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 then stealthily, sleeplessly, so that his business was neglected, and his body was parched with the fever bred of anxiety and want of rest; but sooner or later nature would overcome him, and he would awake with a shock from the sleep of exhaustion to see Pi-Noi's scattered garments heaped about the floor, and to find that the girl herself had once more eluded his vigilance.

Then would pass weeks of misery, of fierce jealousy, of rage, of longing, of fear, for he was racked always by the dread lest this time she should not come back. But through all he loved her, hating and crying shame upon himself because of his love; and so often as she returned to him, so often was her sinning ignored. He dared not punish her with word or blow. The forest was her ally and his bitter enemy. It afforded her a refuge too accessible, secure and final.

It was during one of these periods of anguish that Kria received the first visit that had been paid to him by men of his own breed since his arrival in the valley. After days of watchfulness Pi-Noi had. eluded him that morning, a little before the dawn, and when Kria had awaked from slumberings which had been a mere ravel of nightmares, it had been to the knowledge that the grim forest had swallowed her, and that yet another season of misery, of torturing imaginings, and of suspense lay before him. A couple of hours later his unexpected visitors arrived.

The party consisted of three Malays—Kûlop Riau, a native of Pêrak, who in those days was reputed to


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 be the most noted master of jungle-lore in the Peninsula, and two young men from the Jělai Valley in Pahang. They had come to search for gutta in the forests of the Tělom, and for loot in the Sâkai camps.

With the frankness which distinguishes Malays, and a lonely man's craving for sympathy, Kria forthwith related to these strangers the story of his married life and all the ignominy which was his, at the same time asking their advice as to the action which he might most fittingly take. Kûlop Rîau was cynical.

"She is only a Sâkai," he said. "Why do you not kill her and thereafter seek a wife among the maidens of the Jělai Valley? That were more proper than to suffer yourself to be thus villainously entreated by this jungle-wench."

Kria hung his head. He could not bring himself to reveal the shameful secret of his love; but Kûlop Rîau, whose experiences were not confined to the forest, looked at him and understood.

"These jungle hussies," he declared with the dogmatic assertion proper to an expert, "these jungle hussies are often deeply skilled in witchcraft, and it is plainly to be discerned that this wench has cast a glamour over you. Brother, I apprehend that it would be wise to slay her, for your soul's sake, as speedily as may be, else surely you will be a thrall to her magic in life, and in death you will most unquestionably go to stoke the fires of the Terrible Place. Therefore, it were wise and

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 and not unpleasant to kill her with as much speed, thoroughness, and circumspection as may be possible."

But Kria, who loved the girl, not only in spite of her heartlessness, but because she so tortured him, would have naught of counsels such as this. If Pi-Noi had abided with him after the constant fashion of other wives, it is possible that his passion would have spent itself, and their union would have become a mere embodiment of the commonplace. Despite her beauty and grace, he might easily have grown weary of this woman of a lesser breed if he had ever possessed her utterly, but the very insecurity of his tenure of her lent to her an added and irresistible fascination.

Something of this, vaguely, and gropingly, was forced upon the understanding of old Kûlop Rîau, who was thereby completely convinced of the accuracy of his original diagnosis. That the witch should be a Sâkai, an eater of unclean things, foredoomed in common with all her race to burn eternally in Hell by the wise decree of Allah, the Merciful, the Compassionate, and that her victim should be a Malay and True Believer, shocked his every racial and religious prejudice. Though, on his own account, he had constant dealings with jungle demons—the which is an abomination—he suddenly recalled the fact that he was a Muhammadan, and as such recognized that Kria's position was at once humiliating and highly improper.

"In any event, it were well to know how she passes


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 the days during which the jungle claims her," he said. "It seems to me that this hussy has kept you too long in ignorance of the naughtiness of her heart, the degradation and ignominy of her behaviour, and the extraordinary vileness and impropriety of her carriage."

"I would very willingly learn why she thus leaves me and what she does at such seasons," said poor Kria. "But the forests are vast, and she vanishes into their depths even as a stone sinks through still waters and is lost to sight. She is one of the wild things of the jungle, and if she has a mind to keep her secret, who shall wrest it from her?"

"It is very plainly to be seen, brother, that you are village-bred," said Kûlop Rîau with immense contempt. "The portals of the jungle are not flung wide for you. The Spectre Huntsman and the Forest Fiends do not count you among the tale of their children. If this were not so. But the thing is too simple to demand explanation!"

"But you " cried Kria breathlessly. "You, could you track her? Could you answer for me all these intolerable questions?"

"That could I, and with ease, were I minded to take so much trouble," said Kûlop scornfully. "But I have come hither to transact business of mine own. However, such is the love I bear you, little brother" (the two had met for the first time that day) "that I might turn me aside from mine own affairs to do you this service—at a price."

The concluding words awoke Kria's keen


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 instincts, and a very pretty piece of haggling forthwith ensued. But even here Pi-Noi shackled him. He loved her, and his necessity was old Kûlop's opportunity, as that astute worthy very perfectly perceived; wherefore the price, paid in rubber, which Kria drew with many sighs from his hoarded store, proved in the end to be frankly extortionate. He longed to lay at rest, once for all, the cruel ghosts of the imagination which had haunted him, but now that the chance of discovery had come to him, he was oppressed by terror at the thought of what it might reveal.

Time was precious if Pi-Noi's trail was to be struck while it was still fresh, and a short hour sufficed for preparations. Then the party, Kulop Riau leading, with his long muzzle-loader on his shoulder, Kria following, and the two Jělai youngsters bringing up the rear, left the clearing and entered the forest. Old Kúlop had made a cast round the clearing while the others were busy packing the rice and the cooking-pots, and he had hit off the line which Pi-Noi had taken at the first attempt. A trail once struck by a man of Kûlop's skill and knowledge of forest-lore, few accidents less efficient than an earthquake or a cyclone would suffice to check or stay him.

VII

Pi-Noi's spoor proved at the first singularly clear. She had so long been convinced of her complete immunity from pursuit that she had become


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334 in mistletoe oaks; and it will be observed in the list which follows that there are none reported in the northern half of Great Britain.

The subject has been recently studied by M.H. Gadeau de Kerville, who records in Normandy alone no less than 26 mistletoe-bearing oaks, living or recently felled, of which a list with exact particulars of their locality is given, pp. 298-301. An excellent illustration of one of the finest of these growing on the farm of Bois, at Isigny-le-Buat, Department of Manche, shows a large and well-shaped tree, about 60 feet by 16 feet, of the pedunculate variety, which is covered with tufts of mistletoe, some of them growing on the trunk, and of very large size. M. de Kerville estimates the age of this tree at 200 to 300 years, and says that it has begun to deteriorate, as the dead branches show. M. Eugène Ormont states that a tuft of mistletoe of about a foot in length, which he examined on an oak, was eleven years old and seemed slower in its growth and yellower in colour than mistletoe growing on the apple.


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, and had made use of none of the precautions for the confusion of her trail such as are supplied by the baffling woodcraft of her people. This was as well, and saved the trackers much time; for the very existence of the Sâkai, it must be remembered, has depended for hundreds of years upon their ability to evade Malay slave-hunters.

At a distance of some eight miles from her starting point (it took Kûlop Rîau and his party nearly five hours to reach it) she had stopped in a little open glade of the forest to dance ecstatically with her slender, bare feet upon the rich, cool grasses beside a stream, which tumbled downward, with a mighty chattering, in the direction of the Tĕlom. Here she had bathed luxuriously in the running water, had stretched herself to enjoy a sun-bath upon a flat rock in midstream, and thence had pounced upon and captured with her hands a huge, fruit-eating krai fish. She had carried the creature ashore, had cleaned it and scraped off its scales, and pulled some rattan from the jungle, and had fashioned therefrom a knapsack into which she had stowed the fish. Thereafter she had climbed a hibiscus to rob it of its blossoms for her hair, had danced again in sheer joy of being alive, and then had continued her wanderings.

The tracks, as old Kûlop Rîau pointed them out to Kria, one by one, told the story of this little halting with such distinctness of detail that Pi-Noi's husband could picture to himself every act and motion of his wayward wife; could almost visualize


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 her, alone and wild with joy, in that hidden nook of the jungle; and found himself understanding for the first time something of the exaltation and exhilaration of spirit that had been hers as she entered once more into her birthright of forest freedom.

At this point Kûlop Rîau found it difficult to pick up the trail afresh. He took wide casts up and down stream, examining both banks closely, but for nearly an hour he was at fault. He quested like a hound, his shoulders hunched, his head low-stooping from his thick neck, his eyes intent, fixed for the most part on the ground, but throwing now and again quick glances to the right or left. All the while he maintained with himself a monotonous, unintelligible, mumbled monologue. Kria, following him closely and straining his cars to listen, could catch here and there a familiar word, but the speech as a whole was an archaic jargon from which no single strand of connected thought was to be unravelled, and the old tracker was seemingly deaf to all the eager questions addressed to him.

The Jĕlai lads, shuddering a little, whispered to Kria that the Jungle Demons had entered into and possessed the body of the old tracker, and one of them fell to repeating the names of Allah and his Prophet fearfully, under his breath. It was a nerve-sawing experience to find one's self thus cast away in the trackless forest with this inspired demoniac for one's sole guide and leader; but Kria was not greatly impressed. He knew Pi-Noi.

At last, about a mile upstream, Kûlop Rîau


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336 gives in chapter xi. many proofs in support of his opinion that winter-felled oak is better than spring-felled; though the practice he recommends was to bark the trees standing, and fell them in the succeeding winter, a custom which is still followed in some parts in England. He also states, on page 73, that having carefully examined and compared many pieces of both winter- and spring- or summer-felled logs, he found almost invariably that the winter-cut timber, after being a few years in store, was in better condition than that which had been cut in the spring. "The winter-felled logs were sounder, less rent by shakes, and the centres or early growths generally showed less of incipient decay than the spring-felled."

So much has been written about the timber of the oak that it seems unnecessary to go into very great detail with regard to this subject, especially as this timber, of which little is now required for the navy, is being ousted by iron and by cheaper imported timber from many of its former uses, and is of far less value than formerly; but though at the present time English oak is out of fashion, there is no doubt that such durable and beautiful wood must always have a considerable value to those who do not sacrifice durability to cheapness, and who have patience to wait until it has been properly seasoned, which requires from two to six years according to the thickness of the plank.

There are so many proofs of its everlasting character in the form of roofs and in the old timbered buildings which are common in Cheshire, and of which so many beautiful illustrations are given in Country Life, that I need not repeat them, but an extraordinary instance of its longevity when exposed to the weather was pointed out to me by the late Lord Arundell of Wardour in the ruins of Wardour Castle. This building, according to an account of it published in The Antiguary, November 23, 1873, was inhabited before the reign of Edward III., and was besieged and sacked by the Parliamentary army in the reign of Charles I., and blown up by its owner, Lord Arundell, in 1644, rather than allow it to remain in the hands of the enemy. An oak lintel, which must therefore have been exposed to the weather for 260 years, still remained in situ in 1903, and as far as I could see from below was not much decayed.

In a paper by W. Atkinson it is said that during the last thirty years he had taken every opportunity of procuring specimens of wood from old buildings, and particularly what the carpenters called chestnut, but never in a single instance had he seen a piece of chestnut, the wood so called being always that of Q. sessiliflora, mistaken for chestnut from a deficiency of the flower or silver grain. He goes on to say: "The roof of Westminster Hall has been said to be chestnut; while it was under repair I procured specimens from different parts of the roof, the whole of them were oak, and chiefly the Q. sessiliflora. Most of the black oak from trees dug out of the ground I have found to be of the same kind. From finding the wood of the oldest buildings about London to be chiefly of the Q. sessilifiora, I should suppose that some centuries ago the chief part of the natural woods were of that kind; at present the greater part of the oak grown in the south of England is Q. pedunculata. Specimens of oaks that I have procured from different parts of


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 became rigid as a pointer, and stood glaring at a spot on the left bank where a hanging leaf oozed sap from a bruised twig. He broke forth into a low rumble of unintelligible gibberish, and drew himself with many grunts out of the bed of the stream. No other sign of Pi-Noi's passage was visible to his companions, but Kûlop Rîau, though he still muttered ceaselessly, trudged forward now with confidence. A quarter of a mile farther on he drew Kria's attention, by a gesture, to a tiny mucous smear on the bark of a tree. The fish, bulging through the meshes of the knapsack, had left that mark. The trail was Pi-Noi's.

The afternoon was now far advanced, and when next he struck a stream, Kûlop called a halt and bade his companions cook the evening meal. He himself crossed the rivulet and entered the forest beyond, returning later with word that the trail was easier over yonder, and that he had learned its general trend.

The meal was eaten almost in silence, for Kûlop Rîau, when possessed by his Jungle Spirits, was an awe-inspiring companion. Kria and the Jĕlai lads, too, were fagged and weary, but since the moon was near the full, their leader would not suffer them to rest. Pi-Noi had gained a long start of them, which they must try to recover.

Kria, worn out body and soul, was racked by an agony of baffled curiosity as he stumbled on and on, and watched the old tracker bristling, with many growls and grumblings, over each fresh secret that


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 the spoor revealed to him. It was evident that he was reading in the invisible signs which he alone had the power to interpret, some story that excited him strangely, but he did not heed and seemed not even to hear the eager questions with which Kria plied him.

About midnight he called a halt.

"There is still plenty of light," Kria protested.

"Here we will camp," Kûlop Rîau reiterated with a snarl.

"But" Kria began, when the other cut him short.

"When you are in childbed, do as the midwife bids you," he said; and ten minutes later the old man was fast asleep, though even in his slumber he still muttered restlessly.

The dawn broke wan and cheerless, the feeble daylight thrusting sad and irresolute fingers through the network of boughs and leaves overhead. A dank, chill, woebegone depression hung over the wilderness. The riot and the glory of the night were ended; the long ordeal of the hot and breathless day was about to begin. The forest was settling itself with scant content to its uneasy slumbering.

After the manner of all jungle-people, Kûlop Rîau awoke with the dawn, and an hour later the morning rice had been cooked and eaten. The old tracker prepared himself a quid of betel nut with great deliberation, and sat chewing it mechanically, his body swinging slowly to and fro, his eyes nearly closed, his lips busy, though none save vague sounds


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338 for it. that most timber merchants are now quick to appreciate the difference between brown and common oak, and the best qualities of it are sometimes sold for as much as 10s. per cubic foot.

When the wood shows the blackish streaks running through it, which is known as tortoise-shell grain, it is most valued for cutting veneers. These are laid in thin sheets on other wood, partly to make it go farther, and also because this wood is so difficult to season properly, and so wasteful in conversion that it is not safe to use in the form of thick boards.

My friend, Dr. Weld of Boston, U.S.A., who is a great connoisseur and admirer of fine woods, and especially of brown oak, showed me at his house the most magnificent specimens of panelling and wainscoting, done under his own supervision by Messrs. Noyes and Whitcombe of Boston, with oak which he selected and purchased himself in England. In their works I saw a quantity of carved brown oak pews, and a very large brown oak organ front designed by Mr. C. Brigham, architect, of 12 Bosworth Street, Boston, for a memorial church at Fairhaven, Mass. Mr. Whitcombe was good enough to show me the manner in which the boards are seasoned after they are cut from the logs, which are imported in the rough as an unmanufactured product to escape the heavy duty. Dry white pine boards fresh from the hot-air kiln are laid on each side of the oak boards, and properly stripped in an open covered shed. When the moisture has been partially absorbed, they are all turned over and again sandwiched between fresh dry pine boards; thus saving a great deal of time, which is rarely given to season timber properly in America, and preparing the wood to stand the conditions of dryness, which are more trying to furniture in American than in English houses.

Mr. C. M'Kim, a distinguished American architect, writes me as follows respecting English oak:—"We regard it as the most beautiful oak in the world, costly because of its scarcity and the duties imposed upon it; requiring the best workmanship in putting it together; but preferred above all others for its finer quality, richer colour, and endurance. The most important and dignified panelled rooms in this country are furnished in English oak." I also was pleased to find that the great dining-room in the White House at Washington is completely panelled with English brown oak.

Mr. F.H. Bacon of the A.H. Davenport Company of Boston, one of the best firms for cabinet work in the United States, writes:—"Mr. Davenport has been using it in his business for at least thirty years, and we think it is a wood which will always be in demand, as a room furnished with English oak has a richness and depth of tone which is impossible to get with any other oak. The wood is becoming more expensive, but I think it will always be used by people who can afford it. It is difficult to work; the plain surfaces are generally veneered. It stands perfectly well without warping and twisting, and is not attacked by worms as walnut wood is."

The best example that I have seen of fine brown oak work in England is at Rockhurst, the residence of the late Sir Richard Farrant, in Sussex. This


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 came from them. Kria, watching him with growing irritation, for a while was fearful to disturb him; but at last, unable longer to endure the delay and suspense, he burst out with an eager question.

"When do we take up the trial anew?" he asked.

Kûlop Rîau, coming up to the surface slowly from the depths of his abstraction, gazed at Kria for a space through unseeing eyes, while the question that had been spoken filtered through the clouds obscuring his brain. Then he jerked out an answer of five words:

"When you are in childbed!" and closed his mouth with a snap, not even troubling himself to complete the proverb.

Once more Kria knew himself to be impotent. Here again he had no course open to him but to sit and wait.

The long, still, stifling day wore toward evening, minute by minute and hour by hour, while the four men lay under the shelter of a rough lean-to of thatch, inactive but restless, and Kria thought bitterly of the amount and value of the rubber which he in his folly and trustfulness had handed over to Kûlop Rîau in advance. Late in the afternoon that worthy spoke to his companions for the first time for many hours, bidding them prepare food, and a little before the sunset, after the meal had been despatched, he rose to his feet, hiccoughed loudly, stretched himself elaborately, and made ready to resume his march. In an instant Kria was by his side, with an expression of joyful relief,


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340 when rent than when sawn: but it will be found on examination of the Dale of old panelling that it was usually rent, and as you can only cleave oak on the line of the medullary rays, the figure shown by rent oak is much better and more abundant than when sawn on the quarter, and though the practice is more wasteful and is only possible in the case of straight-grained trees, yet it should certainly be tried by those who admire finely figured oak.

Strange to say, the importance of selecting and matching the figured pieces, and of placing them in the most conspicuous positions, does not seem to be noticed, for I have seen in modern houses, and in old castles on whose restoration no expense has been spared, panelling in which new and plain pieces have Peet introduced amongst splendid old panels, and finely figured new and old panels put in dark corners where they were unseen. When one considers how small a proportion the cost of the wood bears to the workmanship, it is extraordinary that this should be allowed, or that American oak should be used, as I have seen sometimes done, in restoring ancient houses, when infinitely better and more beautiful wood was growing, and often rotting on its roots, within a very short distance.

Experienced cleavers are not to be found in every county, but in Kent, Surrey, Sussex, and Hants, and where rent oak palings are much used, as in the neighbourhood of London, such men may be found, who with a tool called a "break-axe" or "flammer," will convert straight-grained oak into slabs of suitable dimensions for panelling, which, when properly seasoned, show better figure than sawn timber. For this purpose logs of not less than three feet diameter should be selected, as straight as possible in the grain, and cut into the lengths of which the panels are required. The slabs come out rather irregular in size, and are, of course, much thicker on the outside. They should be carefully piled for about twelve months in a dry, airy place, when they can be reduced by a thin circular saw and by planing to the proper thickness, choosing whichever side shows the best figure for the face. Longer and narrower pieces, either rent or sawn, must be selected for the stiles and rails, and if put together by a competent joiner, I can say from experience that the effect will be much Superior to work done by the best London firms with foreign timber, especially when brown oak can be found fit for rending.

The diagram, Fig. 1, on the following page shows the best method of rending oak to show its fine figure.

For quartering by the saw different methods are adopted, the best being that shown on the following page, Figs. 2 and 3, taken, by permission of Messrs. Rider and Son, from a very useful little book. By this method, which, though rather wasteful, produces the best results, only the central boards of each cut are on the true quarter, and the others are narrower, and more or less across the natural line of cleavage.

Of the different styles of oak panelling it is not my intention to speak, but it seems to me that elaborate carving is out of place in such wood as this, which wants no extraneous adornment, Many beautiful specimens of ancient panelling in various


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 but Kûlop told him curtly to bide where he was.

"This time," he said, "I go forward alone. One may not scout in this forest with three pairs of feet crashing through the underwood at one's heels like a troop of wild kine. Stay here till I return."

Without another word, he lounged off, with his long musket over his shoulder, and was soon lost to view. He went, as the Sâkai themselves go, flitting through the trees as noiselessly as a bat.

"Did I not say truly that he is possessed by the Demons of the Forest?" said one of the Jĕlai youths. "Ya Allah! Fancy going into this wilderness alone for choice, and with the darkness about to fall!"

Thereafter followed for Kria a miserable night, for while the Jělai lads slept beside him, he lay awake, a prey to a thousand torturing thoughts and memories, and oppressed by a load of vague forebodings.

VIII

Kria awoke in broad daylight to find old Kûlop Rîau, his dew-drenched clothes soiled with the earth of the jungle, bending over him with a light of wild excitement and exultation blazing in his eyes.

"Come, brother," he said. "I have found the wench. Come!"

Without another word, he turned away into the forest, Kria following him as best he might, binding about his waist as he ran the belt from which hung his heavy woodknife.


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 Kûlop strode along at a great pace for a matter of two or three miles, now and again directing Kria's attention to some trifling mark on earth or trunk or shrub which told of the passing of Pi-Noi.

"See here, brother," he said, indicating a place where the grass had much the appearance of a large hare's form. "There was one awaiting her. He sat there for a long time, listening for her coming, and there was much joy in that meeting. Behold here, and here, and here, how they danced together, as young fawns caper and leap—the hussy, your wife, and this youth of her own people. Like goes to like, brother, and a wild woman seeks ever a wild man, in no wise respecting the laws of wedlock. This wench has betrayed you. See, here they cooked food, yams of his gathering and the fish that she had brought, and he fashioned a nose-flute to make beast noises with, and thereafter there was more dancing, ere they bathed together in the stream, the shameless ones! and moved forward again, heading always for the Great Salt Lick!"

Kria, rent by devils of jealousy and rage, his face drawn and ghastly, his hands opening and clenching convulsively, said never a word; but his eyes took in each detail of the story recorded by the clear imprints upon grass and earth, and the yielding mud at the river's brink. Mechanically he followed Kûlop Rîau when the latter once more dived into the underwood.

"From this point," the old man was saying, "I abided no longer by the trail. They were making


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 for the Great Salt Lick, and thither went I by a circuitous path of mine own contrivance. This time we go by a shorter route. Come."

Five miles farther on the forest thinned out suddenly and gave place to an irregular space, roughly circular in shape, the surface of which resembled a ploughed field. Though the red soil was rich, barely so much as a tuft of grass grew upon it—a strange sight in a land where green things sprout into lusty life almost as you watch them; for this was one of the natural saline deposits not infrequently found in Malayan jungles. Hither flock all the beasts of the forest, from the elephant, the rhinoceros, and the tiger to the red dogs, the tiny mouse-deer no larger than a rabbit, and even the stoats and weasels, to lick the salt and to knead and trample the earth with countless pads and claws and hoofs.

Kria looked out upon the place, and as he looked his heart stood still, while for a moment all things were blotted out in a blinding, swirling mist of blood-stained darkness. He reeled against a trunk, and stood there sobbing and shaking ere he could muster force to look again.

At the foot of a big tree some twenty yards away the body of Pi-Noi, its aspect strangely delicate and childlike, lay coiled up in death. There was a little blue hole below her left breast where the cruel bullet had entered, and the wild swine and the hungry red dogs had already been busy.

Kria, reeling like a drunken man, staggered across the open space toward the dead body of his wife.


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 Kûlop Rîau stood looking on with the air of a craftsman surveying his masterpieces.

Dazed and broken-hearted, Kria stood for a space gazing down upon his wife's peaceful face. It seemed to him as though she slept, as he so often had seen her sleeping in that house to which her fitful presence had brought such an intoxication of delight; and suddenly all anger was dead within him, and there surged up in its place all manner of tender and endearing memories of this dead girl who had been to him at once his torture and his joy.

With a face livid and working, he turned savagely upon Kûlop Rîau.

"And the man," he cried. "What of the man?"

"He lies yonder," said Kûlop Rîau, with the triumphant air of an artist whose work can defy criticism, and he pointed with his chin, Malayan fashion, in the direction of a clump of bush near the edge of the salt lick. "I shot him as he fled, See, they were camped for the night in the man-nest which they had built for themselves in the tree fork up there, animals and strangers to modesty that they were!" He expectorated emphatically in token of his unutterable disgust.

Kria strode to the spot, gazed for an instant, and then gave a great cry of pain and rage and misery.

"The man is her brother," he yelled. "And you—you have killed her who was guiltless of all sin!"

"Is that so?" said Kûlop calmly. "Then, very certainly, it was so decreed by Fate, the inscrutable, and by Allah, the Merciful, the Compassionate!


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 Also you are well rid of this jungle hussy who, in the end, would, beyond all doubt, have dragged your soul to. Have done! Let be! Are you mad? Arrrrgh. "

But Kûlop Rîau spoke no other word in life.

When the Jĕlai lads tracked and found them, both men were dead and stiff. Kûlop still grasped the woodknife which he had plunged again and again into Kria's body; but the latter's fingers were locked in the old tracker's throat in a grip which, even in death, no force could relax. None the less, though they could not separate them, they buried them both—since they were Muhammadans, and, as such, claimed that service at the hands of their fellows. But Pi-Noi's little body they left to the beasts of the forest which in life had been her playmates.


text: The Further Side of Silence/The Further Side of Silence


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Index talk:Scarface.pdf

Is this out of copyright?
Not trying to be accusatory, just making sure- the last copyright renewal I could find was from 1958. --FPTI (talk) 18:46, 2 March 2024 (UTC)

 * Notifying @TE(æ)A,ea. for clarification regarding copyright status as they were the original uploader of the file. DraftSaturn15 (talk) 01:46, 5 March 2024 (UTC)
 * I was the one that requested it. I couldn't find a renewal for the book. I just checked the renewals from 1958 and I still can't find it. Do you have the renewal number? @FPTI SDudley (talk) 21:21, 28 March 2024 (UTC)
 * There is this registration from 1960, but it isn't a renewal. So it is for a new edition of the book rather than the original 1932. SDudley (talk) 21:23, 28 March 2024 (UTC) add on I'd like to add this fuller context comment from Wikipedia that I did.--SDudley (talk) 21:25, 28 March 2024 (UTC)

title: Index talk:Scarface.pdf


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156 putting their sons to death to preserve discipline—are not disinterested acts of sacrifice, but the choice of a present pain in order to procure a future pleasure. Vice is but ignorance of real enjoyment. Temperance alone can bring peace of mind; and the wicked, even if they escape public censure, are racked night and day by the anxieties sent upon them by the immortal gods.' We do not, in this, contradict your Stoic; we, too, affirm that only the wise man is really happy. Happiness is as impossible for a mind distracted by passions, as for a city divided by contending factions. The terrors of death haunt the guilty wretch, 'who finds out too late that he has devoted himself to money or power or glory to no purpose.' But the wise man's life is unalloyed happiness. Rejoicing in a clear conscience, he remembers the past with gratitude, enjoys the blessings of the present, ·and disregards the future.' Thus the moral to be drawn is that which Horace (himself, as he expresses it, ‘one of the litter of Epicurus') impresses on his fair friend Leuconöe:—

Passing on to the second book of the treatise, we hear the advocate of the counter-doctrine. Why, exclaims the Stoic, introduce Pleasure to the councils of Virtue? Why uphold a theory so dangerous in practice? Your Epicurean soon turns Epicure, and a class

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Rh of men start up who have never seen the sun rise or set, who squander fortunes on cooks and perfumers, on costly plate and gorgeous rooms, and ransack sea and land for delicacies to supply their feasts. Epicurus gives his disciples a dangerous discretion in their choice. There is no harm in luxury (he tells us) provided it be free from inordinate desires. But who is to fix the limit to such vague concessions?

Nay, more, he degrades men to the level of the brute creation. In his view, there is nothing admirable beyond this pleasure—no sensation or emotion of the mind, no soundness or health of body. And what is this pleasure which he makes of such high account? How short-lived while it lasts! how ignoble when we recall it afterwards! But even the common feeling and sentiments of men condemn so selfish a doctrine. We are naturally led to uphold truth and abhor deceit, to admire Regulus in his tortures, and to despise a lifetime of inglorious ease. And then follows a passage which echoes the stirring lines of Scott—

Do not then (concludes the Stoic) take good words in your mouth, and prate before applauding citizens of honour, duty, and so forth, while you make your private lives a mere selfish calculation of expediency. We were surely born for nobler ends than this, and none

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8. A Quarter Century of Optics Reviewed. , Bell Telephone Laboratories.

9. Quality Control in the Manufacture of Optical Instruments—Twenty-five Years’ Progress. , Bausch & Lomb Optical Company.

10. Recent Developments in Photography. , Eastman Kodak Company.

11. Producing Low Reflecting Glass. , Corning Glass Works.

12. Changes in Lens Characteristics with Temperature. , Bausch & Lomb Optical Co.

The calculation of the change of correction of a lens with temperature requires, besides data on the coefficient of expansion of the metal of the mount, also a knowledge of the coefficient of expansion of the glass, together with its temperature variation of index and dispersion. Measured data on glass for low temperatures are lacking. Using published results obtained above room temperature one calculates, for instance, a decrease in focal length in a simple imaging system of a few hundredths percent per 50°C decrease in temperature. Although such temperature effects are small, they cannot always be ignored in the design of optical instruments, as for use in airplanes where -40°C may be encountered. A need is felt by the industry for more low temperature data on optical glasses.

13. Chemical Methods for Increasing the Transparency of Glass Surfaces. , Mellon Institute.

The amount of light transmitted by a lens or prism can be increased by suitable chemical treatment of the polished surface. The effect was described by Taylor in 1892, Kollmorgen in 1916, and Wright in 1921. The general use of treated lenses was delayed because of a lack of knowledge of the physical and chemical principles involved in the process. The chemical treatment involves the formation of a transparent surface film of silica by the removal of the higher refractive index oxides to a depth approximately equal to one-fourth the wave-length of the light for which maximum transmission is desired. Such removal is possible without damage to the surface polish if the solvent does not dissolve silica. The surface film is not noticeably different from the base glass in hardness. The gain in light transmission and the decrease in surface reflection is slightly less than that produced by evaporated films of materials of lower refractive index than silica. Solvents that will remove higher refractive index materials from a glass surface include water, fused salts, alkaline phosphate solutions, salt solutions and acid solutions. A dilute acid solution such as 1 percent nitric acid is suitable for most optical glasses with the exception of crown glass. The treatment time is short for glasses containing large amounts of lead or barium and long for borosilicate glasses. The solution speed for a given glass approximately doubles for each 10°C rise in temperature. Freshly prepared glass surfaces react with the solution at a uniform rate that depends on the glass composition, the solution composition, and the temperature. When a silica surface film has been formed, it may be processed in various ways that will render the surface unreactive so that a second treatment will not appreciably change the thickness of the film. Glass surfaces not freshly prepared are usually unevenly reactive due to accidental stabilizing of the surface by' handling or processing.

14. An Automatic Telescope Control. , Massachusetts Institute of Technology.

During the progress of some tests on the flatness of window glass, it became desirable to determine the deviation experienced by a small parallel bundle of rays traversing the glass normally to its surface. Measuring this deviation by means of a collimator and telescope is unsatisfactory because modern drawn glass is of such high quality that the maximum deviation is usually less than a few minutes of arc. It would, therefore, be necessary to use a telescope having an entrance pupil of such size as to mask the local variations in the deviation over the glass surface. This problem was satisfactorily solved by using a photoelectric cell to control the telescope. Light from a tungsten lamp enters a collimator whose slit is replaced by a circular aperture. At the image of this aperture, where cross-hairs would normally be located, there is a sort of photometric field consisting of two pieces of Polaroid placed side by side with their axes at right angles. Behind this photometric field is a single piece of Polaroid which is rotated in its own plane at a rate of thirty revolutions per second. When the image of the circular diaphragm is exactly centered on the dividing line of the photometric field, the rotation of the second Polaroid produces no variation in the light flux transmitted by the system. If the image is decentered, a sixty-cycle current is produced in the output circuit of an amplifier actuated by a photoelectric cell, the phase of the current depending upon which half of the photometric field receives the greater amount of light. This current is used to operate a motor in a manner previously described. The motor drives a tangent screw which controls the telescope and another screw which controls a recording pen.


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Hales, (Sir) Thomas


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Hales, William


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Haley, Richard


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Halfeyeard, Edmund


text: Index:The Downfall of the Gods (1911).pdf


text: Alumni Oxonienses: the Members of the University of Oxford, 1500-1714/Halfhyde, Edmund


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 CONTENTS


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HAD the privilege of meeting him in Tōkyō, where he was making a brief stay on his way to India;—and we took a long walk together, and talked of Eastern religions, about which he knew incomparably more than I. Whatever I could tell him concerning local beliefs, he would comment upon in the most startling manner,—citing weird correspondences in some living cult of India, Burmah, or Ceylon. Then, all of a sudden, he turned the conversation into a totally unexpected direction.

“I have been thinking,” he said, “about the constancy of the relative proportion of the sexes, and wondering whether Buddhist doctrine furnishes an explanation. For it seems to me that, under ordinary conditions of karma, human rebirth would necessarily proceed by a regular alternation.”


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 “Do you mean,” I asked, “that a man would be reborn as a woman, and a woman as a man?”

“Yes,” he replied, “because desire is creative, and the desire of either sex is towards the other.”

“And how many men,” I said, “would want to be reborn as women?”

“Probably very few,” he answered. “But the doctrine that desire is creative does not imply that the individual longing creates its own satisfaction,—quite the contrary. The true teaching is that the result of every selfish wish is in the nature of a penalty, and that what the wish creates must prove—to higher knowledge at least—the folly of wishing.”

“There you are right,” I said; “but I do not yet understand your theory.”

“Well,” he continued, “if the physical conditions of human rebirth are all determined by the karma of the will relating to physical conditions, then sex would be determined by the will in relation to sex. Now the will of either sex is towards the other. Above all things else, excepting life, man desires woman, and woman man. Each individual, moreover, independently of any personal relation, feels perpetually, you say, the influence of some inborn feminine or


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 masculine ideal, which you call ‘a ghostly reflex of countless attachments in countless past lives.’ And the insatiable desire represented by this ideal would of itself suffice to create the masculine or the feminine body of the next existence.”

“But most women,” I observed, “would like to be reborn as men; and the accomplishment of that wish would scarcely be in the nature of a penalty.”

“Why not?” he returned. “The happiness or unhappiness of the new existence would not be decided by sex alone: it would of necessity depend upon many conditions in combination.”

“Your theory is interesting,” I said;—“but I do not know how far it could be made to accord with accepted doctrine…. And what of the person able, through knowledge and practice of the higher law, to remain superior to all weaknesses of sex?”

“Such a one,” he replied, “would be reborn neither as man nor as woman,—providing there were no pre-existent karma powerful enough to check or to weaken the results of the self-conquest.”

“Reborn in some one of the heavens?” I queried,—“by the Apparitional Birth?”


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 “Not necessarily,” he said. “Such a one might be reborn in a world of desire,—like this,—but neither as man only, nor as woman only.”

“Reborn, then, in what form?” I asked.

“In that of a perfect being,” he responded. “A man or a woman is scarcely more than half-a-being,—because in our present imperfect state either sex can be evolved only at the cost of the other. In the mental and the physical composition of every man, there is undeveloped woman; and in the composition of every woman there is undeveloped man. But a being complete would be both perfect man and perfect woman, possessing the highest faculties of both sexes, with the weaknesses of neither. Some humanity higher than our own,—in other worlds,—might be thus evolved.”

“But you know,” I observed, “that there are Buddhist texts,—in the Saddharma Pundarîka, for example, and in the Vinayas,—which forbid….”

“Those texts,” he interrupted, “refer to imperfect beings—less than man and less than woman: they could not refer to the condition that I have been supposing…. But, remember,


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 I am not preaching a doctrine;—I am only hazarding a theory.”

“May I put your theory some day into print?” I asked.

“Why, yes,” he made answer,—“if you believe it worth thinking about.”

And long afterwards I wrote it down thus, as fairly as I was able, from memory.


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, Third Edition 102.1 Constitutional Basis for and Purpose of Copyright Law

Copyright has been a part of the American legal landscape since colonial times, when many of the colonies adopted copyright laws. See, , at 9–-29 (listing copyright laws enacted by Connecticut, Massachusetts, Maryland, New Jersey, New Hampshire, Rhode Island, Pennsylvania, South Carolina, Virginia, North Carolina, Georgia, and New York between 1783 and 1786), available at www.copyright.gov/history/Copyright_Enactments_1783-1973.pdf. Upon ratification, the U.S. Constitution provided Congress with the ability to make federal laws to protect copyright. Specifically, Article 1, Section 8, Clause 8 (which includes the “Copyright Clause”) states that “Congress shall have Power … To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.” The promotion of “science,” as that term is used in the Copyright Clause, is understood to refer to the purpose of copyright law (despite the contemporary usage of the term). See Eldred v. Ashcroft, 537 U.S. 186, 197 (2003). The Supreme Court has confirmed that this clause empowers Congress to enact a copyright system. See Golan v. Holder, 132 S. Ct. 873, 887–88 (2012).

U.S. courts have analyzed the purpose of the Copyright Clause in a number of cases. The Supreme Court has interpreted the Copyright Clause to mean that copyright laws should promote both the creation and dissemination of creative works. See, e.g., Golan, 132 S. Ct. at 888–89. Thus, “[t]he Framers intended copyright itself to be the engine of free expression.” Harper & Row Publishers, Inc. v. Nation Enterprises et al., 471 U.S. 539, 558 (1985); see also Golan, 132 S. Ct. at 890 (“By establishing a marketable right to the use of one’s expression, copyright supplies the economic incentive to create and disseminate ideas.”).

102.2 Statutes and Regulations

Congress has exercised its authority to enact federal copyright laws on numerous occasions. The first Copyright Act, enacted in 1790, and subsequent laws are summarized in the historical timeline in below. The current Copyright Act was enacted in 1976 and became effective on January 1, 1978. It has been amended numerous times since its enactment. The Copyright Act protects “original works of authorship” that are “fixed in any tangible medium of expression….” 17 U.S.C. § 102(a). Section 106 of the Act provides copyright holders with a number of exclusive rights (including the right to reproduce works, prepare, distribute works, and in certain cases, to publicly perform and display works). It also provides certain exceptions and limitations to these exclusive rights. See 17 U.S.C. §§ 107–122.

Works that predate the effective date of the 1976 Act are governed by statutory provisions of the 1909 Copyright Act; the most relevant of these provisions are discussed in of this Compendium.

102.2(A) Copyright Act of 1976

The replaced the 1909 Copyright Act and changed much of how copyright law operates, including as follows: Chapter 100 : 13


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 86 when ethnological considerations were in question, still used the word in a non-ethnic sense, to denote a group of tribes who had to be distinguished from the Tájiks.

Other Asiatic authors wrote on these subjects in the same way. Thus, Minháj-ud-Din, the author of the Tabákat-i-Násiri, frequently uses the word Turk to designate the nomadic group generally, and, like Rashid-ud-Din, even brings the name Tatar into the same category. The following is an instance taken from three consecutive paragraphs:—"In this same year the Chingiz Khan, the Mughal, rose up in the Kingdom of Chin and Tamghaj, and commenced to rebel; in all books it is written that the first signs of the end of time are the outbreak of the Turks. … The name of the father of this Chingiz Khan, the accursed, was the Tatar, Timurchi, and he was the mihtar [chief] of the Mughal tribes, and ruler over his people Among the tribes of the Mughal was another Turk of importance, a ruler and leader, and greatly venerated; and the whole of the tribes of the Mughals were under the rule of these two persons. … All the tracts of the Turk tribes, at the hand of their iniquity and sedition were reduced to misery. …"

Juvaini, the author of the Jahán Kushai, applies to the Mongols the passage from the Koran: "Beware of provoking the Turks, for they are formidable." Abul-feda quotes an Arab author to the effect that the Russians are a people of Turkish race, when pointing to them as belonging to the group of non-Musulman and non-Tájik inhabitants of what were regarded as civilised countries. Ibn Haukal, touching on the question from a geographical point of view, writes: "Tiráz [Táráz] is on the extreme frontier between the country of the Turks and that of the Musulmans" ; yet the Musulmans, in this case, were, to a great degree, of Turki race. And, again, Minháj-ud-Din mentions an invasion of Tibet (from Upper Bengal apparently) and says: "All the people [of Tibet] were Turks, archers, and [furnished with] long bows." Idrisi, also, in speaking of Tibet, says: "This is the country of the Tibetan Turks"; and afterwards: "This intervening space is covered with pastures, forests, and strong castles belonging to the


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, Third Edition *The 1976 Act implemented a new calculus for determining the duration of copyright (known as the “term of protection” or, more simply, the “term”). Previously, works were protected for a specific initial term and could be renewed for an additional term. The 1976 Act does not require renewal. In most cases, the Act provides protection to works based on the time frame of the author’s life plus seventy years. 17 U.S.C. § 302(a). In the case of an work, a  work, or a, the copyright lasts for a term of ninety-five years from the year of its first publication, or a term of one hundred twenty years from the year of its creation, whichever expires first. 17 U.S.C. § 302(c).
 * Unlike prior U.S. copyright laws, copyright protection under the 1976 Act is not contingent on publication or registration. All copyrightable works are now protected from the moment of in a tangible medium of expression, regardless of whether they are published, registered, or recorded at any time. 17 U.S.C. § 102(a).
 * The 1976 Act (in Sections 203, 304(c), and 304(d)) allows an author to terminate certain grants of copyright in the author’s work after a specified number of years. The, by contrast, gave the author an opportunity to recoup his or her rights by vesting the copyright in the renewal term in the author, meaning that the author had to provide a separate grant expressly to a publisher or other third party for the renewal term (i.e., after the first twenty-eight years).
 * The added protections for certain additional types of works, including pantomime and choreography. 17 U.S.C. § 102(a)(4). Since 1976, the statute has been amended to provide copyright protection for  and certain protection for  and.
 * Congress added numerous exceptions and limitations to the statute (currently set forth in Sections 107 through 122 of the Act), including Section 107 (which codified the judicially-created fair use doctrine) and Section 108 (which created specific exceptions for libraries and archives).

Congress has updated the 1976 Act several times. For more information concerning these amendments, see the historical timeline in below.

102.2(B) U.S. Copyright Office Regulations

Section 702 of the Copyright Act authorizes the, subject to the approval of the Librarian of Congress, to promulgate regulations relating to the Register’s duties, including the registration of copyrights. Pursuant to this authority, the U.S. Copyright Office has promulgated regulations pertaining to the examination and registration of copyrights and the of transfers of copyright ownership, among other things. These regulations are embodied in Title 37 of the Code of Federal Regulations. They cover a variety of registration topics, such as how to submit applications, how to contest the Office’s refusal to issue a copyright registration, and specific deposit requirements. Ordinarily, when the Office decides to issue a new regulation, it publishes a notice of proposed rulemaking in the Federal Register in accordance with the Administrative Procedure Act. 17 U.S.C. § 701(e); see also Chapter 100 : 14


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, Third Edition. Typically, the Office also notifies the public through its NewsNet service. In most cases, the public is invited to provide comments on proposed regulations for the Office’s consideration.

102.3 Administrative Procedure Act

Congress expressly made the Register’s actions under the Copyright Act subject to the provisions of the Administrative Procedure Act of June 11, 1946, as amended. 17 U.S.C. § 701(e). Congress legislated only one express exception to this rule: Section 706(b) of the Copyright Act which provides for the U.S. Copyright Office to issue regulations specifying the conditions under which the Office may authorize or furnish copies or reproductions of deposited articles retained by the Office.

102.4 Federal Court Decisions

Federal courts have interpreted the on numerous occasions, resulting in a well-developed body of case law. Sometimes courts decide issues that are not squarely addressed by the 1976 Act and, in doing so, develop standards that are consistent with the Act and provide additional guidance. Thus, certain copyright law doctrines are derived largely from court decisions.

For example, the Copyright Act does not explain what level of creativity is necessary for a work to qualify as a “work of authorship” under the Act. Section 102(a) of the Act states—without further elaboration—that “[c]opyright protection subsists… in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device.” Numerous courts have analyzed what an original work of authorship is under the Act. For more information on the originality requirement, see of this Compendium.

The standards for comparing works and determining when a work protected by copyright is infringed by another work also come from judicial doctrine. For instance, courts have held that, to prevail in a copyright case, a copyright owner must show (i) direct evidence that the defendant copied the copyright owner’s work, or (ii) that the defendant had access to the copyrighted work, and (iii) that the copyright owner’s and defendant’s works are substantially similar.

Certain U.S. copyright law doctrines are entirely judicially-created and have never been directly codified in the Act, such as theories of contributory and vicarious liability for infringement. Others, such as principles of fair use (Section 107 of the Act), are codified at a high level in the 1976 Act, but are interpreted on a case-by-case basis by the courts.

For these reasons, it is important to consult court opinions on copyright-related issues. When doing so, note that copyright law doctrines may differ among jurisdictions, as different circuits have followed different standards. For example, the infringement standard in the Ninth Circuit is somewhat different from that of the First and the Second Circuits. Additionally, some circuits allow a claim for copyright infringement to be brought upon submission of an application for registration to the U.S. Copyright Office under Section 411 of the Copyright Act, while others require a Chapter 100 : 15


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Rh Btion' Fresco.—A good mixture for the first application to the moistened wall consists of 2 parts (by weight) of clean sharp sand to one of lime-putty. When one or more coats of this mixture have been duly laid and have set, then the surface is ready to receive the final coat or intonaco, the actual painting-ground. Before this is applied, the rougher plaster below must be thoroughly wetted with distilled or lime water. The sand in the intonaco is of finer and more uniform grain than that previously employed; the intonaco itself is only one eighth of an inch in thickness. All the coats must be laid without having recourse to scraping or 'floating'; the latter operation brings too much lime up to the surface. Considerable practice and manual dexterity are needed in these operations. The work of painting is at once commenced when the intonaco has been laid, no more being spread at one time than the artist can cover in the day. Upon the wet soft plaster the cartoon is laid, and the outlines and other important parts pounced in, transferred, or impressed by an ivory point. Rapidity and firmness of execution, with the distribution of a uniform thickness of pigment, are matters to which special attention must be paid. The chemistry of this method of painting will be discussed in Chapter XXIII.

Many modifications in the preparation, proportions, and materials of fresco painting-grounds have been introduced or suggested from time to time. I have found the following mixture to yield an excellent plaster for this purpose: Three parts of burnt lime in very fine powder are ground up with 2 parts of whitening or prepared chalk; the mixture is grouted, and then strained through hair-sieves; 5 parts of the putty thus obtained are mixed with 5 parts of sifted crushed marble, or with 5 parts of sharp, fine, sifted sand, or with 3 parts of sifted pumice, or with the


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, Third Edition or refusal to register issued by the Office. For more information on this issue, see of this Compendium.

102.5 State Laws

U.S. copyright protection is governed by federal law. Section 301(a) of the 1976 Act preempts all similar protections provided by state law, other than with respect to fixed before February 15, 1972, as provided under Section 301(c) of the Act. Preemption applies only when a state law provides protections that are equivalent to those set forth in the Copyright Act (i.e., rights equivalent to any of the exclusive rights under Section 106 of the Act in fixed works of authorship that fall within the subject matter of copyright). There are a significant number of court decisions interpreting exactly when a state claim is close enough to an exclusive right provided by the Copyright Act to be preempted. This case law should be consulted for questions regarding preemption and may vary to some extent by jurisdiction.

SectionsSection [sic] 301(b) and (c) of the 1976 Act also specifically setsets [sic] forth some types of copyright-like protections that states may provide. These include: (i) works not fixed in a tangible medium of expression; (ii) pre-1972 sound recordings; (iii) state and local landmarks, historic preservation, zoning, or building codes relating to architectural works protected under Section 102(a)(8) of the Act; and (iv) causes of actions for acts that took place before January 1, 1978.

102.6 Territorial Scope of U.S. Copyright Law

Generally speaking, U.S. copyright law applies only to acts that take place in the United States, including the Commonwealth of Puerto Rico and U.S. territories. See Subafilms, Ltd. V.v. [sic] MGM-Pathe Communications Co., 24 F.3d 1088, 1094–95 (9th Cir. 1994). Under the Berne Convention, national law applies to foreign works, and the law of the country in which infringement takes place generally applies to infringement disputes. Berne Convention for the Protection of Literary and Artistic Works, art. 5(1), (3), Sept. 9, 1886, as revised at Paris on July 24, 1971 and amended on Sept. 28, 1979, S. Treaty Doc. No. 99-27 (1986). Thus, copyright infringement that occurs in the United States is governed by U.S. law. However, courts may look to the law of a foreign country where ownership of the work was established or transferred in cases where questions are raised concerning foreign ownership and copyright origin even in the context of a U.S. infringement action. See, e.g., Itar-Tass Russian News Agency v. Russian Kurier, Inc., 153 F.3d 82, 88–92 (2d Cir. 1998).

102.7 Timeline of Selected Historical Dates in U.S. Copyright Law

The United States has a long and rich history of copyright law. Below is a timeline of some of the most interesting developments that have occurred since the colonial era. In addition to this timeline, the U.S. Copyright Office’s website includes a wealth of historical information, including additional notable dates, extensive information on past copyright laws, and prior publications (www.copyright.gov/history). Chapter 100 : 16
 * August 18, 1787: James Madison submits to the framers of the Constitution a provision “to secure to literary authors their copyrights for a limited time.”


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 heavy rock. Thunders and visible explosions sometimes are heard as an accompaniment of the falling meteor. The meteors which fall to the ground are called "meteorites," or "aerolites," a literal translation of the latter term being "airstone." On an average, however, the individual bodies of a meteor swarm are very small, being represented by "a cloud of silver dimes each about 250 miles from its nearest neighbor." The smaller and lighter meteors called shooting stars which are consumed in our atmosphere probably number from 10 to 20 million daily.

Occasionally a meteorite found is very large, a few weighing several tons, but this is most unusual. The one brought by Commander Peary from Greenland is 11 feet long and 5 feet wide and weighs 36 tons. This is now on display in the Museum of Natural History in New York City. At Ensisheim, in Alsace, during the 15th century, a stone weighing 260 pounds which had descended from the sky was ordered by Emperor Maximilian to be suspended in the church where it hung for 300 years. A shower of nearly 3000 stones of various sizes occurred in Normandy within an elliptical area seven miles long and three miles wide. Nearly all the inhabitants of a large district saw the cloud and witnessed the rain of the stones.

The Greeks and Romans thought that casting stones upon the earth was some sort of pastime indulged in by the Gods and the Romans incorporated in a temple a shower of stones which fell on Alban Mount near Rome. A stone from Heaven was also reverenced in the masonry of the great Mosque of Mecca where it is annually kissed by thousands of pilgrims who begin holy rites by walking seven times around the Kaaba starting from the corner where the black stone is fixed. The great stone in the pyramid of Cholula, in Mexico, and a black stone at Emesa, in Syria, have also been regarded with religious veneration. In India, the residence of a soul in heaven is believed to be propor-

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 tionate to its charities on earth, and when its allotted period is over, it falls to earth as a meteorite.

If picked up soon after it falls, a meteoric stone is found to be very hot on the outside while the inside is cold. One constant characteristic by which it may be identified is the fused, black, thin and glossy crust, somewhat like varnish, which coats the surface of the meteoric stone. This surface crust is thin and sharply defined from the inner mass.

The predominating element in one class of meteorites is iron, generally combined with a small amount of nickel. Copper, tin, cobalt and other substances are also found, but never silver or gold. Stony meteorites are, however, more common than iron meteorites.

The velocity of meteors, or shooting stars, varies from 12 to 40 miles a second. Herschel estimates their average height above the earth at the time of their appearance as 73 miles, and 52 miles at the time of their disappearance.

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 O THE HUNCHBACK OF NOTRE-DAME.

reverential attitude which befits strength in the presence of justice? and the beautiful doors? and the painted windows? and the chased iron-work which discouraged Biscornette? and the delicate carvings of Du Hancy? i What has time, what have men, done with these wonders? I What has been given to us for all these for all this anj cient French history, for all this Gothic art? the heavy elliptic arches of M, de Brosse, the clumsy architect of the porch of St. Gervais so much for art: and, as for history, we have the traditions of the great pillar, which still reverberates the gossip of the Patrus. This is no great matter. Let us return to the veritable great hall of the veritable old palace.

One of the extremities of this prodigious parallelogram was occupied by the famous marble table, of a single piece, so long, so broad, and so thick, that, as the ancient terriers say, in a style that might have given an appetite to Gargantua, " never was there seen in the world slice of marble to match it; " and the other by the chapel where Louis XL placed his own effigy kneeling before the Virgin, and to which, reckless of leaving two vacant niches in the file of royal statues, he removed those of Charlemagne and St. Louis, saints whom he conceived to possess great influence with Heaven as kings of France. This chapel, still new, having been built scarcely six years, was in that charming style of delicate architecture, wonderful sculpture, and sharp deep carving, which marks with us the conclusion of the Gothic era, and prevails till about the middle of the sixteenth century in the fairy fantasies of the revival of the art. The small rose mullion over the porch was in particular a masterpiece of lightness and delicacy; you would have taken it for a star of lacework.

In the middle of the hall,, opposite to the great door, an enclosed platform lined with gold brocade, backed against the wall, and to which there had been made a private entrance by means of a window from the passage to the gilded chamber, was erected expressly for the Flemish envoys, and the other distinguished personages invited to the representation of the mystery.

On this marble table, according to established usage,,


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 THE HUNCHBACK OF NOTRE-DAME. 7

the mystery was to be performed. Arrangements for this purpose had been made early in the morning. The rich marble floor, scratched all over by the heels of the clerks of the Bazoche, supported a cage of woodwork of considerable height, the upper floor of which, exposed to view from every part of the hall, was to serve for the stage, while the lower, masked by hangings of tapestry, formed a sort of dressing-room for the actors. A ladder, undisguisedly placed outside, was to be the channel of communication between the two, and its rude steps were to furnish the only medium as well for entrances as for exits. There was no movement, however abrupt and unexpected, no piece of stage-effect so sudden, but had to be executed by the intervention of this ladder. Innocent and venerable infancy of the art of machinery!

Four sergeants of the bailiff of Paris, whose duty it was to superintend all the amusements of the people, as well on festivals as on days of execution, were stationed one at each corner of the marble table.

It was not till the great clock of the palace had struck the hour of twelve that the performance was to begin a late hour, to be sure, for a theatrical representation, but it had been found necessary to suit it to the convenience of the ambassadors.

Now, the whole assembled multitude had been waiting ever since the morning. Many of these honest sightloving folks had, indeed, been shivering from daybreak before the steps of the palace; nay, some declared that they had passed the night under the great porch, to make sure of getting in. The crowd increased every moment, and, like water that rises above its level, began to mount along the walls, to swell about the pillars, to cover the entablatures, the cornices, all the salient points of the architecture, all the rilievos of the sculpture. Accordingly, the weariness, the impatience, the freedom of a day of licence, the quarrels occasioned every moment by a sharp elbow or a hob-nailed shoe, and the tediousness of long waiting, gave, long before the hour at which the ambassadors were to arrive, a sharp, sour tone to the clamour of the populace, B


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 8 THE HUNCHBACK OF NOTRE-DAME

kicked, cuffed, jostled, squeezed, and wedged together almost to suffocation. Nothing was to be heard but complaints and imprecations against the Flemings, the provost of the merchants, the cardinal of Bourbon, the bailiff of the palace, Madame Margaret of Austria, the sergeant- vergers, the cold, the heat, the bad weather, the bishop of Paris, the Pope of Fools, the pillars, the statues, this closed door, that open window all to the great amusement of the groups of scholars and serving-men distributed through the crowd, who mingled with all this discontent their sarcasms and mischievous sallies, which, like pins thrust into a wound, produced no small aggravation of the general illhumour.

There was among others a knot of these merry wights, who, after knocking the glass out of one of the windows, had boldly seated themselves on the entablature, and thence cast their eyes and their jokes alternately within and without, among the crowd in the hall and the crowd in the Place, From their mimickries, their peals of laughter, and the jeers which they exchanged from one end of the hall to the other with their comrades, it was evident that these young clerks felt none o the weariness and ennui which overpowered the rest of the assembly, and that they well knew how to extract from the scene before them sufficient amusement to enable them to wait patiently for the promised spectacle.

" Why, 'pon my soul, 't is you, Joannes Frollo de Molendino! " cried one of them, a youth with a fair complexion, handsome face, and arch look, perched on the acanthi of a capital; " you are rightly named, Jehan du Moulin, for your arms and legs are exactly like the four sails of a windmill. How long have you been here?"

" By the devil's mercy," replied Joannes Frollo, " more than four hours, and I hope they will be counted into my time of purgatory. I heard the king of Sicily's eight chanters strike up the first verse of high mass at seven o'clock in the Holy Chapel."

" Rare chanters, forsooth! " rejoined the other, " with voices sharper than their pointed caps! The king, before he founded a mass to Monsieur St. John, ought to have


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 THE HUNCHBACK OF NOTRE-DAME. 9

ascertained whether Monsieur St. John is fond of Latin chanted with a Provencal twang."

" And it was to employ those cursed singers of the king of Sicily that he did it! " cried an old woman among the crowd at the foot of the window. " Only think! a thousand livres Parisis for one mass, and granted out of the farm-rent of the sea-fish sold in the market of Paris, into the bargain! "

" Silence! " ejaculated a lusty, portly personage, who was holding his nose by the side of the fishwoman; " how could the king help founding a mass? Would you have him fall ill again? "

" Admirably spoken, sire Gilles Lecornu, master-furrier of the king's robes! " shouted the little scholar clinging to the capital.

A general peal of laughter from his comrades greeted the unlucky name of the poor master-furrier of the king's robes.

" Lecornu! Gilles Lecornu! " cried some of them.

" Cornutus et hirsutus," said anbther.

" Ay, no doubt," replied the little demon of the capital.

"What is there to laugh at? An honourable man, Gilles Lecornu, brother of Master Jehan Lecornu, provost of the king's household, son of Master Mahiet Lecornu, first porter of the wood of Vincennes, all citizens of Paris, all married from father to son 1 "

A fresh explosion of mirth succeeded; all eyes were fixed on the fat master-furrier, who, without uttering a word in reply, strove to withdraw himself from the public gaze; but in vain he puffed and struggled till he was covered with perspiration: the efforts which he made served only to wedge in his bloated apoplectic face, purple with rage and vexation, the more firmly between the shoulders of his neighbours.

At length, one of these, short, pursy, and venerable as himself, had the courage to take his part.

" What abomination! Scholars dare to talk thus to a citizen! In my time they would have been scourged with rods and burned with them afterwards."


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22 same quantity of infusorial (silicious) earth; the whole being moistened with a sufficient quantity of lime-water to render working easy. For the undercoats the sand, etc., introduced may be coarser; while a small quantity of the most silky and whitest asbestos, cut with scissors into short uniform lengths, will prove a desirable addition. The asbestos lessens the risk of any lack of continuity in the undercoats.

Fresco-Secco and Tempera.—For fresco-secco the same ground as that required for true fresco may be used, but it is allowed time to dry and harden. So long as it contains any caustic lime this ground is unfitted for work in tempera, as its alkaline nature seriously limits the variety of pigments which may be employed in this method. When carbonation of the lime is complete it may be employed for tempera-painting, the surface being first treated with warm size. Many Greek and Byzantine paintings were, however, executed upon a caustic lime ground, but the pigments employed consisted chiefly of those natural earths which are unaffected by alkalies. In these Greek tempera-grounds slaked lime mixed with chopped straw, flax, or cotton, formed the basis of the plaster. It is scarcely necessary to remark that these vegetable materials are liable to decay and to cause discoloration of the ground.

The ordinary ground for Italian and Spanish tempera-paintings consisted either of whitening and size, or of burnt gypsum (that is, plaster of Paris), stirred well with


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Rh water so as to lose the power of setting, strained, and mixed with size. Sometimes both whitening and slaked burnt gypsum are found together as constituents of the ground. The ground was laid directly on the panel, or on the cloth which had been previously glued to the wood. Great care was taken by sifting and washing to secure the fineness and purity of the whitening (calcium carbonate) and of the slaked plaster of Paris (calcium sulphate united with two proportions of water). Various kinds of size were used ; one of the best was made partly from parchment, partly from the finer kind of fish-glue. An excess of size will cause the ground to crack; it must never contain such a quantity as to be rendered non-absorbent. All tempera-grounds of gesso were originally absorbent; in course of time they have become more so owing to the decay of the size. Whether they were afterwards to be painted in tempera or oil they were always first sized. This sizing preserved the luminous whiteness of the ground, which was unable to absorb the oil of oil-paints or that present in the egg-yolks employed in tempera. A proof of the existence of this layer of size above the ground proper is obtained in the process of transferring old tempera and oil pictures to canvas, for in such cases we find discoloration of the ground under cracks only where both the size and the paint above it have become fissured.

It will have been gathered from what has been stated in the preceding paragraph that a non-caustic tempera-ground is suitable for work in oils. In the latter case, however, it must be perfectly dry before the painting is commenced. It should be gently warmed and rubbed with a little clean spirits of turpentine before laying on the first coat of oil-paint.


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 Rh Tibetan Turks." Further on again, he tells us: "There are Turks of very diverse races" (de races très diverses); and he proceeds to detail, among others, the Tibetans and the Kalmáks. The names of the remaining tribes he mentions in this passage, are spelled in so unintelligible a manner, that I can recognise none but the Kirghiz and Kipcháks, with whom he thus classes the Tibetans and the Kalmá'ks as, all alike, Turks!

The poet Khusru, in the passage cited above, calls the people he describes, by the name of Tatar, though a little lower down (on the same page) he says they were "Turks of Kai;" while elsewhere, he frequently speaks of the same people as Moghuls. Further, the late Mr. R. B. Shaw has explained, with regard to the word Tájik, that it stands in opposition to Turk, just as Arab stands to Ajam, and thus is not necessarily a race name.

Many other instances might be given of this non-ethnic use of the word Turk, and with them might be included also some relating to a similar employment of the term Tatar. But the above will suffice to make it clear that, though the Moghuls of Moghulistan were often called Turks, during the period including the thirteenth to sixteenth centuries, it need


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 As a piece of glass is moved through the beam, a record is made on an adding machine tape six inches in width. The advantage of this method is due chiefly to the fact that the telescope is not required to have a resolving power as high as the angular deviation which it measures. This comes about because the photoelectric cell is able, with this arrangement, to determine very accurately when the diffraction pattern produced by the objective has been bisected by the dividing line of the photometric field. The telescope objective used in these tests had a focal length of one meter, and it was fitted in most cases with a diaphragm having a circular aperture only 0.1 inch in diameter. The uncertainty in the setting was of the order of ±2 seconds. This optical system could readily be adapted to such purposes as the guiding of an astronomical telescope or the recording of galvanometer deflections.

15. Optical Properties of Evaporated and of Burnished Vitreous Quartz in the Extreme Ultraviolet. , Tufts College.

The specular reflectivities of quartz evaporated onto crystalline and onto vitreous quartz, and of burnished (slowly polished) vitreous quartz have been measured at 45°, 60°, 75°, and 85° incidence within the wave-length range 910A to 1436A. Values of refractive index and extinction coefficient have been computed from these reflectivities. These results will be compared with similar data for crystalline quartz and for vitreous quartz etched in KOH, which, having almost no surface layer, are as near “ideal” surfaces as possible. These data indicate that a burnished surface of vitreous quartz does not closely resemble an ideal surface of either crystalline or vitreous quartz, while one produced by evaporation is very unlike either ideal surface. The strong selective reflection at 1190A and the weaker one at 1070A, characteristic of both crystalline and etched vitreous quartz, are greatly reduced for vitreous quartz by burnishing the surface. The extinction coefficient curve for a typical burnished surface is fairly smooth, with the hump at 1190A only one-third as high as for etched vitreous quartz. The surface produced by evaporation shows practically no selective reflection at all whether condensed on crystalline or vitreous quartz. The extinction coefficient for evaporated quartz rises rapidly from near zero at 1436A to a value of 0.6 at 1216A. From this wave-length to 1026A it runs practically constant. As a check on this work and on the reflection method for determining the extinction coefficient, the transmission values of an evaporated surface of quartz have been measured directly to 1100A by using LiF as a support. These are in agreement with the extinction coefficient curve as determined by reflection.

16. Measurement of Numerical Aperture. , Bausch & Lomb Optical Company.

The customary definition of numerical aperture is adequate, and techniques of measurement are well known in the case of well corrected systems such as microscope objectives. In dealing with uncorrected or poorly corrected lenses such as condensers, there are deficiencies which may lead to misunderstanding and disagreement. Techniques of measurement approximating conditions of most frequent use are recommended as standards. It is suggested that condensers be tested by comparison with objectives of known N.A., using an unrestricted source for uncorrected condensers and a source which will just fill the objective field for corrected condensers. Mention is made of the term “Aplanatic Aperture” used by Carpenter-Dallinger and a suggested revision of definition is proposed.

17. An Improved Radiation Pyrometer. , The Brown Instrument Company.

In the development of a new radiation pyrometer, the following characteristics were required: (1) constancy of calibration with different distance-to-target diameter ratios up to twenty to one; (2) freedom from ambient temperature errors; (3) freedom from transient errors while ambient temperature is changing; (4) reasonably high electromotive force; (5) practically complete response within from two to four seconds. The thermoelectric type was found to be the most adaptable and dependable for general use. Consideration of ambient temperature effects, which is of much importance in modern industrial practice, was carried out by aid of mathematical analysis. In one assumed case, with a very sensitive type of thermopile losing heat from its hot junction by radiation alone, it is shown that an increase in operating ambient temperature of 180°F (from 80°F to 260°F) results in a drop in output voltage of 38 percent for a constant furnace temperature of 1300°F. The corresponding error in reading is 315°F. At a furnace temperature of 3000°F the decrease in voltage is 17 percent and the error in reading is 387°F. Under similar conditions with a less sensitive thermopile having a conduction factor of 3×10$10$, this 180°F increase in operating ambient temperature would result in a decrease in output voltage of from 12.2 percent to 12.5 percent for any furnace temperature between the two values mentioned. The error in reading would range from 58°F to 162°F over the stated span of furnace temperatures. The constancy of ratio of e.m.f.’s with the latter case makes that case suitable for compensation by means of a nickel wire shunt connected across the thermopile terminals. This method was adopted. Other methods of compensation are considered. Test data show the degree of perfection realized in the various respects indicated. Special features of construction are shown, rendering the pyrometer practically free from the usual transient errors accompanying changes in the temperature of the pyrometer. All of the thermopile junctions are spot-welded and the construction is arranged throughout to withstand high ambient temperatures.


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every one knows Venus, the beautiful Evening Star, which is also, by the way, an equally beautiful Morning Star. In ancient times the Greeks believed these to be two different stars, calling the Morning Star "Phosphorus," the torchbearer who lights the way for the Dawn, and the Evening Star "Hesperus," leader of the stars of night. These names were translated into Latin as Lucifer and Vesper. The Morning Star was the son of Astræus and Aurora and the Evening Star a brother of the Titan Atlas. Pythagoras is said to have been the first to identify Hesperus with Phosphorus.

The dates that Venus may be seen are announced in the Almanac. Always look in the west after sunset for this lovely star, or in the east before sunrise, never in either case more than 48 degrees away from the sun. It follows the sun so closely that it is never seen more than four hours after sunset.

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 88 not be assumed that they were actually of Turkish race, either by origin or by subsequent fusion of blood. There was, however, another and very important circumstance that complicated this question of nomenclature still further. It was, it seems, the desire of all the tribes and nations of Central Asia, to identify themselves with the race which happened to be in the ascendant at any particular time. They endeavoured to adopt its name, and to pass themselves off as members of the nation in supremacy, regardless of racial affinities. Rashid-ud-Din has laid special stress on this point in his great work on the Mongols, and has explained the matter in one place as follows: "They [the Tatars] made themselves so powerful and formidable, that the other nations of Turks passed themselves off as Tatars, and regarded as an honour this name, under which they had become famous; just as at the present day the Jalair, Tatar, Uirát, Ungut, Karait, Naimán, Tangut, and others, find glory in the name of Mongol, made illustrious by that of Chingiz Khan and his descendants—a name which, at an earlier date, they would have disdained. The young people of all these nations believe, even now, that their ancestors have always borne the style of Mongol; but it was not so, for formerly the Mongols were only one of the nations of Turks. … This name has been extended to such a degree, that nowadays the people of Khitai (Northern China) and of Nan-gyass (Southern China), as well as the Churchi, the Uighur, the Kipchák, the Turkoman, and the Karluk; also the Captives and the Táziks (Muhammadans), who have been brought up among the Mongols are [all of them] called Mongols; and they are all interested in passing for Mongols, in order that they may gain consideration. Previous to this period it was the same with the Tatars, on account of their power, and this is the reason why the Mongols are still called Tatars in China and in India, by the Kirghiz, the Báshgirds, in the Kipchák country, in the north of Asia, in Arabia, in Syria, in Egypt, and in Africa."

It has been observed above, that in India the word Moghul was employed, subsequent to the days of Chingiz, in the same way as the word Turk in Central Asia, and Tatar in Europe, and on this subject Mr. H. G. Keene has come to conclusions which coincide with the teachings of Rashid-ud-Din. It denoted, in the first place, the group of tribes or nations who


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24 Steveochromy.—The ground for stereochromy has been modified several times since the first introduction of this method of water-glass painting. Originally it was recommended to use an undercoat containing 2 parts of sharp sand, 2 parts of fine sand, and 1 part of slaked lime in fine powder. Upon this was laid an intonaco of one-tenth to one-eighth of an inch in thickness, made of 3 parts of fine sand and i part of slaked lime. The fineness or coarseness of the sand in the intonaco must, however, be regulated by the nature of the surface required by the artist. I see that nearly fifty years ago I recommended the employment of sifted white marble powder, and of several other substitutes for sand, recommendations which, within the last few years, have been again brought forward by Herr Adolph Keim. Oxide of zinc may be advantageously substituted for a part of the lime in the intonaco, and it may be added to the pigments. Keim recommends the wall to be first coated with a mixture of 1 part of burnt lime (which is to be slaked with distilled water), and 4 parts of a composition consisting of coarse quartz sand, infusorial earth, and powdered marble. The actual painting-ground, which is from one-eighth to a quarter of an inch in thickness, is made of 1 part of slaked lime, and 8 parts of a mixture of the finest quartz sand, marble sand, marble meal, and infusorial earth. Fine asbestos paper, wetted with lime-water, and firmly pressed by rolling into a soft freshly-laid lime and sand-plaster, makes an excellent ground for stereochrome painting; but as a single breadth only of this paper can be used, the size of the work that can be executed upon it is somewhat limited. All the precautions as to


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25 dryness of the wall and purity of the materials, already noted in the case of fresco-grounds, must be observed in reference to those intended for stereochrome painting.

Spirit-Fresco.—The ground recommended by the late Mr. Gambier Parry for that modified form of varnish-painting to which he gave the name of 'Spirit-Fresco' is identical with that required for true fresco. All the usual precautions as to the dryness of the backing, and its freedom from soluble salts, must be taken. The plaster must be allowed to dry completely before the operation of saturating it with the medium is commenced; the lime in it should also have become mild—that is, carbonated. (See Chapter XXIII. for tests for alkalinity and moisture.) Syringing the plaster with distilled water previously charged under pressure with carbonic acid gas, though it delays the drying, hastens the carbonation of the lime materially. To complete the preparation of the ground, it should, when quite dry, be soaked with a mixture of two parts of the medium (Chapter XII.), and three of turpentine. After two days, this treatment must be repeated. A third application may be needed for very porous grounds. Another period of forty-eight hours having elapsed, the surface receives a coat of white paint, made of equal parts of white lead and gilder's whitening, ground up with the medium diluted with one-fourth or one-third its bulk of turpentine. This priming is repeated when the first coat is dry. After three weeks, the painting may be commenced. Stone and terra-cotta, if sufficiently porous, may be primed in the same way as plaster. Under no circumstances should cements containing plaster of Paris be introduced into the grounds used for spirit-fresco.

During the last twenty years a considerable number of


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 Rh composed the armies of the northern invaders, with little or no reference to their racial origin; and secondly, at the time of Baber, it was regarded as something scarcely better than a term of contempt. But later, when the so-called Moghul dynasty came to be looked up to as the supreme power, the name assumed a different and more respectful significance. Mr. Keene writes: "Under Akbar, when the empire had become a firm result of successful war, the word [Moghul] recovered its prestige and—like the name of 'Goth' in Spain—came to indicate 'a noble conqueror,' or the descendant of one"; and in support of this view he cites a valuable passage from Kháfi Khan (for which he acknowledges his indebtedness to the late Professor Blochmann, who may be inferred to have translated it), which runs as follows: "The flourishing condition of Mugholistan commenced with Mughol Khan, who was a great king. Although from the time of Akbar the word Mughol has been applied to the Turks and Tajiks of Irán (Persia) to such an extent that even the Sayyids of Khorasán were called Mughols, yet in reality the word is the proper term for those Turks who belong to the descendants and house of Mughol Khan; and it was used in this sense in the time of the earlier (Moslem) kings of Delhi. …" Here Kháfi Khan uses Turk in the same sociological sense as Rashid-ud-Din, Minháj-ud-Din, Mirza Haidar, and the rest.

Mr. Denzil Ibbetson, too, furnishes some instructive remarks, in his Report on the Punjab census, on the way the words Turk and Moghul have come to be used in modern times in the north of India. A Turk is there regarded as a native of Turkistan and a man of Mongolian race. "In the Delhi territory, indeed," writes Mr. Ibbetson, "the villagers, accustomed to describe the Mughals of the Empire as Turks, use the word as