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 , 18—.

 * I stepped ashore jubilant! I wanted to dance, shout, sing, worship the generous Land of the Free and Home of the Brave. But as I walked from the gangplank a man in a gray uniform kicked me violently behind and told me to look out—so my employer translated it. As I turned, another officer of the same kind struck me with a short club and also instructed me to look out. I was about to take hold of my end of the pole which had mine and Hong-Wo’s basket and things suspended from it, when a third officer hit me with his club to signify that I was to drop it, and then kicked me to signify that he was satisfied with my promptness. Another person came now, and searched all through our basket and bundles, emptying everything out on the dirty wharf. Then this person and another searched us all over. They found a little pack-


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 of opium sewed into the artificial part of Hong-Wo’s queue, and they took that, and also they made him prisoner and handed him over to an officer, who marched him away. They took his luggage, too, because of his crime, and as our luggage was so mixed together that they could not tell mine from his, they took it all. When I offered to help divide it, they kicked me and desired me to look out.

Having now no baggage and no companion, I told my employer that if he was willing, I would walk about a little and see the city and the people until he needed me. I did not like to seem disappointed with my reception in the good land of refuge for the oppressed, and so I looked and spoke as cheerily as I could. But he said, wait a minute—I must be vaccinated to prevent my taking the small-pox. I smiled and said I had already had the small-pox, as he could see by the marks, and so I need not wait to be “vaccinated,” as he called it. But he said it was the law, and I must be vaccinated anyhow. The doctor would never let me pass,

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82 for the law obliged him to vaccinate all Chinamen and charge them ten dollars apiece for it, and I might be sure that no doctor who would be the servant of that law would let a fee slip through his fingers to accommodate any absurd fool who had seen fit to have the disease in some other country. And presently the doctor came and did his work and took my last penny—my ten dollars which were the hard savings of nearly a year and a half of labour and privation. Ah, if the law-makers had only known there were plenty of doctors in the city glad of a chance to vaccinate people for a dollar or two, they would never have put the price up so high against a poor friendless Irish, or Italian, or Chinese pauper fleeing to the good land to escape hunger and hard times.

I have been here about a month now, and am learning a little of the language


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 every day. My employer was disappointed in the matter of hiring us out to service to the plantations in the far eastern portion of this continent. His enterprise was a failure, and so he set us all free, merely taking measures to secure to himself the repayment of the passage money which he paid for us. We are to make this good to him out of the first moneys we earn here. He says it is sixty dollars apiece.

We were thus set free about two weeks after we reached here. We had been massed together in some small houses up to that time, waiting. I walked forth to seek my fortune. I was to begin life a stranger in a strange land, without a friend, or a penny, or any clothes but those I had on my back. I had not any advantage on my side in the world—not one, except good health and the lack of any necessity to waste any time or anxiety on the watching of my baggage. No, I forget. I reflected that I had one prodigious advantage over paupers in other lands—I was in America! I was in the


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84 heaven-provided refuge of the oppressed and the forsaken!

Just as that comforting thought passed through my mind, some young men set a fierce dog on me. I tried to defend myself, but could do nothing. I retreated to the recess of a closed doorway, and there the dog had me at his mercy, flying at my throat and face or any part of my body that presented itself. I shrieked for help, but the young men only jeered and laughed. Two men in gray uniforms (policemen is their official title) looked on for a minute and then walked leisurely away. But a man stopped them and brought them back and told them it was a shame to leave me in such distress. Then the two policemen beat off the dog with small clubs, and a comfort it was to be rid of him, though I was just rags and blood from head to foot. The man who brought the policemen asked the young men why they abused me in that way, and they said they didn’t want any of his meddling. And they said to him:


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Rh “This Ching divil comes till Ameriky to take the bread out o’ dacent intilligent white men’s mouths, and whin they try to defind their rights there’s a dale o’ fuss made about it.”

They began to threaten my benefactor, and as he saw no friendliness in the faces that had gathered meanwhile, he went on his way. He got many a curse when he was gone. The policemen now told me I was under arrest and must go with them. I asked one of them what wrong I had done to any one that I should be arrested, and he only struck me with his club and ordered me to “hold my yap.” With a jeering crowd of street boys and loafers at my heels, I was taken up an alley and into a stone-paved dungeon which had large cells all down one side of it, with iron gates to them. I stood up by a desk while a man behind it wrote down certain things about me on a slate. One of my captors said:

“Enter a charge against this Chinaman of being disorderly and disturbing the peace.”

I attempted to say a word, but he said:


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86 “Silence! Now ye had better go slow, my good fellow. This is two or three times you’ve tried to get off some of your d—d insolence. Lip won’t do here. You’ve got to simmer down, and if you don’t take to it paceable we’ll see if we can’t make you. Fat’s your name?”

“Ah Song Hi.”

“Alias what?”

I said I did not understand, and he said what he wanted was my true name, for he guessed I picked up this one since I stole my last chickens. They all laughed loudly at that.

Then they searched me. They found nothing, of course. They seemed very angry and asked who I supposed would “go my bail or pay my fine.” When they explained these things to me, I said I had done nobody any harm, and why should I need to have bail or pay a fine? Both of them kicked me and warned me that I would find it to my advantage to try and be as civil as convenient. I pro-


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Rh tested that I had not meant anything disrespectful. Then one of them took me to one side and said:

“Now look here, Johnny, it’s no use you playing softly wid us. We mane business, ye know; and the sooner ye put us on the scent of a V, the asier yell save yerself from a dale of trouble. Ye can’t get out o’ this for anny less. Who’s your frinds?”

I told him I had not a single friend in all the land of America, and that I was far from home and help, and very poor. And I begged him to let me go.

He gathered the slack of my blouse collar in his grip and jerked and shoved and hauled at me across the dungeon, and then unlocking an iron cell-gate thrust me in with a kick and said:

“Rot there, ye furrin spawn, till ye lairn that there’s no room in America for the likes of ye or your nation.”


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SAN FRANCISCO, 18—.

 * You will remember that I had just been thrust violently into a cell in the city prison when I wrote last. I stumbled and fell on some one. I got a blow and a curse; and on top of these a kick or two and a shove. In a second or two it was plain that I was in a nest of prisoners and was being “passed around”—for the instant I was knocked out of the way of one I fell on the head or heels of another and was promptly ejected, only to land on a third prisoner and get a new contribution of kicks and curses and a new destination. I brought up at last in an unoccupied corner, very much battered and bruised and sore, but glad enough to be let alone for a little while. I was on the flag-stones, for there was no furniture in the den except a long, broad board, or combination of boards, like a barn-door, and this bed was accommodating five or six persons, and that was its full capacity. They lay stretched side by side, snoring—when


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Rh not fighting. One end of the board was four inches higher than the other, and so the slant answered for a pillow. There were no blankets, and the night was a little chilly; the nights are always a little chilly in San Francisco, though never severely cold. The board was a deal more comfortable than the stones, and occasionally some flag-stone plebeian like me would try to creep to a place on it; and then the aristocrats would hammer him good and make him think a flag pavement was a nice enough place after all.

I lay quiet in my corner, stroking my bruises, and listening to the revelations the prisoners made to each other—and to me—for some that were near me talked to me a good deal. I had long had an idea that Americans, being free, had no need of prisons, which are a contrivance of despots for keeping restless patriots out of mischief. So I was considerably surprised to find out my mistake.

Ours was a big general cell, it seemed, for the temporary accommodation of all comers


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 whose crimes were trifling. Among us there were two Americans, two “Greasers” (Mexicans), a Frenchman, a German, four Irishmen, a Chilenean (and, in the next cell, only separated from us by a grating, two women), all drunk, and all more or less noisy; and as night fell and advanced, they grew more and more discontented and disorderly, occasionally; shaking the prison bars and glaring through them at the slowly pacing officer, and cursing him with all their hearts. The two women were nearly middle-aged, and they had only had enough liquor to stimulate instead of stupefy them. Consequently they would fondle and kiss each other for some minutes, and then fall to fighting and keep it up till they were just two grotesque tangles of rags and blood and tumbled hair. Then they would rest awhile and pant and swear. While they were affectionate they always spoke of each other as “ladies,” but while they were fighting “strumpet” was the mildest name they could think of—and they could only make that do by


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Rh tacking some sounding profanity to it. In their last fight, which was toward midnight, one of them bit off the other’s finger, and then the officer interfered and put the “Greaser” into the “dark cell” to answer for it—because the woman that did it laid it on him, and the other woman did not deny it because, as she said afterward, she “wanted another crack at the huzzy when her finger quit hurting,” and so she did not want her removed. By this time those two women had mutilated each other’s clothes to that extent that there was not sufficient left to cover their nakedness. I found that one of these creatures had spent nine years in the county jail, and that the other one had spent about four or five years in the same place. They had done it from choice. As soon as they were discharged from captivity they would go straight and get drunk, and then steal some trifling thing while an officer was observing them. That would entitle them to another two months in jail, and there they would occupy clean, airy apartments, and have good food in


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92 plenty, and being at no expense at all, they could make shirts for the clothiers at half a dollar apiece and thus keep themselves in smoking tobacco and such other luxuries as they wanted. When the two months were up they would go just as straight as they could walk to Mother Leonard’s and get drunk; and from there to Kearney street and steal something; and thence to this city prison, and next day back to the old quarters in the county jail again. One of them had really kept this up for nine years and the other four or five, and both said they meant to end their days in that prison. Finally, both these creatures fell upon me while I was dozing with my head against their grating, and battered me considerably, because they discovered that I was a Chinaman, and they said I was “a bloody interlopin’ loafer come from the devil’s own country to take the bread out of dacent people’s mouths and put down the wages for work whin


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Rh it was all a Christian could do to kape body and sowl together as it was.” “Loafer” means one who will not work.

To continue—the two women became reconciled to each other again through the common bond of interest and sympathy created between them by pounding me in partnership, and when they had finished me they fell to embracing each other again and swearing more eternal affection like that which had subsisted between them all the evening, barring occasional interruptions. They agreed to swear the finger-biting on the Greaser in open court, and get him sent to the penitentiary for the crime of mayhem.

Another of our company was a boy of fourteen who had been watched for some time by officers and teachers, and repeatedly detected in enticing young girls from the public schools


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94 to the lodgings of gentlemen down town. He had been furnished with lures in the form of pictures and books of a peculiar kind, and these he had distributed among his clients. There were likenesses of fifteen of these young girls on exhibition (only to prominent citizens and persons in authority, it was said, though most people came to get a sight) at the police headquarters, but no punishment at all was to be inflicted on the poor little misses. The boy was afterward sent into captivity at the House of Correction for some months, and there was a strong disposition to punish the gentlemen who had employed the boy to entice the girls, but as that could not be done without making public the names of those gentlemen and thus injuring them socially, the idea was finally given up.

There was also in our cell that night a photographer (a kind of artist who makes likenesses of people with a machine), who had been for some time patching the pictured heads of well-known and respectable young ladies to the nude, pictured bodies of another class of


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Rh women; then from this patched creation he would make photographs and sell them privately at high prices to rowdies and blackguards, averring that these, the best young ladies of the city, had hired him to take their likenesses in that unclad condition. What a lecture the police judge read that photographer when he was convicted! He told him his crime was little less than an outrage. He abused that photographer till he almost made him sink through the floor, and then he fined him a hundred dollars. And he told him he might consider himself lucky that he didn’t fine him a hundred and twenty-five dollars. They are awfully severe on crime here.

About two or two and a half hours after midnight, of that first experience of mine in the city prison, such of us as were dozing were awakened by a noise of beating and dragging and groaning, and in a little while a man was pushed into our den with a “There, d—n you, soak there a spell!”—and then the gate was closed and the officers went away again. The


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 man who was thrust among us fell limp and helpless by the grating, but as nobody could reach him with a kick without the trouble of hitching along toward him or getting fairly up to deliver it, our people only grumbled at him, and cursed him, and called him insulting names—for misery and hardship do not make their victims gentle or charitable toward each other. But as he neither tried humbly to conciliate our people nor swore back at them, his unnatural conduct created surprise, and several of the party crawled to him where he lay in the dim light that came through the grating, and examined into his case. His head was very bloody and his wits were gone. After about an hour, he sat up and stared around; then his eyes grew more natural and he began to tell how that he was going along with a bag on his shoulder and a brace of policemen ordered him to stop, which he did not do—was chased and caught, beaten ferociously about the head on the way to the prison and after arrival there, and finally thrown into our den like a dog.


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Rh And in a few seconds he sank down again and grew flighty of speech. One of our people was at last penetrated with something vaguely akin to compassion, may be, for he looked out through the gratings at the guardian officer, pacing to and fro, and said:

“Say, Mickey, this shrimp’s goin’ to die.”

“Stop your noise!” was all the answer he got. But presently our man tried it again. He drew himself to the gratings, grasping them with his hands, and looking out through them, sat waiting till the officer was passing once more, and then said:

“Sweetness, you’d better mind your eye, now, because you beats have killed this cuss. You’ve busted his head and he’ll pass in his checks before sun-up. You better go for a doctor, now, you bet you had.”

The officer delivered a sudden rap on our man’s knuckles with his club, that sent him scampering and howling among the sleeping forms on the flag-stones, and an answering burst of laughter came from the half dozen


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98 policemen idling about the railed desk in the middle of the dungeon.

But there was a putting of heads together out there presently, and a conversing in low voices, which seemed to show that our man’s talk had made an impression; and presently an officer went away in a hurry, and shortly came back with a person who entered our cell and felt the bruised man’s pulse and threw the glare of a lantern on his drawn face, striped with blood, and his glassy eyes, fixed and vacant. The doctor examined the man’s broken head also, and presently said:

“If you’d called me an hour ago I might have saved this man, may be―too late now.”

Then he walked out into the dungeon and the officers surrounded him, and they kept up a low and earnest buzzing of conversation for fifteen minutes, I should think, and then the doctor took his departure from the prison. Several of the officers now came in and worked a little with the wounded man, but toward daylight he died.


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Rh It was the longest, longest night! And when the daylight came filtering reluctantly into the dungeon at last, it was the grayest, dreariest, saddest daylight! And yet, when an officer by and by turned off the sickly yellow gas flame, and immediately the gray of dawn became fresh and white, there was a lifting of my spirits that acknowledged and believed that the night was gone, and straightway I fell to stretching my sore limbs, and looking about me with a grateful sense of relief and a returning interest in life. About me lay the evidences that what seemed now a feverish dream and a nightmare was the memory of a reality instead. For on the boards lay four frowsy, ragged, bearded vagabonds, snoring—one turned end-for-end and resting an unclean foot, in a ruined stocking, on the hairy breast of a neighbour; the young boy was uneasy, and lay moaning in his sleep; other forms lay half revealed and half concealed about the floor; in the furthest corner the gray light fell upon a sheet, whose elevations and depressions indi-


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100 cated the places of the dead man’s face and feet and folded hands; and through the dividing bars one could discern the almost nude forms of the two exiles from the county jail twined together in a drunken embrace, and sodden with sleep.

By and by all the animals in all the cages awoke, and stretched themselves, and exchanged a few cuffs and curses, and then began to clamour for breakfast. Breakfast was brought in at last—bread and beefsteak on tin plates, and black coffee in tin cups, and no grabbing allowed. And after several dreary hours of waiting, after this, we were all marched out into the dungeon and joined there by all manner of vagrants and vagabonds, of all shades and colours and nationalities, from the other cells and cages of the place; and pretty soon our whole menagerie was marched up-stairs and locked fast behind a high railing in a dirty room with a dirty audience in it. And this audience stared at us, and at a man seated on high behind what they call a pulpit in this


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Rh country, and at some clerks and other officials seated below him—and waited. This was the police court.

The court opened. Pretty soon I was compelled to notice that a culprit’s nationality made for or against him in this court. Overwhelming proofs were necessary to convict an Irishman of crime, and even then his punishment amounted to little; Frenchmen, Spaniards, and Italians had strict and unprejudiced justice meted out to them, in exact accordance with the evidence; negroes were promptly punished, when there was the slightest preponderance of testimony against them; but Chinamen were punished always, apparently. Now this gave me some uneasiness, I confess. I knew that this state of things must of necessity be accidental, because in this country all men were free and equal, and one person could not take to himself an advantage not accorded to all other individuals. I knew that, and yet in spite of it I was uneasy.

And I grew still more uneasy, when I found


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102 that any succored and befriended refugee from Ireland or elsewhere could stand up before that judge and swear away the life or liberty or character of a refugee from China; but that by the law of the land the Chinaman could not testify against the Irishman. I was really and truly uneasy, but still my faith in the universal liberty that America accords and defends, and my deep veneration for the land that offered all distressed outcasts a home and protection, was strong within me, and I said to myself that it would all come out right yet.

I was glad enough when my case came up. An hour’s experience had made me as tired of the police court as of the dungeon. I was not uneasy about the result of the trial, but on the contrary felt that as soon as the large auditory of Americans present should hear how that the rowdies had set the


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Rh dogs on me when I was going peacefully along the street, and how, when I was all torn and bleeding, the officers arrested me and put me in jail and let the rowdies go free, the gallant hatred of oppression which is part of the very flesh and blood of every American would be stirred to its utmost, and I should be instantly set at liberty. In truth I began to fear for the other side. There in full view stood the ruffians who had misused me, and I began to fear that in the first burst of generous anger occasioned by the revealment of what they had done, they might be harshly handled, and possibly even banished the country as having dishonoured her and being no longer worthy to remain upon her sacred soil.

The official interpreter of the court asked my name, and then spoke it aloud so that all could hear. Supposing that all was now ready, I cleared my throat and began—in Chinese, because of my imperfect English:

“Hear, O high and mighty mandarin, and believe! As I went about my peaceful business


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 in the street, behold certain men set a dog on me, and—

“Silence!”

It was the judge that spoke. The interpreter whispered to me that I must keep perfectly still. He said that no statement would be received from me—I must only talk through my lawyer.

I had no lawyer. In the early morning a police court lawyer (termed, in the higher circles of society, a “shyster”) had come into our den in the prison and offered his services to me, but I had been obliged to go without them because I could not pay in advance or give security. I told the interpreter how the matter stood. He said I must take my chances on the witnesses then. I glanced around, and my failing confidence revived.

“Call those four Chinamen yonder,” I said. “They saw it all. I remember their faces perfectly. They will prove that the white men set the dog on me when I was not harming them.”

“That won't work,” said he. “In this country


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Rh white men can testify against Chinamen all they want to, but Chinamen ain’t allowed to testify against white men!

What a chill went through me! And then I felt the indignant blood rise to my cheek at this libel upon the Home of the Oppressed, where all men are free and equal—perfectly equal—perfectly free and perfectly equal. I despised this Chinese-speaking Spaniard for his mean slander of the land that was sheltering and feeding him. I sorely wanted to sear his eyes with that sentence from the great and good American Declaration of Independence which we have copied in letters of gold in China and keep hung up over our family altars and in our temples—I mean the one about all men being created free and equal.

But woe is me, Ching Foo, the man was right. He was right, after all. There were my witnesses, but I could not use them. But now came a new hope. I saw my white friend come in, and I felt that he had come there purposely to help me. I may almost say I knew


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106 it. So I grew easier. He passed near enough to me to say under his breath, “Don’t be afraid,” and then I had no more fear. But presently the rowdies recognised him and began to scowl at him in no friendly way, and to make threatening signs at him. The two officers that arrested me fixed their eyes steadily on his; he bore it well, but gave in presently, and dropped his eyes. They still gazed at his eyebrows, and every time he raised his eyes he encountered their winkless stare—until after a minute or two he ceased to lift his head at all. The judge had been giving some instructions privately to some one for a little while, but now he was ready to resume business. Then the trial so unspeakably important to me, and freighted with such prodigious consequence to my wife and children, began, progressed, ended, was recorded in the books, noted down by the newspaper reporters, and forgotten by everybody but me—all in the little space of two minutes!

“Ah Song Hi, Chinaman. Officers O’Flannigan


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Rh and O’Flaherty, witnesses. Come forward, Officer O’Flannigan.”

—“He was making a disturbance in Kearny street.”

—“Any witnesses on the other side?”

No response. The white friend raised his eyes—encountered Officer O’Flaherty’s—blushed a little—got up and left the courtroom, avoiding all glances and not taking his own from the floor.

—“Give him five dollars or ten days.”

In my desolation there was a glad surprise in the words; but it passed away when I found that he only meant that I was to be fined five dollars or imprisoned ten days longer in default of it.

There were twelve or fifteen Chinamen in our crowd of prisoners, charged with all manner of little thefts and misdemeanors, and their cases were quickly disposed of, as a general thing. When the charge came from a policeman or other white man, he made his statement and that was the end of it, unless the


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108 Chinaman’s lawyer could find some white person to testify in his client’s behalf, for, neither the accused Chinaman nor his countrymen being allowed to say anything, the statement of the officers or other white person was amply sufficient to convict. So, as I said, the Chinamen’s cases were quickly disposed of, and fines and imprisonment promptly distributed among them. In one or two of the cases the charges against Chinamen were brought by Chinamen themselves, and in those cases Chinamen testified against Chinamen, through the interpreter; but the fixed rule of the court being that the preponderance of testimony in such cases should determine the prisoner’s guilt or innocence, and there being nothing very binding about an oath administered to the lower orders of our people without the ancient solemnity of cutting off a chicken’s head and burning some yellow paper at the same time, the interested parties naturally drum up a cloud of witnesses who are cheerfully willing to give evidence without ever knowing anything


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Rh about the matter in hand. The judge has a custom of rattling through with as much of this testimony as his patience will stand, and then shutting off the rest and striking an average.

By noon all the business of the court was finished, and then several of us who had not fared well were remanded to prison; the judge went home; the lawyers, and officers, and spectators departed their several ways, and left the uncomely court-room to silence, solitude, and Stiggers, the newspaper reporter, which latter would now write up his items (said an ancient Chinaman to me), in the which he would praise all the policemen indiscriminately and abuse the Chinamen and dead people.


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 30

COLOR DEFINITIONS.

the light impinging upon it. Therefore if we take absolute re- flection as 100 a fraction of 100 will give the relative lumi- nosity of any body." Luminosity is another expression of the quality above described as forming a prominent feature in the term values.

Potentiality. — The ability or strength of a color to affect other colors by combinations with them. For example, white has a greater potentiality than black, yellow greater than red, and violet the least of all the spectrum colors.

It is a pertinent question whether any quality is involved in this term which is not found in value, tone and luminosity, but it expresses a somewhat different phase of a line of color effects.

Quality. — This term seems to be used rather indefinitely when applied to color, but perhaps it is not far removed from the term hue or kind of color.


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 JULY 14.

T the same. A - & Mount's party returned from Ashburton.

JULY 15.

T mostly at garden and odd work.

JULY 16.

Sunday. A for medecine.

JULY 17.

A returned in search of horses. T attending to Pock for Mr McLeod as I may have to purchase it; & other little jobs.

JULY 18.

Usual. A brought in horses & took Lockyer's mare up river etc,

JULY 19.

Same work.

JULY 20.

A brought in Jeannette, & afterwards 4 horses, for McLeod, to rid us of his stallion. T planting cabbage.

JULY 21.

T & A working bullocks a.m. - p.m. T laying floor in house, A out with bullocks & MCL's horses.

JULY 22.

Tucker same. A brought in Bobby & Ney as the former's back wants attending.

JULY 23.

Sunday.


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 JULY 24.

Tucker laying floor. A with provisions to sheep station. -

JULY 25.

T & Taylor & L. cutting & branding calves. The first work I have done for 3 weeks since being ill. A returned from sheep station.

JULY 26.

T laying floor. A & self making noseboards; & etc last break too easily.

JULY 27.

Branding some cattle calved here; which either were omitted before, or the brand had become indistinct. (Other work).

JULY 28.

Self up to sheep station. Tucker a floors. A sinking water holes for garden.

JULY 29.

Returned. Men at work.

JULY 30.

Sunday.

JULY 31.

Went for stores & to see Dr. Men as before.

AUG. 1.

Branding & other work, all hands.

AUG. 2.

Usual work.


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 AUG. 3.

Same.

AUG. 4, 5.

Same work a.m. & p.m. down to Mt. Welcome for boots & clothing ; as I have none.

AUG. 6.

Came home. Sunday.

AUG. 7.

Went to sheep station with Tucker with provisions. Men at work 1 sheep dead.

AUG. 8.

Moved sheep & traps into last camp 6 miles, after searching all morning for a better place.

AUG. 9.

Counted sheep & looking for pool to wash in & examined river all the way home. -

AUG. 10.

Tucker & self attending to garden.

AUG. 11.

Trimming rails. Self writing, & up to sheep station to count sheep & fetch Connor (shepherd).

AUG. 12.

T the same; & preparing for party A after bullocks & down with team, self home writing & to Mr. Welcome.

AUG. 13.

Remained at Mt. Welcome as "Mystery" would not be ready for


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 intervals, a certain noise with his teeth, which is not accounted to be a token of heroism, when the wind rustled a little stronger betwixt the leaves, and became more and more silent the nearer we approached the castle. The rest of the company were also not entirely free of fearful apprehensions; and there was not one who did not exhibit stronger or weaker symptoms of anxious apprehensions.

"A sudden gust of wind, which extinguished some of the torches, served to encrease the fear which prevailed in our heroic society: and some of the ladies protested they would not advance a step farther, if they were not lighted again immediately. We were, therefore, obliged to halt, which happening frequently, our march was very much retarded; and those that were more fearful than the rest, gained time to communicate their apprehensions to their neighbours, and to infect even the servants, who, at first, had displayed pretty much courage.

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 "We arrived, at length, at the castle-gate. The haunted apartment was on the first floor; but the anxiety of the company displayed itself already at the staircase which led to the great hall. Numberless fears and apprehensions exhibited themselves on the countenances of my fellow-adventurers, which were rendered more visible by their painful exertions to conceal them from the rest. We now counted the company, to see whether none had stayed behind; and were struck with astonishment, on finding that the Chevalier Antonio was missing. We were already going to ridicule his cowardice severely, and felt ourselves strongly inclined to laugh at the desertion of his vaunted courage, when he convinced us that we had wronged him; for he came running out of breath, and wiping the sweat from his face. He even asked, with a great clamour, why we did not proceed; and the whole company being re-animated with new

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 courage by his noisy exhortations, advanced towards the great staircase.

"But now a new difficulty arose; none of us being willing or able to ascend the steps first. The Marquis was retained by his lady, and the rest were stopt by his example. At length, she suffered him to proceed, after he had asked her angrily, whether he took him for a child; and Antonio, who was in the rear, had exclaimed, Why we did not go on? He now ascended the stairs; and myself, with a friend of mine, who had taken me by the arm, pushed through the rest, and followed him closely, while the greater part of the company were loitering partly at the bottom, and partly in the middle, of the staircase, according to their respective share of courage. We did not mind their backwardness, and proceeded towards the haunted apartment with a great show of courage, but I dare say not without palpitating hearts.

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text: The Mystery of the Blue Train/Chapter 28


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N THE foregoing pages an attempt is made to explain clearly and as briefly as possible the principles on which the Bradley system of color instruction is based, and also to suggest a few definitions necessary to an intelligent discussion of the general subject of Color, Owing to the peculiar nature of the questions involved, demonstration by actual experiment is more convincing than the mere statement of theories can possibly be, and therefore a few of the following pages

will be devoted to the explanation of some valuable experiments, all of which may be tried by the teacher in private, while many of them can be shown the pupils with great advantage.

In this system the Maxwell color disks are the means for color combinations and the basis for measurements, and therefore for a color nomenclature. For this reason the present chapter treats largely of the proper use of # the w'heel and incidentally the theory of red, yellow and blue primaries with combinations to produce secondaries Fig. 2. and tertiaries. No teacher using the

material connected with this color scheme can- hope to meet with success without a knowledge of the principles on which it is based, and in this subject as in all others, it is essential that the teacher shall know much more of it than he or she is ever required to teach.

For most convenient use the machine should be clamped to the front of a table and near one end, so that the speaker using it can stand at the end of the table and operate it with the


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 right hand. Fig. 2 represents the Normal School Color Wheel showing the face of the disks as seen by the audience. Facility

in the operation of the Color Wheel is rapidly acquired by practice and the exact position is easily determined by the operator after a few trials.

Fig. 3 shows the Primary School Color Wheel, which has only two sizes of disks, while the largest machine has four sizes and is much finer Fig. 3. in construction. The smaller machine does not require clamping to a table, but may be steadied by the left hand while being operated by the right hand.

Many of the experiments of the color wheel can be produced with a small toy called a Color Top, which is shown in Fig. 4. It is composed of a thick cardboard disk forming the body of the top and a central wooden spindle on which the disk closely fits. A number of colored paper disks are provided with this top so that very many of the experiments performed before a class can be repeated individually by the pupils and in this way the facts which may have been

demonstrated to the class with the color wheel can be fixed in the minds of the pupils by their own experiments with the top. Also as a home toy in the hands of the pupils it can be of value, not only to the children, but to the parents as well.

Fig. 5 shows the method of joining two Maxwell disks and Fig. 6 their appearance when properly joined to be placed on the rotating spindle of the color wheel. In joining two or more disks for use on a color wheel or top, care should be taken to


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 place them in such relation to each other that when rotated the radial edges exposed on the face toward the audience will not "catch the wind." With small disks on the color wheel this is not important, and if there is no whole graduated disk on the arbor behind the slitted disks there is no advantage, but in using the larger disks it is well to put the graduated disk behind the others for this purpose, as at best it is quite laborious to keep up speed when using several of the large disks, even with the best possible conditions. With the thin paper disks of the color top this is an important matter. It will be noticed that the method of joining the disks for use on the Color Top is the reverse of that to be observed with the disks of the Color Wheel as shown in Fig. 5.

Fig. 7 shows the same two color disks placed in front of a large white disk having its edge graduated to one hundred parts, so that the relative proportions of two Or more colors to be combined can be determined accurately.

As the smaller disks offer so much less resistance in rotation than the larger ones they are most desirable in private experiments or before a small class, and the largest disks of the Normal School Wheel are necessary only when more than three expressions of color are required to be shown at the same time. In making experiments before an audience those persons in front should if possible be at least ten feet from the color wheel.


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 From ten to forty feet there seems to be but little difference in the color perception, but for best tests fifteen to twenty feet is the most desirable position.

For private practice with the color wheel a small mirror may be placed five or six feet in front of the wheel in such position as to furnish an image of the disks to the person operating the machine. Owing to a slight loss of light by reflection the closest criticism may not be possible when working with a mirror in this way, but if a plate mirror is used the results are very good and a bevel plate mirror about 7×9 inches without frame, can usually be procured at small cost; this method is much more satisfactory for personal experimenting than an assistant to turn the wheel.

These disks have heretofore been used as a curious piece of philosophical apparatus rather than because they have been supposed to have any practical value in color training, but in establishing a color nomenclature based on six spectrum colors the disks at once assume a great value and are indispensable in a system of color instruction founded on the science of color and on the psychological. perception of colors.

Let us suppose that the two disks shown in Fig. 7 are yellow and green, 80 parts yellow and 20 parts green; then by rotation we shall have a green yellow indicated by the symbol Y. 80, G. 20. No argument is necessary to prove that when an exact expression of color effect is required this is better than the simple statement that it is a greenish yellow.

For practice it is profitable to commence with the red and orange disks combined on the spindle, with a smaller red disk in front of them, the smallest being preferable. Begin by introducing say five per cent of orange and notice that a change from the standard red at the center is visible. Gradually increase the orange until it seems difficult to say whether the resulting color is more like red or orange, and then exchange the small red disk for an orange disk of the same size, and con-


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 tinue adding orange in the larger disks until the difference cannot be detected between the small disk and the larger combined disks.

The standards may be combined in pairs, as has been indicated with the red and orange, to produce all the intermediate hues throughout the spectrum, but it must be remembered that these combinations are to be made by joining in pairs, colors adjacent in the spectrum, red and orange, orange and yellow, yellow and green, green and blue, blue and violet. We then shall have representations of all the spectrum colors, but there are still the colors between violet and red, known in nature and art as purples, which must be produced by. uniting the red and violet disks, thus completing a circuit of colors containing all the pure colors in nature.

In nature all colors are modified by light and shade, strong-light producing tints and shadows more or less deep forming-shades.

These effects are imitated on the color wheel by the use of a white disk combined with a disk of a standard color for tints and a black disk for shades, and can be tested in the same order as indicated for the hues, by combining each standard disk with a white or a black disk in varying proportions. It will be noticed early in disk experiments that a very small amount of white produces a decided effect in the tone of a color while a comparatively large amount of black is necessary to produce a marked change. As this is exactly the reverse of the effects of white and black pigments it is always a subject of remark. In pigments these effects are imitated by the mixture of white with a color to produce tints, and black for shades, or more generally instead of black some dark natural pigment approaching the hue of the color, may be preferred because a black pigment will too often impart an unexpected and undesirable hue to the color. As for example, in making shades of red some natural brown pigment is better than black, and so various dark browns and grays are used for different colors.


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 Even with the disks it is impossible to imitate purest tints of all the standard colors, because in some of the colors, as peculiarly in red and blue, the rotation of the white disk seems to develop a slightly violet gray, for which effect there has as yet been no scientific explanation. This gray dulls the purity of the tint as compared with that which is found in the color under a bright illumination, but on the whole both tints and shades as well as the hues can be better illustrated with the disks than in any other way, and in addition, the advantage is secured of being able to measure and record the tone by the graduated disk in the same way as the hues are measured and recorded. A further advantage is secured in the use of disks in color instruction because with pigments, the only other method by which colors can be combined, much time must be lost not only in the mixing aucl applying of the colors but in the delay necessary to allow them to dry before the true results can be seen.

The shades of yellow as shown on the wheel will not be generally accepted without criticism, but careful comparison with yellow paper in shadow will prove the substantial truth of the disk results. This experiment may be tried as follows: Join

two cards with a hinge of paper or cloth to form a folding screen like the covers of a book as in Fig. 8. On the surface A, paste a piece of standard yellow paper and on B, a piece of yellow shade No. 1. Hold these two surfaces toward the class in such a position that the strong light will fall on B, which is the yellow shade, and thus bring the face A, which is a standard yellow, in a position to be shaded from the light. By varying the angle of the covers with each other and turning them as a whole from side to side, a position will be secured in which the two faces will seem so nearly alike as to convince the class that this color which they may have


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 4 PHILOSOPHICAL AND OTHER ESSAYS Was Herakleitos a Mystic ? Herr Pfleiderer wishes us to look upon Herakleitos in the light of the idea of the mysteries: "im Lichte der Mysterien-idee. The opinion is entirely groundless. Herr Pfleiderer does not seem to have noticed the severe attack that Herakleitos made against all people who took part in mysteries. He calls them night-walkers, wizards, bacchanals, revellers, mystery-mongers- νυκτιπόλοι, μάγοι, βάκχοι, λῆναι, μύσται—a worse terminology of abuse could scarcely be invented; for what are called mysteries among men they celebrate in an unholy way : τὰ γὰρ νομιζόμενα κατ᾿ ἀνθρώπους μυστήρια ἀνιερωστὶ μυεῦνται. In the light of such utterances of Herakleitos, it would be sheer madness to consider Herakleitos in any sense a mystic. Among the two traditions discussed by Mr. Cornford in his book "From Religion to Philosophy," we may safely refer Herakleitos to the scientific tradi- tion, and not to the mystical tradition. The only claim of Herakleitos to a niche in the mystic shrine is his aphoristic, epigrammatic, and cryptic style. But mere aphorism is not mysticism, and we may safely regard. Herakleitos as even an anti-mystic, remembering what importance Herakleitos attached to the dry light of reason: the dry soul, said Herakleitos, is wisest and best: αὖη ψυχὴ σοφωτάτη καὶ ἀρίστη, Relation to Parmenides We are now prepared to discuss the relation of Herakleitos to Parmenides. We have already seen above that Herakleitos refers to Xenophanes, while we can undoubtedly say that Parmenides refers to Herakleitos so that Herakleitos may be safely put down as having flourished between Xenophanes and Parmenides. Zeller,

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 HERAKLEITOS 3 tion and construction "-this is how the supreme principle acts (Gomperz: Greek Thinkers I. 64). Even though, therefore, we have some justification for calling Herakleitos a weeping philosopher, we have still more justification for calling him a philosopher who made other people weep. We know how he inveighed against all his predecessors, Homer and Hesiod, and Pythagoras and Xenophanes, and the rest. About Homer, he said that he deserved to be turned out of the lists and whipped with lashes: τὸν ῞Ομηρον ἄξιον ἐκ τῶν αγώνων ³xßúλdeodzı kai p×nifer. Pythagoras, he said, made a ἐκβάλλεσθαι καὶ ῥαπίζεσθαι. wisdom of his own--much learning and bad art = ΙΙυϑαγόρης ἐποίησε ἑωυτοῦ σοφίην, πολυμαθίην, κακοτεχνίην. About. Hesiod, and Pythagoras, and Xenophanes, as a whole, he says that their much learning had not yet taught them understanding : "much learning teacheth not under- standing, else it would have taught Hesiod and Pytha- goras, and again Xenophanes" : Tovudin voor exelv oir πολυμαθίη νόον ἔχειν διδάσκει. Ἡσίοδον γὰρ ἄν ἐδίδαξε καὶ Πυθαλόρην αὖτίς τε Ξενοφάνεια. It is worth while remembering that Herakleitos inveighs. against Pythagoras in this strain, even though he was indebted to him for the idea of the lyre of which he made an important use in his system, as we shall see later on, and that he criticised Xenophanes in spite of Xenophanes similar attitude towards Homer and Hesiod, who, in his opinion, "ascribed to the Gods all things that are a shame and a disgrace even among mortals-stealings and adulteries, and deceivings of one another." In the light of such severe criticisms it would be better to call Herakleitos a philosopher who did not himself weep.. but made other people weep; an oxhohoidopos who railed. at the people, a veritable fire-breathing philosopher like his later compeer--Nietzsche. . 6

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. I told you he wasn't here. He won't come to-night, either. He tells me that he is coming so that I won't look for him where I know he is, where I am going some night to dig a knife into his heart, if he deceives me.

. You talk like a fool. Kill a man, eh? Don't you do it, and don't you kill yourself for him, either. He'll be back after you some day soon enough, when you don't want it.

. No, he'll never come back. He has money now. Didn't you see? Do you know where he gets all his money?

. Of course I do! Do you suppose I'd kill mine for that? When mine bothers me is when he hasn't any money. When he has, I never ask him where he gets it. Do they ask us?

. But I don't love anybody but him, and he knows it.

. And he loves you; the boy has to live. You ought to be glad of it; it isn't right that you should be the only one who works. Come on, now, and dance. If he thinks you've forgotten him and are in love with some one else, he'll come back fast enough. He'll get tired, like all the rest. You can find people who are willing to hand out a hundred francs, five hundred francs, a thousand francs—but it's only once, because they happen to feel like it, but when it comes to five or ten francs every day, or whatever you've got, and if 101


text: Cutter of Coleman-street/Act 1 Scene 6

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 thought to be green, is not green, but a color peculiar to itself, a shade of yellow; because the darker paper when in full light appears substantially the same as the standard yellow in the shade or shadow.

In our experiments thus far with the wheel we have combined the standards in pairs to produce the colors of the spectrum between the standards, which for convenience may be called intermediate spectrum hues, and also have combined a white disk with each of the standards to produce tints of the standards and a black disk to make shades.

By combining a white disk with an orange and a yellow disk, for example, forming a trio of disks, a variety of tints of orange yellow and yellow orange may be made. Also by the use of the black disk instead of the white a series of shades of the intermediate hues may be produced, and thus a great variety of tints and shades of many spectrum colors shown.

Now if the white and black disks are combined with each oliier the result will be a shade of white, i. e., a white in shadow, which is an absolutely neutral gray. As the experiments progress it will be seen that this neutral gray is a very important feature in the study of color, and therefore it may be well at this point to make sure that the disk combinations give the true gray of a white in shadow by a test similar to the one used for the shade of yellow, thus disarming criticism. Such a test may conveniently be made by covering the reverse sides of the folding covers with white on one cover and "neutral gray paper No. 1" on the other. As the neutral gray papers are made in imitation of combinations of black and white disks this experiment is as convincing as the one regarding the yellow shade. This is but one of many examples of the value of disk combinations in the classification and analysis of colors.

In an elaborate chart of colors highly recommended for primary color instruction a dozen years ago no correct understanding of the classification of colors is shown, the tints and shades being indicated by a very decided change of hue rather than a


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 consistent modification of tone. For example, in the red scale the standard or normal red is vermilion, i. e., an orange red; shade No. 1 is simply a red less orange in hue than the standard, and shade No. 2 a shade of the standard red advocated in this system; while tint No. 1 is a broken yellow orange and tint No. 2 is much more yellow and more broken than No. 1.

Similar inconsistencies occur in all the other scales, showing that the author had no correct knowledge of the analysis of colors, and yet this was the best and practically the only aid offered for instruction in color at that time.

Neither were there any true standards for neutral grays and the term "neutral" was used in such an indefinite way as to rob it of all actual value, until by the- aid of disk combinations it came to be confined to white in shadow as closely imitated by the combinations of white and black disks.

With colored papers made in imitation of the six standards and two tints and two shades of each, six scales of colors may be produced by arranging the five different tones of each color in a row, as in Fig. 9, which represents the orange scale with tints at the left and shades at the right. If, in addition to these six scales, we have two scales between each two of the standards, we may have between the orange scale and the yellow scale a yellow orange scale and an orange yellow scale, and if we thus introduce the intermediate scales between each of the other two standards, and include the red violet and violet red, we shall have eighteen scales of five tones each.

The eighteen scales as above named may be arranged as


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 2 PHILOSOPHICAL AND OTHER ESSAYS have flourished in Asia Minor in the sixty-ninth Olympiad. The more exact dates of his life and death have been fixed in modern times to be 535 B. C. and 475 B. C. From the great perplexity of his writings, Herakleitos came to be surnamed the Obscure (ὁ σκοτεινός ). Even the great Aristotle complained about the grammatical difficulties in Herakleitos' work. This. work is said to have borne the customary title Tepi Tews- Even though we have not the whole work of Herakleitos before us we have sufficient fragments extant from that work to enable us to reconstruct Herakleitos' philosophy tolerably satisfactorily. Herakleitos wrote in aphorisms, which is the real reason of his occasional obscurity. To take one illustration out of many, it is impossible to make out what Herakleitos meant when he called gods mortals, and men immortals: θεοὶ θνητοί, άνθρωποι ἀθάνατοι. TOL. Very often, however, Herakleitos' meaning is plain when we once understand the secret of his philosophy; but we must remember that his style is often antithetical: the name of the bow (Bios), he says, is life (Blos), but its work is death- TOû Bioù ovvоμ* τοῦ βιοῦ οὔνομα. βίος, ἔργον δὲ θάνατος. Criticism of Predecessors. Herakleitos has been called a weeping philosopher,. as contrasted with Demokritos, who is called a laughing. philosopher. The charge against Herakleitos is due to some traces of pessimism found in his writings. Man, says Herakleitos, is kindled and put out like a light in. the night-time: ἄνθρωπος, ὅπως ἐν εὐφρόνῃ φάος, απτεται. αποσβέννυται. TOOBEUT. Time, he says elsewhere, is like a child playing draughts; it " amuses itself with counters, and builds castles on the sea-shore for the sake of throwing them down again: construction and destruction, destruc--2 PHILOSOPHICAL AND OTHER ESSAYS have flourished in Asia Minor in the sixty-ninth Olympiad. The more exact dates of his life and death have been fixed in modern times to be 535 B. C. and 475 B. C. From the great perplexity of his writings, Herakleitos came to be surnamed the Obscure (ὁ σκοτεινός ). Even the great Aristotle complained about the grammatical difficulties in Herakleitos' work. This. work is said to have borne the customary title Tepi Tews- Even though we have not the whole work of Herakleitos before us we have sufficient fragments extant from that work to enable us to reconstruct Herakleitos' philosophy tolerably satisfactorily. Herakleitos wrote in aphorisms, which is the real reason of his occasional obscurity. To take one illustration out of many, it is impossible to make out what Herakleitos meant when he called gods mortals, and men immortals: θεοὶ θνητοί, άνθρωποι ἀθάνατοι. TOL. Very often, however, Herakleitos' meaning is plain when we once understand the secret of his philosophy; but we must remember that his style is often antithetical: the name of the bow (Bios), he says, is life (Blos), but its work is death- TOû Bioù ovvоμ* τοῦ βιοῦ οὔνομα. βίος, ἔργον δὲ θάνατος. Criticism of Predecessors. Herakleitos has been called a weeping philosopher,. as contrasted with Demokritos, who is called a laughing. philosopher. The charge against Herakleitos is due to some traces of pessimism found in his writings. Man, says Herakleitos, is kindled and put out like a light in. the night-time: ἄνθρωπος, ὅπως ἐν εὐφρόνῃ φάος, απτεται. αποσβέννυται. TOOBEUT. Time, he says elsewhere, is like a child playing draughts; it " amuses itself with counters, and builds castles on the sea-shore for the sake of throwing them down again: construction and destruction, destruc--

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 you haven't got it you dig it up out of the ground, so that they shan't go without—a man can't have that unless he's got somebody to love him, like you love him, and he'll never find it anywhere else either. Come on and dance.

. No, I'm not going. I came here to meet him, and I'm not going away; I mean to look for him, and I'll look for him, even if he kills me.

. No, you won't. What? Go there? He is with swells now, you know that. They don't want any scenes. They know how to take care of themselves when they are having a good time, you'd better believe it.

. Yes, I know. She's a fine lady and they're grand people, but rotten with sin. They are worse than we are, only more respectable.

. That's what you get for having a boy that's good-looking. Why didn't I take this fellow?

. Fred, the Englishman? You'd have made a big mistake. He's a sot. He'd march off for a bock with the first one who happened along. I've seen him do it. You are happy now; yours loves you.

. Yes, he's so refined; he knows how to treat me. He got into a nasty mess that time I was sick in Paris, so that I shouldn't want for anything—six months in the penitentiary was what they gave him, though nobody would appear against him, not even the man who was wounded; it was safer for him to shut up, and he knew it. Hello! Another quadrille. Come on, we ought to dance. M. Boniface will be angry if we don't. He says unless we dance and get people to spend money in the restaurant, it isn't worth his while to give us tickets. Help me out. There's a shipload of Italian sailors in to-night; you talk their lingo. They've money after the voyage—plenty of it. Come on and dance.


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 Philosophical and other Essays Herakleitos A Philosopher of War If any apology is needed for the discussion at the present moment* of such an academic subject as the philosophy of Herakleitos, it seems to the present writer to consist in the fact that Herakleitos is pre-eminently a philosopher of war. Like Hobbes at a later date, Hera- kleitos found, wherever he looked, the reign of war and strife. War, said Herakleitos, is the Father of all, and King of all : πόλεμος πάντων μὲν πατήρ ἐστι, πάντων δὲ βασιλεύς. He who wished to do away with the reign of strife in this world knew not what he said. Herakleitos thus blamed Homer for praying that strife might perish from among gods and men; he said that Homer did not see that he was thus praying for the destruction of the universe, for, if his prayer was granted, it would happen that all things would pass away. The cessation of strife, in short, thus means the end of the world; for, the world, said Herakleitos, is supported by strife. War, therefore, is the condition of nature, and as such we may identify strife and justice, said Herakleitos: ei dévxi dirnu epiv. Lastly, not only is war, said Herakleitos, natural and just, but we may also say that it is the very spring of all things, and that all things come into being through strife: γινόμενα πάντα κατ' ἔριν. Personality and style. Such in a nutshell is the war-philosophy of that dark Ephesian philosopher, Herakleitos, who is said to This essay was first published in February, 1916.

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 shown in Fig. 10 to form a chart of pure spectrum scales which is very valuable for study and comparison and especially so in the study of the theory of harmonies. All these tones are called pure tones and this chart is therefore called a chart of Pure Spectrum Scales.

The idea that soft, dull, broken colors produce best harmonies when used in combination may or may not be a universally accepted truth, but there is a general belief that it is much easier to make acceptable combinations with broken colors than with pure spectrum colors and their tints and shades, and therefore the temptation has been strong to select a general assortment of colors which easily harmonize because of the pleasing effect, instead of having regard solely to the educational value of colors.

Truth in education requires that when colors are classified as spectrum colors they shall all be the nearest approach possible to the true spectrum colors, and in the spectrum there are no broken or impure colors. Therefore, whenever the spectrum is set up as nature's standard or chart of colors and an imitation is made in pigments or papers, great care should be used to secure the most accurate imitation possible, but in the past this has not been the case, because of the prevailing idea that the colors must all be possible combinations of three primaries, and hence the orange, green and violet have often been very broken colors. While pure colors and their tints and shades may be advantageously combined with various tones of broken colors in one composition for artistic effect, they should be definitely divided when classified for educational purposes, and their differences clearly explained to students.

In a scale of tones in any color the several papers will harmonize more easily if the tints and shades are not too far removed from the standard, but it is thought by many good judges that the educational advantage in learning to see the relationship of color in the more extreme tones is of greater importance in the elementary grades than the facility for mak-


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 ing most pleasing combinations. Consequently in the Bradley colored papers the tints are very light and the shades quite dark.

If, instead of adding either a white disk or a black disk to a spectrum color, by which we make pure tints and shades, we add both white and black, a line of gray colors or so-called broken colors is formed. This is most beautifully shown with the disks, and in this way a line of true broken colors is secured, because in each case a true neutral gray has been added to the color, which cannot be insured in the mixture of gray pigments. As an example, this may be shown with the three smaller sizes of the orange disks. With the medium size of these three make the combination Orange, 35; White, 10; Black 55. With the larger size disks make the proportions Orange, 16; White, 5; Black, 79, and with the smallest size Orange, 43; White, 33; Black, 24. Place these three sets of disks on the spindle at one time and you have the three tones of a broken orange scale.

With similar combinations applied to the six standards and one intermediate hue between each two, there will be material for a chart of Broken Spectrum Scales, as shown in Fig. 11, including twelve scales of three tones each. These are the most beautiful colors in art or nature when combined harmoniously. Because of the loss of color in broken colors it is not advisable to attempt so many different hues or so many tones of each hue as in pure colors, for slight differences in either hues or tones are not as readily perceived.

In these two charts of color scales two distinct classes of colors are represented, namely, pure colors and broken colors. The pure colors consist of the purest possible pigmentary imitations of spectrum colors, with their tints and shades, and the broken colors are these pure colors dulled by the admixture of neutral grays in various tones. This distinction is readily recognized under proper training, so that if a broken color is introduced into a combination of colors from a pure scale it will be readily detected, which always occurs when the attempt is made to produce a series of spectrum scales by the combina-


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 tion of the three primary colors red, yellow and blue. By this method, if logically carried out, the orange, green and violet are dark broken colors, and hence to a less extent the intermediate colors also, because each of these is a mixture of a pure color with a broken color. The usual result, however, is that the orange made from the red and yellow seem so out of place in the warm end of the spectrum that it is modified and made much nearer the pure color, usually, however, too yellow, while the greens and violets, which are deep and rich broken colors, may seem more harmonious, but are so dark as to be out of place among spectrum colors.

If light broken colors are. properly combined a beautiful imitation rainbow is produced, which is more harmonions than the spectrum made from full colors. A series of such colors combined in spectrum order produce a more pleasing effect when separated by a small space of white, black, gray, silver or gold. The reason for this may be found in the discussion of simultaneous contrasts.

In nature nearly all colors are broken. First, there is always more or less vapor together with other impurities in the air, so that even in a clear day objects a few hundred feet from us are seen through a gray veil, as it were, and in a misty or hazy day this is very evident. In the case of somewhat distant foliage the general color effect is produced by the light reflected from the aggregation of leaves, some of which may be in bright sunlight and others in shadow, with a mixture of brown twigs. All these tints and shades of green and brown are mingled in one general effect in the eye. Also, owing to the rounded forms and irregular illumination of objects, we see very little full or local color in nature.

Therefore the study of broken colors becomes the most fascinating branch of this whole subject, and it also has an added interest because nearly all the colors found in tapestries, hangings, carpets, ladies' dress goods, etc., come under this head. In fact it would be hazardous for an artisan or an artist to


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 use any full spectrum color in his work, except in threads, lines or clots. A considerable quantity of pure standard green, for instance, would mar the effect of any landscape.

It is a very interesting diversion to analyze samples of the dress goods sold each season under the most wonderful names. For example: —

"Ecru," a color sold a few seasons ago, is a broken orange yellow with a nomenclature 0. 12, Y. 15, W. 17, N. 56, while this year "Leghorn" and "Furet" are two of the "new" colors, the former having a nomenclature of O. 16, Y. 54, W. 19, N. 11, and the latter O. 18, Y. 18, W. 8, N. 56, all of which are very beautiful broken orange yellows.

"Ashes of Roses" of past years is a broken violet red which can be analyzed as follows: R. 8½, V. 2¼, W. 15¼, N. 74.

"Anemon" of this season is R. 28, V. 7, W. 5, N. 60, which is another broken violet red.

"Old Rose" is a broken red: R. 65½, W. 24½, N. 10.

"Empire" of past seasons is G. 18½, B. 11, W. 16½, N. 54, while "Neptune" of this season is G. 13½, B. 2½, W. 11, N. 73, both being broken blue greens.

"Topia," a beautiful brown,is O. 10, N. 90, a pure shade of orange, while "Bolide" is a lighter yellow orange with a nomenclature of O. 18½, Y. 2½, W. 1½, N. 77½.

We might analyze "Elephant's Breath," "Baby Blue," "Nile Green," "Crushed Strawberry" and others common in the market, but while the names will no doubt occur each season the colors will change with the fickle demands of the goddess of fashion and the interests of the manufacturers and dealers. In writing any color nomenclature the letters should be used in the following order: R.-O.-Y—G.-B.-V.-W.-N., thus always listing the standard colors before the white or black. For example, never place Y. before O. or R., and never use N. before W. If this order is strictly adhered to the habit is soon acquired and a valuable point gained.

It has been shown that combined white and black disks form


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. I'll tell them whatever you want; but not a word on my own account.

. My darling, will you buy me a bock?

. You know where you can get a bock that has diamonds in it, when you want it.

. Diamonds? I don't believe in diamonds any more.

. No, I suppose you've drunk them all up by this time.

. [Pointing to the beer] This doesn't play me the tricks that you do. I am not myself now—I don't feel well; I am sick. Lend me five francs, Margot; have a heart with poor Fred.

. Five francs? You can earn them easier than we can.

. Don't you want to lend them to me? I'll find your man, then, and kill him. I am stronger than he is.

. Get out! Let go of me, will you? Don't be so rough.

. Give me five francs!

. Let go!

. I'll scream if you don't.

. Don't you do it. Then the police will come, and jail us all. I can handle him myself; he's no good. Now get out!

. All this fuss over five francs! You don't treat me right. But I'll get even with you; you'll be sorry.

. Come on and dance.

. What is he doing to you?

. Ah, so you're here, are you? I never expected it.


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. Why not? I told you I was coming, and here I am. I suppose I am not a man of my word?

. Your word? Well, where have you been then?

. That's it! The first question you ask a man is where he has been; afterward you inquire for his health, which doesn't matter. I might have killed myself for all you care—have been dead.

. Killed yourself? Not much!

. You don't believe it, eh? You tell her.

. Yes, he might have killed himself. Easily.

. Honest?

. You think a man is made of stone. I can't stand these rows all the time. After last night—you can tell her. How did I feel?

. Sick. He fell flat.

. Don't you mind what he says. That's the game; they've fixed it up between them. Don't you see? What's that? Hold out your hand… Another ring?

. Who gave you that ring?

. It isn't mine; it's one I've got to sell.

. Who gave you that ring?

. Oh, I bought it! Will that do? Good! Now shut up. If it won't do, just as good, see? And shut up.

. What was the Englishman putting over when we came in?

. Oh, nothing! He's drunk.

. He needs a sound thrashing, and I'm the man to give it to him.

. Let him alone, will you?

. No, I am the one to do it; I'll show you.


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. Go along!

. He'll wish I had. He'll not stick his nose in this place again. What is the matter with you?

. Do you want to fight? I don't fight over women. Sit down. Waiter!… bring a bock. Bring two bocks. Call over your friend.

. I don't care to sit down.

. I tell you sit down. The first thing that gentlemen do when they meet is talk nice; then they take a drink. Then they fight—only they don't fight over women. You damn fools! We are good friends. Let's get down to business—serious business.

. Are you going to sit there and listen to him?

. Why not? The man talks sense; it sounds reasonable.

. Tell them to get out. Our business is not for women; it's serious.

. But

. Get out; leave us alone. Do you hear?

. Yes, listen to me. What business have you got to talk over with them? I know what your business is.

. Tell them to shut up, will you? Can't you shut up your own women?

. I told you to shut up and wait for us out there.

. Oh, come along! They make me sick. They're always hot to fight for us, but that's before they begin. By the time they do, they are friends, and then they fight us—to a finish. Come on and dance.

. Waiter! Bring three bocks.

. The dance could not be more respect-


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 able. We have been treated with the utmost consideration. If we had remained a few minutes longer, we should undoubtedly have found that it was our conduct that was incorrect, as it was at the Comte's villa.

. We have failed to preserve our incognito. I heard our names whispered as we passed.

. Amusing, was it not? Those who recognized you said: "Prince Stephen of Suavia out for the night with a cocotte." Those who recognized me: "Princess Helena and her lover—or one of her lovers."

. A great many recognized us both. I wonder what they thought?

. Probably that we were here out of curiosity, or for some improper purpose.

. Well, are you satisfied? Shall we go?

. Have you repented of our adventure so soon?

. I was not thinking of myself, but of you. The world will be full of this exploit to-morrow.

. You are more cowardly than I. You realize that you have made a mistake, but instead of pushing on, you retreat. You remind me of one of those fantastic peoples who overthrow a monarchy because it is tyrannical and establish a republic; then, because the republic does not bring them happiness, they promptly restore the monarchy. But that is not my way. If the republic proved a failure, I should declare for a state of anarchy, but I should never retreat. I am enchanted with this spot. This is life—to be here, to see everything, to shut one's eyes to nothing; to sympathize, to understand…

. Everything? Perhaps that was what induced you to fall in love with Herr Rosmer. It was not the man, it was the opening out of a new vista of life.


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. Yes, it is true. He was the only person who brought to our Palace the atmosphere of another world, and of truths that were different from ours. His was a different environment. I had no choice when I loved him any more than the prisoner has a choice, whose one desire is to regain his liberty, and who flees by the first avenue which lies open, which leads to freedom and the outer air.

. Instead of leading to freedom, you found, when you followed it, that you had merely changed prisons.

. Wholly to my disadvantage. It was never my privilege to meet a more persistent stickler for etiquette and every known form of propriety than Herr Rosmer. If you are perfectly frank with me—and with yourself—you must confess that your experience has been the same. You were as sadly mistaken as I in imagining that an unequal match was the most effective assertion of your individuality. We should have begun by living our new lives; then love would have come in due season.

. Our experience reminds me of a story which was told me by one of the officers of my regiment, a young man of the most distinguished lineage in Suavia. He fell in love with a girl who lived in the same city, who belonged to the working classes, and to him the charm of their association lay in wandering about the humbler quarters of the city, arm in arm with his girl. They visited the obscurer cafés, they frequented the popular theatres—in a word, he became another person; he escaped from his environment, from the society in which he had always moved, from the obligations of the life which was official. But he soon noticed that the girl was always bored when she was in his company; she looked upon those places with which she had


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 always been familiar with disgust. What she desired was to exhibit herself upon the fashionable promenades, to visit the principal restaurants, the theatres which were patronized by the aristocracy—in a word, the other life; and it was natural. What amused the one, bored the other. So, shortly after, my friend fell in love with a noble lady, of flawless birth, and then for the first time he was able to run about the lower quarters to his heart's content, and to visit all the vulgar theatres and disreputable cafés, because they all proved equally amusing to that noble lady, and so they were both always of one accord. I wonder if our experience has been the same?

. It has.

. We do not live as abstractions in the world, as fragments of the ideal. We are something in ourselves, but the environment which surrounds us is much more than ourselves—it is the landscape in which we are figures. The scenery is half of the play, in life as upon the stage.

. Yes, there are times and places in which we might fall in love with the first person to present himself, without ever having seen him before, or stopping even to ask his name. I wonder: what are you thinking of now?

. I was listening to that waltz. It is one of the memories of my life—a waltz that Elsa used to sing in the theatre.

. When she was still a popular favorite, a famous actress in your eyes, not merely a respectable woman to whom the mention of her triumphs as an artist gives offense. There is a waltz also in my life. Waltzes blend themselves so easily with the past, and remain in the memory even after years. Have you never noticed it?


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 neutral gray, which is a white in shadow or under a low degree of illumination. If to such a gray a very small amount of color is added, as orange for example, by the introduction of an orange disk, this neutral gray becomes an orange gray, but unless the amount is considerable it can not be detected as an orange, but the gray may be termed a warm gray, denoting that it is affected by some one of the colors near the red end of the spectrum. If blue instead of orange is added to the neutral gray, a cool gray is produced. When green is added to a gray the result can not fairly be called either warm or cool, and hence we have termed it a green gray. According to this plan we have four classes of grays, Neutral, Warm, Cool and Green grays. As there may be many tones of each, and many intermediate combinations from red to green, or green to blue, the number of grays in nature is infinite, but these four classes with two tones of each in the papers form what may be called standards or stations from which to think of the grays, the same as the six standards in the spectrum constitute points from which to think of pure colors.

A careful consideration of the foregoing pages, accompanied with a color wheel or even a color top, can hardly fail to give a student who will make the experiments a clear idea of the use of the disks in the system of color education in which they form such an important feature, and therefore the old theory of three primaries, red, yellow and blue, and all that it leads to can be very intelligently considered and tested by them in the experiments which follow.

This old theory briefly restated is as follows: It is said "there are in nature three primary colors, red, yellow and blue; and by the mixture of these primary colors in pairs, orange, green and violet may be made." In fact leading educators have said that "in the solar spectrum, which is nature's chart of colors, the principal colors are red, orange, yellow, green, blue and violet; of these red, yellow and blue are primaries from which may be made the secondaries, orange, green and violet."


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 All such statements as heretofore made in any popular treatment of the subject are understood to mean that in a pigmentary imitation of a spectrum the secondaries as enumerated may be produced by the mixtures of the primary pigments, because pigmentary mixtures are the only combinations generally recognized.

This theory has also included the statement that the primaries are complementary to the secondaries in pairs, and that the combination of the secondaries in pairs may produce- a distinct class of colors called tertiaries.

It will be the aim of the following pages to demonstrate that in all this there is neither scientific or aesthetic truth nor educational value.

Experiments in mixing the three pigments, red, yellow and blue, to produce the secondaries, orange, green and violet, have been very carefully made with interesting and instructive results. All such experiments are valueless unless made with one accepted set of primaries for the three combinations, because it is self-evident that if we select a vermilion red which is very decidedly an orange reel, and choose for our yellow one of the orange yellows, the mixture will more nearly approach a true orange than if a standard red and standard yellow are used. Also in making a violet, if we mix a carmine, which is a violet red, with a decidedly violet blue, of which there are many, the result will be a better violet than the combination of the standard reel and blue. So also in the mixing of blue and yellow to make green, a greenish yellow and a greenish blue will necessarily produce better results than the standards. Therefore, to test the matter fairly, the same pigments which are used to coat the standard red, yellow and blue papers have been combined so as to produce the best possible orange, green and violet, and these results when analyzed on the color wheel are as follows:—

The orange made by mixing standard red and yellow pig-


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 There is a quick movement in every waltz, joyous, triumphal, and then a hushed, subdued ritornello whose burden is slow and reluctant, sad as the memory of a joy that is past. When the lights are out and the dance is over, and we are alone in the silence of the soul, the echo of a waltz still lingers in our ears—the echo of a waltz that drops tears.

. What is your favorite music?

. Do not inquire into my musical tastes; they are of deplorable vulgarity. Music appeals to me because of the words I associate with it, and so one air is as good as another. How empty a man's soul must be which is unable to provide words to any music! I am more exacting with poets, because they speak for themselves, and in their case I will tolerate no vulgarity.

. Who is your favorite poet?

. Women feel very much toward poets as they do toward other men. They do not love the ones whom all the world admires. We single out one quality, perhaps, for our love and admiration amid a multitude of defects, or it may be that we love the very defects themselves, because then we know that our choice has been our own—it has been more truly ours.

. Do you admire Shelley, the divine Shelley?

. I admire and love him. He was the universal lover.

. Are you familiar with his life?

. It was wholly wonderful, more wonderful even than his verse. He persuaded his own wife to abet his elopement with Emilia Viviani. What marvellous power of suggestion that genius must have possessed, which was able to unite two women in a single love!

. Do you remember his verses?


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 merits in the best proportions is equal to O. 46, W. 2, N. 52. The violet is equal to V. 20, W. 1, 1, N. 79, and the nearest approach to a standard green is shown by disk analysis to be G. 37, W. 7, N. 56, which is better than the violet and nearly as good as the orange.

These experiments show that heretofore when a line of standards of six colors has been prepared from three primaries, red, yellow and blue, even though the purest possible colors may have been selected for the primaries, the secondaries have not been in the same class of colors, and that all of them are very dark broken colors. Therefore, in using educational colored papers based on such a scheme, the pupil has received no correct impressions. of the relative values of the several colors involved in pure spectrum scales, but has been shown at the outset a mixture of pure and broken colors as standards.

This is not a matter of opinion regarding best harmonies, because it is easy to demonstrate that less skill is required to combine broken colors harmoniously than pure colors, but it is a choice between truth and error in the early education of color perception.

While it may be impossible for the reader to secure pigments exactly like the standards, red, yellow and blue, used in the above experiments, and therefore the statement here made can not be accurately verified, any one having a color wheel or even a color top may test the same combinations by use of disks. If it is true, as claimed, that a good standard orange can be made by mixing red and yellow, then it should follow that when a red and yellow disk are combined and a smaller orange disk placed in front of them, that it ought to be possible to so adjust the proportion of red to yellow that by rotation the outer ring of color will match the central orange disk.

A trial of this experiment will show that while the color resulting from the best possible combination of red and yellow is a kind of orange, it is not even an approximation to the stand-


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 ard orange, but is a shade of orange which may be matched by combining the smaller orange disk with a black disk in the proportion of O. 45, N. 55, the larger disks being R. 89, Y. 11.

In combining red and blue disks to make a violet the result is more satisfactory, while if we attempt to produce a green by combining the yellow and blue disks the result will be surprising, but probably not convincing, because the statement that yellow and blue make green has been so persistently reiterated as a fundamental axiom that people who have given the subject but little attention will feel that to doubt it is rank heresy. In a text book treating of color, is found the following passage:

"Green substances reflect the green, i. e., the blue and yellow rays of the sunlight and absorb all the others." It is a fact, however, that in the mixture of blue and yellow light there is little or no trace of green, as a single experiment with a color top or color wheel will readily demonstrate.

In response to this convincing experiment a colorist of the "old school," (and there are few others) will doubtless say, "Such an assertion seems to be true when applied to these rotating disks, but we see no practical value in experiments of this kind, because in the use of color we must depend on pigmentary combinations, and in pigments yellow and blue do make green." The author of a statement of this kind is always honest in making it, and yet it is absolutely untrue, because as has already been shown, the green resulting from the mixture of yellow aud blue can not be placed even approximately in the same class as the yellow and blue of which it is composed.

In accepting the disk combinations of standard pigmentary colors we are assuming a system of color investigation based on the combination of colored light rather than the mixture of pigments, and to an artist who has given the subject little thought this seems quite radical, not to say startling. But, logically, why is it not the most natural as well as the correct basis for this work?.

Art in color must be based on the imitation of natural color


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 effects. We must first learn to see color correctly and to know what we see, and after that it is a very simple matter to learn which pigments to combine for producing any desired result which is already clearly defined in the mind. In fact the best selection of pigments must often be based on their chemical and mechanical qualities as much as on their peculiar hues.

All color impressions of material substances are produced by colored light reflected from a material surface to the retina of the eye, through which by some unknown means it is conveyed to the brain. When the white sunlight falls on a material substance a portion of the rays are absorbed and others are reflected to the eye, thereby conveying impressions of color. If on a surface of yellow material we throw a strong orange light through a colored glass, some of the orange rays from the glass will mingle with the yellow rays and the two are reflected to the eye, thereby producing an orange yellow or yellow orange effect where before it was yellow. So in a summer evening landscape when there is a so-called red sunset, everything is illuminated by an orange light and each color in the landscape is affected by the orange rays which mingle with the rays of the local color and are reflected to the eyes of the observer, producing the effect of local colors mixed with orange.

In a room where the windows open on to a green lawn with many trees in close proximity to the house, nearly all the light is reflected from green surfaces, and hence is green light. In such a case a correct painting of objects in that room would have a general green effect.

The afternoon light in a room on the west side of a city street may be nearly all red light, reflected from an opposite red brick wall, and such a room would be ill-adapted to showing fine dress goods, because the hues of the more delicate colors would be entirely changed, and hence would give a false impression as to the relations of the several colors in combination as seen in white or clear daylight. If a piece of light blue silk is illuminated by sunlight passing through a bit of yellow


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 Gymnosophists, 219; a sect of Indian philosophers, 219, n. 1.

Habergeon, 104; its signification, 104, n. 2.

Hab-nab, 253 and n. 3.

Hales, Alexander, 10, n. 4.

Halfpenny, dropped in shoes, 317 and n. 1.

Hall, Thomas, preface, 2.

Halter-proof, 273 and n. 1.

Handbook of Proverbs, 9, n. 3; 193, n. 2, 3; 200, n. 5: 207. n. 2; 241, n. 3; 251, n. 2; 259, n. 4.

Handmaids, a puritan expression, 205 and n. 1.

Hangman's wages, 358 and n. 1.

Hans-Towns, 336 and n. 5.

Hard words ridiculed, 7, n. 5.

Hardiknute, 306 and n. 5.

Hares, sexes of, 201 and n. 1.

Harrington, Sir John, quoted, 93, n. 4.

Harrison, the regicide, 81, n. 3.

Hatto, Bishop, eaten by rats and mice, 143 and n. 3.

Haut-gouts, douillies, or ragouts, 158 and n. 1.

Have and to hold, 288 and n. 4.

Hawkers and interlopers, 417, n. 1.

Hazard noses, 167 and n. 4.

Hazel-bavin, 387 and n. 2.

Hazlerig, Sir Arthur, particulars respecting, 386, n. 1; 387, n. 1, 2; his lobsters, 409, n. 2.

He that fighis and runs away, 106, n. 1; 403, n 1.

Heaven, the Saints' employment there, 427, n. 1.

Head, the brazen, 55; device of the, 55, n. 5.

Heart-breakers, or curls, 15, n. 2.

Hebrew roots, 6.

Hector, stunned by Ajax, 78, n. 1.

Hemp, on wooden anvils, 281 and n. 1.

Hemp-plot, 328 and n. 4.

Henderson, 377; his death, 377, n. 1.

Henry VIII., his siege of Boulogne, 17, n. 2; anecdote of his parrot, 26, n. 5.

Herbert, Mrs, married to Butler, preface, 11, 15.

Hercules, cleansed the stables of Augeas, 60 and n. 4; bewails the loss of Hylas, 92 and n. 4; the kill-cow, 148 and n. 3.

Hermaphrodite, 292.

Hermes Trismegistus, 51, n. 2.

Hermetic-men, 280 and n. 1.

Herring, as dead as a, 259 and n. 4.

Hertfordshire petition, 66, n. 3.

Hewson, Colonel, 26, n. 6; 56, n. 4; 377, n. 4.

Heylin, Dr, 43, n. 1.

Hiccius doctius, 415 and n. 4; 420.

High Court of Justice, instituted, 186 and n. 2.

Highwayman's advice, 154. n. 3.

Hockley, 118, n. 2.

Hocus-pocus, 420 and n. 2.

Hoghan Moghan, 190; 318 and n. 2.

Holborn, cavalcade of, 345 and n. 3.

Holding-forth, 226; meaning of the term, 226, n. 2.

Hollis, 341, n. 6.

Honour, like a glassy bubble, 188 and n. 3; the seat of, 256 and n. 3.

Hopkins, cruelty of, 215, n. 5; trial of, 216, n. 3.

Horoscope, 222, n. 3; 253 and n. 2.

Horses, afflicted with sciatica, 98, n. 1; custom of tolling at fairs, 161 and n. 6.

Horse-shoes on stable-doors, 223 and n. 4.

Hotham, Sir John, his condemnation, 187, n. 1.

Hour-glass, used in preaching, 120 and n. 1.

House of Lords, declared useless, 179, n. 5.

Howel's Life of Louis XIII., 150, n. 1.

Huckle, 76, meaning of the word, 76, n. 3.

Hudibras, poem of, its publication, Life, v; injunction forbidding any one to print it, vi; its reception at Court, vii; admired by