradoxical; but not so. In the ordinary run of life this would make one very fleshy (adipose tissue), but my exercise was so vigorous that instead of this food forming fat cells it was consumed as heat for the necessary muscular energy.

The result as regards health? I was, have since been, am

title: Page:Tensing Exercises.djvu/97


text:
Page:Newdressmakerwit00butt.djvu/136

A RUFFLE USED AS TRIMMING may be whipped and gathered. Roll the raw edge and overcast the material as far as it is rolled, taking care to make the stitch below the roll, not through it. (Ill 301.) Draw up the thread, making the ruffle the desired fulness. Divide the ruffle in quarters and mark them with colored thread. Make corresponding marks on the edge to which the ruffle is to be attached. Roll the edge of the garment and overhand the ruffle to it, taking a stitch in every whipped stitch of the ruffle.

TO INSERT A RUFFLE IN A HEM turn the hem toward the right side of the garment and crease the fold hard. Divide both ruffle and hem in quarters and mark each division with colored thread. Insert the edge of the ruffle in the hem close to the fold (Ill. 302) with the right side of the ruffle to the right side of the garment and the corresponding marks together. Baste and stitch one-quarter of an inch from the fold. Turn the hem back to the wrong side of the garment, fold the second turning, baste and hem. (Ill. 303.)

TO COVER THE JOINING OF A

title: Page:Newdressmakerwit00butt.djvu/136


text:
Page:Newdressmakerwit00butt.djvu/137

Rh RUFFLE, divide both ruffle and garment in quarters and mark with pins or colored thread. Gather the ruffle and baste it to the garment. Turn the raw edges up on the garment and cover with a narrow bias band which can be bought by the piece with the edges turned ready for use. (Ill. 304.) This finish may be used on either the right or wrong side of the garment. Frequently this finish is used on berthas or scalloped edges that are not lined or faced.

EMBROIDERY EDGING USED AS A FACING is shown in Illustration 305. The plain material above the embroidery is applied as the facing. Crease the edging off at the depth it is to extend beyond the garment. Baste the material along the crease so that the seam will come toward the inside of the garment. Then stitch the seam. Now turn the edging down, fold in the raw edge at the top, and hem down as a facing. The facing should be no wider than necessary to make a neat joining.

TO JOIN EMBROIDERY IN A TUCK, make several tucks in the plain material above the embroidery if it is wide enough. Then measure carefully the amount for the space between the tucks, the under part of the tucks, and the seam. Cut away the superfluous material and join the edging to the garment. Crease the tuck with the seam directly in the fold so that the raw edges will be encased in the tuck. When the materials of the garment and the embroidery are similar, and there are several tucks above and below the seam, the joining is imperceptible (Ill. 306).

EMBROIDERY MAY BE INSERTED by different methods. When a straight-edge insertion is used, the plain material may be cut away at each side of the embroidery. The material of the garment is then cut away under the embroidery, leaving a small seam, which is rolled and whipped to the embroidery as shown in Illustration 307.

A ROLLED HEM may be used as a dainty finish in joining trimming of any kind to a garment of sheer wash material. Hold the wrong side of the material toward you, and, after trimming off all ravelings, begin at the right end and roll the edge toward you tightly between the thumb and forefinger of the left hand, keeping the edge rolled for about one and a half inches ahead of the sewing. (Ill. 307.)

title: Page:Newdressmakerwit00butt.djvu/137


text:
Page:Tensing Exercises.djvu/98

Rh now, and always shall be well—perfectly well every minute of every day. Yes. I have gone back to the flesh-pots of Egypt, but I am not an extremist. When I want meat I eat it. Nature makes out my bill of fare and when she calls for meat it is forthcoming; sometimes once a day, for two or three days in succession; sometimes only three or four times a month. Therein I know I am not a slave to appetite.

It is not so much what you eat as how you eat, not how much nor how little you eat. Out of my thirty-seven years' experience it took me twenty years to learn this little, simple, yet fundamental principle; to learn, also, that physical training, per se, is but half the battle; that health, strength and longevity depend equally, as much upon right living; that every man should be a law, unto himself, but he must understand the law. I have no patience with the extremists or the faddists only insomuch as they get people out of a rut and cause them to think for themselves.

I trust that this little message may be the means of arousing to action some casual reader of H. C. (the regular readers "need no spur to prick the sides of their intent"). Then, in conclusion, I say—Begin now!

title: Page:Tensing Exercises.djvu/98


text:
Page:Newdressmakerwit00butt.djvu/138

134 If preferred, a small seam may be left on the insertion as well as on the garment and put together by a tiny French seam. This is the finish most commonly employed.

Embroidery also may be inserted by a machine fell seam. (Ill. 308.) Baste the insertion to the material with a narrow seam on the wrong side. Trim off all ravelings and insert the raw edges in the hemmer of the machine, and stitch as in hemming.

EMBROIDERY TRIMMING MAY BE MITERED so that the joining will scarcely be seen. Fold it over so that the crease comes exactly in the middle of the corner, taking care to match the pattern perfectly. Crease firmly, and cut on the creased line. (Ill. 309.) Place the right sides face to face and buttonhole the raw edges together with short, close stitches. Illustration 310 shows the finished corner. The method of making the buttonhole-stitch is shown in Illustration 227 on page 112.

WHIPPING ON TRIMMING is generally done on an edge. If lace, it should be either gathered by pulling the heavy thread which is usually found at the top, or whipped and drawn as in a ruffle. Roll an inch or two of the garment material, place the lace with its right side to the right side of the material, and whip both together. (Ill. 311.) Lace may be whipped on plain if preferred, but it must be eased in. Insertion may be inset in the same way.

METHODS OF INSERTING LACE and insertion, when the material has a straight edge, are shown in Illustrations 312 and 313. Fold the material for a hem, creasing the lower fold hard. Open the hem and baste the lace edge just below the lower fold, and stitch. (Ill. 312.) Turn back the hem and

title: Page:Newdressmakerwit00butt.djvu/138


text:
Page:Newdressmakerwit00butt.djvu/139

Rh crease the material on a line with the top turning of the hem (Ill. 312). Cut to within a small seam above this crease. Fold in the raw edge, insert the edge of the lace insertion (Ill. 313), and stitch. Turn a second hem, following these directions, baste the other edge of the insertion just below the lower crease, and stitch as before. As many rows of insertion may be used in this manner as are desired.

INSERTION ABOVE A FACING is first basted in position, and the upper edge is finished as shown in Illustration 314. The facing is generally used when the outline of the lower edge is curved or pointed so that it can not be turned up in a straight hem.

Draw the pull-thread in the lace where a curve requires a slight gathering to make it lie flat. The facing is cut to fit the outline of the lower edge and applied as a false hem, as shown in Illustration 314. When edging is used, it is basted to the bottom before the facing is added and all stitched in a seam together. Turn under the facing at the line of sewing, baste in position and stitch insertion from the right side.

TO INSERT LACE INSERTION in a garment, pin the lace in the position desired, and baste down both edges of the insertion.

If the insertion is narrow, the material is cut through the center (Ill. 315); but if the insertion is wide, the material is cut away from underneath, simply allowing a seam on each side. The edge is turned in a

title: Page:Newdressmakerwit00butt.djvu/139


text:
Page:Newdressmakerwit00butt.djvu/140

136 hem covering the line of the basting. Stitch the insertion close to the edges from the right side, and at the same time catching through the material of the hem.

TO MITER LACE—The lace should be cut between the cords, not across them. Overhand the edges together, putting the needle back the depth of two cords. Illustration 316 shows the figures cut around the edge, lapped and hemmed around the figure on each side. For a stronger corner, the lace may be mitered in a very tiny, flat hem. (Ill. 317.)

JOINING ROWS OF LACE TO FIT A CURVE—A shaped piece made of rows of insertion joined together is made over a piece of stiff paper. Cut a piece of stiff paper the correct size and shape of the collar, yoke, etc., that you are making, and baste the rows of insertion to the paper so that the edges of the rows just meet. (Ill. 318.) Begin with the longest row of insertion and baste the longest edge of that row to the paper with the right side down. Draw the pull-thread at the shorter edge of the same row to draw it into a curve. If you are careful in distributing the fulness evenly, most of it can be pressed out unless the curve is very great. Whip the edges of the rows together and press them before removing them from the paper. (Ill. 318.)

TO INSERT LACE MEDALLIONS, baste them to the material and stitch them by machine as close to the edge as possible.

Cut out the material from under the lace, leaving a narrow seam's width at each side. (Ill. 319.)

This edge may be turned back and stitched flat by a second row of stitching, leaving a raw edge. Or, it may be overcast closely with the raw edge rolled in to prevent any possible raveling. Illustration 319 shows a medallion set in in this way. Sometimes, where two finished edges come together, they are lapped and stitched together as shown in Illustration 320.

title: Page:Newdressmakerwit00butt.djvu/140


text:
Page:Garden Cities of To-morrow (1902).djvu/63

Rh people of London. "Every such change in the street geography of London displaces thousands of the poor"—I quote from the Daily Chronicle of July 6, 1898—" and for many years all public or quasi-public schemes have been charged with the liability to re-house as many of them as possible. This is as it should be; but the difficulty begins when the public is asked to face the music and pay the bill. In the present case some three thousand souls of the working population have to be turned out. After some searching of heart, it is decided that most of them are so closely tied to the spot by their employment that it would be a hardship to send them more than a mile away. The result, in cash, is that London must spend in re-housing them about £100 a head—or £300,000 in all. As to those who cannot fairly be asked to go even a mile away—hangers-on to the market, or others tethered to the spot—the cost will be even higher. They will require to have parcels of the precious land cleared by the great scheme itself, and the result of that will be to house them at the handsome figure of £260 a-piece, or some £1,400 for every family of five or six. Financial statements convey little to the ordinary mind. Let us make it a little more intelligible. A sum of £1,400 means, in the house market, a rental of nearly £100 a year. It would buy an excellent, in fact a sumptuous, house and garden at Hampstead, such as the better middle-class delight in. It would purchase anywhere in the nearer suburbs such houses as men with £1,000 a year inhabit. If one went further afield, to the new neighbourhoods which the City clerk can easily reach by rail, a £1,400 house represents actual magnificence." But on what scale of comfort will the poor Covent Garden


text:
Page:Narrative of a Visit to the Australian Colonies.djvu/163

1833.] also deep fissures in the earth, destitute of water.—We proceeded over the Middlesex Plains, one of the grants of the V. D. Land Company, which is at present unoccupied, and crossed the Iris River three times: we then entered an open forest of White and Common Gum, that continued till we reached Epping Forest, which is of Stringy-bark, where, near a vacant stock yard, we encamped for the night.—When crossing one of the brooks on the Vale of Belvoir, a snake went into the water from the bank, and passed before my horse, which became so much alarmed, that he was very reluctant to leap over, or to cross any of the other brooks that we came to, in the course of the day. The route we travelled was upon what has been designated, The Great Western Road; but in many places in the plains it was quite lost, and could only be found again in the margins of the forest, by seeking for the marked trees.

25th. The track was more distinct. On the descent to the Forth, which, is about 2,000 feet, there are some beautiful views of woody and mountain scenery. The river is wide and rapid, and the sound of the great fall, called The Forths Gateway, is very distinguishable from the road. Gads Hill lies between this river and the Mersey: it is 2,588 feet high, very steep, and clothed with lofty forest, in which several of the larger shrubs become small trees.—In ascending this hill, a large Black Snake crossed the path, and I could not induce my horse to pass the place where it had been without leading him. On the top of the hill there are some pretty, grassy openings, called the Emu Plains; to which, after resting, we set fire, in order that the next travellers this way, might have fresh grass.—The descent of Gads Hill is almost too steep for horses: oxen have sometimes fallen over the side of the path, and have been lost in the forest below.

On arriving at the Mersey we found it considerably flooded. Here J. Milligan had some provisions deposited in a hollow tree, for himself and his prisoner attendant to return to.—After resting a little, we crossed this river, which is also wide, and so deep that three out of four of our horses, swam a short distance; but by keeping their heads a


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/165

Rh To the mother he went for that sympathy and that appeal which seemed to draw him out. Edgar was his very close friend. And to Miriam he more or less condescended, because she seemed so humble.

But the girl gradually sought him out. If he brought up his sketch-book, it was she who pondered longest over the last picture. Then she would look up at him. Suddenly, her dark eyes alight like water that shakes with a stream of gold in the dark, she would ask:

“Why do I like this so?”

Always something in his breast shrank from these close, intimate, dazzled looks of hers.

“Why do you?” he asked.

“I don’t know. It seems so true.”

“It’s because—it’s because there is scarcely any shadow in it; it’s more shimmery, as if I’d painted the shimmering protoplasm in the leaves and everywhere, and not the stiffness of the shape. That seems dead to me. Only this shimmeriness is the real living. The shape is a dead crust. The shimmer is inside really.”

And she, with her little finger in her mouth, would ponder these sayings. They gave her a feeling of life again, and vivified things which had meant nothing to her. She managed to find some meaning in his struggling, abstract speeches. And they were the medium through which she came distinctly at her beloved objects.

Another day she sat at sunset whilst he was painting some pine-trees which caught the red glare from the west. He had been quiet.

“There you are!” he said suddenly. “I wanted that. Now, look at them and tell me, are they pine-trunks or are they red coals, standing-up pieces of fire in that darkness? There’s God’s burning bush for you, that burned not away.”

Miriam looked, and was frightened. But the pine-trunks were wonderful to her, and distinct. He packed his box and rose. Suddenly he looked at her.

“Why are you always sad?” he asked her.

“Sad!” she exclaimed, looking up at him with startled, wonderful brown eyes.

“Yes,” he replied. “You are always, always sad.”

“I am not—oh, not a bit!” she cried.

“But even your joy is like a flame coming off of sadness,” he persisted. “You’re never jolly or even just all right.”

“No,” she pondered. “I wonder—why.”


text:
Page:Narrative of a Visit to the Australian Colonies.djvu/164

128 little up the stream, they got footing again before reaching the dangerous rapids, towards which the stream impelled them. Passing over a few more hills, we came to some small, limestone plains, called the Circular Pond Marshes, from a number of circular basons, that seem to have been formed by the draining off of the waters, with which the whole are sometimes covered, into subterraneous channels. Some of these ponds are full of water, the outlets below being choked with mud, others are empty, and grassy to the perforated bottoms. There are also some cavernous places.—We fixed our quarters for the night under the shelter of a wood, and by the side of a place resembling the bed of a deep river, that commenced and terminated abruptly: the water, which at some seasons flows through it, evidently finds ingress and egress through a bed of loose gravel.

After burning off the grass, and sweeping the place, a fire was kindled against a log, that proved to be rotten inside, and became ignited; the fire spread, and catching the grass, soon extended into the forest, which was full of brushwood, that did not appear to have been burnt for many years. The conflagration was exceedingly grand; it brought down some considerable trees that had been nearly burnt through by former fires: such as were hollow, burnt out at the top like furnaces. This magnificent spectacle cost us, however, some labour, in beating out the fire of the grass, which we burnt off before us, to keep the fire of the forest from igniting it and coming round upon us in the night. We had also some anxiety from the tottering state of a tree that burnt furiously, and was not far enough from our encampment to clear us, if it fell in that direction. From this we were relieved, by its fall, before going to sleep; but our rest was nevertheless disturbed by the crash of others falling during the night.

26th. We explored a few of the caverns, the entrances of some of which resemble doorways, and open into a grassy hollow. At the end of a long subteraneous passage, into which I descended with a torch of burning bark, there was a fine, clear stream of water, three feet wide and equally deep, emerging from one rock and passing away under another. The limestone was of a bluish colour, imbedding


text:
Page:Narrative of a Visit to the Australian Colonies.djvu/165

1833.] iron pyrites.—Between the Circular-pond Marshes and the Moleside Marshes, some elevated land occurs. The latter takes its name from the Moleside River, which also becomes subterraneous in some places.—When we had passed this place, we began to see herds of cattle, and a few houses of settlers.—After taking a meal by the Lobster Rivulet, so called from producing a fresh-water lobster, six to twelve inches long, we parted from our kind guide and companion J. Milligan, who had devoted much time and labour to promote our comfort and accommodation: he and his prisoner attendant returned with three horses to the Hampshire Hills, and we pursued our route to Westbury, with one belonging to the Government, which we had undertaken to convey to Launceston. At a location on the Meander, we met with Ronald Campbell Gunn, the most industrious botanist in Van Diemens Land, who wished us to join him in a botanical excursion. This we declined, not for want of inclination, but because the way was now open for us to proceed with more important business, and we were desirous of having a meeting with the people of Westbury on the morrow.—We crossed the Meander or Western River, at Deloraine Bridge, near the first public-house in this direction, to which allusion has already been made.—Some of the country, passed through to-day, is named Dairy Plains, and is open grassy forest. Toward Westbury, where we arrived in the evening, the trees were all dead from some natural cause, for an extent of several miles. In cases of this kind, the trees may possibly have died from drought; the long grass or scrub amongst which they grow, having been burnt off, and kept from growing again by the browsing of cattle, and the roots having thus become more than formerly exposed to the action of the sun. Had the trees died from frost or from fire, the roots would have pushed up fresh shoots, but this is not the case; and the surrounding trees, not absolutely on the level ground, and consequently, not having been originally accustomed to much moisture, are still living.

27th. Westbury consists of a small number of weatherboard houses, two of which are inns: the others belong to the


text:
Page:Garden Cities of To-morrow (1902).djvu/64

54 labourer with a wife and four children live? The £1,400 will by no means represent a fair standard of comfort, to say nothing of magnificence." He will live in three rooms sufficiently small in a block at least three storeys high." Contrast this with what might be done on a new area, by carefully planning a bold scheme at the outset. Streets of greater width than this new street would be laid out and constructed at a mere fraction of the cost, while a sum of £1,400, instead of providing 1 family with "three rooms sufficiently small in blocks at least three storeys high," would provide 7 families in Garden City with a comfortable six-roomed cottage each, and with a nice little garden; and, manufacturers being concurrently induced to build on the sites set apart for them, each breadwinner would be placed within easy walking distance of his work.

There is another modern need which all towns and cities should be designed to meet—a need which has arisen with the evolution of modern sanitation, and which has of recent years been accentuated by the rapid growth of invention. Subways for sewerage and surface drainage, for water, gas, telegraph and telephone wires, electric lighting wires, wires for conveying motive power, pneumatic tubes for postal purposes, have come to be regarded as economic if not essential. But if they would be a source of economy in an old city, how much more so in new ones; for on a clean sheet it will be easy to use the very best appliances for their construction, and to avail ourselves to the fullest extent of the ever-growing advantages which they possess as the number of services which they accommodate increases. Before the subways can be constructed, trenches


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/166

154 “Because you’re not; because you’re different inside, like a pine-tree, and then you flare up; but you’re not just like an ordinary tree, with fidgety leaves and jolly——”

He got tangled up in his own speech; but she brooded on it, and he had a strange, roused sensation, as if his feelings were new. She got so near him. It was a strange stimulant.

Then sometimes he hated her. Her youngest brother was only five. He was a frail lad, with immense brown eyes in his quaint, fragile face—one of Reynolds’s “Choir of Angels,” with a touch of elf. Often Miriam kneeled to the child and drew him to her.

“Eh, my Hubert!” she sang, in a voice heavy and surcharged with love. “Eh, my Hubert!”

And, folding him in her arms, she swayed slightly from side to side with love, her face half lifted, her eyes half closed, her voice drenched with love.

“Don’t!” said the child, uneasy—“don’t, Miriam!”

“Yes; you love me, don’t you?” she murmured deep in her throat, almost as if she were in a trance, and swaying also as if she were swooned in an ecstasy of love.

“Don’t!” repeated the child, a frown on his clear brow.

“You love me, don’t you?” she murmured.

“What do you make such a fuss for?” cried Paul, all in suffering because of her extreme emotion. “Why can’t you be ordinary with him?”

She let the child go, and rose, and said nothing. Her intensity, which would leave no emotion on a normal plane, irritated the youth into a frenzy. And this fearful, naked contact of her on small occasions shocked him. He was used to his mother’s reserve. And on such occasions he was thankful in his heart and soul that he had his mother, so sane and wholesome.

All the life of Miriam’s body was in her eyes, which were usually dark as a dark church, but could flame with light like a conflagration. Her face scarcely ever altered from its look of brooding. She might have been one of the women who went with Mary when Jesus was dead. Her body was not flexible and living. She walked with a swing, rather heavily, her head bowed forward, pondering. She was not clumsy, and yet none of her movements seemed quite the movement. Often, when wiping the dishes, she would stand in bewilderment and chagrin because she had pulled in two halves a cup or a tumbler. It was as if, in her fear and self-mistrust, she put too much strength into the effort. There


text:
Page:Garden Cities of To-morrow (1902).djvu/65

Rh wide and deep must be excavated. In making these the most approved excavating machinery could be employed. In old towns this might be very objectionable, if not, indeed, quite impossible. But here, in Garden City, the steam navvy would not make its appearance in the parts where people were living, but where they were coming to live after its work in preparing the way had been completed. What a grand thing it would be if the people of England could, by an actual illustration under their very eyes, be convinced that machinery can be so used as to confer not only an ultimate national benefit, but a direct and immediate advantage, and that not only upon those who actually own it or use it, but on others who are given work by its magic aid. What a happy day it would be for the people of this country, and of all countries, if they could learn, from practical experience, that machinery can be used on an extended scale to give employment as well as to take it away—to implace labour as well as to displace it—to free men as well as to enslave them. There will be plenty of work to be done in Garden City. That is obvious. It is also obvious that, until a large number of houses and factories are built, many of these things cannot be done, and that the faster the trenches are dug, the subways finished, the factories and the houses built, and the light and the power turned on, the sooner can this town, the home of an industrious and a happy people, be built, and the sooner can others start the work of building other towns, not like it, but gradually becoming as much superior to it as our present locomotives are to the first crude attempts of the pioneers of mechanical traction.

We have now shown four cogent reasons why a given


text:
Page:Garden Cities of To-morrow (1902).djvu/66

56 revenue should, in Garden City, yield vastly greater results than under ordinary conditions.

(1) That no "landlord's rent" or interest in respect of freeholds would be payable other than the small amount which has been already provided for in estimating net revenue.

(2) That the site being practically clear of buildings and other works, but little expenditure would be incurred in the purchase of such buildings, or compensation for business-disturbance, or legal and other expenses in connection therewith.

(3) The economy arising out of a definite plan, and one in accordance with modern needs and requirements, thus saving those items of expenditure which are incurred in old cities as it is sought to bring them into harmony with modern ideas.

(4) The possibility, as the whole site will be clear for operations, of introducing machinery of the very best and most modern type in road-making and other engineering operations.

There are other economies which will become apparent to the reader as he proceeds, but, having cleared the ground by discussing general principles, we shall be better prepared to discuss the question as to the sufficiency of our estimates in another chapter.


text:
Author:Henry Cotton (1789-1879)

Works

 * Fasti Ecclesiæ Hibernicæ

title: Author:Henry Cotton (1789-1879)


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/167

Rh was no looseness or abandon about her. Everything was gripped stiff with intensity, and her effort, overcharged, closed in on itself.

She rarely varied from her swinging, forward, intense walk. Occasionally she ran with Paul down the fields. Then her eyes blazed naked in a kind of ecstasy that frightened him. But she was physically afraid. If she were getting over a stile, she gripped his hands in a little hard anguish, and began to lose her presence of mind. And he could not persuade her to jump from even a small height. Her eyes dilated, became exposed and palpitating.

“No!” she cried, half laughing in terror—“no!”

“You shall!” he cried once, and, jerking her forward, he brought her falling from the fence. But her wild “Ah!” of pain, as if she were losing consciousness, cut him. She landed on her feet safely, and afterwards had courage in this respect.

She was very much dissatisfied with her lot.

“Don’t you like being at home?” Paul asked her, surprised.

“Who would?” she answered, low and intense. “What is it? I’m all day cleaning what the boys make just as bad in five minutes. I don’t want to be at home.”

“What do you want, then?”

“I want to do something. I want a chance like anybody else. Why should I, because I’m a girl, be kept at home and not allowed to be anything? What chance have I?”

“Chance of what?”

“Of knowing anything—of learning, of doing anything. It’s not fair, because I’m a woman.”

She seemed very bitter. Paul wondered. In his own home Annie was almost glad to be a girl. She had not so much responsibility; things were lighter for her. She never wanted to be other than a girl. But Miriam almost fiercely wished she were a man. And yet she hated men at the same time.

“But it’s as well to be a woman as a man,” he said, frowning.

“Ha! Is it? Men have everything.”

“I should think women ought to be as glad to be women as men are to be men,” he answered.”

“No!” she shook her head—“no! Everything the men have.”

“But what do you want?” he asked.


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/168

156 “I want to learn. Why should it be that I know nothing?”

“What! such as mathematics and French?”

“Why shouldn’t I know mathematics? Yes!” she cried, her eye expanding in a kind of defiance.

“Well, you can learn as much as I know,” he said. “I’ll teach you, if you like.”

Her eyes dilated. She mistrusted him as teacher.

“Would you?” he asked.

Her head had dropped, and she was sucking her finger broodingly.

“Yes,” she said hesitatingly.

He used to tell his mother all these things.

“I’m going to teach Miriam algebra,” he said.

“Well,” replied Mrs. Morel, “I hope she’ll get fat on it.”

When he went up to the farm on the Monday evening, it was drawing twilight. Miriam was just sweeping up the kitchen, and was kneeling at the hearth when he entered. Everyone was out but her. She looked round at him, flushed, her dark eyes shining, her fine hair falling about her face.

“Hello!” she said, soft and musical. “I knew it was you.”

“How?”

“I knew your step. Nobody treads so quick and firm.”

He sat down, sighing.

“Ready to do some algebra?” he asked, drawing a little book from his pocket.

“But——”

He could feel her backing away.

“You said you wanted,” he insisted.

“To-night, though?” she faltered.

“But I came on purpose. And if you want to learn it, you must begin.”

She took up her ashes in the dustpan and looked at him, half tremulously, laughing.

“Yes, but to-night! You see, I haven’t thought of it.”

“Well, my goodness! Take the ashes and come.”

He went and sat on the stone bench in the back-yard, where the big milk-cans were standing, tipped up, to air. The men were in the cowsheds. He could hear the little sing-song of the milk spurting into the pails. Presently she came, bringing some big greenish apples.

“You know you like them,” she said.

He took a bite.

“Sit down,” he said, with his mouth full.


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/169

Rh She was short-sighted, and peered over his shoulder. It irritated him. He gave her the book quickly.

“Here,” he said. “It’s only letters for figures. You put down ‘a’ instead of ‘2’ or ‘6.’ ”

They worked, he talking, she with her head down on the book. He was quick and hasty. She never answered. Occasionally, when he demanded of her, “Do you see?” she looked up at him, her eyes wide with the half-laugh that comes of fear. “Don’t you?” he cried.

He had been too fast. But she said nothing. He questioned her more, then got hot. It made his blood rouse to see her there, as it were, at his mercy, her mouth open, her eyes dilated with laughter that was afraid, apologetic, ashamed. Then Edgar came along with two buckets of milk.

“Hello!” he said. “What are you doing?”

“Algebra,” replied Paul.

“Algebra!” repeated Edgar curiously. Then he passed on with a laugh. Paul took a bite at his forgotten apple, looked at the miserable cabbages in the garden, pecked into lace by the fowls, and he wanted to pull them up. Then he glanced at Miriam. She was poring over the book, seemed absorbed in it, yet trembling lest she could not get at it. It made him cross. She was ruddy and beautiful. Yet her soul seemed to be intensely supplicating. The algebra-book she closed, shrinking, knowing he was angered; and at the same instant he grew gentle, seeing her hurt because she did not understand.

But things came slowly to her. And when she held herself in a grip, seemed so utterly humble before the lesson, it made his blood rouse. He stormed at her, got ashamed, continued the lesson, and grew furious again, abusing her. She listened in silence. Occasionally, very rarely, she defended herself. Her liquid dark eyes blazed at him.

“You don’t give me time to learn it,” she said.

“All right,” he answered, throwing the book on the table and lighting a cigarette. Then, after awhile, he went back to her repentant. So the lessons went. He was always either in a rage or very gentle.

“What do you tremble your soul before it for?” he cried. “You don’t learn algebra with your blessed soul. Can’t you look at it with your clear simple wits?”

Often, when he went again into the kitchen, Mrs. Leivers would look at him reproachfully, saying:


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/170

158 “Paul, don’t be so hard on Miriam. She may not be quick, but I’m sure she tries.”

“I can’t help it,” he said rather pitiably. “I go off like it.”

“You don’t mind me, Miriam, do you?” he asked of the girl later.

“No,” she reassured him in her beautiful deep tones—“no, I don’t mind.”

“Don’t mind me; it’s my fault.”

But, in spite of himself, his blood began to boil with her. It was strange that no one else made him in such fury. He flared against her. Once he threw the pencil in her face. There was a silence. She turned her face slightly aside.

“I didn’t——” he began, but got no farther, feeling weak in all his bones. She never reproached him or was angry with him. He was often cruelly ashamed. But still again his anger burst like a bubble surcharged; and still, when he saw her eager, silent, as it were, blind face, he felt he wanted to throw the pencil in it; and still, when he saw her hand trembling and her mouth parted with suffering, his heart was scalded with pain for her. And because of the intensity to which she roused him, he sought her.

Then he often avoided her and went with Edgar. Miriam and her brother were naturally antagonistic. Edgar was a rationalist, who was curious, and had a sort of scientific interest in life. It was a great bitterness to Miriam to see herself deserted by Paul for Edgar, who seemed so much lower. But the youth was very happy with her elder brother. The two men spent afternoons together on the land or in the loft doing carpentry, when it rained. And they talked together, or Paul taught Edgar the songs he himself had learned from Annie at the piano. And often all the men, Mr. Leivers as well, had bitter debates on the nationalizing of the land and similar problems. Paul had already heard his mother’s views, and as these were as yet his own, he argued for her. Miriam attended and took part, but was all the time waiting until it should be over and a personal communication might begin.

“After all,” she said within herself, “if the land were nationalized, Edgar and Paul and I would be just the same.” So she waited for the youth to come back to her.

He was studying for his painting. He loved to sit at home, alone with his mother, at night, working and working. She sewed or read. Then, looking up from his task, he would


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/171

Rh rest his eyes for a moment on her face, that was bright with living warmth, and he returned gladly to his work.

“I can do my best things when you sit there in your rocking-chair, mother,” he said.

“I’m sure!” she exclaimed, sniffing with mock scepticism. But she felt it was so, and her heart quivered with brightness. For many hours she sat still, slightly conscious of him labouring away, whilst she worked or read her book. And he, with all his soul’s intensity directing his pencil, could feel her warmth inside him like strength. They were both very happy so, and both unconscious of it. These times, that meant so much, and which were real living, they almost ignored.

He was conscious only when stimulated. A sketch finished, he always wanted to take it to Miriam. Then he was stimulated into knowledge of the work he had produced unconsciously. In contact with Miriam he gained insight; his vision went deeper. From his mother he drew the life-warmth, the strength to produce; Miriam urged this warmth into intensity like a white light.

When he returned to the factory the conditions of work were better. He had Wednesday afternoon off to go to the Art School—Miss Jordan’s provision—returning in the evening. Then the factory closed at six instead of at eight on Thursday and Friday evenings.

One evening in the summer Miriam and he went over the fields by Herod’s Farm on their way from the library home. So it was only three miles to Willey Farm. There was a yellow glow over the mowing-grass, and the sorrel-heads burned crimson. Gradually, as they walked along the high land, the gold in the west sank down to red, the red to crimson, and then the chill blue crept up against the glow.

They came out upon the high road to Alfreton, which ran white between the darkening fields. There Paul hesitated. It was two miles home for him, one mile forward for Miriam. They both looked up the road that ran in shadow right under the glow of the north-west sky. On the crest of the hill, Selby, with its stark houses and the up-pricked headstocks of the pit, stood in black silhouette small against the sky.

He looked at his watch.

“Nine o’clock!’ he said.

The pair stood, loth to part, hugging their books.

“The wood is so lovely now,” she said. “I wanted you to see it.”


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/172

160 He followed her slowly across the road to the white gate.

“They grumble so if I’m late,” he said.

“But you’re not doing anything wrong,” she answered impatiently.

He followed her across the nibbled pasture in the dusk. There was a coolness in the wood, a scent of leaves, of honey-suckle, and a twilight. The two walked in silence. Night came wonderfully there, among the throng of dark tree-trunks. He looked round, expectant.

She wanted to show him a certain wild-rose bush she had discovered. She knew it was wonderful. And yet, till he had seen it, she felt it had not come into her soul. Only he could make it her own, immortal. She was dissatisfied.

Dew was already on the paths. In the old oak-wood a mist was rising, and he hesitated, wondering whether one whiteness were a strand of fog or only campion-flowers pallid in a cloud.

By the time they came to the pine-trees Miriam was getting very eager and very tense. Her bush might be gone. She might not be able to find it; and she wanted it so much. Almost passionately she wanted to be with him when he stood before the flowers. They were going to have a communion together—something that thrilled her, something holy. He was walking beside her in silence. They were very near to each other. She trembled, and he listened, vaguely anxious.

Coming to the edge of the wood, they saw the sky in front, like mother-of-pearl, and the earth growing dark. Somewhere on the outermost branches of the pine-wood the honey-suckle was streaming scent.

“Where?” he asked.

“Down the middle path,” she murmured, quivering.

When they turned the corner of the path she stood still. In the wide walk between the pines, gazing rather frightened, she could distinguish nothing for some moments; the greying light robbed things of their colour. Then she saw her bush.

“Ah!” she cried, hastening forward.

It was very still. The tree was tall and straggling. It had thrown its briers over a hawthorn-bush, and its long streamers trailed thick, right down to the grass, splashing the darkness everywhere with great spilt stars, pure white. In bosses of ivory and in large splashed stars the roses gleamed on the darkness of foliage and stems and grass. Paul and


text:
Page:EB1911 - Volume 12.djvu/419

 and Ceres contributed to the establishment of her worship on a firm footing. By the end of the Republic it had attained prominence, and under the Empire it became one of the three most important cults in the Roman world, the other two being those of Mithras and Isis. Epigraphic and numismatic evidence prove it to have penetrated from Rome as a centre to the remotest provinces (Showerman, pp. 291-293). During the brief revival of paganism under Eugenius in 394, occurred the last appearance of the cult in history. Besides the temple on the Palatine, there existed minor shrines of the Great Mother near the present church of St Peter, on the Sacra Via on the north slope of the Palatine, near the junction of the Almo and the Tiber, south of the city (ibid. 311-314).

In all her aspects, Roman, Greek and Oriental, the Great Mother was characterized by essentially the same qualities. Most prominent among them was her universal motherhood. She was the great parent of gods and men, as well as of the lower orders of creation. “The winds, the sea, the earth and the snowy seat of Olympus are hers, and when from her mountains she ascends into the great heavens, the son of Cronus himself gives way before her” (Apollon. Rhod. Argonautica, i. 1098). She was known as the All-begetter, the All-nourisher, the Mother of all the Blest. She was the great, fruitful, kindly earth itself. Especial emphasis was placed upon her maternity over wild nature. She was called the Mountain Mother; her sanctuaries were almost invariably upon mountains, and frequently in caves, the name Cybele itself being by some derived from the latter; lions were her faithful companions. Her universal power over the natural world finds beautiful expression in Apollonius Rhodius, Argonautica, i. 1140 ff. She was also a chaste and beautiful deity. Her especial affinity with wild nature was manifested by the orgiastic character of her worship. Her attendants, the Corybantes, were wild, half demonic beings. Her priests, the Galli, were eunuchs attired in female garb, with long hair fragrant with ointment. Together with priestesses, they celebrated her rites with flutes, horns, castanets, cymbals and tambourines, madly yelling and dancing until their frenzied excitement found its culmination in self-scourging, self-laceration or exhaustion. Self-emasculation sometimes accompanied this delirium of worship on the part of candidates for the priesthood (Showerman, pp. 234-239). The Attis of Catullus (lxiii.) is a brilliant treatment of such an episode.

Though her cult sometimes existed by itself, in its fully developed state the worship of the Great Mother was accompanied by that of (q.v.). The cult of Attis never existed independently. Like Adonis and Aphrodite, Baal and Astarte, &c., the two formed a duality representing the relations of Mother Nature to the fruits of the earth. There is no positive evidence to prove the existence of the cult publicly in this phase in Greece before the 2nd century, nor in Rome before the Empire, though it may have existed in private (Showerman, “Was Attis at Rome under the Republic?” in Transactions of the American Philological Association, vol. 31, 1900, pp. 46-59; Cumont, s.v. “Attis,” De Ruggiero’s Dizionario epigrafico and Pauly-Wissowa’s Realencyclopädie, Supplement; Hepding, Attis, seine Mythen und seine Kult, Giessen, 1903, p. 142).

The philosophers of the late Roman Empire interpreted the Attis legend as symbolizing the relations of Mother Earth to her children the fruits. Porphyrius says that Attis signified the flowers of spring time, and was cut off in youth because the flower falls before the fruit (Augustine, De civ. Dei, vii. 25). Maternus (De error. 3) interprets the love of the Great Mother for Attis as the love of the earth for her fruits; his emasculation as the cutting of the fruits; his death as their preservation; and his resurrection as the sowing of the seed again.

At Rome the immediate direction of the cult of the Great Mother devolved upon the high priest, Archigallus, called Attis, a high priestess, Sacerdos Maxima, and its support was derived, at least in part, from a popular contribution, the stips. Besides other priests, priestesses and minor officials, such as musicians, curator, &c., there were certain colleges connected with the administration of the cult, called cannophori (reed-bearers) and

dendrophori (branch-bearers). The Quindecimvirs exercised a general supervision over this cult, as over all other authorized cults, and it was, at least originally, under the special patronage of a club or sodality (Showerman, pp. 269-276). Roman citizens were at first forbidden to take part in its ceremonies, and the ban was not removed until the time of the Empire.

The main public event in the worship of the Great Mother was the annual festival, which took place originally on the 4th of April, and was followed on the 5th by the Megalesia, games instituted in her honour on the introduction of the cult. Under the Empire, from Claudius on, the Megalesia lasted six days, April 4-10, and the original one day of the religious festival became an annual cycle of festivals extending from the 15th to the 27th of March, in the following order. (1) The 15th of March, Canna intrat—the sacrifice of a six-year-old bull in behalf of the mountain fields, the high priest, a priestess and the cannophori officiating, the last named carrying reeds in procession in commemoration of the exposure of the infant Attis on the reedy banks of the stream Gallus in Phrygia. (This may have been originally a phallic procession. Cf. Showerman, American Journal of Philol. xxvii. 1; Classical Journal i. 4.) (2) The 22nd of March, Arbor intrat—the bearing in procession of the sacred pine, emblem of Attis’ self-mutilation, death and immortality, to the temple on the Palatine, the symbol of the Mother’s cave, by the dendrophori, a gild of workmen who made the Mother, among other deities, a patron. (3) The 24th of March, Dies sanguinis—a day of mourning, fasting and abstinence, especially sexual, commemorating the sorrow of the Mother for Attis, her abstinence from food and her chastity. The frenzied dance and self-laceration of the priests in commemoration of Attis’ deed, and the submission to the act of consecration by candidates for the priesthood, was a special feature of the day. The (q.v.) was often performed on this day, on which probably took place the initiation of mystics. (4) The 25th of March, Hilaria—one of the great festal days of Rome, celebrated by all the people. All mourning was put off, and good cheer reigned in token of the return of the sun and spring, which was symbolized by the renewal of Attis’ life. (5) The 26th of March, Requietio—a day of rest and quiet. (6) The 27th of March, Lavatio—the crowning ceremony of the cycle. The silver statue of the goddess, with the sacred meteoric stone, the Acus, set in its head, was borne in gorgeous procession and bathed in the Almo, the remainder of the day being given up to rejoicing and entertainment, especially dramatic representation of the legend of the deities of the day. Other ceremonies, not necessarily connected with the annual festival, were the (q.v.), the sacrifice of a bull, and the (q.v.), the sacrifice of a ram, the latter being the analogue of the former, instituted for the purpose of giving Attis special recognition. The baptism of blood, which was the feature of these ceremonies, was regarded as purifying and regenerating (Showerman, Great Mother, pp. 277-284).

The Great Mother figures in the art of all periods both in Asia and Europe, but is especially prominent in the art of the Empire. No work of the first class, however, was inspired by her. She appears on coins, in painting and in all forms of sculpture, usually with mural crown and veil, well draped, seated on a throne, and accompanied by two lions. Other attributes which often appear are the patera, tympanum, cymbals, sceptre, garlands and fruits. Attis and his attributes, the pine, Phrygian cap, pedum, syrinx and torch, also appear. The Cybele of Formia, now at Copenhagen, is one of the most famous representations of the goddess. The Niobe of Mt. Sipylus is really the Mother. In literature she is the subject of frequent mention, but no work of importance, with the exception of Catullus lxiii., is due to her inspiration. Her importance in the history of religion is very great. Together with Isis and Mithras, she was a great enemy, and yet a great aid to Christianity. The gorgeous rites of her worship, its mystic doctrine of communion with the divine through enthusiasm, its promise of regeneration through baptism of blood in the taurobolium, were features which attracted the masses of the people and made it a strong

title: Page:EB1911 - Volume 12.djvu/419


text:
Page:EB1911 - Volume 12.djvu/416

 internal diameter) than the tunnel. At this juncture Greathead came forward and offered to take up the contract; and he successfully carried it through in 1869 without finding any necessity to resort to the use of compressed air, which Barlow in 1867 had suggested might be employed in water-bearing strata. After this he began to practise on his own account, and mainly divided his time between railway construction and taking out patents for improvements in his shield, and for other inventions such as the “Ejector” fire-hydrant. Early in the ’eighties he began to work in conjunction with a company whose aim was to introduce into London from America the Hallidie system of cable traction, and in 1884 an act of Parliament was obtained authorizing what is now the City & South London Railway—a tube-railway to be worked by cables. This was begun in 1886, and the tunnels were driven by means of the Greathead shield, compressed air being used at those points where water-bearing gravel was encountered. During the progress of the works electrical traction became so far developed as to be superior to cables; the idea of using the latter was therefore abandoned, and when the railway was opened in 1890 it was as an electrical one. Greathead was engaged in two other important underground lines in London—the Waterloo & City and the Central London. He lived to see the tunnels of the former completed under the Thames, but the latter was scarcely begun at the time of his death, which happened at Streatham, in the south of London, on the 21st of October 1896.

GREAT LAKES OF NORTH AMERICA, THE. The connected string of five fresh-water inland seas, Lakes Superior, Michigan, Huron, Erie and Ontario, lying in the interior of North America, between the Dominion of Canada on the north and the United States of America on the south, and forming the head-waters of the St Lawrence river system, are collectively and generally known as “The Great Lakes.” From the head of lake Superior these lakes are navigable to Buffalo, at the foot of lake Erie, a distance of 1023 m., for vessels having a draught of 20 ft.; from Buffalo to Kingston, 191 m. farther, the draught is limited, by the depth in the Welland canal, to 14 ft.; lake Superior, the largest and most westerly of the lakes, empties, through the river St Mary, 55 m. long, into lake Huron. From Point Iroquois, which may be considered the foot of the lake, to Sault Ste Marie, St Mary’s Falls, St Mary’s Rapids or the Soo, as it is variously called, a distance of 14 m., there is a single channel, which has been dredged by the United States government, at points which required deepening, to give a minimum width of 800 ft. and a depth of 23 ft. at mean stage water. Below the Sault, the river, on its course to lake Huron, expands into several lakes, and is divided by islands into numerous contracted passages. There are two navigated channels; the older one, following the international boundary-line by way of lake George, has a width of 150 to 300 ft., and a depth of 17 ft.; it is buoyed but not lighted, and is not capable of navigation by modern large freighters; the other, some 12 m. shorter, an artificial channel dredged by the United States government in their own territory, has a minimum width of 300 ft. and depth of 20 ft. It is elaborately lighted throughout its length. A third channel, west of all the islands, was designed for steamers bound down, the older channel being reserved for upbound boats.

Between lake Superior and lake Huron there is a fall of 20 ft. of which the Sault, in a distance of m., absorbs from 18 to 19 ft., the height varying as the lakes change in level. The enormous growth of inter-lake freight traffic has justified the construction of three separate locks, each overcoming the rapids by a single lift—two side by side on the United States and one on the Canadian side of the river. These locks, the largest in the world, are all open to Canadian and United States vessels alike, and are operated free from all taxes or tolls on shipping. The Canadian ship canal, opened to traffic on the 9th of September 1895, was constructed through St Mary Island, on the north side of the rapids, by the Canadian government, at a cost of $3,684,227, to facilitate traffic and to secure to Canadian vessels an entrance to lake Superior without entering United States territory. The canal is 5967 ft. long between the extremities of the entrance piers, has one lock 900 ft. long and 60 ft. wide, with a depth on the sills at the lowest known water-level of 20 ft. The approaches to the canal are dredged to 18 ft. deep, and are well buoyed and lighted. On the United States side of the river the length of the canal is 1 m., the channel outside the locks having a width varying from 108 to 600 ft. and depth of 25 ft. The locks of 1855 were closed in 1886, to give place to the Poe lock. The Weitzel lock, opened to navigation on the 1st of September 1881, was built south of the old locks, the approach being through the old canal. Its chamber is 515 ft. long between lock gates, and 80 ft. wide, narrowing to 60 ft. at the gates. The length of the masonry walls is 717 ft., height 39 ft., with 17 ft. over mitre sills at mean stage of water. The Poe lock, built because the Weitzel lock, large and fully equipped as it is, was insufficient for the rapidly growing traffic, was opened on the 3rd of August 1896. Its length between gates is 800 ft.; width 100 ft.; length of masonry walls 1100 ft.; height 43 to 45 ft., with 22 ft. on the mitre sill at mean stage.

The expenditure by the United States government on the canal, with its several locks, and on improving the channel through the river, aggregated fourteen million dollars up to the end of 1906. Plans were prepared in 1907 for a third United States lock with a separate canal approach.

The canals are closed every winter, the average date of opening up to 1893 being the 1st of May, and of closing the 1st of December. The pressure of business since that time, aided possibly by some slight climatic modification, has extended the season, so that the average date of opening is now ten days earlier and of closing twelve days later. The earliest opening was in 1902 on the 1st of April, and the latest closing in 1904 on the 20th of December.

Around the canals have grown up two thriving towns, one on the Michigan, the other on the Ontario side of the river, with manufactories driven by water-power derived from the Sault. The outlet of lake Michigan, the only lake of the series lying wholly in United States territory, is at the Strait of Mackinac, near the point where the river St Mary reaches lake Huron. With lake Michigan are connected the Chicago Sanitary and Ship canal, the Illinois and Michigan, and the Illinois and Mississippi canals, for which see Illinois. With lake Huron is always

title: Page:EB1911 - Volume 12.djvu/416


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/307

CANTO IV.] CANTO THE FOURTH.

are Poets who have never penned

Their inspiration, and perchance the best:

They felt, and loved, and died, but would not lend

Their thoughts to meaner beings; they compressed

The God within them, and rejoined the stars

Unlaurelled upon earth, but far more blessed

Than those who are degraded by the jars

Of Passion, and their frailties linked to fame,

Conquerors of high renown, but full of scars.

Many are Poets but without the name;

For what is Poesy but to create,

From overfeeling, Good or Ill, and aim

At an external life beyond our fate,

And be the new Prometheus of new men,

Bestowing fire from Heaven, and then, too late,

Finding the pleasure given repaid with pain,

And vultures to the heart of the bestower,

Who, having lavished his high gift in vain,


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/308

270 Lies chained to his lone rock by the sea-shore?

So be it: we can bear.—But thus all they

Whose Intellect is an o'ermastering Power

Which still recoils from its encumbering clay

Or lightens it to spirit, whatsoe'er

The form which their creations may essay,

Are bards; the kindled Marble's bust may wear

More poesy upon its speaking brow

Than aught less than the Homeric page may bear;

One noble stroke with a whole life may glow,

Or deify the canvass till it shine

With beauty so surpassing all below,

That they who kneel to Idols so divine

Break no commandment, for high Heaven is there

Transfused, transfigurated: and the line

Of Poesy, which peoples but the air

With Thought and Beings of our thought reflected,

Can do no more: then let the artist share

The palm, he shares the peril, and dejected

Faints o'er the labour unapproved—Alas!

Despair and Genius are too oft connected.

Within the ages which before me pass

Art shall resume and equal even the sway

Which with Apelles and old Phidias

She held in Hellas' unforgotten day.

Ye shall be taught by Ruin to revive

The Grecian forms at least from their decay,

And Roman souls at last again shall live

In Roman works wrought by Italian hands,

And temples, loftier than the old temples, give

New wonders to the World; and while still stands

The austere Pantheon, into heaven shall soar

A Dome, its image, while the base expands


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/309

CANTO IV.] Into a fane surpassing all before,

Such as all flesh shall flock to kneel in: ne'er

Such sight hath been unfolded by a door

As this, to which all nations shall repair,

And lay their sins at this huge gate of Heaven.

And the bold Architect unto whose care

The daring charge to raise it shall be given,

Whom all Arts shall acknowledge as their Lord,

Whether into the marble chaos driven

His chisel bid the Hebrew, at whose word


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/310

272 Israel left Egypt, stop the waves in stone,

Or hues of Hell be by his pencil poured

Over the damned before the Judgement-throne,

Such as I saw them, such as all shall see,

Or fanes be built of grandeur yet unknown—

The Stream of his great thoughts shall spring from me

The Ghibelline, who traversed the three realms

Which form the Empire of Eternity.

Amidst the clash of swords, and clang of helms,

The age which I anticipate, no less

Shall be the Age of Beauty, and while whelms

Calamity the nations with distress,

The Genius of my Country shall arise,

A Cedar towering o'er the Wilderness,

Lovely in all its branches to all eyes,

Fragrant as fair, and recognised afar,


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/311

CANTO IV.] Wafting its native incense through the skies.

Sovereigns shall pause amidst their sport of war,

Weaned for an hour from blood, to turn and gaze

On canvass or on stone; and they who mar

All beauty upon earth, compelled to praise,

Shall feel the power of that which they destroy;

And Art's mistaken gratitude shall raise

To tyrants, who but take her for a toy,

Emblems and monuments, and prostitute

Her charms to Pontiffs proud, who but employ

The man of Genius as the meanest brute

To bear a burthen, and to serve a need,

To sell his labours, and his soul to boot.

Who toils for nations may be poor indeed,

But free; who sweats for Monarchs is no more

Than the gilt Chamberlain, who, clothed and feed,

Stands sleek and slavish, bowing at his door.

Oh, Power that rulest and inspirest! how

Is it that they on earth, whose earthly power

Is likest thine in heaven in outward show,

Least like to thee in attributes divine,

Tread on the universal necks that bow,

And then assure us that their rights are thine?

And how is it that they, the Sons of Fame,

Whose inspiration seems to them to shine

From high, they whom the nations oftest name,

Must pass their days in penury or pain,


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/312

274 Or step to grandeur through the paths of shame,

And wear a deeper brand and gaudier chain?

Or if their Destiny be born aloof

From lowliness, or tempted thence in vain,

In their own souls sustain a harder proof,

The inner war of Passions deep and fierce?

Florence! when thy harsh sentence razed my roof,

I loved thee; but the vengeance of my verse,

The hate of injuries which every year

Makes greater, and accumulates my curse,

Shall live, outliving all thou holdest dear—

Thy pride, thy wealth, thy freedom, and even that,

The most infernal of all evils here,

The sway of petty tyrants in a state;

For such sway is not limited to Kings,

And Demagogues yield to them but in date,

As swept off sooner; in all deadly things,

Which make men hate themselves, and one another,

In discord, cowardice, cruelty, all that springs

From Death the Sin-born's incest with his mother,

In rank oppression in its rudest shape,

The faction Chief is but the Sultan's brother,

And the worst Despot's far less human ape.

Florence! when this lone spirit, which so long

Yearned, as the captive toiling at escape,

To fly back to thee in despite of wrong,

An exile, saddest of all prisoners,


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/313

CANTO IV.] Who has the whole world for a dungeon strong,

Seas, mountains, and the horizon's verge for bars,

Which shut him from the sole small spot of earth

Where—whatsoe'er his fate—he still were hers,

His Country's, and might die where he had birth—

Florence! when this lone Spirit shall return

To kindred Spirits, thou wilt feel my worth,

And seek to honour with an empty urn

The ashes thou shalt ne'er obtain—Alas!

"What have I done to thee, my People?" Stern

Are all thy dealings, but in this they pass

The limits of Man's common malice, for

All that a citizen could be I was—

Raised by thy will, all thine in peace or war—

And for this thou hast warred with me.—'Tis done:


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/314

76 I may not overleap the eternal bar [About the year 1316 his friends obtained his restoration to his country and his possessions, on condition that he should pay a certain sum of money, and, entering a church, avow himself guilty, and ask pardon of the republic.

The following was his answer to a religious, who appears to have been one of his kinsmen: "From your letter, which I received with due respect and affection, I observe how much you have at heart my restoration to my country. I am bound to you the more gratefully inasmuch as an exile rarely finds a friend. But, after mature consideration, I must, by my answer, disappoint the writers of some little minds.... Your nephew and mine has written to me ... that ... I am allowed to return to Florence, provided I pay a certain sum of money, and submit to the humiliation of asking and receiving absolution.... Is such an invitation then to return to his country glorious to d. all. after suffering in exile almost fifteen years? Is it thus, then, they would recompense innocence which all the world knows, and the labour and fatigue of unremitting study? Far from the man who is familiar with philosophy, be the senseless baseness of a heart of earth, that could imitate the infamy of some others, by offering himself up as it were in chains. Far from the man who cries aloud for justice, this compromise, by his money, with his persecutors! No, my Father, this is not the way that shall lead me back to my country. I will return with hasty steps, if you or any other can open to me a way that shall not derogate from the fame and honour of d.; but if by no such way Florence can be entered, then Florence I shall never enter. What! shall I not every where enjoy the light of the sun and the stars? and may I not seek and contemplate, in every corner of the earth, under the canopy of heaven, consoling and delightful truth, without first rendering myself inglorious, nay infamous, to the people and republic of Florence? Bread, I hope, will not fail me."—Epistola IX. Amico Florentino: Opere di Dante, 1897, p. 413.]

Built up between us, and will die alone,

Beholding with the dark eye of a Seer

The evil days to gifted souls foreshown,

Foretelling them to those who will not hear;

As in the old time, till the hour be come

When Truth shall strike their eyes through many a tear,

And make them own the Prophet in his tomb. Ravenna, 1819.


text:
Author:Karl Adolph Paalzow

Scientific Papers

 * "Ueber die Richtung und die Art der Entladung des Haupt- und des Nebenstromes der Leydner Batterie." Berlin Monatsbericht, 1860, pp. 497-500
 * "Ueber die Magnetisirung von Stahlnadeln durch den Strom einer Leydner Batterie." Berlin Monatsbericht, 1862, pp. 645-647
 * "Untersuchung über die Wärme des electrischen Funkens." Berlin Monatbericht Akad, 1865, pp. 563-566. Translated as "On the Heat of the Electric Spark," Philosophical Magazine Vol. 31, 4th series, pp. 427-429
 * "Ueber das Leitungsvermögen einiger Flüssigkeiten für Wärme," Annal. Phys. Chem. 134, 1868, pp. 618-620. Translated as "On the Conductivity of some Liquids for Heat," Philosophical Magazine, Vol. 35, 4th series. pp. 469-471.
 * "Ueber den galvanischen Widerstand von Flüssigkeiten," Berlin Monatsbericht Akad. 1868, pp. 486-491. Translated as "On the Galvanic Resistance of Liquids," Philosophical Magazine, Vol. 37, 4th series. pp. 271-275.

title: Author:Karl Adolph Paalzow


text:
Talk:In Event of Moon Disaster

A sad and deeply moving statement. But I wonder if the reaction instead would have been to announce an effort to rescue Armstrong and Aldrin from their moon tragedy and hope that they could survive until that rescue took place. We don't like to announce failure in such a stark tone.
 * I don't know whether or not that would be feasible today, but back then it surely would not have been. Every space shot was done on a shoestring and always on the edge of disaster and bleeding edge of technology. I am sure they discussed that possibility, but I have to think it would have been impossible to mount a rescue mission - amounting to basically having a complete Saturn V + Apollo + Moon lander hot standby - in such short time. Fool4jesus (talk) 13:30, 10 April 2015 (UTC)

title: Talk:In Event of Moon Disaster


text: Tensing Exercises

title: Tensing Exercises