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 hang draggled in the rain. Is there nothing better to be seen than sordid misery and worthless joys? Only where the poor old mother of the poet kneels in church below painted windows, and makes tremulous supplication to the Mother of God.

In our mixed world, full of green fields and happy lovers, where not long before, Joan of Arc had led one of the highest and noblest lives in the whole story of mankind, this was all worth chronicling that our poet could perceive. His eyes were indeed sealed with his own filth. He dwelt all his life in a pit more noisome than the dungeon at Méun. In the moral world, also, there are large phenomena not cognisable out of holes and corners. Loud winds blow, speeding home deep-laden ships and sweeping rubbish from the earth; the lightning leaps and cleans the face of heaven; high purposes and brave passions shake and sublimate men's spirits; and meanwhile, in the narrow dungeon of his soul, Villon is mumbling crusts and picking vermin.

Along with this deadly gloom of outlook, we must take another characteristic of his work: its unrivalled insincerity. I can give no better similitude of this quality than I have given already: that he comes up with a whine, and runs away with a whoop and his finger to his nose. His pathos is that of a professional mendicant who


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 should happen to be a man of genius; his levity that of a bitter street arab, full of bread. On a first reading, the pathetic passages preoccupy the reader, and he is cheated out of an alms in the shape of sympathy. But when the thing is studied the illusion fades away: in the transitions, above all, we can detect the evil, ironical temper of the man; and instead of a flighty work, where many crude but genuine feelings tumble together for the mastery as in the lists of tournament, we are tempted to think of the Large Testament as of one long-drawn epical grimace, pulled by a merry-andrew, who has found a certain despicable eminence over human respect and human affections by perching himself astride upon the gallows. Between these two views, at best, all temperate judgments will be found to fall; and rather, as I imagine, towards the last.

There were two things on which he felt with perfect and, in one case, even threatening sincerity.

The first of these was an undisguised envy of those richer than himself. He was for ever drawing a parallel, already exemplified from his own words, between the happy life of the well-to-do and the miseries of the poor. Burns, too proud and honest not to work, continued through all reverses to sing of poverty with a light, defiant note. Béranger waited till he was himself beyond the

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 reach of want, before writing the Old Vagabond or Jacques. Samuel Johnson, although he was very sorry to be poor, "was a great arguer for the advantages of poverty" in his ill days. Thus it is that brave men carry their crosses, and smile with the fox burrowing in their vitals. But Villon, who had not the courage to be poor with honesty, now whiningly implores our sympathy, now shows his teeth upon the dung-heap with an ugly snarl. He envies bitterly, envies passionately. Poverty, he protests, drives men to steal, as hunger makes the wolf sally from the forest. The poor, he goes on, will always have a carping word to say, or, if that outlet be denied, nourish rebellious thoughts. It is a calumny on the noble army of the poor. Thousands in a small way of life, ay, and even in the smallest, go through life with tenfold as much honour and dignity and peace of mind, as the rich gluttons whose dainties and state-beds awakened Villon's covetous temper. And every morning's sun sees thousands who pass whistling to their toil. But Villon was the "mauvais pauvre" defined by Victor Hugo, and, in its English expression, so admirably stereotyped by Dickens. He was the first wicked sansculotte. He is the man of genius with the moleskin cap. He is mighty pathetic and beseeching here in the street, but I would not go down a dark road with him for a large consideration.


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 The second of the points on which he was genuine and emphatic was common to the middle ages; a deep and somewhat snivelling conviction of the transitory nature of this life and the pity and horror of death. Old age and the grave, with some dark and yet half-sceptical terror of an after-world—these were ideas that clung about his bones like a disease. An old ape, as he says, may play all the tricks in its repertory, and none of them will tickle an audience into good humour. "Tousjours vieil synge est desplaisant." It is not the old jester who receives most recognition at a tavern party, but the young fellow, fresh and handsome, who knows the new slang, and carries off his vice with a certain air. Of this, as a tavern jester himself, he would be pointedly conscious. As for the women with whom he was best acquainted, his reflections on their old age, in all their harrowing pathos, shall remain in the original for me. Horace has disgraced himself to something the same tune; but what Horace throws out with an ill-favoured laugh, Villon dwells on with an almost maudlin whimper.

It is in death that he finds his truest inspiration in the swift and sorrowful change that overtakes beauty; in the strange revolution by which great fortunes and renowns are diminished to a handful of churchyard dust; and in the utter passing away of


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 what was once lovable and mighty. It is in this that the mixed texture of his thought enables him to reach such poignant and terrible effects, and to enchance pity with ridicule, like a man cutting capers to a funeral march. It is in this, also, that he rises out of himself into the higher spheres of art. So, in the ballade by which he is best known, he rings the changes on names that once stood for beautiful and queenly women, and are now no more than letters and a legend. "Where are the snows of yester year?" runs the burden. And so, in another not so famous, he passes in review the different degrees of bygone men, from the holy Apostles and the golden Emperor of the East, down to the heralds, pursuivants, and trumpeters, who also bore their part in the world's pageantries and ate greedily at great folks' tables: all this to the refrain of "So much carry the winds away!" Probably, there was some melancholy in his mind for a yet lower grade, and Montigny and Colin de Cayeux clattering their bones on Paris gibbet. Alas, and with so pitiful an experience of life, Villon can offer us nothing but terror and lamentation about death! No one has ever more skilfully communicated his own disenchantment; no one ever blown a more ear-piercing note of sadness. This unrepentant thief can attain neither to Christian confidence, nor to the spirit of the


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 bright Greek saying, that whom the gods love die early. It is a poor heart, and a poorer age, that cannot accept the conditions of life with some heroic readiness.

The date of the Large Testament is the last date in the poet's biography. After having achieved that admirable and despicable performance, he disappears into the night from whence he came. How or when he died, whether decently in bed or trussed up to a gallows, remains a riddle for foolhardy commentators. It appears his health had suffered in the pit at Méun; he was thirty years of age and quite bald; with the notch in his under lip where Sermaise had struck him with the sword, and what wrinkles the reader may imagine. In default of portraits, this is all I have been able to piece together, and perhaps even the baldness should be taken as a figure of his destitution. A sinister dog, in all likelihood, but with a look in his eye, and the loose flexile mouth that goes with wit and an overweening sensual temperament. Certainly the sorriest figure on the rolls of fame.


text: Familiar Studies of Men and Books/François Villon, Student, Poet, and Housebreaker


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 118 The agreement set forth above is acceptable to my Government and, in accordance with the statement made in the last paragraph of your note under reference, the Government of the Republic of the Philippines considers your note and this reply as constituting an agreement between our two Governments, which enters into force as of today.

Accept, Excellency, the assurances of my highest consideration.

Carlos P. Special and Personal Envoy of the President of the Philippines

His Excellency James M. Langley Special Representative of the President of the United States of America

No. 3356

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52

But he found no more his homestead,

And the walls he found not standing;

Where the house before was standing,

Rustled now a cherry-thicket,

On the mound were pine-trees growing,

Juniper beside the well-spring.

Spoke the lively Lemminkainen,

Said the handsome Kaukomieli,

“I have roamed among these forests,

O’er the stones, and plunged in river,

And have played about the meadows,

And have wandered through the cornfields.

Who has spoiled my well-known homestead,

And destroyed my charming dwelling?

They have burned the house to ashes,

And the wind’s dispersed the ashes.”

Thereupon he fell to weeping,

And he wept one day, a second,

But he wept not for the homestead,

Nor lamented for the storehouse,

But he wept the house’s treasure,

Dearer to him than the storehouse.

Then he saw a bird was flying,

And a golden eagle hovering,

And he then began to ask it:

“O my dearest golden eagle,

Can you not perchance inform me,

What has happened to my mother,

To the fair one who has borne me,

To my dear and much-loved mother?”

Nothing knew the eagle of her,

Nor the stupid bird could tell him,

Only knew that she had perished;

Said a raven she had fallen,

And had died beneath the sword-blades,

’Neath the battle-axes fallen.

Answered lively Lemminkainen,

Said the handsome Kaukomieli:

“O my fair one who hast borne me,

O my dear and much-loved mother!

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and shrubs belonging to the sub-order Pomacese of the order Rosaceae. Branchlets of two kinds, long and short shoots, the flowers in certain species being borne on the latter only. Leaves deciduous, alternate, stalked, simple or pinnate; stipules deciduous. Flowers in cymes or corymbs, regular, perigynous or epigynous, calyx-lobes 5, petals 5. The receptacle (the end of the axis) is hollowed out, the ovary being attached to its interior. A disc is present, either annular or coating the receptacle. Ovary with 2 to 5 cells, each cell containing 2 ovules. Fruit, a pome, the external fleshy part being formed of the receptacle, while the interior or core is the developed ovary; cells 2 to 5, with a membranous or cartilaginous endocarp, each containing i or 2 seeds, though occasionally some are empty.

The genus Pyrus has been divided variously into sections, which some botanists treat as distinct genera. The following arrangement is perhaps the simplest:—

A. Leaf in the bud rolled inwards towards the midrib.
 * 1. Pyrophorum. Flowers in corymbs on spur-like branchlets, ovary with 5 cells, styles free. Fruit pyriform or hollowed out at the base, flesh granular. Leaves simple. Pears: confined to Asia and Europe.
 * 2. Malus. Flowers fascicled or umbellate on spurs, ovary with 3 to 5 cells, styles united at the base. Fruit with a cavity at the base, flesh homogeneous. Leaves simple. Apples: species in North America as well as in Europe and Asia.
 * 3. Aronia. Flowers in terminal corymbs, ovary with 4 to 5 cells, styles free or united at the base. Fruit small, not hollowed at the base, endocarp very thin, flesh almost homogeneous. Leaves simple, crenate, with the midrib glandular on its upper side. Two North American shrubs.

B. ''Leaf folded in the bud. Flowers in terminal corymbs.''
 * 4. Hahnia. Ovary with 2 to 3 cells, styles united below. Fruit crowned by the calyx, and having a hard, almost bony endocarp, flesh granular. Leaves simple, lobed. Pyrus torminalis, the only species.


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 :::6. Pyrus Sorbus, Gaertner. Central and Southern Europe. Winter buds greenish, viscid, pubescent only at the tip; under surface of the leaves slightly pubescent in spring, soon becoming glabrous.

II. Leaves pinnate, but upper 3 or 5 leaflets coalesced or decurrent by their bases on the rhachis.
 * 7. Pyrus Aucuparia, Gaertner, var, satureifolia, Koch. A hybrid. Differs from the common form in the coalescence into one large segment of the 3 upper leaflets; leaflets glabrous beneath.
 * 8. Pyrus Aucuparia, Gaertner, var. decurrens, Koehne (Pyrus lanuginosa, Hort. non DC.) A hybrid. Upper leaflets decurrent on the rhachis by broad bases, often the upper 3 or 5 coalescing into one segment; leaflets tomentose beneath.

III. Leaflets pinnate or deeply cut at the base, with 1-4 pairs of segments, the upper part of the leaf lobed or serrate; leaves very variable in shape.
 * 9. Pyrus hybrida, Moench. A shrub of hybrid origin. Main axis of the leaf glandular above, under surface of the leaf sparingly pubescent, the parents being Pyrus aucuparia and Pyrus arbutifolia.
 * 10. Pyrus pinnatifida, Ehrhart. A hybrid. Axis of the leaf without glands, under surface densely grey tomentose.

IV. Leaves simple, lobed.
 * A. Under surface of the leaf glabrous, or nearly so, light green in colour.
 * 11. Pyrus torminalis, Ehrhart. Europe, Algeria, Asia Minor, and the Caucasus.
 * B. Under surface of the leaf grey tomentose.
 * 12. Pyrus cratægifolia, Savi. Italy. Leaves small, resembling those of a hawthorn, on each side 4-6 triangular-ovate toothed lobes.
 * 13. Pyrus latifolia, Boswell Syme. Britain, France, Spain, Central Europe. Leaves broad-oval with a wide base; lobes decreasing from below upwards, small triangular, separated by sinuses, which form a right angle and are not narrowed. In some forms the lobes are mucronate, in others cuspidate; and, in var. decipiens, the outline of the leaf is like intermedia, but the lobing is different.
 * 14. Pyrus intermedia, Ehrhart. Europe. Leaves elliptic, with a usually narrow base, lobes decreasing from below upwards, rounded, mucronate, separated by narrow sinuses, which are very acute or almost closed at their bases. This includes several forms:—
 * Mougeoti. Leaves with 9-12 pairs of nerves, lobes shallow.


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Runo XXIX]

Hast thou perished, who hast borne me,

Hast thou gone, O tender mother?

Now thy flesh in earth has rotted,

Fir-trees o’er thy head are growing,

Juniper upon thy ankles,

On thy finger-tips are willows.

“Thus my wretched doom has found me,

And an ill reward has reached me,

That my sword I dared to measure,

And I dared to raise my weapons

There in Pohjola’s great castle,

In the fields of Pimentola.

But my own race now has perished,

Perished now is she who bore me.”

Then he looked, and turned on all sides,

And he saw a trace of footsteps,

Where the grass was lightly trampled,

And the heath was slightly broken.

Then he went the way they led him,

And he found a little pathway;

To the forest led the pathway,

And he went in that direction.

Thus he walked a verst, a second,

Hurried through a stretch of country,

And in darkest shades of forest,

In the most concealed recesses,

There he saw a hidden bath-house,

Saw a little cottage hidden,

In a cleft two rocks protected,

In a nook between three fir-trees;

There he saw his tender mother,

There beheld the aged woman.

Then the lively Lemminkainen,

Felt rejoiced beyond all measure,

And he spoke the words which follow,

And in words like these expressed him:

“O my very dearest mother,

O my mother who hast nursed me,

Thou art living still, O mother,

Watchful still, my aged mother!

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 :::24. Pyrus Aria, Ehrhart, var. rupicola. British Isles (Europe?) Leaves obovate-oblong (broadest above the middle), lobulate above, the lobules and teeth acute, nerves 5-9 pairs, pubescence at first as white as in the type, but ultimately becoming greyer.
 * 25. Pyrus Aria, Ehrhart, var. Decaisneana. Origin unknown. Leaves large, elliptic, or oblong, with margin serrated almost uniformly, nerves 12-15 pairs.
 * 26. Pyrus Hostii, Hort. A hybrid. Leaves like 23, but with very sharp, irregular teeth and tomentum thin, white to greyish white.

(27) Leaves grey, densely-woolly pubescent beneath.
 * 27. Pyrus vestita, Wallich. Himalayas. Leaves very large, elliptic, serrate, and occasionally obscurely lobulate in margin; nerves 15-18 pairs.

As many of the species mentioned above are merely shrubs or very small trees, they do not fall within the scope of our work. For this reason, Pyrus hybrida, cratægifolia, Chamæmespilus, alnifolia, and the three species of the section Aronia, will not be further referred to. Pyrus Hostii, a hybrid of inconstant origin, will be briefly mentioned in connection with Pyrus Aria.

Pyrus Aucuparia and its allies will be dealt with in a subsequent part.

The two following species are not known to us to attain timber size in cultivation in the British Isles; but Mr. H.C. Baker tells us that at Chilternhouse, near Thame, there is a specimen of P. vestita 50 feet by 6 feet 5 inches.

Don.

Known in gardens as Sorbus majestica. A tree of the eastern temperate Himalayas; leaves large, oval, oboval, or broadly oblong, with serrate lobes, glabrous above when adult except for some pubescence along the midrib, greyish woolly beneath. Flowers white in densely woolly corymbs; petals glabrous within; styles 2 to 5, free, densely tomentose. Fruit large, about an inch in diameter (½ to 1½ in.), narrowed to the base, red, edible. Judging from wild specimens the foliage is very variable; and the cultivated specimen at Kew bears leaves (figured in Plate 43), which differ from those of wild trees in being less deeply lobed.

Wall.

Often known in gardens as Sorbus nepalensis or Sorbus magnifica. A tree of the temperate Himalayas from Garwhal to Sikkim. Leaves (cf. Plate 43) very large, ovate-acute or elliptic, lobulate-serrate, densely covered with white wool when they first appear, but later in the season becoming shining green and glabrous above, remaining densely woolly beneath. Flowers in very woolly corymbs; petals woolly within; styles 3-5, tomentose only at the base. Fruit large, about ¾ inch in diameter, globose.


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54

Yet I thought that thou had’st perished,

And wast lost to me for ever,

Perished underneath the sword-blades,

Or beneath the spears had’st fallen,

And I wept my pretty eyes out,

And my handsome cheeks were ruined.”

Then said Lemminkainen’s mother,

“True it is that I am living,

But was forced to fly my dwelling,

And to seek a place of hiding

In this dark and gloomy forest,

In the most concealed recesses,

When came Pohjola to battle,

Murderous hosts from distant countries,

Seeking but for thee, unhappy,

And our home they laid in ruins,

And they burned the house to ashes,

And they wasted all the holding.”

Said the lively Lemminkainen:

“O my mother who hast borne me,

Do not give thyself to sadness,

Be not sad, and be not troubled.

We will now erect fresh buildings,

Better buildings than the others,

And will wage a war with Pohja,

Overthrowing Lempo’s people.”

Then did Lemminkainen’s mother

Answer in the words which follow:

“Long hast thou, my son, been absent,

Long, my Kauko, hast been living

In a distant foreign country,

Always in the doors of strangers,

On a nameless promontory,

And upon an unknown island.”

Answered lively Lemminkainen,

Said the handsome Kaukomieli:

“There to dwell was very pleasant,

Charming was it there to wander.

There the trees are crimson-shining,

Red the trees, and blue the country,

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In summer the tree is only liable to be confused with the mountain ash and its allies. The bark is, however, different, being rough, scaly, and dark-coloured in the true service tree, smooth and grey in Pyrus Aucuparia, etc. In Pyrus Sorbus the leaflets at the base are practically symmetrical, and their serration is very acute. Buds if present are the best distinction, as explained below. In winter Pyrus Sorbus is distinguished by the following characters, shown in Plate 45:—

Twigs: long shoots glabrous, round; leaf- scars, crescentic with 5 bundle dots, set parallel to the twig on projecting cushions. Terminal buds larger, side buds coming off at an acute angle; all ovoid, densely viscid, shining, generally pubescent at the tip. Bud scales few in number, greenish, sometimes reddened, viscid, quite glabrous, the margin without cilia. Short shoots ringed, glabrous, ending in a terminal bud. The viscid greenish buds, 5-dotted leaf-scars, and rough scaly bark, distinguish this species from other kinds of Pyrus.

The Service tree is largely cultivated in central and southern Europe; and in many places, where it is recorded as wild, is really only an escape from cultivation. It is met with in the forests of France which rest upon limestone; but in the north and east it does not produce fruit every year, and is doubtfully wild except in the south and west. Willkomm considers it to be wild in the southern parts of the Austrian empire (Dalmatia, Croatia, Banat, Carniola, and South Tyrol), in the valley of the Moselle, in the Jura and Switzerland; also in southern Europe and Algeria. In France it is occasionally met with as a standard in coppiced woods.

Mouillefert says that the tree may live to be 500 or 600 years old, and that it was uninjured by the severe frost of 1879–80, when the thermometer fell to –25° Reaumur. He says, also, that it prefers a rich calcareous soil, but will grow on sand if not too dry.

Pyrus Sorbus is not a native of Britain, though a single specimen which grew in a remote part of Wyre Forest in Worcestershire was long considered to give it a claim to be introduced into the British flora. This tree was mentioned in the Philosophical Transactions as long ago as 1678 by Mr. Pitt, who says that he found it in the preceding year as a rarity growing wild in a forest of Worcester, and identifies it with the Sorbus pyriformis of L'Obelius, a tree not noticed by any preceding writer as a native of England. Pitt says nothing about the size of the tree, merely observing: "It resembles the Ornus or quicken tree, only the Ornus bears the flower


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 At Croome Court, the seat of the Earl of Coventry, there are two good-sized trees in the shrubbery, one of which is 59 feet high and 6 feet 2 inches in girth. The other, with a clean stem, about 50 feet by 7, is beginning to decay. Lady Coventry told me that the fruit, which is only produced in good seasons, makes excellent jam when fully ripe, but some seeds which she was good enough to send me did not germinate.

Loudon mentions a tree at Melbury Court, Dorsetshire, estimated to be 200 years old, and 82 feet high, with a diameter of 3 feet 4 inches, growing in dry loam on sand. If this was really a true sorb, it must have been the largest on record, but I learn from the gardener at Melbury that it has long been dead.

There are two good-sized trees at Painshill, and another at Syon which Henry found to be 44 feet high and 6 feet 9 inches in girth, but on this heavy soil the tree does not seem to be so long lived, and is dying at the top.

In the Botanic Gardens at Oxford are two well-shaped trees of this species, which were laden with fruit in 1905, and supposed to have been planted by Dr. John Sibthorp, who was Professor of Botany in 1784-95. The largest measures about 50 feet by 5 feet, and is of the maliform variety. Its fruit, which ripens and falls about the middle of October, is very sweet and pleasant to eat, much better than medlars, whilst the fruit of the other, which is the pyriform variety, does not turn red, is smaller, and ripens later. I have raised seedlings from both of these trees.

In the Cambridge Botanic Garden there is a tree with very upright branches, which measured, in 1906, 42 feet by 3 feet 4 inches.

At Tortworth there is a healthy, well-shaped tree, not more than 40 years planted, which is about 40 feet by 5 feet 1 1 inches. This is in a rather exposed situation, and it had no fruit in 1905.

At Woodstock, Co. Kilkenny, Ireland, there is a tree which seems to be the largest now living in this country. Henry measured it in 1904 and found it 77 feet high by 10 feet 8 inches in girth, with a bole dividing into three stems at 10 feet from the ground and bearing fruit.

A large tree was blown down at Claremont Park, Surrey, the seat of H.R.H, the Duchess of Connaught, in 1902, which I am assured by Mr. Burrell, the gardener there, was a sorb. Its trunk was sent to Mr. Snell of Esher, to whom I am indebted for two fine planks of its wood. These show a very hard, heavy, compact surface of a pinkish brown colour with a fine wavy grain, which takes an excellent polish, and this wood has been used with beautiful effect in the framing


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Runo XXIX]

And the pine-boughs shine like silver,

And the flowers of heath all golden,

And the mountains are of honey,

And the rocks are made of hens’ eggs,

Flows the mead from withered pine-trees,

Milk flows from the barren fir-trees,

Butter flows from corner-fences,

From the posts the ale is flowing.

“There to dwell was very pleasant,

Lovely was it to reside there;

Afterwards ’twas bad to live there,

And unfit for me to live there.

They were anxious for the maidens,

And suspicious of the women,

Lest the miserable wenches,

And the fat and wicked creatures,

Might by me be badly treated,

Visited too much at night time.

But I hid me from the maidens,

And the women’s daughters guarded

Just as hides the wolf from porkers,

Or the hawks from village poultry.”

, youth for ever youthful,

Lemminkainen young and lively,

Very early in the morning,

In the very earliest morning,

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A tree, attaining exceptionally a height of 80 feet, but more generally only reaching 40 or 50 feet. Bark smooth and grey at first, but after fifteen or twenty years of age scaling off in thin plates, and ultimately becoming fissured. Leaves long-stalked, broadly oval, nearly as broad as long, with a cordate or truncate base and an acute apex; with 6-10 triangular acuminate serrate lobes; shining and glabrous above, obscurely pubescent beneath; nerves pinnate, 5-8 pairs. Flowers white in corymbs. Styles 2, glabrous, united for the greater part of their length. Fruit ovoid, brownish when ripe, with warty lenticels, vinous in taste when in a state of incipient decay; cut across transversely it shows a ring of white hardened tissue, forming a mesocarp around the core.

The leaves are generally described as glabrous on the under surface, but in all specimens traces of pubescence may be observed, which is much more marked on coppice shoots and epicormic branches.

None have been obtained in cultivation so far as we know, and wild trees vary very little in any of their characters. A variety, pinnatifida, with the lobing of the leaves very deep, is described by Boissier, from specimens occurring in Asia Minor and Roumelia.

The leaves in summer are unmistakable (see Plate 44), and can only be confounded with certain forms of Pyrus latifolia; but in the latter species the under surface of the leaf is always plainly grey tomentose, and the lobes are much shorter than in P. torminalis. In winter the following characters, shown in Plate 45, are available.

Twigs: long shoots, glabrous, shining, somewhat angled, with numerous lenticels; leaf-scar semicircular with 3 bundle traces, set parallel to the twig on a greenish cushion. Buds almost globular, terminal larger, side-buds nearly appressed to the twig; scales green with a narrow brown margin, glabrous, with the apex double-notched. Short shoots slightly ringed, glabrous, ending in a terminal bud.


text: Kalevala (Kirby 1907)/Runo 29

title: Kalevala (Kirby 1907)/Runo 29


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304 a fact which has by no means been advantageous to the poetical value of these works, though they contain many passages of great beauty. Björnson's dramas are, generally speaking, marked by excellent delineations of character and by a brilliant diction, while they are frequently lacking in the elaboration of the plot. In a purely artistic sense the drama "Mellem Slagene," a slight, but very effective picture of life in the middle ages, from the stirring times of King Sverre, is probably the best of all. Björnson has written a number of lyric poems of rare beauty, and his epic cycle "Arnljot Gelline" though somewhat discursive, is a most exquisite work.

While Björnson's poetical development, properly speaking, had already reached its climax when his first works appeared, and while none of his later great works have surpassed his first ones in excellence, the merit of the works of (born 1828) has constantly been increasing. He is above all a dramatist, though he has written many lyric poems of exquisite beauty. His first works were historical romantic dramas, which must be looked upon as preliminary studies, though many of them contain passages that are prophetic of the great poetical talent which he was destined to display in so splendid a manner. To this portion of his works belong the dramas "Gildet paa Solhoug " (The banquet at Solhoug), in which the influence of Hertz' play "Svend Dyring's Hus," is very perceptible, "Fru Inger til Östraat," and "Hærmaendene paa Helgeland" (The warriors


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 Sussex the fruit is called chequers. It is found in woods, copses, and hedgerows, usually on loam or clay, but does not seem to grow on sandy soils. It attains its greatest size in the Midland counties, where it reaches a height of from 50 to 70 feet. It never seems to be gregarious, and though it reproduces itself by seed or suckers, yet being usually looked on as underwood and not allowed to grow up to its full size, does not attract notice, and is unknown except to the most observant woodmen, even in districts where it occurs. In the vale of Gloucester, on the Earl of Ducie's property, there are probably thirty or forty trees of it scattered over a considerable area. The tallest of these, though not the thickest, is in Daniel's Wood, and is figured (Plate 47). This tree was 62 feet by 5 feet 1 inch in 1904, and is still growing vigorously among other trees and underwood. Not far off is another which may grow to as fine a tree.

In the Cotswold Hills the tree is very rare. I only know a single decaying specimen of moderate size in Chedworth Wood, close to the road leading from Withington to Chedworth Downs.

On Ashampstead Common, in Berks, I found one about 65 feet high and 8 feet in girth, crowded among other trees, which had produced a few suckers. At Rickmansworth Park, Herts, are two fine trees growing together by a pond, which are probably planted (Plate 48), and which Henry measured in 1904, when they were 65 feet by 8 feet 3 inches, and 63 feet by 9 feet i inch respectively. The largest specimen known to me is at Walcot, Shropshire, growing on a bank in good soil with a wych elm crowding it on one side, but probably planted. It measures as nearly as I could estimate about 80 feet high, and is no less than 8 feet 9 inches in girth.

At Cobham Hall, Kent, a tree planted beside a pond measured 55 feet high by 4½ feet in 1906.

In the woods in Worcestershire, as I am informed by Mr. Woodward, it is not uncommon, but is not looked upon as of any value. There is a tree at Arley 5 feet I inch in girth. In Wych wood Forest, Oxon, now nearly all destroyed, I am informed by Mr. R. Claridge Druce, of Oxford, the tree was formerly common enough for its fruit to be collected and sold in Witney market under the name of service berries.

In Cornbury Park, and in the remains of the forest outside it, there are at least six good-sized trees surviving. Of these the largest, just outside the park wall on the south side, is 65 to 70 feet high by 6 feet 6 inches in girth, a well-shaped, vigorous tree, which on 16th October 1905 was covered with unripe fruit. Another, also outside the park, is about 50 feet by 6 feet 10 inches, with a fine clean bole 12 to 14 feet long. I saw no suckers or seedlings near these trees.

In the woods and coppices north and north-east of London, and in Herts, the tree is not unfrequent on clay soil, and Pryor gives several localities for it.

In Epping Forest, Mr. E.N. Buxton tells me that he does not know of more than thirty trees on an area of 3000 acres, growing on heavy gravelly clay. The largest in his grounds is 40 to 50 feet high.


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Rh of Helgeland), a dramatic treatment of the myth of Sigurd and Brynhild, transferred to historical times, with a remarkably correct historical coloring. In this style of composition he reached the climax in the excellent historical drama "Köngsemnerne" (The Pretenders), in which the poet for the first time developed his whole power. Here the author has in King Hakon, who relies on his right and constantly holds fast to his "royal idea" of consolidating the Norwegian people, and in Duke Shule, who is lacking in self reliance, drawn two pictures that are executed with great psychological finish, and that in their reciprocal contrast produce a striking poetical effect. The exquisitely drawn secondary figures contribute their share to the perfection of the grand historical picture which is here presented to our view.

Before this play was published he had already entered a new field in his drama "Kjærlighedens Komedie" (Comedy of Love), namely that of the satirical and philosophical drama, to which his genius seems particularly fitted, and in which he, with scathing derision, yet with deep earnestness discusses the social questions of the day. Both his most important works "Brand" and "Peer Gynt," which are equally remarkable for their wealth of thought and for their masterly style, belong to this negative tendency in his work. These three comprehensive dramatical works are written in the most perfect ringing and characteristic verses, while "De Unges Forbund" and "Samfundets Stötter," and all his later works, are written in prose. In both the last named plays the poet pours his vials of satire upon his own times and country, putting hollowness and falsehood in the pillory with an amount of indignation, which by its very vehemence somewhat injures the poetical effect, though it is never devoid of humor. In the historical play, "Keiser og Gallilæer," Ibsen has once more returned to his earlier tendency and produced a work which in many of its passages shows that his dramatic powers have in no wise waned. This may safely be asserted in spite of all the objections that have been


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306 made from different points of view against this profound and comprehensive drama.

In the field of elegant literature the following authors and authoresses are yet to be mentioned: Jacobine Camilla Collet, Henrik Wergeland's sister (born 1813), is a writer whose stories and sketches, especially her interesting novel from real life, "Amtmandens Döttre," abound in original spirited thoughts, and are characterized by an elegant style, though a conspicuous tendency to criticise would seem to mar the poetic beauty of her works. In her book, "I de lange Nætter" (During the long nights), she describes in a frank and pleasing manner her childhood in the house of her parents, and then she gives various episodes from her later life, which explain how her intellectual development came to assume a direction which made her the most zealous and energetic champion of woman's emancipation in the whole North. In all her works, but particularly in "Erindringer og Bekjendelser" (Recollections and Confessions), and in "Fra de Stummes Leir" (From the camp of the mute), are found grand arguments in favor of woman's social rights, though they at times indicate a total ignorance of the actually existing state of things.

Jonas Lie (born 1833) has produced in the form of novels several sketches of nature and popular life from the north of Norway, among which are "Den Fremsynte," "Tremasteren Fremtiden," and "Lodsen og hans Hustru." His style is somewhat heavy, but the sketches taken separately are so fresh and vivid, and filled with so much poetical fragrance, and contain, moreover, so many fine psychological observations, that


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A tree, attaining a height of 60 feet in France, with smooth, grey bark, which becomes fissured at the base in old trees. Leaves broadly oval, with a broad, rounded, or truncate base and an acute apex; margin with small triangular lobes, decreasing in size from the base of the leaf upwards, dentate and mucronate, the sinuses opening between the lobes almost at a right angle. The leaves are firm in texture, shining and glabrous above, tomentose and greyish green beneath, with 6 to 10 pairs of lateral nerves prominent underneath. Flowers in moderate-sized corymbs, never long peduncled. Fruit globular, ½ inch diameter, smooth, reddish, marked with brown dots, flesh edible; containing two cells, one seed in each cell, or more often one cell with one seed, the other cell containing two aborted ovules.

The description just given is drawn up from Fontainebleau specimens; and trees absolutely identical are said to occur in various forests in Seine-et-Oise, Seine-etMarne, Marne, Aube, and Yonne.

A series of forms, however, occur in the forests of the east of France, in AlsaceLorraine, Spain, Switzerland, Austria-Hungary, and Bosnia, which differ slightly in the general outline of the leaf and in the colour and marking of the fruit; and these are supposed to be hybrids between Pyrus Aria and Pyrus torminalis, between which species they oscillate in the characters of the foliage and fruit; whereas, according to French botanists, the tree of Fontainebleau is a true species, as it reproduces itself naturally by seed; and, moreover, one of the supposed parents, Pyrus Aria, is not, according to Fliche, wild in the forest of Fontainebleau. However, the differences are trifling; and it is convenient, in the present state of our knowledge, to treat these supposed hybrids as varieties of Pyrus latifolia.

Var. rotundifolia (Bechstein). Leaves broadly oval or suborbicular, sometimes even broader than long, truncate or rounded at the base, sub-obtuse at the apex; lobes obtusely cuspidate.

Var. decipiens (Bechstein). Leaves elongated with acute bases, much resembling


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Rh the reader easily forgets the technical shortcomings. Instead of describing the sailor's life as in the most of his former works, he has, in "Thomas Ross," confined himself to city life, and from a technical standpoint of view, this story makes a decided progress. On the contrary, his lyric, dramatic composition, "Faustina Strozzi," with its scene laid in Italy, must be regarded as less successful. In his chief works, Lie not unfrequently reminds us of Björnson's style. The same applies to (born 1819), who, though born in Denmark, limits herself in her tales almost exclusively to descriptions from nature and popular life in Norway. Of her works, which betray a certain mannerism, but still contain no small amount of poetic beauty, the most prominent are: "Signes Historie," "Solen i Siljedalen," and "Billeder fra Vestkysten."

, whose tales (especially "Jeg Lever") reveal a rare talent for character-painting and graphic descriptions, is a marked exception from the general tendency in Norwegian literature, which is especially fond of dealing with the national popular life, while this lady endeavors to bring the national literature into harmony with foreign, particularly French elements.

The rich poetic life which has unfolded itself with increasing vigor in Norway during the last decades is still in full bloom. New talents are continually being added which justify the highest expectations, and there is a luxuriance in the art of poetry to which a parallel can scarcely be found


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OTHING is more characteristic of youth than its tendency to changeableness. A decision is taken on a certain thing to-day, tomorrow all will be changed; there may be virtue in a heroic degree one day, but on the next the opposite may manifest itself; and this is where there is need of guidance and firmness in education, lest unhappy results should follow. There was no sign whatever of this in Dominic. All the virtues seemed to grow together in him and he was able to practice them all in combination.

Directly he came to the Oratory, he came to my room, in order to place himself, as he said, entirely in the hands of his Director. He at once caught sight of an inscription which bore the favourite words of St. Francis of Sales: "Da mihi animas, caetera tolle." He began to read it attentively, and I desired him to grasp the meaning. So I helped him to make it out, the translation being: "Give me souls; take away everything else!" He

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 in Cornwall, South Devon, and Gloucestershire, which is very near to, if not absolutely identical with, the Fontainebleau tree, as some of the specimens have leaves which resemble rather those of the varieties rotundifolia and semilobata. The South Devon tree produces fertile seed, which has been planted, and the offspring differs in no respect from the wild trees. In English trees the flowers are reported to have a disagreeable odour, and the fruit ripens in the end of October or November. When fully grown, but still hard, it is olivaceous brown in colour, with numerous scattered small brown or grey dots; but when quite mature it becomes reddish. At Minehead in Somerset, the Nightingale Valley and Leigh Woods near Bristol, and at Castle Dinas Bran, Denbigh, the variety decipiens occurs. Mr. E.S. Marshall observed a remarkably fine specimen with good fruit on the Conan river in East Ross-shire; but as no other specimen was seen this tree is probably not wild in that locality. The tree in Earl Bathurst's woods near Cirencester has given rise to some difference of opinion. It was identified at Kew as Pyrus intermedia; but in the specimens which I have seen' the leaves have the triangular lobing and tomentum of Pyrus latifolia, and I have no doubt that it is this species. Its foliage is very variable, some leaves being broad, with rounded bases like the type, whilst others have narrowed bases, and approximate in outline to the decipiens variety.

Pyrus latifolia is seldom planted except in botanical gardens, as at Kew, Edinburgh, and Glasnevin. There are several fine trees at Edinburgh, one of which was figured in the Gardeners' Chronicle for 1882, when it was 45 feet high by 5 feet 3 inches in girth. Professor Balfour had the tree measured again in January 1904, when it was 45 feet high by 6 feet 6 inches in girth. A year or two before it was considerably pruned on the top branches, and this probably accounts for it not being higher in 1904 than it was in 1882. Professor Balfour kindly sent me specimens of the Edinburgh trees, which, though they differ slightly, are all referable to Pyrus latifolia. He informed me that while the birds eat the fruit off one tree as soon as it is ripe, in another the fruit remains on the tree untouched. The variability of the fruit in this species is remarkable, and points undoubtedly to hybrid origin.

A tree exists at Oakleigh House, near Keynsham in Somerset, which was planted many years ago.


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A shrub or small tree attaining a height of 20 to 50 feet. Leaves stalked, oval or elliptic, rounded or cuneate at the base, pointed at the apex; mai-gin lobed, lobes diminishing in size from the base upwards, rounded, toothed, shortly acuminate, separated by sinuses which are very acute or almost closed at their bases; upper surface green, shining, glabrous when adult, lower surface greyish tomentose. Flowers in branching corymbs, with pleasant odour; petals spreading, tomentose; styles 2, free, tomentose at the base. Fruit oval, red, sweet-flavoured, smooth or slightly dotted.

1. Scandica. Leaves less narrowed and almost rounded at the base, deeply lobed, with numerous sharp teeth; 6-8 pairs of nerves. Fruits large, surmounted by the curved and outwardly-reflected calyx teeth.

2. Mougeoti. Leaves narrowed at the base, slightly lobed, with few short teeth; nerves 9–12 pairs. Fruit very small, surmounted by erect and inwardly-curved calyx teeth.

3. Minima. Leaves linear-oblong, with 3–4 pairs of lobes, variable in size, but generally deepest at the middle part of the leaf; nerves 6–8 pairs. Flowers—early in June—in loose corymbs, not flat-topped, small, and resembling those of Pyrus Aucuparia. Fruit small, globose, bright red, surmounted by erect calyx lobes.

In Plate 44 figures are given of the leaves of var. scandica from Bergen (Fig. 19), of the variety from Great Doward in Hereford (Fig. 10), and of var. minima from Breconshire (Fig. 17).

In summer the greyish tomentum of the leaves underneath, and the rounded lobes, with sharp sinuses which are almost closed at their bases, will distinguish the


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308 in any other country. But Norway has also achieved great things in other fields. A most distinguished naturalist was (1784—1873), whose investigations concerning the earth's magnetism have carried his name far beyond the borders of his own country. He also did much for the advancement of the mathematical sciences. (born 1805), (1805-69),  (1789-1862), have all achieved splendid results in various departments of natural science. Of important writers on philosophy Norway can only boast (1751-1833), and  (born 1816), of whom the latter belongs to Hegel's school, and whose numerous works in various branches of philosophy have by their clear and logical method given considerable impulse to accurate thought. The most prominent theologians of the old school are (1789-1838), and  (1797-1866), while the modern tendency is represented by  (born 1814). Caspari was born in Anhalt Dessau, is of Jew- ish extraction, and was baptized in 1838. In 1848 he was appointed professor in Christiania, and has since acquired a European reputation by his brilliant and scholarly literary works.

(1817-1875) occupies a peculiar position in Norwegian literature. The results of his researches in regard to a great number of social and economical questions—in regard to the "Fante Folk" (a kind of Norwegian gypsies), in regard to the habits and position of the working classes, in regard to public morality, etc., etc,—he has embodied in a series of works, which are chiefly statistic in their character, but the statistics are used in an unusually entertaining manner. He was one of the most zealous members of the society for popular education, and edited for many years the Norwegian periodical "Folkevennen," published


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 seemed to reflect a moment, and then he said: "I think I understand; here the aim is not to gain money, but to win souls, and I hope that my soul will be included in the number."

His mode of life was just the routine life of school-work; and at first there was nothing extraordinary to remark, beyond his scrupulous observance of every rule. At study or any other duty, he was at once diligent and zealous. Convinced that the Word of God is the guide to Heaven, he was particularly attentive to instructions and sermons, and from them he gathered maxims and rules of conduct which formed his constant guide.

He always made a point of asking for explanations of difficulties, and thus he was able to make continual progress in virtue, and in exactness in the performance of his duties, so that it would be difficult to go beyond the excellence he attained. He had already requested the favour of having his faults pointed out, so that his conduct towards all became equally praiseworthy; he was very apt at noticing what should be avoided in the conduct of a companion, and what should be imitated, and Dominic chose his companions accordingly.

The year 1854 was drawing rapidly to its close. It was a memorable year throughout the Catholic World, for all were awaiting the declaration of the

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 Dogma of the Immaculate Conception. We, at the Oratory, were preparing to celebrate the occasion with due solemnity, and endeavouring to draw some spiritual advantage from it.

Savio was one of those who felt a desire to celebrate the great day in the manner most acceptable to Our Lady. He wrote out on nine pieces of paper an act of virtue to be practised every day of the Novena, drawing out one each day. These he faithfully put into practice, and approached the Sacraments with great devotion. On the evening of December 8th, Dominic knelt before the Altar of Our Lady, and, with the approval of his Confessor, renewed the promises made at his First Communion, begging particularly that he might be faithful to the last of the four, repeating his petition several times. Strengthened thus in fervour by his recourse to the Immaculate Mother of God, his conduct appeared so edifying, and included such acts of virtue, that I began to note them down so as not to let them be forgotten.

Coming now to describe the particular doings of the boy I find that I am confronted with quite an array of events and virtuous actions deserving of mention. For the sake of greater clearness I propose to group together certain incidents which deal with one phase or one particular matter, rather than to adhere to a strict chronological sequence.

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AVING already laid a good foundation at Mondonio for the study of Latin, and owing to his powers of application and exceptional talent, Dominic was soon raised to the fourth class, which, according to present scholastic arrangements, would correspond to the second course of Latin grammar. During this course he was one of the pupils of Professor Bonzanino, for at that time classes for students were not yet conducted at the Oratory itself. Were I to speak here of his conduct, of the advancement he made, of his exemplary behaviour, I should have to repeat what his previous masters said of him. I shall therefore restrict myself to relating some incidents which were noted down during this period by those who were closely associated with him. The Professor himself often said that he could not recollect ever having had a pupil more attentive, more respectful than young Savio, for he was quite a

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RV 429 (HIS LADY.])


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Rh by the Society for the advancement of popular education, and in this journal he wrote many valuable articles.

But of all the branches of science none has been cultivated with greater ardor and success than that of history, and Peter Andreas Munch (1810-1863), and Rudolph Keyser (1803-1864), have especially done much toward laying a solid foundation for the study of history, by their numerous works, which abound in valuable materials. Both published a history of Norway. Munch's work, though extending only to the Calmar Union, comprises eight stout volumes. Keyser also wrote a history of Norwegian literature in the middle ages, and a special essay on the origin and descent of the Norwegians, in which he was the first to give utterance to the Norwegian theory peculiar to the Keyser-Munch historical school in regard to the early settlement of the North. This theory, which met with considerable opposition in various quarters and also in Norway, and which must now be regarded as exploded, was advocated with great partiality, but it led to researches which have contributed much to the elucidation of important questions. A very valuable work by Rudolph Keyser is also his "Den norske Kirkes Historie under Katholicismen." Both these historians have, moreover, written very profound and scholarly dissertations on various subjects relating to the history and culture of antiquity. After them Johan Ernst Sars (born 1835) is the most distinguished historian of Norway. He is particularly noted for his careful researches into obscure points in Norwegian history. His works in general, and especially his


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310 "Udsigt over Norges Historie" are marked by a profound and thorough knowledge of his subject, and by a rare elegance of style.

Munch and Keyser have also done much in the way of editing old Norwegian and Icelandic works, especially such as are of immediate importance to Norwegian history, and in this branch of their activity they have found an able successor in (born 1817). Purely linguistic investigations were also ardently pursued by Munch, and his work in this direction has been continued by (born 1812), who has published an excellent Old Norse dictionary, and by. The latter has by his investigations of the runic monuments of the North, and by his critical editions of the Elder Edda, furnished with a learned apparatus of notes and commentaries, greatly aided a correct appreciation of both.

In the above review we have been able to give only the most important names from the history of modern Norwegian literature; still what we have said may suffice to show how vigorous the activity is in every direction. Many valuable works have already been produced and these give promise of an abundant harvest in the future. Like every other intellectual movement this literary renaissance too struggled forth into existence through much fermentation and strife. The conflicts have not yet ended, but there is every reason to hope that sound energies, fitted to promote a healthy popular life, will ultimately gain the upper hand.


text: History of the Literature of the Scandinavian North/Part 2/Chapter 7


text: History of the Literature of the Scandinavian North/Part 3


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EECH. . Class 21,. Order:. To admire the beech, is to rebel against high authority; yet who, that is not entirely devoted to pictorial effect, but must admire it? The oak may excel it in dignity, the elm in beauty, and the ash in gracefulness: still the beech is a noble tree; and in spring, the bright sunny tint of its feathery foliage renders it a most attractive object.

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text: Flora's Lexicon/Beech

title: Flora's Lexicon/Beech


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Summary
A 1961 printing of the 1928 books. Re-upload with proper capitalization in title.


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A 1961 printing of the 1928 books. Re-upload with proper capitalization in title.


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L. Hammarsköld: Svenska Vitterheten, edited by A. Sondén, Stockholm, 1833. P. Wieselgren: Sveriges sköna Literatur, I-V, Upsala, 1833-48. P. D. A. Atterbom: Svenska siare och skalder, I-VI, Örebro, 1863-63. Supplement, 1864. B. E. Malmström: Grunddragen af svenska vitterhetens historia, I-V, Örebro, 1866-68.

G. Ljunggren: Svenska vitterhetens häfder efter Gustaf III. död, I-III, Lund, 1873-78.

G. Cläeson: Öfversigt af svenska språkets och literaturens historie, Stockholm, 1877. K. V. Bremer: Kurs i svenska literaturens historie, Helsingfors, 1874.

L. Dietrichson: Indledning i Studiet af Sveriges literatur i vort Aarhundrede, Copenhagen, 1870. A. Fryxell: Bidrag til Sveriges literaturhistoria, 1-9 Heft, 1860-62. Orvar Odd (O. P. Sturzen-Becker): Grupper och personnager från i går, 1861. Marrianne de' Ehrenström: Notices sur la littérature en Suède, 1826. X. Marmier: Histoire de la litterature en Danemark et en Suède, Paris, 1839. W. and M. Howitt: The literature and romance of Northern Europe, I-II, London, 1852. P. Hansen: Nordiske Digtere i vort Aarhundrede, en skandinavisk Anthologi, Copenhagen, 1879. G. Leinburg: Skandinavische Bibliothek, 1847-50; Hausschatz der Schwedischen Poesie, 1860. E. Lobedanz: Album nord-germanischer Dichtung, II, Leipzig, 1868.

Biografiskt lexikon öfver namnkunnige svenska män, I-XXII, 1835-56. Svenskt biografiskt lexikon, ny följd I-VI, 1858-68. H. Hofberg: Svenskt biografiskt handlexikon, I-II, Stockholm, 1876. Svenska Akademiens Handlingar.


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ELL-FLOWER, ROUNDLEAVED BELL-FLOWER, or HAREBELL. . Class 5,. Or- der:. The name of Bell-flower was never more appropriately bestowed than on this pretty, delicate plant, which has been imagined by some fanciful poets to ring out a peal of fairy music.

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text: Flora's Lexicon/Bell Flower

title: Flora's Lexicon/Bell Flower


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IRCH. . Class 21,. Order:. There is an elegance in the general appearance of the birch which fully justifies the poet’s fancy, and entitles it to the appellation he has given it, of “Lady of the Woods.” In every season, and under all circumstances, it is a lovely object; nothing can exceed the tender hue of its vernal leaves, as they wave to and fro in the sunshine. In summer, perhaps, it loses something of its beauty, as its bright tints then subside into a more sober green; still it preserves its gracefulness of aspect. In autumn it almost more than regains what it lost in summer; whilst winter, which deprives most other vegetable productions of their charms, by displaying more fully the slight silvery stem and delicate ramifications of the birch, seems but to invest it with new attractions.

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text: Flora's Lexicon/Birch

title: Flora's Lexicon/Birch


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] would have suggested the swastika. The large basket, b, has three parallel lines, a larger number of folds, and an unusually large center of unrelieved black. Baskets c, d, and e exhibit slight modifications of the fret, in c the parts of the inner circle being four in number and in e five. The design in f is a fret of four folds, and the fret is the principal motive also in some of the upright baskets shown in plates and The Pima Indians/Plate 30. Basket g shows an equal-armed cross in white and a series of four broken lines that pass, in the form of a whorl, from near the center to the margin after each taking one and a half turns around the basket. Basket h combines the fret and whorl, there being seven radiating lines that reach the margin after half a turn each.

In plate, a, is shown a rare form—a flat disk, ornamented with a whorl of six broken lines, an intermediate form between the fret and the whorl. In b there is an unusual treatment of the dark center, elsewhere invariably a solid disk of black. It looks as if the maker had changed the design after starting the six rather irregular bars of black from the center. In c the six radiating lines advance toward the periphery by the interpolation of an independent motive that will be seen later in upright shapes. Baskets d and e are ornamented with five pairs of whorled lines that contain squares of black, which may also be regarded as an independent motive. In f the number 5 again reappears and also the simple motive of e, but this time in white on a black ground. This is called by some the "coyote track." It is well shown in plates and The Pima Indians/Plate 30.

Plate, a, illustrates a combination of the broken whorled lines of the preceding plate with a pattern obtained by the children at school in an early stage of their instruction in drawing. At the margin is the diamond pattern that has the effect of netting. In b, although the lines do not radiate from the center, they have something of the whorled effect, and they unite with the fret of the preceding illustrations a new element—the terrace—which is so common on the ancient pottery of Arizona. The parts are in five, there being two reduplications of the unit in the outer row to one in the inner. In e the parts are again in six. The central portion is difficult to analyze, but the outer repeats the terrace, together with a fret that by its breadth of line at the center suggests the form of the cross known as the swastika. Basket d has the fret combined with the terrace, being similar to the first basket in the last figure. The parts of the design in this plate are in four, five, and six.

Plate, a, depicts a form of equal-armed cross that we shall later see passes into another type of design that is complicated, yet pleasing, namely, the flower pattern. Baskets with the design shown in a are quite common. In b the attenuated arms may be likened to the limbs of some giant spider. They will seem to be nearly the reverse of the white arms of the design in basket c. Basket d represents a

title: Page:The Pima Indians.pdf/142


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Page:Floras Lexicon-1840.djvu/56

IRD-CHERRY. . Class 12,. Order:. The bird-cherry is indigenous in most parts of Europe; it even opens its fragile flowers to the nipping air of Russia and Siberia. It abounds in the northern counties of England, and is profusely scattered among the woods, and on the borders of the mountain torrents of Scotland. In these natural fastnesses, where it is more likely to escape the stroke of the axe, it often rises to the height of fifteen feet from a stem eighteen inches in diameter, and spreads its branches to a considerable distance.

title: Page:Floras Lexicon-1840.djvu/56


text: File:Poems for Workers - page 2.png

title: File:Poems for Workers - page 2.png


text: Flora's Lexicon/Bird Cherry

title: Flora's Lexicon/Bird Cherry


text:
Page:The Pima Indians.pdf/143

138 variant that was seen in a few shallow baskets and which occasionally appears in the upright forms, as in plate, j. It resembles a gigantic pictograph upon an ancient altar near Sacaton, the largest pictograph the writer has seen in Arizona. Baskets e and f, and also a, b, and c, plate, contain designs that are perhaps the most abundant to be found in Pima basketry. The patterns are whorled frets with many modifications. The decorative effect is enhanced by the addition of the triangular element, to which the same name, mo’ûmvĭtcka, "triangle," is applied as to the terrace. It is seen to be an independent element completed by an extended hook. In plate, a, c, the triangle at the margin is relieved with white, but in b it appears in its more common form. In plate, f, the mode of origin of the triangle is seen in the terminal enlargement of a segment of the terrace. The triangle gives color balance to the whole, as in b, and also fills space due to the elements of the main figure being carried as a whole nearly straight to form an equal-armed figure on a spherical surface. These designs are usually in fours, though sometimes in threes and fives. Figure 61 includes two designs with dissimilar elements which adapt equally well rectangular designs to a hemispherical surface. The design, while clumsily made and unsymmetrical, is yet pleasing by the at least partial harmony of design and form. The motive in this design will be recognized by students of Californian basketry. The basket shown in figure 62 is a rarely beautiful one, having simplicity of design pleasing by its rhythm or repetition and colors well proportioned.

Plate contains several examples of good baskets. The second has many triangles, those along the margin suggesting a mode of origin of what is known as the "top-knot" design. The outer band on this basket has the appearance of having been added as an afterthought, but such was not the ease, as the device is not uncommon and occurs in the unusually fine basket shown in c. The latter is the

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text: File:Poems for Workers - page 6.png

title: File:Poems for Workers - page 6.png


text: File:Poems for Workers - back cover.png

title: File:Poems for Workers - back cover.png


text: Index:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf


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Page:The Pima Indians.pdf/144

] largest basket in the collection, yet it is so well proportioned, notwithstanding the reduction of the number of repetitions to three, that an artistic design is produced. The warp coils grow successively narrower from the center, thus making the walls thin and flexible. Figures d and e contain modifications of the equal-armed cross, with an apparently new element in d, which is shown in e to be a derivation of the triangle. These two baskets are examples of one of the oldest designs. It is also seen in the upright basket, plate, c. The white in f suggests the rattlesnake rattle design.

Plate introduces a new design which the Pimas call si’sitctcfĭk, "very much figured" or "complicated." Analysis shows c and d to be much simpler than they appear at first sight. The elements in d are an equal-armed cross and parallel lines around it, with enlargements wherever they change direction. The effect of the whole is suggestive of a flower with four petals. In a the petals appear largely in white. This flower design is said to be of recent origin. Sala Hina, who is perhaps 70 years of age, declares that it was unknown in her girlhood days.

Plates, The Pima Indians/Plate 30, The Pima Indians/Plate 31, and The Pima Indians/Plate 32 include a series of baskets from photographs representing basket collections in Sacaton. Many have the upright waste-paper basket form, and are recent. Nearly all the Pima baskets made during the winter of 1901–2 were of these shapes. Many are decorated with simple motives that depend for their effect upon repetition. A notable feature of the ornament is the introduction of badly executed human figures. Certain traders urged the basket makers to put as many human and animal figures as possible on the baskets. Truly we need a society for the protection of American art. The most successful of these designs seen by the writer is the Gila monster shown in plate, n. However, it is but a sorry substitute for the old-time simple motives. These baskets serve also to illustrate the varied treatment of the geometric elements met with in the shallow baskets as applied to the convex surfaces of the upright forms.

In conclusion, it is believed to be advisable to add the names of the elements of the designs which the Pima basket makers regard as distinct. But two in the list refer to natural objects, namely, numbers 3 and 7 below. It is worthy of note that the continued inquiries of visitors have aroused the interest of the natives to such a degree that they have begun to devise plausible interpretations to symbols the meaning of which is absolutely unknown to them.

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text:
Page:Floras Lexicon-1840.djvu/57

IRD’S-FOOT TREFOIL. . Class 17,. Order:. There are many species of the Bird’s-Foot Trefoil. The most common  is found in open grassy pastures, where it enlivens the Autumn, with its golden yellow flowers, striped with dark red. Its stem is clothed with close-pressed hairs, and its seed-vessel is copper-coloured. It is recommended for fodder for cattle, by the name of Milk Vetch.

title: Page:Floras Lexicon-1840.djvu/57


text: Flora's Lexicon/Bird’s Foot Trefoil

title: Flora's Lexicon/Bird’s Foot Trefoil


text: The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Homer's Hymn to the Moon


text: The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Homer's Hymn to the Sun


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Page:The Pima Indians.pdf/145

140

In the Golden Age of Pimería all burdens were borne by the women, either upon their heads with the aid of the head ring or upon their backs with the unique contrivance which they call kiâhâ (fig. 63), a name that it may be well to retain for the purpose of precise description, as the term "carrying basket" suggests the conical receptacle of other tribes, which is an entirely different affair. The kiâhâ, though unwieldy in appearance, is very light and strong, and heavy loads of wood and other bulky articles may be piled upon the framework, as may be seen in the series of pictures (pl. a, b, c, d), which illustrate the manner in which the kiâhâ is loaded while set on the ground with the two long front frame sticks and a separate helping stick (fig. 64), forming a tripod. After loading the kiâhâ, the old dame is seen in b rising to her feet with the aid of the helping stick. Had she had to carry a baby in its cradle she would have

title: Page:The Pima Indians.pdf/145


text:
Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/1

The Secretary of State makes these Regulations in exercise of the powers conferred by section 52(1)(a), (3) and (5) of the Transport and Works Act 1992.


text:
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 http://www.legislation.gov.uk/id/uksi/2023/1112


text: The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Homer's Hymn to the Earth: Mother of All


text: The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Homer's Hymn to Minerva


text:
Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/35

EXPLANATORY NOTE

(This note is not part of the Regulations)

Section 52 of the Transport and Works Act 1992 allows the operator of a railway or tramway that is crossed by a private road or private path to cause or permit the placement near the crossing of crossing signs or barriers that are prescribed in regulations made by the Secretary of State, or as otherwise authorised by the Secretary of State. These Regulations prescribe crossing signs and barriers which may be placed on or near a private road or private path at or near the crossing as provided for in that section. A full impact assessment has not been produced for this instrument because no, or no significant, impact on the private, voluntary or public sector is foreseen. An Explanatory Memorandum has been produced for this instrument and is published alongside this instrument at www.legislation.gov.uk.

© Crown Copyright 2023

Printed and published in the UK by The Stationery Office Limited under the authority and superintendence of Jeff James, Controller of His Majesty’s Stationery Office and King’s Printer of Acts of Parliament.


text: The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Homer's Hymn to Venus


text:
Author:Robert Howard

 * Robert Howard (1626–1698), English playwright and politician
 * Robert Ervin Howard (1906–1936), American fantasy writer

title: Author:Robert Howard


text:
Page:The Pima Indians.pdf/146

] placed it in a horizontal position on the top of the heap of mesquite wood; as it was, her lead weighed nearly 100 pounds, yet she knelt down, engaged her head under the carrying strap, and struggled to her feet without assistance (c). The method of unloading is shown in d, where, by bending forward, the entire burden is thrown off clear of the head. Figure 65 illustrates the manner in which a kiâhâ net is mended.

As the kiâhâ is distinctively a woman's utensil, so is it closely associated with her life history. The young girls of 8 or 10 begin to use small kiâhâs made especially for them or that have been cut down from old ones. They learn the methods of loading so that the burden may be stable and of proper bulk, they acquire the necessary nerve and muscle coordinations that enable them in later years to lift loads weighing more than do they themselves, they become inured to the fatigue of long journeys, and they learn to preserve their kiâhâs with care from rain. The maiden must have long and gaily-spotted frame sticks at the front of her kiâhâ, which are wound with long hair cords. She uses a helping stick that is ornamented with a long deerskin fringe pendent from the binding at the crotched end (fig. 64). As she walks along with the sharpened end of the stick thrust into the load the fringe hangs above and forward of her head, swinging at every step or fluttering with every breeze. It is indeed a conspicuous object, and it is not surprising that it should have caught the attention of every passing traveler, whose illustrations of it are uniformly bad.

As the age of the owner advances she becomes careless of the appearance of her kiâhâ, the spots on the frame are less frequently renewed, the cordage grows short and worn, and the foresticks of the frame are cut down in length. However, her burdens do not diminish, and the woman here photographed, though her age exceeds the scriptural allotment, is yet able to carry more than 100 pounds at a load.

The kiâhâ is of entirely different materials from the ordinary Pima baskets. Wood is used for the four frame sticks, two at the front and two at the rear. Saguaro ribs are invariably used for the purpose, as they are very light, symmetrical, straight, and sufficiently strong. The hoop is a double band of willow.

title: Page:The Pima Indians.pdf/146


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Page:The Pima Indians.pdf/147

142 Agave leaf serves for the front matting or apron that rests against the back. Between the front and the frame a roll of bark or cloth is usually placed to prevent chafing. The headband is of the same material as the apron. It is really a circular band that is flattened out and doubled across the forehead.

Human hair is used to attach the hoop to the frame sticks. It is of 2-ply 4-strand cord, which is made fast to the hoop and, after drawing the hoop as high as possible to tighten the net, wound from 10 to 50 times around the frame sticks.

The maguey, Tasylirioni wheeleri, furnishes the fiber for the net (fig. 38). Yucca elata is also a valuable fiber plant and it is probable that the Papagos obtain netting material from Agave heteracantha. The first two of these plants are found on the higher hills and mountains of Pimería, whence they are gathered by parties who go especially for them. Pits are dug and fires are built in them as the maguey is gathered. After the fire has died down it is cleared out and the pits are lined with small stones. The maguey is spread on these, covered with earth, and allowed to roast over night. After it has been removed from the pit the pulp of the roasted plants is scraped away with a deer's scapula, leaving the fibers a foot or two in length. These are dried, and when they are long a roll 6 inches in diameter will be sufficient for a kiâhâ net. Such a roll of fiber is easily transported, and is a recognized article for barter between Pimas and Papagos. The spinning of kiâhâ thread is a social event, and the women gather for the purpose and gossip merrily as they twist the 2-ply twine, which is rolled into bails that may also be bar-

title: Page:The Pima Indians.pdf/147


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Page:Astounding Stories of Super Science (1930-02).djvu/70

 lent wind were snatching at flower and bush, but closer inspection proved that the agitation was part of the plant itself. And then he saw that the movements were the result of perpetual composition, and growth.

E fastened his eyes on one huge bud. He saw it swell, burst, spread out its passionate purple velvet, lift the broad flower face to the light for a joyous minute. A few seconds later a butterfly lighted airily to sample its nectar and to brush the pollen from its yellow dusted wings. Scarcely had the winged visitor flown away than the purple petals began to wither and fall away, leaving the seed pod on the stem. The visible change went on in this seed pod. It turned rapidly brown, dried out, and then sent the released seeds in a shower to the rich black earth below. Scarcely had the seeds touched the ground than they aentsent [sic] up tiny green shoots that grew larger each moment. Within ten minutes there was a new plant a foot high. Within half an hour, the plant budded, blossomed, and cast forth its own seed.

"You understand?" asked the scientist, "Development is going on as rapidly among the children. Before the first year has paasedpassed [sic], the youngest baby will have grandchildren; that is if the baby tests out fit to pass its seed down to the new generation. I know it sounds absurd. Yet you saw the plant."

"But Doctor," Northwood rubbed his jaw thoughtfully, "Nature's forces of destruction, of tearing down, are as powerful as her creative powers. You have discovered the ultimate in creation and upbuilding. But perhaps—oh, Lord, it is too awful to think!"

"Speak, Northwood!" The scientist's voice was impatient.

"It is nothing!" The pale young man attempted a smile. "I was only imagining some of the horror that could be thrust on the world if a supermind like Adam's should discover Nature's secret of death and destruction and speed it up as you have sped the life force."

"Ach Gott!" Dr. Mundson's face was white. "He has his own laboratory, where he works every day. Don't talk so loud. He might be listening. And I believe he can do anything he sets out to accomplish."

Close to Northwood's ear fell a faint, triumphant whisper: "Yes, he can do anything. How did you guess, worm?"

It was Adam's voice.

OW come and see the Leyden jar mothers," said Dr. Mundson. "We do not wait for the child to be born to start our work."

He took Northwood to a laboratory crowded with strange apparatus, where young men and women worked. Northwood knew instantly that these people, although unusually handsome and strong, were not of Adam's generation. None of them had the look of newness which marked those who had grown up under the Life Ray.

"They are the perfect couples whom I combed the world to find," said the scientist. "From their eugenic marriages sprang the first children that passed through the laboratory. I had hoped," he hesitated and looked sideways at Northwood, "I had dreamed of having the children of you and Athalia to help strengthen the New Race."

A wave of sudden disgust passed over Northwood.

"Thanks," he said tartly. "When I marry Athalia, I intend to have an old-fashioned home and a Black Age family. I don't relish having my children turned into—experiments."

"But wait until you see all the wonders of the laboratory! That is why I am showing you all this."

Northwood drew his handkerchief and mopped his brow. "It sickens me. Doctor! The more I see, the more pity I have for Adam—and the less I blame him for his rebellion and his desire to kill and to rule. Heavens! What a terrible thing you have done, experimenting with human life."

"Nonsense! Can you say that all life—all matter—is not the result of scien-


text:
Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/34

1. A gate must, by itself or with another gate on the same side of the railway or tramway, be long enough to extend across the full width of the relevant road.

2. Where gates are placed, they must pivot to open away from the railway or tramway.

3. When a gate is closed, the top surface of the gate must be a minimum of 1350 millimetres above the road surface at the centre of the relevant road.

4. The underclearance between each gate and the road must not exceed 150 millimetres. If the relevant road is an unmetalled track, the underclearance between the gate and the road may be greater than 150 millimetres only if necessary to avoid the gate grounding during opening and closing.

5. Where a gate is installed otherwise than for the sole use of pedestrians, it must have a way to secure it in the open and in the closed positions.

6. A gate must be as light in weight as possible but nevertheless strong enough to withstand distortion or breakage caused by wind pressure or by a farm animal.


text: Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/33


text:
Page:The Pima Indians.pdf/148

] tered or kept for some time before being made into the nets of conventional pattern (fig. 63).

After the net has been bound to the hoop by a spirally wound cord that completely covers the latter, it is colored with red and blue dyes in such a manner as to emphasize the outlines of the pattern.

Maguey fiber, or horsehair, may be used for the cord which extends from the headband to the frame. It is about 8 mm. in diameter. When of maguey, it is often so well made as to pass readily for machine-made cordage until we examine it closely.

The use of large baskets made especially for storing grain and other supplies was widespread in America. They were and are yet of the highest utility to the Pimas, who have raised an abundance of corn and later of wheat to supply all their own needs and more. Two types prevail: A circular bin of arrow bush covered with bushes and earth (fig. 66), and a globular basket of wheat straw built up by coiling (fig. 67).

title: Page:The Pima Indians.pdf/148


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text:
Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/30

 Rh


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text: Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/26


text:
Page:The Pima Indians.pdf/149

144 The former type is furnished with a bottom of willow branches. The sides are built up by twisting rolls of arrow bush with the butts thrust into the coil beneath to bind the whole together. This type is used for storing mesquite beans on the tops of the houses or sheds (fig. 4). They are also built on the ground in groups, which are inclosed by a low fence to protect them from stock. They are made before the harvest begins, and as the coils are large and there is no close work required a large bin may be built up in half a day.

The straw baskets have their coils fastened with strips of willow bark about 5 mm. in width. The stitches pass through the upper margin of the last coil and are about 20 mm. apart. The coils are from 1 to 2 cm. in diameter. The baskets are from one-half to 1½ meters in height. They are covered by a circular disk of the same material or, more frequently, by a section of the bottom of an old worn-out basket.

In making these baskets two rolls are carried around at once, but as they are made with some care it takes much longer than to make a bin of arrow bushes. The baskets are made after the harvest, when the straw is available.

title: Page:The Pima Indians.pdf/149


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text: Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/20


text: Page:The Private Crossings (Signs and Barriers) Regulations 2023 (uksi 20231112 en).pdf/10


text:
Uncle William/Chapter 5

NCLE WILLIAM sat on the beach mending his nets. He drew the twine deftly in and out, squinting now and then across the harbor at a line of smoke that dwindled into the sky. Each time he looked it was fainter on the horizon. He whistled a little as he bent to his work.

Over the rocks Andrew appeared, bearing on his back a huge bundle of nets. He threw it on the sand with a grunt. Straightening himself, he glanced at the line of smoke. “He ’s gone,” he said, jerking his thumb toward it.

“He ’s gone,” assented Uncle William, cheerfully.

Andrew kicked the bundle of nets apart and drew an end toward him, spreading it along the beach. “He ’s left you poorer ’n he found you,” he said. His tough fingers worked swiftly among the nets, untying knots and straightening meshes.

“I dunno ’bout that,” said Uncle William. His eyes followed the whiff of smoke kindly.

“You kep’ him a good deal, off and on. He must ’a’ e’t considerable,” said Andrew. “And now he ’s up and lost your boat for you.” He glanced complacently at the Andrew Halloran swinging at anchor. “You ’ll never see her again,” he said. He gave a final toss to the net.

“Mebbe not,” said Uncle William. “Mebbe not.” His eyes were on the horizon, where the gray-blue haze lingered lightly. The blue sky dipped to meet it. It melted in sunlight. Uncle William’s eyes returned to his nets.

“How you going to get along ’bout a boat?” asked Andrew, carelessly.

Uncle William paused. He looked up to the clear sky. “I should n’t need her much more this fall, anyways,” he said. “An’ come spring, I ’ll get another. I ’ve been needin’ a new boat a good while.”

Andrew grunted. He glanced a little jealously at the Andrew Halloran. “Got the money?” he asked.

“Well, not got it, so to speak,” said Uncle William, “but I reckon I shall have it when the time comes.”

Andrew’s face lightened a little. “What you countin’ on?” he said.

Uncle William considered. “There ’s the fish. Gunnion hain’t settled with me yet for my fish.”

Andrew nodded. “Seventy-five dollars.”

“And I ’ve got quite a count of lobsters up to the boardin’-house—”

Andrew’s small eyes squinted knowingly. “Out o’ season?”

Uncle William returned the look benignly. “We did n’t date the ’count—just lumped ’em, so much a catch; saves trouble.”

Andrew chuckled. “I ’ve saved trouble that way myself.” He made a rough calculation. “It won’t make a hunderd, all told. How you goin’ to get the rest?”

“Mebbe I shall borrow it,” said Uncle William. He looked serenely at the sky. “Like enough he ’ll send a little suthin’,” he added.

“Like enough!” said Andrew.

“He mentioned it,” said Uncle William.

“He ’s gone,” said Andrew. He gave a light p-f-f with his lips and screwed up his eyes, seeming to watch a bubble sail away.

Uncle William smiled. “You don’t have faith, Andy,” he said reproachfully. “Folks do do things, a good many times—things that they say they will. You o’t to have faith.”

Andrew snuffed. “When I pin my faith to a thing, Willum, I like to hev suthin’ to stick the pin into,” he said scornfully.

They worked in silence. Seagulls dipped about them. Off shore the sea-lions bobbed their thick, flabby black heads inquiringly in the water and climbed clumsily over the kelp-covered rocks.

Andrew’s eyes rested impassively on their gambols. “Wuthless critters,” he said.

Uncle William’s face softened as he watched them. “I kind o’ like to see ’em, Andy—up and down and bobbin’ and sloppin’ and scramblin’; you never know where they ’ll come up next.”

“Don’t need to,” grumbled Andy. “Can’t eat the blamed things—nor wear ’em. I tell you, Willum,”—he turned a gloomy eye on his companion,—“I tell you, you set too much store by wuthless things.”

“Mebbe I do,” said William, humbly.

“This one, now—this painter fellow.” Andrew gave a wave of his hand that condensed scorn. “What ’d you get out o’ him, a-gabblin’ and sailin’ all summer?”

“I dunno, Andy, as I could jest put into words,” said William, thoughtfully, “what I did get out o’ him.”

“Ump! I guess you could n’t—nor anybody else. When he sends you anything for that boat o’ yourn, you jest let me know it, will you?”

“Why, yes, Andy, I ’ll let you know if you want me to. I ’ll be reel pleased to let you know,” said Uncle William.

title: Uncle William/Chapter 5


text:
Uncle William/Chapter 6

T was Indian summer. Uncle William was mending his chimney. He had built a platform to work on. Another man would have clung to the sloping roof while he laid the bricks and spread the mortar. But Uncle William had constructed an elaborate platform with plenty of room for bricks and the pail of mortar, and space in which to stretch his great legs. It was a comfortable place to sit and look out over Arichat harbor. Andy, who had watched the preparations with scornful eye, had suggested an arm-chair and cushion.

“I like to be comf’tabul,” assented Uncle William. “I know I do. I don’t like to work none too well, anyhow. Might as well be comf’tabul if you can.”

The platform was comfortable. Even Andy admitted that, when Uncle William persuaded him to climb up one day, on the pretext of advising whether the row of bricks below the roof line would hold. It was a clear, warm day, with little clouds floating lightly, as in summer. Andy had climbed the ladder grumbling.

“Nice place to see,” suggested Uncle William.

Andy peered down the chimney hole. “You will have to take off the top row all around,” he said resentfully.

“Ye think so, do ye? I kind o’ thought so myself. They seemed sort o’ tottery. But I thought mebbe they ’d hold. Sit down, Andy, sit down.” He pushed the pail of mortar a little to one side to make room.

Andy edged away. “Can’t stop,” he said. He was searching with his foot for the ladder.

“What you going to do?” demanded Uncle William.

Andy glanced at the sky. “I ’m going to take in the Andrew Halloran.” He was already on his way down the ladder.

Uncle William pursued him, peering over. “You ’ll have to have me to help ye, Andy. Can’t you jest wait till to-morrow—till I get my chimbley done?”

“You ’ve been a month now,” said Andy. He was glowering at the bay and the little boat bobbing below.

“I know it, Andy, I know it.” Uncle William was descending the ladder with slow care. “But I don’t want my mortar to freeze, and I ’m kind o’ ’fraid of its comin’ off cold again to-night. I was jest goin’ to begin to hurry up. I was goin’ to begin to-day.”

“I can get along without you,” said Andrew, doggedly.

“Why, no, you can’t, Andy. How you goin’ to haul her up?” Uncle William spoke reproachfully.

Andy moved away. “I can do it, I guess.” He was mumbling it to his teeth. “I don’t need anybody’s help.”

With a sigh and a look of affection at the platform and the pail and the blue sky above, Uncle William followed him down the rocky path.

They worked busily all the morning, towing in the Andrew Halloran, cleaning her up and stowing away tackle, making her ready for the winter.

In the afternoon Uncle William mounted the roof again. His face, under its vast calm, wore a look of resolve. He looked thoughtfully down the chimney hole. Then he sat down on the platform and took up his trowel. He balanced it on his palm and looked at the pile of bricks. His gaze wandered to the sky. It swept the bay and came back across the moors. A look of soft happiness filled it; the thin edges of resolve melted before it. “Best kind of weather,” murmured Uncle William, “best kind—” His eye fell on the pile of bricks and he took up one, looking at it affectionately. He laid it in place and patted down the mortar, rumbling to himself.

When Andy came by, half an hour later, three bricks were in place. Uncle William nodded to him affably. “Where goin’, Andy?”

“How much you got done?” demanded Andy.

Uncle William looked at it thoughtfully. “Well, there ’s quite a piece. Comin’ up?” he said hopefully.

“It don’t show any.”

“No, it don’t show much—yet. It ’s kind of down below.—Think we ’re goin’ to have a change?” The tone was full of hopeful interest.

Andy nodded. “Freeze inside of twenty-four hours.”

Uncle William scanned the horizon.

“When you calculatin’ to finish?” asked Andy.

“Well, I was thinkin’ of finishin’ to-night.”

Andy’s gaze sought the sun.

Uncle William took up another brick.

Andy seated himself on a rock. He had done a good day’s work. His conscience was clear; and then William worked better when Andy was around, and Andy took pride in it. “Where ’d you get your bricks?” he asked.

Uncle William looked at the one in his hand. “I wheeled them over from the Bodet cellar-place. The’ ’s quite a pile left there yet.”

“They all good?”

“Putty good.” Uncle William was working thoughtfully. “We ’ve set by them bricks a good many times, Andy.”

“Yep.”

“You remember the things she used to give us to eat?”

Andy swung about. “Who give us?”

“Old Mis’ Bodet.”

Andy’s eye lighted. “So she did. I ’d forgot all about ’em.”

Uncle William nodded. “There was a kind of tart she used to make—”

Andy broke in. A look of genuine enthusiasm filled his eye. “I know—that gingery, pumpkin kind—”

“That ’s it. And you and me and Benjy used to sit and toast our toes by the fire and eat it—”

“He was a mean cuss,” said Andy.

“Who Benjy? Why, we was al’ays fond of Benjy!” Uncle William’s face beamed over the edge of the roof. “We was fond of him, wa’n’t we?”

“I wa’n’t,” said Andy, shortly. “He ’d lick a feller every chance he got.”

“Yes, that ’s so—I guess that ’s so.” Uncle William was slapping on the mortar with heavy skill. “But he did it kind o’ neat, didn’t he?” His eye twinkled to his work. “’Member that time you ‘borrowed’ his lobster-pot—took it up when it happened to have lobsters in it, and kep’ the lobsters—not to hev ’em waste?”

Andy’s face was impassive.

“Oh, you was fond of Benjy!” Uncle William spoke cheeringly. “You ’ve kind o’ forgot, I guess. And I set a heap o’ store by him. He was jest about our age—twelve year the summer they moved away. I cried much as a week, off and on I should think. Could n’t seem to get ust to not havin’ him around.”

“Reckon he ’s dead by this time?” Andy spoke hopefully. A little green gleam had crept into his eye.

Uncle William leaned over, looking down at him reproachfully. “Now, what makes you say that, Andy? He don’t hev no more call to be dead ’n we do. We was both fond of him.”

Andy stirred uneasily. “I liked him well enough, but it ain’t any use talkin’ about folks that ’s moved away, or dead.”

“Do you feel that way, Andy? Now I don’t feel so.” Uncle William’s gaze was following a floating cloud. “I feel as if they was kind o’ near us; not touching close, but round somewheres. Now, I would n’t really say Benjy Bodet was in that cloud—”

Andy stared at it suspiciously.

“He ain’t really there, but it makes me feel the way he did. I used to get up kind o’ light in the mornin’, ’cause I was goin’ to see Benjy. The’ wa’n’t ever anybody I was so fond of, except Jennie—and you, mebbe.”

Andy’s gaze was looking out to sea. “You was mighty thick with that painter chap,” he said gruffly.

“That wa’n’t the same,”—Uncle William spoke thoughtfully,—“not quite the same.”

The gloom in Andy’s face lifted.

“I ’ve thought about that a good many times,” went on Uncle William. “It ’s cur’us. You get to know folks that ’s a good deal nicer than your own folks that you was born and brought up and have lived and quarreled with,—and you get to know ’em a good deal better some ways—but they ain’t the same as your own.”

Andy’s face had grown almost mild. “I guess that ’s right,” he said. “Now there’s Harr’et—I ’ve lived with Harr’et a good many year.”

Uncle William nodded. “She come from Digby way, didn’t she?”

“Northeast o’ Digby. And some days I feel as if I wa’n’t even acquainted with her.”

Uncle William chuckled.

Andy glanced at the sun. “I must be gettin’ home. It ’s supper-time.” His gaze sought the ridge-pole. The few rows of bricks set above its line gleamed red and white in the sun. “You won’t get that done to-night.” The tone was not acrid. It was almost sympathetic—for Andy.

Uncle William glanced at it placidly. “I reckon I shall. There ’s a moon, you know. And this is a pleasant place to set. It ought to be quite nice up here by moonlight.”

He set and watched Andy’s figure down the road. Then he took up the trowel once more, whistling. The floating cloud had sailed to the horizon. It grew rosy red and opened softly, spreading in little flames. The glow of color spread from north to south. A breeze had sprung up and ruffled the bay. Uncle William glanced at it and fell to work. “Andy ’s right—it ’s goin’ to change.”

He worked till the cold, clear moon came over the hill behind him. It shone on the chimney rising, straight and firm, above the little house. By its light William put on the finishing touches.

title: Uncle William/Chapter 6