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74 sent down South for assay, receiving in return very rude letters about them which puzzled him. But Hughes did stumble across something once, though by accident. An old German prospector died and left behind a small lease which he had been working. The water had been bad in the well he sank, and the old fellow had grown worse and worse, dying eventually of arsenical poisoning.

Now arsenical poisoning meant very little to Hughes, but a great deal to Cameron and Pegus, who were always sniffing around for anything "good," and quickly scented arsenical pyrites. So Cameron, Pegus, Hughes and a borrowed Chinaman soon had the old German's lease looking as though a lot of Gullivers had been playing cribbage on it and using gigantic matches for pegs. And they wern't satisfied.

Higgins was a quiet old chap who knew a good bit about mining. He had been out to Buchanan several times nosing round. He pegged out 75 acres at Mount Madden—more as a blind, I think, than anything else—and one day drove his pegs home on Buchanan, when no one was about. But Hughes and his gang disputed him and Pegus, one of them, being Warden of the Field, had laid official hands upon it.

Higgins was a hard-faced old man, who looked at life between the lies and the jokes as rather a serious thing. He lived at Ahlers' but never drank anything, so he was referred to when out of earshot disrespectfully as "Dot damned old Higgins." He came in to meals regularly and never passed anything. When Ahlers wanted to be satirical he would refer to the climate as being "Splendid for yong beebles und old men," and with a look at Higgins that it "gaf, yon healthy abetites."

"I'll trouble you for a bit more of that steak, Jimmy," was all the answer old Higgins gave, and Jimmy, the Chinese cook, would laugh serenely and bring the steak.

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Rh I sat next to Higgins. The old music box on the table between the windows just behind me had a way of going off unexpectedly with three bars of "Annie Laurie" and then petering out. Every man within a hundred miles had shaken bits of "Annie Laurie" out of that old box, which was one of the stories of Maytown, together with the worsted-worked pictures of Koenig Wilhelm and a stuffed crocodile out of the Mitchell River. The piano in the corner was a compound fractured instrument, of German origin, that emitted nothing but Wagnerian noises whether you played "God Save the Queen" or "Hail, Columbia!" on it. Ahlers had lent it to Isaac Brown for a dance some ten years before. It had been dropped on the way down hill, and the sounding board broken in two. Bob Jenkins, blacksmith from the "Comet," had come to its rescue and a sailorman "who knew how to splice wire," had fixed the other part. Then a traveling dentist who did something to Mrs. Ahlers' teeth had a go at it.

This made it ready for Miss Ahlers to play. Miss Ahlers was a big girl with a "musical ear." Where the music box left off with "Annie Laurie" she went on and thumped out the rest on "Old Wagner." She helped the "black gin" make the beds when she wasn't busy playing "Annie Laurie," but that wasn't often. My first recollection of Maytown, is rolling out of my saddle to "Annie Laurie" and, as I rode down hill on my way "home" among the "so longs!" "come back some days" and "don't forget us alls," I caught the strain of "Annie Laurie" with every other tooth out.

But to go back to Higgins: He had confided with me that he believed that Hughes and his gang had pegged out the wrong ground at Buchanan, and that the lode lay more to the eastward. So I had promised to go out with him and take up the more promising ground on the following Monday.

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76 This was Saturday, and everyone was in camp for an incidential drunk and to wait over Sunday for the arrival of the mail. The day was fading when Hughes sat down beside me on Ahlers' verandah, and began poking out quartz pebbles with the butt end of a piece of iron-bark.

"Damned hot!" said Hughes.

"Not so damned," I grunted for the sake of argument.

Long pause while he pushed out another pebble. Then he threw one at the dog. "Shmoker" knew he was quite safe, so he lay still.

"Been out at the Queen to-day" Hughes looked far away where the sun was setting behind the hills and drew squares in the soft red earth.

"No."

Another long pause, then, "I just came in from Buchanan," he said.

"So!" I knew it already, but I saw Hughes was leading for an opening.

"Fine show out there—why don't you go and have a look at it?"

"Heard you'd got it all." Hughes looked at me. I felt it.

"There's lots more to the eastward. Hughes drew another square.

"Why don't you take it up them?"

"Oh, I don't know. . . . Got a match?"

"I should if I thought it good. . . . Yes, here's one."

"Heard you were going out Monday with Higgins."

"Did you?"

"Yes." Hughes lit his pipe. The light in the west was failing fast.

"Well, perhaps I will."

"Going to peg out?" As the match flared up between the puffs, I could see Hughes' little beady eyes squinting out of their corners at me.

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text: The Dictionary of Australasian Biography/Sherwin, Amy


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Rh "I might."

Then there was another long pause. It was almost dark and the lights of the camp here and there stood out like gems against the deep of the moonless sky. Shmoker saw the Chink's cat—-otherwise all was hushed and still.

Hughes finally broke the silence. "I thought of taking up that ground to the east," he announced, "but I wired to Melbourne and they said, 'No.' It ain't any good anyhow, shouldn't advise you to peg there. I tried a prospect—no good!"

If Hughes hadn't pulled the possum out of his shirt and diverted attention by getting up and "Ketchy-ketchying" the little beast, I might not have thought much of what he said. But somehow, Shmoker's crooked tail, Hughes and the possum combined suggested things crooked, deep and cunning—and from that moment, I knew the ground was worth having.

"So long!" Hughes and the possum went off into the night.

"So long! . . . . Hello! what's he going that way for?" I thought.

Instead of turning into Ahlers', Hughes struck out between that pub and Cameron's and disappeared in the dark. This set me to thinking that he was going to hunt up Cameron.

I saw Higgins coming down from the Chink's store and waited for him to pass. O'Regan was with him and Isaac Brown. As soon as they dropped him and went into Ahlers', I tackled the old man.

"Higgins," said I, "Hughes is up to something."

"Good God!" He blurted out as though he had been shot, not waiting to hear what it might be.

"He asked me if I were going out to Buchanan with you to-morrow and I said maybe I would."

"And yer will, won't yer? Look here, sir, I tell you that Mount Buchanan ground is the biggest thing I ever saw—there's millions in it."

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78 "Hughes says there isn't anything."

"My God, what liars some people are! He—why he don't know a bit of quartz from a brickbat. Nothing in it! What's he pegged out all that ground for—seventy-five acres—if there ain't nothing in it?"

"Now, don't go off your head," I said, "I know there's something in it, but Hughes thinks I'm going to peg out and wants to get ahead of me. Now, Higgins, what's to be done? I don't know the track to Buchanan, nor do you—it's pitch dark—the moon won't be up for an hour and I'll bet you drinks they're off to Buchanan the minute they can see."

Higgins cursed his own stupidity in not making me go out to Buchanan before and almost wept. Buchanan had been his pet scheme. He hadn't the money to take up ground, but I had, so he had trusted to me. Now what was to be done?

"Higgins," said I solemnly, "I have a plan."

"My God—what?" cried the old fellow, excitedly.

"You must get drunk, Higgins."

"I—drunk!—Good God, I never did such a thing in my life!"

"Well, Higgins, you must do it now. The fate of Buchanan depends on your getting drunk."

"I can't do it, sir—I can't do it."

"Very well, if you can't you can't."

"My principles, sir!"

"Somebody's got to or we lose Buchanan."

"I've never touched a drop since I came on the field. It would be such a scandal!" The old man paused and thought. "Why must I get drunk?"

"To give me time."

"What for?"

"To save Buchanan."

"For God's sake, how can my getting drunk save Buchanan?"

"Higgins, I know Hughes is going to get ahead of

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Rh us. The only way to stop him is to get him drunk. You must do it."

"There's Cameron, too, sir."

"You must fill him up also, Higgins."

"Sir," said the old man solemnly, "I cannot bring myself down so low. I'm a sober, God-fearing, respectable man and if I get drunk, I could never show my face in Maytown again, but, sir, I know a man who would be only too pleased—"

"Higgins, how can you suggest such a thing?"

"Sir, Bob Jenkins would do it like a shot."

"Bob's away out at the Comet."

"Well, then there's Isaac Brown."

This was true. To Isaac a good soak would be a midsummer night's dream. Higgins saw that I hesitated. Before I could stop him, he had called Brown out of Ahlers' bar. "Brown," he said, "Mr. Bellew wentswants [sic] you to get drunk."

"Holy mother—what!"

"Here are a couple of pounds, Brown," I chimed in before he recovered. "I want you to get hold of Cameron and Hughes, start drinking and keep them at it until morning."

"Two pounds! You bet your sweet life! I'll make 'em drunker than lords." Brown, asking no questions, went off in search of Cameron and Hughes, whom he met coming from Wonacott's, in whose paddock they kept their horses hobbled.

"Now, Higgins, who knows the road to Buchanan?" I asked as soon as we had watched Brown manoeuvre his quarry into Ahlers' bar.

"There's no one except Paddy Fahey. He's going out to Mount Madden to-morrow, been making there for months. Buchanan's seven miles beyond, and Paddy's the only man who knows the track."

In a few minutes we stumbled into Paddy's, where a fat girl was playing the "Maiden's Prayer" on an instrument that was once a harmonium. In the old

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80 days, a few of "the boys" had celebrated New Year's with its help, and every time drinks were called, they poured a whiskey into its works to give them tone. Now the harmonium groaned and grunted out intermittent noises as though afflicted with chronic asthma.

I was presented to Paddy, and he stopped the "Maiden's Prayer" by introducing me to the fat girl. Then we withdrew with Paddy and drinks to convert him to our needs. Paddy was delighted with me, because I was an Irishman. He was the only man in the field who really knew anything about mining. The Palmer Gold Field comprised about two hundred square miles and, according to Paddy, there was "one damned fool for every square mile." Soon and readily enough, I had him talking about Mount Madden, where he worked.

"Sure, son," he exclaimed, "it's a great show! There's millions of tons of stuff in sight and it all goes about half an ounce. I've been shepherding the ground for over a year and none of 'em knows anything about it but me. There's Buchanan beyond it, too—"

"I hear that's good, Paddy," I broke in.

"Good, son? It's a Mount Moyan over again, but them damned fools, Hughes and Cameron, don't know anything about it at all, at all."

"They don't, eh?"

"Holy mother, why they've pegged right away from the lode. It's running to the east'ard and they've gone north."

"The lode goes east, Paddy?"

"It does, son. Why yez can see the foot-wall in the creek and follow it right up the mountain on the other side. That's the ground to take up."

"Who's got it?"

"No one, son."

"Paddy, I want you to peg out the whole of the eastern ground for me."

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Rh "Sure I will, son."

"How much do you want for the job?"

"Sure, yer honor, I'll lave that entoirely to yez. It's thirty mile out and thirty mile in, and the divil's own track, and there's the wages and the horses, and there's lavin' me own worruk and—"

"That's all right, Paddy. Name your price and, if I think it's worth it, I'll pay it."

"Cash down, son?"

Paddy had evidently been bitten before. "Cash down, Paddy." I showed him a roll of notes.

"Make it foive pounds, son, and I'll do it."

"Right, Paddy! When will you start?"

"To-morrow morning, son."

"No, Paddy—to-night."

"Holy God, to-night!"

"Now!"

"Now!" Paddy could not get any other word out.

"Now, Paddy, and I'll give you five pounds and another five pounds when you've done the job."

"But, son, it's as dark as the mouth of Hell and me horses are down the river."

I counted out five pounds and toyed carelessly with them. Paddy brought his fist down on the table and cried, "By God, I'll do it."

When I saw he meant business, I handed him the five pounds and told him about Cameron and Hughes intending to get ahead of us.

"Them two damn fools! Why, son, they couldn't find the Buchanan track in the dark to save their skins. It's all they can do to get there by daylight, and I know a short cut round by the Limestone track and Sandy Creek that'll cut off an hour and a half at least."

Then I told him of my plan. He was to round up his horses, saddle the one he intended to ride and tie it up in the bush out of sight. He was to bring in another horse already saddled and hitch him to the

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Rh borne in mind, viz., the thickness of the body at that part, for if the shoulders are largely developed in the front, the same or almost the same provision must be made as for square shoulders. Then there is still another feature, viz., that with short-necked figures the thickness of the neck from side to side is more than would be the case with the normal figure, whilst with the long-necked figure the diameter is less. This we account for in the following way: In the short neck the muscles go up from the shoulder to the neck more suddenly, and so increase the diameter from side to side, and vice versa. Hence, the only mode of fixing the correct amount of height of neck in all cases is by direct measure, division of length or width being both erroneous, and will lead the cutter who trusts in them astray.

This may either be done by measuring from the centre of back or the centre of front: either method is reliable, though, for our own pare, we prefer measuring from the centre of front, as it is not affected by any variation in the allowance for making up or ease. But important as is the location of the front of scye—and it is one of the most important in the garment—there is another part which claims an equal share of attention, viz., the bottom, or what is usually termed the depth of scye. This may be done in two ways: either by measuring from waist line upwards, or by getting a true horizontal line round the figure level with the bottom of scye with a tape, as illustrated on Figure 8, or by means of a square. We prefer the latter method, as the run of waist is often out of the true horizontal, and liable to be disturbed by fashion, such as when prominent bustles were worn, the length of waist being shortened behind. We do not consider the one-third of the circumference used in connection with a quantity for the height of neck equal to this direct measurement method, as the arm develops in various ways, and when the muscles develop it forms anything but a circle, and consequently such a method would provide too much length in the back section.

This is made either by suppression, or what is equivalent, drawing in and pressing the fulness away. In practical tailoring there are three relative lengths: the hollow, the straight, and the round; and if we remember the effect of those on the adjoining parts, we shall be materially helped in fitting the various forms. Thus, if we cut a hollow back seam, it will fit very snug down the centre, but as it will be brought to a straight line when on the figure, it will throw fullness over the blades, and if there are no sideseams, fulness round the back of scye. It is well to remember that any deviation from the straight line for either back or front, must be made to provide for prominence or depression, the hollow giving extra room, the straight being normal, and the round producing shortness on all the surrounding parts. Thus, it will be seen, there are no figures that require a round front edge to their garments, as there is a development of breast to be provided for in both male and female figures: though, if darts are not permissable, the round front edge may be cut, but it must always be manipulated back to the straight line if a proper fitting garment is desired. There is one point we must specially call attention to, viz., suppression at one part causes fulness both above and below, and the greater the suppression the greater the fulness, hence the waist must be suppressed with the view of providing for the prominence of blades, breasts, &c. Closely allied to this question of provision for prominence, &c., is

This can only be successfully met by a series of short sectional measures, starting from fixed points and going over those parts where the muscles are likely to develop. In cutting from block patterns, provision may be made for this by the insertion of wedges, but it should be understood that the insertion of the wedge at any part will have a purely local effect, and, indeed, it is in this feature of it that its greatest value consists.

In attitude we have a principle of the greatest importance, for unless the attitude of your customer is duly considered, it will be impossible to produce a fit. Many cutters meet this successfully by the aid of a trained eye; but that takes some time to acquire. We prefer taking such measures as will of themselves indicate the relative lengths of back and front, which really constitute the balance. The attitude of the figure indicates whether they stoop or stand erect, and as every cutter knows what would fit the one would not fit the other, it becomes necessary to make it one of the special points to be observed, regulating in each case the relative lengths of back and front in accordance with the customer's requirements. These few ideas on the principles must suffice, so we now briefly describe the

First, take the size round chest, rather easily, close up to the bottom of the arms on a level with 7, figure 8; next take the waist at 8, tightly; next the hips


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82 post outside the pub. If Hughes suspected and was watching, the hitched horse would keep him from starting till daylight. The moon would be up in half an hour. Paddy could get away then on the hidden horse, peg out fifty acres at Buchanan at dawn and be on his way back before the others got out to the ground."

Paddy roared. Higgins breathed freely, a weight seemed to be lifted from his mind. "Done it without getting drunk, sir, thank God!"

Paddy grabbed my hand. "Buchanan's yours, son, unless I fall down on the road and break me neck."

Paddy slipped away down the hill, and Higgins and I strolled up to Ahlers', where we found Isaac Brown doing his duty manfully. We helped him along a bit, I taking a drink and old Higgins a cigar, then we strolled out of the bar.

Down the road, now brightly lighted up by the moon, stood a boney old roan all saddled and hitched, and known to every one for a hundred miles around as Paddy's "Derby Winner." In the still of the night, we could hear the quick step of a distant horse and presently, the "splash—splash—splash!" of the water as it took the ford at the Palmer River.

Higgins chuckled and his wrinkled old face lit up with glee. "Taking the Limestone track," he whispered, "strikes off for Buchanan at Dog Leg Creek. It's an awful road, no one but Paddy could pick it up after leaving old Limestone. Hughes and his crowd have to go out by the Queen and cross the river way up at the Alexandra, miles further."

"When will Paddy get there?"

"Daylight."

"Well, we agreed to meet him at Mount Madden on his way back. I'm going to turn in."

"So long!" Old Higgins went off chuckling and muttering to himself. I, myself, was just going into

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Rh the yard when I saw Cameron lurch out of the bar. Later on, I learned all that happened.

Cameron clung to the door, his drink-sodden eyes with both arms flung wildly about one of the posts. Suddenly, his wandering eye lighted on Paddy's hitched horse. Drawing his hand across his eyes as if he were not sure of what he saw, he looked again. With a curse, he lumbered back to the bar calling to Hughes.

Hughes was singing for dear life all he knew of "Ta-ra-ra-boom-de-ay," which after several years down South he had introduced to the Palmer, where the song won instant favor. He was too drunk to pay any attention to Cameron's excited call.

Cameron clung to the door, his dring-sodden eyes glaring wildly at his fuddled partner. "Paddy Fahey—" he began.

"Paddy Fahey be damned!" cried Ahlers, keeper of the rival pub.

"Paddy Fahey!" roared Cameron.

"Shut up! Have another drink!" yelled Isaac Brown.

Cameron staggered across the room and clutched Hughes by the arm. "Paddy Fahey!" he screamed.

Hughes stopped singing with an ill grace. "Well, what the hell about Paddy Fahey?" he snarled.

"Paddy Fahey—Paddy Fahey's horse is saddled and hitched up ready to start somewhere!"

"Well, what the blaze's that got to do with us" Hughes brooded only over how soon he could break out into song again.

"Yer damn fool! If Paddy ain't going somewhere, what's his horse saddled up for?"

"Well, s'pose he is?" laughed Hughes. "Why yer blistering idiot, he's going to Mount Madden, what do we care?"

"Like the devil he cares a damn, about Mound Madden!"

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84 "Oh to hell with Paddy, let's have another drink!" broke in Isaac Brown.

"Right O!" chimed in Ahlers, reaching for the whiskey.

"Ta-ra-ra-boom-de-ay!" began Hughes again. He attempted a passeul on his long thin legs that landed him in a heap on the floor.

"Look here!" cried Cameron, standing over him and shaking a fist in his face, "Look here, if you're too bloody drunk to see, I ain't. I saw Higgins and that damned London chap go into Paddy's just after you came up to my humpy."

"Well, what of it?" Hughes looked owlishly up at the big, black-bearded man standing over him.

"That chap's got to windward of us and he's gone and put Paddy on to going out to Buchanan first."

Hughes sprang to his feet.

"Sh! he's turned in long ago," exclaimed Ahlers, "I seed him ven I vent to the missus for the key to get some more vhiskey."

"And old Higgins?"

"He vas turn in too—I see him."

"Well, then, what's the row?" cried Hughes. "If those two's asleep and Paddy ain't gone yet, we're all right."

"But we shan't be in the morning unless someone starts pretty quick."

"Well, who's to go? By God, I'm too drunk to sit a horse," whimpered Hughes.

"Wouldn't make much difference if you were sober," jeered Brown. When Hughes rode out of camp on a horse, the animal generally came back alone. So did Hughes.

Hughes didn't like the joke. He glared at Isaac with his little beady eyes, hesitating whether to go for him or not. "I believe you know something about this business," he muttered.

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Rh "Yer damned smart at knowing things, ain't yer?" sneered Brown.

"You started this drinking to-night, by God!" yelled Hughes.

"By God, so he did!" broke in Cameron.

"Well, you never started any drinking since you came into Maytown, yer loafing swine!" retorted Brown.

"Shentlemen, shentlemen, come now, no rows in 'Mine Haus,' else I turn you all oudt," warned Ahlers.

"Turn us out, be damned! Give us another drink. What's the matter with you all, anyway? Come on, what yer going to have?"

Isaac's offer of drinks put an end to the trouble. But Cameron and Hughes took counsel. They secured a couple of black boys. One, they sent up to Kinnear, with a message telling of their suspicions, and asking that their horses be saddled ready to start for Buchanan at a moment's notice. The oher boy, they set on watch over Paddy's horse. At the worst, they could start just as soon as Paddy made a move and two men could peg out quicker than one. Agreeing on this, they settled down to drinking again. Soon, they were all rolling about on the floor, speechless and helpless.

But Kinnear was one of those foxey little men with a long thin nose and ferretty eyes that take no chances. He roused Wonacott, they saddled a couple of horses and came down. One glance at their helpless mates and they decided to run no risk but to start for Buchanan at once.

"But what are we going to do with Hughes and Cameron?" asked Wonacott.

"Leave the swine where they are." Kinnear swung up into his saddle and led the way off.

Shortly afterwards, old Ahlers and his wife woke me by dragging Hughes into the little room boarded off next to mine. Hughes was weeping over Mrs. Ahlers, whom he declared was hit best friend on earth,

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86 and over Ahlers, who was almost as drunk as himself. At last, between weeping and singing snatches of "Ta-ra-ra-Boom-de-ay," he passed out.

Next morning, I was waked by the sound in the next room of Cameron trying to rouse Hughes. He had great difficulty in making any impression upon his fuddled mate. I heard him whisper hoarsely that Paddy's horse was still hitched to the post.

"Horse! What horse?" mumbled Hughes.

"Paddy's, you fool!"

"Who's a fool! What Paddy?"

"Paddy Fahey—he's not gone to Buchanan."

"What the hell's the use of talking to you!" muttered Cameron, leaving Hughes to himself.

"Gone Buchanan—who's gone Buchanan?"

I turned out and unostentatiously prepared for going to Mount Madden, where we had agreed to go and wait for Paddy on his way back. I had my horse run in and saddled, one with the packs and three for riding. I looked to the saddles, wiped down the horses and gave them a feed of Indian corn, at which luxury they whinnied with delight. Old Higgins loaded up the packs with tea, flour, sardines, jam, sugar, boiled beef, bread and condensed milk, enough to last a week. Every one was astir by the time we came from a good breakfast, lighted our pipes, and got into our saddles. Just as we were starting, Hughes came out looking like a piece of chewed string. He straightened up against one of the verandah posts and waved an arm to me in an uncertain sort of way.

"Off to Buchanan?"

"Yes." I nodded to him. "So long!"

"Well, so long! Good luck!"

"Thanks."

"Going to peg out?"

"Perhaps." I wondered if he were too drunk to remember that Kinnear and Wonacott had started out

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Rh ahead of us in the night, as Higgins had learned and told me."

"Well, remember what I told you about the eastern ground. 'Tain't worth a damn. So long!"

"I'll have a look at it, anyway. So long!" We whipped up into line and away started the "pack" with us after it.

Cameron was coming out of Wonacott's place on the top of the hill as we clattered by it.

"Buchanan?" he shouted, with a grin all over his face.

"Yes," I yelled back.

"Good luck!" Over my shoulder, I saw him wave his arm and caught the universal, "So long!" as the horses under Higgins and I and the boy settled down into that long, swinging walk Australian horses keep up through the bush for hundreds of miles at a rate of five or six miles an hour.

We went out past the Queen, and prepared to cross the river at the Alexandre, where we picked up the newly made tracks of two horses going in our direction. The boy got down and examined them.

"That's Wonacott's track. I know that off hind shoe. See the nail holes; there's one too many. Bob Jenkins shoed him last Friday."

Could we be sure they had taken the long trial? If so, Paddy would have reached Buchanan hours ahead of them. "Whose is the other track?" I asked.

"Dunno. See it plainer the Other side where the ground ain't so sandy. It's some one with shoes anyway. 'Tain't Bob's—'tain't more'n a five-inch shoe."

We forded the Palmer and picked up the tracks, quite clear in the soft earth on the other side. "It's Kinnear's little mare," said the boy, after looking at the tracks for a minute.

"How d'ye know?"

"Here's a track in the mud where she's sunk in and turned it over lifting her feet out. She's got a

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88 brand burned into the hoof. See it! That's Winnear's. It ain't got the Government mark, the Q and arrow. Kinnear's is the only mare branded on the hoof up here except the Police."

So we felt tolerably sure that Kinnear and Wonacott had taken the long route and that Paddy must have beaten them to Buchanan barring mischance. We rode along happily and made his camp at Mount Madden about half past two. We put away our stores in the bough-shed, lighted a fire and barely had the billy boiling before we heard a "cooee." Climbing up the bank of the creek was Paddy's horse with Paddy on its bank roaring with laughter.

"Hullo, Paddy," I cried, "how did you get on?"

"Had the toime of me loife, son."

"Did you peg out?"

"Did I peg out! I did, son. I did that. Sure I got to Buchanan just as day was breaking, paced out the ground, cut me pegs and druv 'em in and all you've got to do now is to put in your application with the Warden."

"Did you see any one, Paddy,"

"Wait while I tell ye, son." Paddy jumped off the horse, cast loose the saddle and gave the horse a spank which sent it down to the creek for a drink. Then, while we ate, he told us all that had happened.

It seemed that after pegging out, Paddy saddled up and was jogging along quietly to camp when suddenly he came face to face with Kinnear and Wonnacott. The two men drew rein and stared blankly at Paddy. According to Paddy they were so surprised that he himself opened up first:

"'The top of the mornin,' says Oi."

"Where the hell have you come from?' says Kinnear."

"'Buchanan,' says Oi."

"'Buchanan!' says both of 'em together."

"'Yes, says Oi."

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Rh "'Been peggin' out?' asks Wonnacott."

"'That's my bizzness,' says Oi."

"'It's mine, too,' says he."

"'Ho!' says Oi, 'is it! Well then, the best thing ye can do,' says Oi, 'is to go on about your biznness and I'll go on about moine. Oi guess if yer mane peggin', yer pegs won't interfere wid moine. Oi've just marked off fifty acres to the east of the creek. Ye’ll foind me pegs alongside the prospecting claim.'"

"What 'll they do?" I asked.

"Nothin'—they can't."

But we had no more than finished eating, when we saw Kinnear and Wonnacott riding rapidly along the track, and they never even hailed us.

"They're up to something," cautioned Higgins. "P'raps they're going to get in first and lodge an application."

"They can't do that. Oi've pegged out the ground," objected Paddy.

"No one saw you peg it, Paddy."

The same idea struck us all. The two men would ride in, swear they had pegged and lodge an application ahead of ours. They would be two to one. Paddy and I dashed for our saddles, rounded up our horses and went off at a canter to pick up the trail, leaving Higgins and the boy to follow with the pack.

"We've got to take the Dog Leg trail, son," Paddy called out to me, "they've gone by the Queen, and it'll save us an hour and a half."

Nevertheless, we never drew rein until our worn-out horses stopped at the Warden's office. It was five o'clock and he was just about to leave.

"I want to lodge an application, O'Regan," I announced to the clerk acting as Warden until a new one should be appointed.

"All right, you're just in time. Come in!"

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90 We jumped down and made out the necessary forms. I paid the fees and then, O'Regan, Paddy and I all went over the Ahlers' to have a drink.

As we neared the pub, I saw Hughes sitting on the piazza. He looked up at us with a contented smile on his face.

"Been to Buchanan?" he asked.

"No," I answered.

"Thought you were going."

"So I was."

"Ho!"

His over-confidence was too blissful to disturb. I watched him saunter off to Cameron's. We went into the bar and were talking over the day's doings, when the clatter of hoofs brought us all out on the verandab.

Their horses white with dust and sweat, Kinnear and Wonnacott were riding into camp. When they saw us, they almost dropped from their saddles. They came no nearer than Cameron's, where Hughes came out to meet them, his face wide open with glee.

"Well?" he cried.

"You be damned," snapped Wonnacott.

Hughes's jaw dropped. "Why, what's up?" he demanded.

"You drunken fool! You've lost Buchanan, that's what's up!"

Then, they all disappeared into Cameron's, Hughes last and looking as if he feared that his possum too might turn on him.

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text: Short Stories (Bellew)/How We Pegged Buchanan


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574 There's Vamp, Scamp, and Mouthy, and Wordswords and Co.

With their damnable

Whom you speak to?

You're an author—a poet—

Can stand tamely in silence, to hear you decry

The Muses?

To the Nine; though the number who make some pretence

To their favours is such but the subject to drop,

I am just piping hot from a publisher's shop,

(Next door to the pastry-cook's; so that when I

Cannot find the new volume I wanted to buy

On the bibliopole's shelves, it is only two paces,

As one finds every author in one of those places:)

Where I just had been skimming a charming critique,

So studded with wit, and so sprinkled with Greek!

Where your friend—you know who—has just got such a threshing,

That it is, as the phrase goes, extremely "refreshing."

What a beautiful word!

And so cooling—they use it a little too oft;

And the papers have got it at last—but no matter.

So they've cut up our friend then?

Not a rag of his present or past reputotion,

Which they call a disgrace to the age, and the nation.


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ECL. I.]

Our poor friend!—but I thought it would terminate so.

Our friendship is such, I'll read nothing to shock it.

You don't happen to have the Review in your pocket?

(Very sorry, no doubt, since the cause is a brother's)

All scrambling and jostling, like so many imps,

And on fire with impatience to get the next glimpse.

Besides, our friend Scamp is to-day so absurd—

Quite enough; and, to tell you the truth, my retreat

Was from his vile nonsense, no less than the heat.

I'd inoculate sooner my wife with the slaver

Of a dog when gone rabid, than listen two hours

To the torrent of trash which around him he pours,

Pumped up with such effort, disgorged with such labour,

That come—do not make me speak ill of one's neighbour.

You compelled me, by speaking the truth

Is that your deduction?

I certainly follow, not set an example.

The fellow's a fool, an impostor, a zany.


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576 But we two will be wise.

Than Scamp, or the Jew's harp he nicknames his lyre,

To call you to this hotbed.

A fair lady

Pray get out of this hobble as fast as you can.

You wed with Miss Lilac! 'twould be your perdition:

She's a poet, a chymist, a mathematician.

If you and she marry, you'll certainly wrangle.

I say she's a Blue, man, as blue as the ether.

Which has lately sprung up from a wedlock with science.

She's so learnéd in all things, and fond of concerning

Herself in all matters connected with learning,

That

But there's five hundred people can tell you you're wrong.

The girl's a fine girl.

To her good lady-mother's reversion; and yet


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ECL. I.] Her life is as good as your own, I will bet.

Nothing more than the heart of her daughter and hand.

My talent is decent, as far as it goes;

But in rhyme

For the heart of the fair like a stanza or two;

And so, as I can't, will you furnish a few?

To slip into her hand at the very next rout.

Do you think me subdued by a Blue-stocking's eye,

So far as to tremble to tell her in rhyme

What I've told her in prose, at the least, as sublime?

Stick to prose—As sublime!!—but I wish you good day.

I own it; but, prithee, compose me the song.

Can I say to you more?

You disparage my parts with insidious abuse,

Till you think you can turn them best to your own use.


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578 To be sure makes a difference.

And you, who're a man of the gay world, no less

Than a poet of t'other, may easily guess

That I never could mean, by a word, to offend

A genius like you, and, moreover, my friend.

To a man of but come—let us shake hands.

And you know my dear fellow, how heartily I,

Whatever you publish, am ready to buy.

Indeed the best poems at first rather fail.

There were Renegade's epics, and Botherby's plays,

And my own grand romance

I myself saw it puffed in the "Old Girl's Review."

A clerical work of our Jesuits at home.


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ECL. I.] Have you never yet seen it?

That it threatened to give up the ghost t'other day.

Shall you be at the Countess of Fiddlecome's rout?

As friend Scamp shall be pleased to step down from the moon,

(Where he seems to be soaring in search of his wits),

And an interval grants from his lecturing fits,

I'm engaged to the Lady Bluebottle's collation,

To partake of a luncheon and learn'd conversation:

'Tis a sort of reunion for Scamp, on the days

Of his lecture, to treat him with cold tongue and praise.

And I own, for my own part, that 'tis not unpleasant.

Will you go? There's Miss Lilac will also be present.

But let us proceed; for I think by the hum

Or else we'll be kept here an hour at their levee,

On the rack of cross questions, by all the blue bevy.

Hark! Zounds, they'll be on us; I know by the drone

Of old Botherby's spouting ex-cathedrâ tone.

Aye! there he is at it. Poor Scamp! better join

Your friends, or he'll pay you back in your own coin.

But for God's sake let's go, or the Bore will be here.

Come, come: nay, I'm off. [Exit.


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580

'Tis high time for a "Sic me servavit Apollo."

And yet we shall have the whole crew on our kibes,

Blues, dandies, and dowagers, and second-hand scribes,

All flocking to moisten their exquisite throttles

With a glass of Madeira at Lady Bluebottle's. [Exit.

ECLOGUE THE SECOND.

An Apartment in the House of .—

A Table prepared.

solus.

Was there ever a man who was married so sorry?

Like a fool, I must needs do the thing in a hurry.

My life is reversed, and my quiet destroyed;

My days, which once passed in so gentle a void,

Must now, every hour of the twelve, be employed;

The twelve, do I say?—of the whole twenty-four,

Is there one which I dare call my own any more?

What with driving and visiting, dancing and dining,

What with learning, and teaching, and scribbling, and shining,


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ECL. II.] In science and art, I'll be cursed if I know

Myself from my wife; for although we are two,

Yet she somehow contrives that all things shall be done

In a style which proclaims us eternally one.

But the thing of all things which distresses me more

Than the bills of the week (though they trouble me sore)

Is the numerous, humorous, backbiting crew

Of scribblers, wits, lecturers, white, black, and blue,

Who are brought to my house as an inn, to my cost—

For the bill here, it seems, is defrayed by the host—

No pleasure! no leisure! no thought for my pains,

But to hear a vile jargon which addles my brains;

A smatter and chatter, gleaned out of reviews,

By the rag, tag, and bobtail, of those they call ";"

A rabble who know not But soft, here they come!

Would to God I were deaf! as I'm not, I'll be dumb.

I pray ye be seated, "sans cérémonie."

Mr. Scamp, you're fatigued; take your chair there, next me. [They all sit.

Lady Bluemount—Miss Lilac—be pleased, pray, to place ye;

And you, Mr. Botherby—

You were not at the lecture.


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582

But the heat forced me out in the best part—alas!

And when—

You have lost such a lecture!

I defy him to beat this day's wondrous applause.

The very walls shook.

I allow our friend Scamp has this day done his best.

Miss Lilac, permit me to help you;—a wing?

Lady Bluemount! a glass of Madeira?

Does he stick to his lakes, like the leeches he sings,

And their gatherers, as Homer sung warriors and kings?

Nor profane with your sneers so poetic a name.

For the poet of pedlers 'twere, sure, no disaster

To wear a new livery; the more, as 'tis not

The first time he has turned both his creed and his coat.


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ECL. II.]

'Tis his way.

A lecturer's.

He is made a collector.

There his works will appear

What you say?

That whatever he means won't alloy what he says.

'Twas in your defence.

I can make out my own.

While you live, my dear Botherby, never defend

Yourself or your works; but leave both to a friend.

Apropos—Is your play then accepted at last?


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584

A few green-room whispers, which hinted,—you know

That the taste of the actors at best is so so.

And fear," as the Greek says: for "purging the mind,"

I doubt if you'll leave us an equal behind.

For a spice of your wit in an epilogue's aid.

Is it cast yet?

As is usual in that most litigious of arts.

However, to save my friend Botherby trouble,

I'll do what I can, though my pains must be double.

Your parts, Mr. Inkel, are

Stick to those of your play, which is quite your own line.

On Wordswords, for instance, I seldom alight,


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ECL. II.] Or on Mouthey, his friend, without taking to flight.

Will right these great men, and this age's severity

Become its reproach.

So I'm not of the party to take the infection.

Have taken already, and still will continue

To take—what they can, from a groat to a guinea,

Of pension or place;—but the subject's a bore.

What say you to this?

Though their system's absurdity keeps it unknown.

Is to see Nature's triumph o'er all that is art.

Wild Nature!—Grand Shakespeare!

And my Lord Seventy-four, who protects our dear Bard,


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586 And who give him his place, has the greatest regard

For the poet, who, singing of pedlers and asses,

Has found out the way to dispense with Parnassus.

With old schools, and new schools, and no schools, and all schools.

I should like to know who.

To know who are not:—it would save us some worry.

This "feast of our reason, and flow of the soul."

Oh! my dear Mr. Botherby! sympathise!—I

Now feel such a rapture, I'm ready to fly,

I feel so elastic—"so buoyant—so buoyant!"

This gentle emotion, so seldom our lot

Upon earth. Give it way: 'tis an impulse which lifts

Our spirits from earth—the sublimest of gifts;

For which poor Prometheus was chained to his mountain:

'Tis the source of all sentiment—feeling's true fountain;

'Tis the Vision of Heaven upon Earth: 'tis the gas

Of the soul: 'tis the seizing of shades as they pass,

And making them substance: 'tis something divine:—


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ECL. II.]

To the Knight, as a landlord, much more than the Duke.

The truth is, each writer now quite at his ease is,

And (except with his publisher) dines where he pleases.

But 'tis now nearly five, and I must to the Park.

And you, Scamp—

For my lecture next week.

Out of "Elegant Extracts."

But remember Miss Diddle invites us to sup.

For the sciences, sandwiches, hock, and champagne!

For 'tis then that our feelings most genuinely—feel.


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588

I wish to the gods 'twas the same with digestion!

Is worth—God knows what.

For itself, or what follows—But here comes your carriage.

END OF VOL. IV.


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Page:The cutters' practical guide to the cutting of ladies' garments.djvu/14

6 level with 5, rather easily, always about 7 inches below waist. Now put the tape over shoulders and back under the bottom of armpit as shown on figure 8, and where the tape crosses the back in the true horizontal, make a mark at 2. Now take the depth of scye by measuring from W, 1 to 2: then natural waist length from W 1 to 3: then on to full length to 4, or, for Ulsters, to 6; next take the side length from 7 to 8, and continue on to 9 for long garments; next take the width of back as from 10 to 11, continuing on to 12 for the elbow, and 13 for the cuff; now come to the side of the front of the figure, and measure from 14 to 14 for the width across the chest, and then take a measure over the prominence of bust from 15 to 15; next take the neck measure from W 1 of figure 1, to 16 V of figure 2; then, with the tape still held at W 1, measure to the bottom of scye at 17, then to the prominence of bust at 18, on to the hollow of waist at 19, and if thought desirable to get the full length continue to 20, and for all full length garments continue to 21. Now take a measure from 2 of figure 1 up to 22 D, as indicated by dotted line on figure 8, and down to point 17 of figure 2. If thought advisable, these measures may be supplemented by the width of shoulder, the size of the sleeve, &c. These measures apply to all body garments.

For skirts, take the front length from 19 to 21, the side length from 8 to 9, the back length from 3 to 6, the size of waist and the size of hips. The same measures will supply all that is necessary for trousers, though a measure taken from waist to the seat of a chair, when the lady is seated, will give a good guide for the length of leg. A measure from centre of back to wrist bone will invariably give the accurate length of leg.

In addition to these, the tight size of knee, small, and calf must be obtained for breeches and gaiters.

A measure taken round seat and knee, with the leg raised as in the act of riding, will be useful for Riding Trains.

On the subject of measuring, a few words of advice may be useful. Avoid as far as possible nervousness, and, in every case, arrogance. Take your measures in a business-like way, and it will be found no lady objects to any measure being taken that is necessary for the proper production of the garment she is ordering. It is not so much what is done, as how it is done, and if the cutter can only become possessed of that beginning and middle and end of all business qualifications, tact, he will find no difficulty in this respect. In measuring, the cutter should use his eyes well, remembering that measuring is only a means to an end, and that often measures can be taken by the eye, which will prove more valuable in achieving the desired end than any that can be got by the tape; indeed, a trained eye is one of the most valuable acquirements the cutter can possess.

With the view of supplying our readers with the average sectional measures of the various sizes, we append the following scale compiled from measures actually taken in our own practice.

We now come to the more practical part of the work, and so apply the teachings of anatomy and experience to the various tailor-made garments which come within the cutter's range We will not occupy space with arguments on the merits or demerits of the various modes of cutting, such as by breast measure or direct measure; as, to our mind, the variation in the development of the bust alone is quite sufficient to put the breast measure method entirely out of the sphere of practicability for ladies' garments, and when we know the variation in form met with at different ages, this is still further pronounced. The lady who has reached the condition of "fat, fair and forty," bears little resemblance to the ideal type of womanly beauty to be met with amongst ladies of from twenty to thirty; hence the only method in the adoption of which we can see a fair prospect of success, is by the aid of


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CANTO I.] By myriads, when they dare to pave their way

With human hearts—to what?—a dream alone.

Can Despots compass aught that hails their sway?

Or call with truth one span of earth their own,

Save that wherein at last they crumble bone by bone?

XLIII.

Oh, Albuera! glorious field of grief!

As o'er thy plain the Pilgrim pricked his steed,

Who could foresee thee, in a space so brief,

A scene where mingling foes should boast and bleed!

Peace to the perished! may the warrior's meed

And tears of triumph their reward prolong!

Till others fall where other chieftains lead

Thy name shall circle round the gaping throng,

And shine in worthless lays, the theme of transient song.


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Rh 462 Index to Volume XLII. PAG Orkney, Earls of. See Hamilton, Lord George, (1666-1787) ; Pan! (A 1099) ; Sinclair, Wil- liam, Earl of Caithness (A 1480) ; Stewart, Kobert (fi. 1581); Stewart, Patrick (A 1616). Orleans, Duchessof, fifth daughter of Charles I. See Henrietta or Henrietta Anne (1644- 1670). Oriton or Orleton, Adam of (A 1845). See Adam. OrmorOrmin (fi. 1200?). . . .254 Orme, Daniel (1766 P-1832 ?). . . .256 Orme, Robert (1728-1801). . . .256 Orme, William (1787-1830). . . .257 Ormerod, Edward Latham (1819-1878). . 268 Ormerod, George (1785-1878). . . .258 Ormerod, George Wareing (1810-1891). . 260 Ormerod, Oliver (1580 P-1626). . . .260 Ormerod, WiUiam Piers (1818-1860). . 261 Orroesby or Ormsby, William de (A 1317). 261 Or mi dale, Lord. ' See Macfarlane, Robert (1802-1880). Ormin (fi. 1200). See Onn. Ormond, Lord. See Chambers, David (1530 ?- ). Ormonde, Dukes and Earls of. See Butler, James, second Earl (1331-1382) ; Butler, James, fourth Earl (A 1452); Butler, James, fifth Earl (1420-1461); Butler, James, twelfth Earl and first Duke (1610-1688); Butler, James, second Duke (1665-1745) ; Butler, John, sixth Earl (A 1478) ; Butler, Sir Pierce, eighth Earl (A 1539) ; Butler, Thomas, tenth Earl (1582-1614); Butler, Walter, eleventh Earl (1569-1633). Ormonde, Earl of. See Douglas, Archibald (1609-1655). Ormonde, Sir James (A 1497). . .262 Ormsby, William de (A 1817). See Ormesbv. Ornsby, George ( 1 809-1886 ). . . 263 Omsby, Robert (1820-1889). , . .264 Oronsay, Baron. See McNeill, Duncan, Baron Colonsay and Oronsay (1793-1874). O'Rourke, Sir Brian-na-Murtha (A 1591). 264 O'Rourke, Brian Oge or Brian- na-Samhthach, (A 1604). See under O'Rourke, Sir Brian- na-Murtha. O'Rourke, Edmund (1814-1879). See Fal- coner. O'Rourke, Tiernan (A 1172). . . .266 Orr, Hugh (1717-1798) 267 Orr, James (1770-1816). 267 Orr, John (1760 P-1835) 267 Orr, William (1766-1797). . . .268 Orrery, Earls of. See Boyle, Roger, first Earl (1621-1679); Bovle, Charles, fourth Earl (1676-1731) ; Boyle, John, fifth Earl ( 1701- 1762). Orridge, Benjamin Brogden (1814-1870). 269 Ortelius, Abraham (1527-1598). . .269 Ortelianus, Jacobus Coitus (1563-1628). See under Ortelius, Abraham. Orton, Job (1717-1783) 271 Orton, Reginald (1810-1862). . . .272 Orum, John (A 1486 ?) 273 Osbald (A 799) 273 Osbaldeston, George (1787-1866). . .274 Osbaldeston or Osbolston, Lambert (1594- ) 275 Osbaldeston, Richard (1690-1764). . .275 Osbaldeston or Osbolston, William (1577- 1645) 276 r-Aoa Osberht, Osbrith, or Osbyrht (A 867). . 277 Osbern (fi. 1090) 277 Osbern or Osbert (A 1103). . . .278 Osbern, Claudianus (/. 1148). .278 Osbert of Stoke ( /. 1136). See Clare, Osbert de, Osbolston. See Osbaldeston. Osborn Wyddel, i.e. the Irishman (fi. 1280). 279 Osborn, Elias (1643-1720) ... .279 Osborn, George (1808-1891). . . .280 Osborn, John (1684 ?-1634 ?). . . .281 Osborn, Robert Durie (1835-1889). . .281 Osborn, Sherard (1822-1875). . . .282 Osborne, Dorothy, afterwards Lady Temple (A 1695). See under Temple, Sir Wil- ( liam. j Osborne, Sir Edward ( 1530 P-1591 ) . 284 Osborne, Francis ( 1593-1659) . . . .285 ! Osborne, Francis, fifth Duke of Leeds (1751- ) 286 Osborne, George Alexander (1806-1893) . 289 . Osborne orOsborn, Henry (1698P-1771). . 290 Osborne, Peregrine, second Duke of Leeds I (1658-1729) . 291 i Osborne, Peter (1521-1592) . . . .292 I Osborne, Sir Peter (1584-1653). See under j Osborne, Peter. Osborne, Ralph Bcrnal (1808-1882). See Bernal. Osborne, Ruth (1680-1751) . . . .293 Osborne, Lord Sidnev Godolphin (1808- ) . . 294 Osborne, Sir Thomas, successively first Earl 1 of Danbv, Marquis of Carmarthen, and Duke of Leeds (1631-1712) . . . .295 Osborne, Thomas (A 1767) . . . .303 Osborne, William, M.D. (1736-1808) . . 305 Osbrith (A 867 ) . See Osberht. Osburga or Osburh (/. 861) . . . .305 Osgar, Oscar, or Ordgar (A 984) . . .305 Osgith orOsvth (fi. 7th cent.) SeeOsytb. Osgodbv, A<famde(A 1316) . . . .306 Osgod Oiapa (A 1054) 307 Osgoode, William (1754-1824) . . .307 ' O'Shanassy, Sir John (1818-1883) . . .308 i O'Shaughnessv, Arthur William Edgar (1844- ) 308 O'Shaughnessv, William (1674-1744) . . 309
 * O'Shaughnessy, Sir William Brooke (1809-

I 1889),aftcrwardsSirWilliamO'Shaughnessy
 * Brooke 310

! Oshere (/. 680) .311 Oskytel (A 971 ), whose name also appears as Oscrtel, Oschitel, Oschetel. Osketell, Aske- tillus, Uscytel, Usketillus, Oscekillus. .311 Oslac<#. 966) 811 Osier, Edward (1798-1863) . . . .812 Osmund (fi. 758) 313 Osmuud(/. 803) 313 Osmund or Osnier, Saint (A 1099) . . .313 Osred (697 ?-716) 815 Osrod (A 792) . 315 Osric (A 634) 315 Osric(A729} 815 Ossian or Oisin 316 Ossington, Viscount. See Denison, John Evelyn (1800-1873). Ossory, Earls of. See Butler, Sir Pierce or Piers, first Earl (A 1539) ; Butler, Thomas (1634-1680). Ossorv, Lord of See Cearbhall (A 888). Ostlef, William (/. 1601-1623). . .817


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Rh Index to Volume XLII. PAGE Ollyffe, John (1647-1717). . . .15. Olmius, John Luttrell-, third Earl of Car- hampton (d. 1829). Sec under Luttrell, James. O'Lochlainn, Domhnall (1048-1121). . 160 O'Lochlainn, Muircheartach (d. 1166). . 161 O'Logblen, Sir Colman Michael (1819-1877). 163 O'Loghlen, Sir Michael (1789-1842). . 168 O'Lothchain, Cuan (d. 1024). . . .161 O'Maelchonaire, Fearfeasa (ft. 1636). . 164 O'Mahony, Connor or Constantine (ft. 1650). See Mabony. O'Mahonv, Daniel (d. 1714). . . .165 O'MahonV, John (1816-1877). . . .167 O'Mallev, George (d. 1843). . . .168 O'Mallev, Grace ( 1530 P-1600 ? ). . . 169 O'Mallev, Thadeus (1796-1877). . .170 O'Maolmhuaidh, Francis (fl. 1660). See Mollov. O'Meara, Barry Edward (1786-1836). . 171 O'Meara, Dermod or Dermitius (ft. 1610 ). See Meara. O'Meara, Edmund (d. 1680). See Meara. O'Meara, Kathleen (1839-1888). .172 Ommanney, Sir John Acworth (1773-1855 ). 178 O'Molloy, Albiu, or Alpin O'Moelmhuaidh (d. 1223). 174 O'Molloy, Francis (ft. 1660). See Mollov. O'Moran, James (1735-1794). . . .174 O'More, Rory (ft. 1554). See under O'More, Rory or Rury Oge. O'More, Rory or Rury Oge (d. 1578). . 175 O'More, Rorv ( ft. 1620-1652). . . .176 O'Mulconry, Fearfeasa (ft. 1686). See O'Mael- chonaire*. O'Neal or O'Neale. See also O'Neill. O'Neal, Jeffrev Hamet (ft. 1760-1772). . 178 O'Neil, O'Neale, and O'Neal See also O'Neill. O'Neil, Henry Nelson (1817-1880). . .178 O'Neill, Charles Henry St. John, second Vis- count and first Earl O'Neill (1779-1841). See under O'Neill, John, first Viscount O'Neill in the peerage of Ireland. O'Neill, Con Bacach, i.e. Claudus or the Lame, first Earl of Tvrone (1484 P-1559 ? ). .178 O'Neill, Daniel (1612P-1664). . .181 O'Neill, Eliza (1791-1872). See Becher, Eliza, Ladv. O'Neill, Sir tfeiim (1604 P-1653). See O'Neill, Sir Phelim. O'Neill, Flaithbheartach (d. 1036). . .184 O'Neill, Gordon (d. 1704). See under O'Neill, Sir Phelim. O'Neill, Henrv (d. 1392) 185 O'Neill, Henrv (d. 1489) 185 O'Neill, Henry (1800-1880)*. . . .186 O'Neill, Hugh (d. 1230), lord of Cinel Eoghain, often called less accurately lord of Tyrone 187 O'Neill, Hugh, third Baron of Dungannon and second Earl of Tvrone (1540 P-1616). . 188 O'Neill, Hugh ( /?.*1642-1660). . . .197 O'Neill, Hugh (1784-1824). . . .198 O'Neill, John, first Viscount O'Neill in the peerage of Ireland (1740-1798). . .198 O'Neill, John (1777 P-1860 ?). . . . 200 O'Neill, John Bruce Richard, third Viscount (1780-1855). Sec under O'Neill, John, first Viscount O'Neill in the peerage of Ireland. O'Neill, Sir Neill or Niall (1658 P-1690 ). 200 221 222 223 225 226 226 230 283 rAOB O'Neill, Owen or Eoghan (1380 P-1456). . 201 'Neill, Owen Roe (1690 P-1649). . .201 O'Neill, Sir Phelim (1604 P-1653). . .204 O'Neill, Shane, second Earl of Tyrone (1530 ?- ) 208 O'Neill, Sir Turlough Luineach (1530?- ) 213 O'Neill, William Chichester, Lord O'Neill (1813-1883) 216 Onslow, Arthur (1691-1768). . . .216 Onslow, George (1731-1792). . . .218 Onslow, George, first Earl of Onslow (1731- ) Onslow, George or Georges (1784-1853) Onslow, Richard (1528-1571) Onslow, Sir Richard (1601-1664). Onslow, Richard, first Lord Onslow (1654- ) Onslow, Sir Richard (1741-1817 j . Onslow, Thomas, second Earl of Onslow (1755- ). See under Onslow, George, first Earl of Onslow. Onwhyn, Thomas (d. 1886) . Opicius, Johannes (ft. 1497) . Opie, Mrs. Amelia ( 1769-1853) Opie, John (1761-1807) . O f Quinn, Jeremiah (d. 1657) .... Oram, Edward (ft. 1770-1800). See under Oram, William. Oram, William (d. 1777) . . . .234 Orcheyerd or Orchard, William (d. 1504) . 235 Ord, Craven (1756-1832) . . . .235 Ord, Sir Harry St. George (1819-1885) . . 236 Ord, John (1729P-1814). See under Ord or Orde, Robert. Ord, John Walker (1811-1853) . . .237 Ord or Orde, Robert (d. 1778) . . . 238 Orde, Sir John (1751-1824) . . . .238 Orde, afterwards Orde-Powlett, Thomas, first Lord Bolton (1746-1807) . . . .239 Ordericus Vitalis or Orderic Vital (1075- ?) 241 Ordgar or Orgar (d. 971) . . . . 242 Ordgar or Orgar (ft. 1066). See under Ord- gar or Orgar (d. 971). Ordgar or Orgar (d. 1097 ?). See under Ord- gar or Orgar (a. 971). Ordish, Rowland Mason (1824-1886) O'Reillv, Alexander (1722 P-1794) . O'Reilfv, Andrew (1742-1832) O'Reillv, Edmund (1606-1669) O'Reillv, Edmund Joseph (1811-1878) O'Reilly, Edward (d. 1829) . O'Reillv, Hugh (1580-1653). See under O'Reilly, Edmund. O'Reillv, Hugh (d. 1694 ?) See Reillv. O'Reilly, John Boyle (1844-1890) . ' . O'Reilly, Miles, pseudonym. Ses Halpin Hal pine, Charles Graham (1829-1868). O'Reillv, Mvlea William Patrick (1826-1880) 250 O'Reilly, Philip MacHugh (d. 1657 ?) . . 250 Orem, William (ft. 1702) .... 252 Orford, Earls of. See Russell, Edward (1663- ) ; Walpole, Sir Robert, first Earl (of the Walpole laraily) (1676-1746) ; Walpole, Horatio, fourth Earl (1717-1797). Orford, Robert (ft. 1290). See under Orford, Robert (d. 1310). Orford, Robert (d. 1310) . Orger, Marv Ann ( 1788-1849) Oriel, Lord*. See Foster, John (1740-1828). Orivalle, Hugh de (d. 1085) . 244 245 246 247 247 . 252 . 253 . 254


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 moment in the existence of the Dutch nation there arose a man whose name is revered in Holland to this very day, and the descendants of his subjects have transferred to his descendants the affection and gratitude their forebears felt for him. Like Lincoln he was the “Father of his People,” and like him he was foully assassinated. William of Nassau, “the Silent,” Prince of Orange, was born at Dillenburg, in the Duchy of Nassau, in 1533.

His appellation of “the Silent” is thus explained: One day while hunting in the forest of Vincennes with Henry II. the Prince of Orange and the King became separated from the rest of the party. Henry's mind was full of the scheme formed between himself and Philip of Spain to extirpate heresy by a general massacre of Protestants in France and the Netherlands. Believing that the Prince of Orange was in


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 the secret, the French King revealed the matter to the Prince, who was prudent enough to be silent, and not to reveal his feelings, thus earning his title of “the Silent.” The appellation would seem a more appropriate one in the case of Philip II. of Spain, who seldom spoke, and whose stern lineaments never revealed that which was in his thoughts. William could, indeed, speak, and eloquently when circumstances demanded, but he was a great statesman who knew when to keep his own counsel, and who knew the Dutch—a people who required of him deeds, and not mere words.

It is, perhaps, difficult to say why, in the first instance, the Dutch so concentrated their trust in William of Orange, rather than in any other man, at the time they were trying to overthrow the Spanish domination. Indeed, it was not he who was the instigator of the fight against the


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 oppressor of the country; nor was he, at least in the beginning, the incarnation of Calvinism, which was the soul and the strength of the revolt against Spain.

Charles V. conferred on the young Prince many high honours, among them that of Stadhouder (Lieutenant of the Sovereign) of the Provinces of Holland, Zeeland, and Utrecht, which post was confirmed by Philip II. This would amply suffice to explain the Prince's primary reluctance to identify himself with the revolt of the Dutch Netherlands. It was not until he had pleaded in vain with Philip II., and until he had witnessed the exasperation of his people over the atrocities perpetrated by that fiend the Duke of Alva, that he came to the conclusion that he was not forfeiting his honour in resisting the Spanish tyranny. The States-General offered him the leadership, and he accepted


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Rh some system of shoulder or direct measures, using the measures taken on each customer to draft her pattern by. We know cases do often occur where for some reason or other, the cutter may not be able to take his measures direct, and when the only course open to him is to fall back upon the teachings of previous experience, and use a set of measures taken on some other lady, using the natural waist lengths, chest, and length of sleeve as guides to help him in his selection. But as some of our readers may not have the result of previous experience to fall back upon, we have endeavoured to supply them with examples from our own measure book, the scale on page 6 being an average of the sectional measures for the various chest measures, from 24 to 44, and which, we doubt not will prove useful.

We select a set of measures from our order book by which to draft out a plain, close-fitting, single-breasted Jacket; they run as follows: 8 depth of scye, 15½ natural waist, 25 full length, 7½ side length, across back, 18½ to elbow, 28 full length of sleeve, 7¼ across chest, 8¾ across over busts 7¼ neck, 12 front shoulder, 14 nape to prominence, 19 nape to hollow of waist in centre of front, 16 over shoulder, 36 chest, 20 waist, 46 hips. We apply these measures as follows: see

Commence by drawing lines 0, 22½, 0, 2½, at right angles, and mark off to 2⅝ one-sixth of the natural waist (this may be varied higher or lower if desired to produce any given effect to the style. It will not affect the fit, as any variation would be compensated for in the shoulders of forepart);0 to 8 is the depth of scye, 0 to 5½ is the natural waist length, 0 to 22½ is 7 inches below the waist to find the level of the hips, to 25 is the full length of jacket required, plus seams ½ inch). Draw lines at right angles to all these points, with the exception of the last, and make 0 to 2½ one-third neck, from which come up ¾ inch, and draw back neck. Now come in from 15½ one inch, and draw back seam springing it out below 15½ to join the straight line again at 22½. In measuring across the width of back, it is well to apply the measure, plus 2 seams ½ inch) about 2 inches below line 2⅝, and spring out with a slight curve, till it meets point 6½; this will be easily gathered by a reference to diagram; now draw a straight line from ¾ to 6½, and hollow it slightly between ¾ and W as shown. Next measure across from ½ to 20½, the half chest measure, plus 2 inches for making up, ease, &c., which amount must be varied, allowing more for thick and less for thin materials; the quantity quoted is a good general average. From 20½ measure back to 12½, the average between the across chest and the across bust measures; thus 7¼ + 8¾ = 16, half of which is 8, and by this means find the front of scye. We next proceed to form

Measure from O to ¾, and whatever it may be, deduct it from the front shoulder length, and by the remainder sweep from 12½, in the direction illustrated by 12; now add ¾ inch to this quantity, and sweep again from point 20½, and where the two arcs intersect each other locates the neck point F. Let it be clearly understood the back neck is deducted before the sweeps are made; the first one from 12½ is the next length of front shoulder, after the back neck has been taken off, and the sweep from 20½ is this quantity, with ¾ inch added. Having got this point, measure forward on a level parallel to line 12½, 20½ from F to V, the one-third of neck, and so find point V, which make a pivot of, and sweep the gorge from F to I. Now draw the breast line from V through point 20½ quite straight through 22 and 23½. We must now return to the shoulder. Measure the distance from ½ to W, deduct it from the over shoulder measure, and by the remainder sweep from 12 in the direction illustrated by 16 D, and so find the scye end of shoulder. Now measure the width of back from ¾ to 6½, and make F to D a full ¼ inch narrower than the back; give a little round to this seam towards D. Now shape the scye, keeping it as hollow as possible above point 12½, and as close up at the top of sideseam above 8 and 4½ as possible, consistent with harmony of outline. The top of sideseams will require a little readjustment as illustrated; after we have located

Measure back from 12½ to 11½ one inch, and divide the distance from ½, to 11½, into three equal parts or nearly equal parts, arranging it so that any little extra which may not be easily divisible may be given to the back, as from ½ to 4¼; having got points 4¼ and 8 in this way, we must next fix the waist line; measuring from N to E the side length, plus 1 seam (¼ inch), and so find E; next apply the front length of waist, measuring from F to T the measure taken from nape to hollow of waist in front, allowing 1 inch for seams, after having deducted the width of back neck. Now draw the waist line from 15½ to E, and E to T. Make the back at waist line from 1 to 3 half the width it is at ½, 4¼, and connect 3 4¼ up to > with a gradual curve: continue the bottom of back, below 3 at right angles to line 1 3, and the outline of back is complete. Before we proceed with the sidebody, there are two sweeps to make, one from pivot 4¼, sweeping from seam


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 it, when his personal prestige quickly made itself felt. As a General, however, he was singularly unsuccessful: twice did the Spaniards drive him back. The most memorable event in Dutch history—the taking of Brielle by the “Sea-beggars” in 1572, following upon which a number of towns in Zeeland and Holland dared for the first time to raise the standard of revolt, and to pronounce in favour of William—was accomplished without his having any part in the deed. He failed also in his attempt to relieve beleaguered Haarlem, which was compelled to surrender to the Spaniard, and to witness the massacre of one-half of its population. Lastly, William's dream of welding into one kingdom the seventeen provinces nowadays constituting Holland and Belgium was not to be realized.

With all that, no member of the House


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User talk:Johns1c

I just proofread through Page:Time Pawn.pdf/7, so you can see some examples of what might be done on this text. This is your last change and here are my additional changes. Although that really just shows that I changed everything because I removed the line breaks. One tricky thing with this scan is that all the dashes came in too short. They should be —. Let me know if you need any help.--Birgitte SB  00:22, 2 January 2013 (UTC)

title: User talk:Johns1c


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8 above the top of back seam to find the top of sidebody. A reference to diagram will make this plain; then sweeping from 3 to 4 at waist, making the top sideseam the pivot, so that the waist seam of sidebody appears dropped at 4. Many will ask why all this extra length is required in the sidebody? We will explain. Whenever a seam is taken from a hollow, such as the sideseam of back, the seam is at once lengthened; whereas, whenever a seam is taken from a round, such as the sideseam of sidebody, the seam is shortened; and if some plan is followed to avoid getting the sidebody too short; the back will either have to be fulled on, or the waist of sidebody will be nearly an inch above the waist of back, and so completely destroy the fit in that particular.

In order that each reader may impress the importance of these sweeps on his mind, we think it would be good practice to take a back pattern, mark a seam off the edge 4¼ 3, and measure with the tape to see how it increases in length, then take the sidebody, mark a seam from the edge, and note how it at once becomes shorter. It will then be apparent how very important these sweeps are; but now we come to that important question of

We have previously pointed out, when dealing with the principles of cutting, that suppression at one part causes fulness at another; here, then, we have the key to the matter, for in accordance with the amount of the suppression will be the provision for the prominence, and consequently we need to gauge the amount of the prominence to be provided for. In our own practice, we have found it best to have a fixed quantity for the normal figure, and vary from it for prominent or flat blades; and consequently we take out 1 inch between back and sidebody between 3 and 4, making it less for flat blades and more for prominent blades; hence it will be seen the waist suppression between back and sidebody is to be governed by the prominence of the blades, and so on with all the prominences round the body. From 4 to 7¼ is ½ an inch less than 4¼, 8; 1 inch is taken out from 7¼ to 8¼, and the width of sidepiece is also fixed at ½ an inch less than at top; another inch is taken out between 11¼ and 12¼; thus it will be gathered we take out 1 inch at all three seams for an ordinarily developed figure. In the case of a very small waist, such as would indicate compression by means of the corsets, all of these may be increased to 1¼, or in extreme cases to 1½ inches. The various seams may now be drawn from the points thus found on the depth of scye line and the waist line, and we then proceed to arrange

As a good deal of style may be introduced by their aid, it will be as well to give them a careful consideration. Measure up the various parts, as from 1 to 3, 4 to 7¼, 8¼ to 11¼, and 12¼. to 22. Now take half the waist measure; add about 2 inches for making up, and whatever is over and above that quantity indicates the amount to be taken out in the darts. Thus the various parts measure up 18; the half waist measures 13, plus 2 inches for making up makes 15, leaving 3 inches to be taken out in darts. This is taken out as follows: Measure back from the breast line at T 1½ inches, and find 20½; now halve the amount to be taken out, or if it will not divide easily, take rather less than half for the front dart, and mark from 20½ to 19; let the strap between 19 and 17½, be always 1½ inches, and take out the remainder from 17½ to 16. Now mark the centre of the spaces allotted for the darts, and draw a line parallel to the breast line as a guide for the direction of the darts, which should always run rather forward at the bottom and back at the top, so as to give as much appearance of width to the chest and as much length to the waist as possible. Now get the top of the darts at C by measuring down from F to C, the length to prominence as taken on the customer, allowing 1 inch, as the darts always come higher when sewn than when cut. Having got the top of the darts, sweep from 20½ and 17½, in order to get the correct relative length of the sides of the darts, and then draw lines from top to these centres, as 16, 17½, 10, 20½. To terminate the darts at the bottom, a certain amount of judgment is necessary. If the stomach is fairly flat, terminate the dart 10 inches below the waist; if slightly prominent, terminate it 8 inches below the waist line, and so on. Soften down any angle that may be in the outline at the waist, and the darts are complete. We next proceed to provide for

This requires very considerable adjustment in these days of small pads and large bustles. As noted in the measuring, the size of hips should be taken easily, about 7 inches below the waist, and it is on this measure we depend for guidance now. Line 22½, 23½ is 7 inches below the waist; we measure from 22½ to 23½, omitting the amount taken out in the darts at 17½ and 21. Add 3 inches to the half hip measure, and whatever the pattern measures too small, divide into 3 equal or nearly equal quantities, and let the various parts overlap each other as illustrated at ¾, ¾ and 1 on this hip line, always giving to the forepart any little extra that is not easily divided. It will be noticed a dotted line


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Rh is drawn at right angles from the centre of the space between 7¼ and 8, and 11¼ and 12¼ as a guide to get the run of the seam towards the front, so that the front overlaps from there backward. If our readers have paid attention to the anatomical lessons, they will at once realize the importance of springing out sharply from the waist line downwards, especially at 12¼. The back is squared at right angles to 3, and the run of the sidebody at back is got by drawing a line from 3 through ¾ to the bottom. It will be observed that the sidebody comes a little below the back, which is necessary owing to point 4 being a little lower than 3; the back and sidebody really require to be the same length downwards from 3. The relative length of back and front is quite a matter of taste, and as fashions change so rapidly, we will refrain from laying down any definite rule. The bottom of both sidebodies should be slightly rounded at the bottom, otherwise when the seams are sewn, there will be a point at the seams, and a hollow between, which must be adjusted if the jacket is desired to be satisfactory.

Is the last thing to be arranged previous to cutting, and this must be done in harmony with the style of edge desired. The average for a stitched edge would be 1 inch on the hole side, and 11½ inches on button side: a quarter of an inch more is necessary for a double stitched edge, and a quarter inch less for a bound edge, unless it is a very wide binding. It may be as well to explain why more is allowed on the button side. The breast line as from V to 23½ should represent the meeting edge to edge line, the true centre of the front. The extra half inch on the button side is needed to avoid the under garment showing through the end of the hole. In the event of the garment being desired to hook and eye, it should be cut merely 1 seam (¼ inch) beyond the breast line, whilst for double breasted styles, a varying amount must be left beyond, or a lapel sewn on according to the style desired. But of these we shall deal with presently, so we will now give a few

Use especial care with the neck and waist sections to get them the right size. Let the shoulder be slightly stretched on all three sides, and be careful to avoid getting the collar on tight in the hollow below point F. See that the lining has plenty of surplus length to allow of the bend at the collar seam, indeed, it will be a good plan to always put a pleat in the lining of the shoulders, as is customary for vests. If the lady has prominent breasts, use every possible precaution to avoid getting the front of scye at 12½ full; keep your sleeve rather tight there, putting any fulness there may be in the underside at N, or taking it out with a fish. If thought advisable, put a little wadding at, but it must always be borne in mind, this will have the effect of reducing rather than emphasizing the prominence.

If any padding or wadding is put in the breast, it should be carefully and skilfully done—nicely graded away, and for this purpose we have found horse-hair the most useful, not the horse-hair to be obtained by the yard at most trimming warehouses, but the loose-horse-hair obtainable at the saddlers. Care must of course be taken to secure it firmly, if that is done, it will be found that it can be graded off very much nicer than can be done with wadding or cloth.

The waist section requires very considerable care in making. All the parts should be slightly stretched at the seams and shrunk in the centre as is usual with the sidebody of body coat for men. See that the waist does not make up too large, as some materials are very elastic, and it is difficult to exactly guage the amount to be consumed in making. In some loose materials it will be found advantageous to baste strips of linen to all the parts at the waist, and sew it in with all the seams to prevent it stretching. It is a very good plan to measure up the size of the waist after all the scams are sewn, except the underarm seam, and then adjust the size at that seam.

Snip the button stand at waist and insert a V to enable it to lie smooth on the opposite side. Put all the linings in very long over the waist, as the sharp curve of the body at that part demands it. Always remember that whenever there is a hollow on the body, the lining must be longer than the outside.

A waist band should be made up to the size of waist, and fastened to the centre and sideseams of back; it steadies the garment and keeps it close in to the figure at the back, and also relieves the strain on the waist of jacket. If the garment is S. B. to button through, always arrange the eye of the hole to come on the breast line on the one forepart, and the button on the breast line of the other; otherwise the buttons will not come down the centre of figure. We are frequently asked on which side to put the holes in a lady's jacket. To this Ave can only reply, that there appears to be no universal custom amongst ladies' tailors. There can be no doubt, however, that ladies' are more accustomed to have them on the right side, and by ladies' tailors this is most usually done; and as habit beomes second nature with many, it will be well to consider this matter carefully before putting them in the left side as is occasionally done by some ladies' tailors, and universal with all gent's garments. We shall now proceed to deal with some of the varieties of


text: Dictionary of National Biography, 1885-1900/Owen, Robert (1771-1858)


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10

For several seasons past, loose-fitting fronts have been very much patronised by ladies; indeed, at the present time, there are probably few more popular jackets than the styles illustrated on this page of diagrams. Diagram 2 and figure 12 has a dash and go about it, which recommends it to those who like something a little dressy and stylish. When these jackets were first introduced, they were the source of much worry to even the most experienced ladies' cutters, and it was found that many patterns which produced most perfect fitting tight jackets, were anything but satisfactory when used for loose-fitting fronts; hence it was found that something more was necessary, besides omitting the darts, in order to produce these jackets to perfection. The great difficulty many had to contend with, was tightness at the bottom of the front, below the waist, causing a nasty drag from under the bottom of the arm to stomach; this was soon traced to the front edge being too long, or perhaps, what a good many people would call too crooked. Needless for us to say, this defect was more apparent amongst those cutters who patronise a round front edge, and which we have so often pointed out as wrong in principle; and although it may, and undoubtedly does, produce passable fits, if not overdone, for tight-fitting garments, yet, when applied to loose-fitting fronts, it is a failure; hence it is of the greatest importance that the line drawn from V through 20½ should be quite straight, that being the shortest possible distance between two points, and so producing that shortness of front edge absolutely necessary to balance the foreparts, and cause them to hang gracefully down the fronts. But there are other changes also necessary; for this straightness of the front edge, combined with the darts being omitted, make it far too large round the bottom, and especially over the hips; hence the necessity of taking out more between sidepiece and forepart at waist; from 1½ to 2 inches is the amount we have found to suit the majority of customers, and just letting the forepart and sidepiece meet at the bottom. With these variations from the close-fitting jacket, previously explained we have been able to turn out most successful garments for the majority of ladies; the exception being with those who are very prominent at the bust, when the shortness of the front caused a fulness to appear at the front of scye. With such figures, we found it advisable to take out a small dart from about 2 inches in front of the side at 12¾, and terminating just below the prominence; this had the effect of not only providing a receptacle for the bust, but also made the waist to fit snug at the sides—always a desideratum in loose-fronted jackets. As far as the cutting of this class of jacket is concerned, we think we have said enough to point out the special features to be observed, and the dangers to be avoided, so we will now pass on to give a few hints on the various styles in which these are being worn.

As illustrated on diagram 2 and figure 12 is produced by adding about 2½ inches beyond the breast line all the way through, and carefully arranging the shape at the top to agree with the style of lapel desired; the one indicated is such as we should adopt for Yachting Costumes, or when it is intended to have a collar and turn after the style of gent's Reefers; but inasmuch as this is a matter of taste, and ladies take a wide view of what is taste, there are naturally many variations in this matter of lapels; for instance, many were made up during the past few months, with only one lapel and stand collar, indeed the under forepart was cut away to the breast line, and the lapel on the one side made much heavier than it would otherwise have been, and faced with fur or velvet. As we write, one of the newest styles of these jackets has a roll collar.

The Beatrice, figure 13, diagram 3, is another style which is very popular, it is either finished with a stand or fall collar as may be desired. When made with an ordinary S. B. collar and turn, it is especially suitable for lawn tennis or boating jackets. For this style it is only necessary to add about 1 inch for button stand beyond the breast line, whilst many cut them away from just below point 22½ in order to show about 2 or 3 inches of vest at the waist; thus endless varieties may be produced.

There is just one other style we must notice, as it has had a most unprecedented run, especially in seal-skin, seal plushes, and so on; we refer to the Macbeth, figure 14, diagram 4, which fastens over on the one shoulder, and running off to nothing at the bottom. The easiest way to cut these is to fold the pattern over at the breast line I T, and cut the gorge on the double, and carry the one side as far over the shoulder as thought desirable, generally to within about 1 inch of the scye seam, and then shaping the front edge from this point, either straight or curved, as taste may direct, and letting it just overlap about 1 inch at the bottom. With this style it is customary to cut the under forepart only to reach to the breast line, but this, too, is a matter of taste, and consequently often varied.

The position allotted to the various seams have much to do with the harmony in the general outline of the garment, and it behoves every cutter to make this


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Rh a special study, so that he may give each customer just that outline most suited to her figure, and so bring into prominence those points of beauty which exist in a more or less degree in every figure. Now, although for our own part we like to see the sidebody, sidepiece, and back about the same width on the depth of scye line, as described when dealing with the tight-fitting jacket, yet it does not by any means follow that any other division would be unsatisfactory; so our readers may use their individual taste to the fullest extent so long as they retain the same, or nearly the same, waist suppression; but it will be well to bear in mind that it is always advisable to bring the underarm seam as forward as possible; as, whilst facilitating the fit over the hips, it also keeps the waist at side closer to the figure. What we have said in regard to the variations in the position of the seams applies with equal force all over.

Much that we have said in reference to dia. 1 on this subject will apply with equal force to these garments; such, for instance, as the putting the lining in long over the waist, especially in the back; putting a waist band to keep it firm at back and sides, and so on; whilst the mode of putting in the pockets is as varied for these garments as they are for gents'. Care should be used in puttii g on the collar to keep it easy in the hollow just below F; whilst in the front, just beyond the break, it should be rather tight, as also in sewing round the back, there should be the least degree of tightness, thereby facilitating the fit behind; but, above all things, it is necessary to put it on easy in the hollow, for apart from the fact that when a seam is taken off the gorge at that point, it becomes longer, and in like manner the collar becomes shorter; the neck also rises out of the trunk very decidedly at that part, and requires the gorge to be well stretched. This is more noticeable with short-necked figures, with whom the muscles of the neck come up very suddenly.

Silk facings are often put on the lapels of the D.B. styles, as diagram 2, to come up to the end of the holes, when these garments are made from black Vicunas and Worsteds; and they then make a very stylish garment. The position of the buttons is a frequent source of difficulty to the inexperienced; but it need not be so if they only have the breast line to guide them, when the following simple plan will be found thoroughly reliable: Put the tape on the breast line, and sweep from the eye of the hole once from a point below the level, and again from a point above the level, and where these intersect each other is the proper place to locate the button.

A waistband should invariably be placed at the waist behind, as it not only keeps it steady and prevents it twisting, but it also keeps it close to the waist.

On this Plate we illustrate the various methods of braiding jackets; they are mostly of a military character. Before we deal with each style separately, we shall make a brief reference to the effect the different styles have on the body. Those having the braid running only in a horizontal manner, give the effect of width, which, although frequently very desirable, must not be done at the expense of the length, except in very tall, thin figures. To counteract the shortening tendency of these plain horizontal row, drop loops, rows of eyes, and braid laid on in a vertical direction are introduced. Take, for instance, diagram 13. The braid on the edges introduces one line, the eyes above and below each row of braid across the front introduce two more rows, and the drop loops introduce two more, so that there are five rows of ornaments running in a vertical, as well as five in a horizontal, direction; and as the horizontal rows get narrower at the waist, several effects are produced. Length is added, width is added, and by the emphasis given to the width of the shoulders, the waist appears relatively small.

Illustrates a style of braiding very popular with ladies. A row of flat mohair braid is put all round the edge, and rows of tubular braid from ¼ to ⅜ inch wide are laid across the front. In this diagram each row is terminated with an Austrian knot, a plan which may be varied in the style illustrated by diagram 6, which represents the drop loop for Rifle garments or diagram 7, as used in the army for the artillery and engineers, when sometimes the eyes in the centre are omitted; or the style illustrated on diagram 13 may be used, which is the plan followed for Infantry garments. The braid is always started from the loop end, the finish being arranged under one of the cress overs. Care must be used to prevent the ends of the braid from fraying, the best plan being to wind cotton or thread round the end several times, and so securely fasten it. Loops of braid are invariably left beyond the edge on the one side, to fasten over the olivets or buttons placed on the edge of the other. If this is not done, a very long neck will have to be put to the buttons. A master tailor of the army, stationed at Malta, recently spent a month at our Cutting Academy, and he kindly showed us the methods he adopted to arrange these drop loops and Austrian knots.


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 of Orange has ever enjoyed to so great an extent the confidence of the nation. His strong individuality; his perspicacity in unmasking and foiling Spanish intrigues; the selling of all his chattels, even to his silver table-ware, to meet the expenses of the war; the price placed on his head by the Spaniards, who thereby recognized his importance as the leader of the revolt; the death of three of his brothers on the battlefield, all stamp him as the organizing spirit of the revolt against Spanish rule. When he died he uttered words treasured to-day: “God have mercy upon me, and upon my unfortunate people!” Following in his steps, the House of Orange has ever endeared itself to its subjects by studying their pronounced individualism, and to that House is due the prominent part which Holland played in the annals of the seventeenth century. Hence the undying


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12 Is a piece of cardboard. It will be noticed there is a notch at the bottom of dotted line A; this is placed on the centre line, the point B being also arranged on this line, when the outline is to be marked round as per solid line 1, 2, 3, 4, diagram 10. Now turn the card over to the other side, still with notch A and point B on centre line, and mark as per dot and dash line 5 6 7: the small loop above 1 7 may then be formed by rock of eye, and to complete the bottom of the knot, turn the card upside down, fitting the circle in to the outline 3 4. and mark as from 5 to 6, and the Austrian knot is complete. Full instructions for tying these was given in Part I., so we will not again repeat them, merely remarking that throughout the entire knot the braid should run over and under the whole way.

Represents the piece of card the master tailor referred to used to mark the drop loops, the same as illustrated on diagram 13: a line is drawn in the direction the loop should point, and the top B and the notch at A are both kept on this line, the larger part of this oval being on the outside. Now turn the pattern round so that A B still rests on the line, but with the larger part on the inside. If this course is followed many of the difficulties of braiding will vanish, and what was looked upon as a difficult matter will be very simple.

Illustrates the artillery style of braiding. This is frequently done with a round cord, but the cord is not so easy to manipulate as the braid; the rows of braid should go very narrow at the waist and as broad as possible at the shoulders, often extending right to the shoulder seam. Ball buttons are the correct style of fastening down the front, though of course this is only the ornamental fastening, the real fastening being done by hooks and eyes. The edges are invariably braided with flat mohair braid. The back of the jacket should be trimmed in harmony.

Represents one very good style; strictly speaking, this is the style of back that goes with

But as there are no regulations for ladies' garments, this is often used, as it is very effective and very simple. The military regulation trimming for the Artillery Jacket has a crow's toe at top, and an Austrian knot pointed towards the sideseam.

The braid across this forepart is generally of the tabular make and about ¼ inch wide, the top row reaching to the scye seam and sometimes overlapping it and graduating down narrower to the waist. Further details of this style of front will be found in the description of diagram 5.

This style of braiding is very effective, the braid is the same on the edges and across the front, the ends are finished with a sprat's head, and olivets arranged up each front. The details of this are so clearly brought out in the diagram, that it is not necessary for us to give any elaborate description in the letterpress.

Jackets made in this style are often made with loose-fitting fronts, the braiding showing off rather more to advantage in that style than in close-fitting garments. The braid is generally mohair from ¾to 1 inch wide.

Is a little variation from the Austrian knot; an extra loop is introduced on either side, and as the same instructions given for them will apply, we will not go into further detail, merely calling attention to this as a very popular style of braiding for loose-fitting fronts, the long loops being arranged to fasten over the olivets on either side, as the taste of the wearer may dictate.

The popularity of the Skirted Jacket, at the time we write, is so great, that it may fairly be looked upon as likely to occupy an important place in the standard styles for some years to come, and as there are many variations in the style, we select two of the most popular, and by describing the principles embodied in their production, lay a foundation from which our readers may be able to form any of the various styles which have, or may, become popular.

Illustrates the S. B. style, with neat collar and turn, flaps are placed on the hips to cover the V's on hips.

The system for producing the body part is precisely the same as described for the Jacket, so we refer our readers to that for the upper part, and proceed to deal with the first special features, viz., the run of the waist seam, and though this is largely a matter of taste, it may be as well for us to lay down some definite quantities as guides for the inexperienced. In doing so, it must be borne in mind that the quantities quoted are merely looked upon as guides.

Commencing at the back, then, we come down 2 or 8 inches from the waist line, about 2 inches at the side