CHAPTER III.

THE FEVER OF NEOPALIA.

I looked for a moment on the old man's pale, clean-cut, aristocratic

face; then I shook his attendant vigorously by the arm. She awoke with

a start.

"What does this mean?" I demanded. "Who is he?"

"Heaven help us, who are you?" she cried, leaping up in alarm. Indeed,

we four, with our eager, fierce faces, may have looked disquieting

enough.

"I am Lord Wheatley; these are my friends," I answered in brisk, sharp

tones.

"What, it is you, then--?" A wondering gaze ended her question.

"Yes, yes, it is I. I have bought the island. We came out for a walk

and--"

"But he will kill you, if he finds you here."

"He? Who?"

"Ah, pardon, my lord--they will kill you, they--the people--the men of

the island."

I gazed at her sternly. She shrank back in confusion. And I spoke at a

venture, yet in a well-grounded hazard:

"You mean that Constantine Stefanopoulos will kill me?"

"Ah, hush!" she cried. "He may be here! He may be anywhere!"

"He may thank his stars he's not here," said I grimly, for my blood

was up. "Attend, woman! Who is this?"

"It is the lord of the island, my lord," she answered. "Alas, and

he is wounded, I fear, to death. And yet I fell asleep. But I was so

weary."

"Wounded--by whom?"

Her face suddenly became vacant and expressionless.

"I do not know, my lord. It happened in the crowd. It was a mistake.

My dear lord had yielded what they asked. Yet some one--no, by heaven,

my lord, I do not know whom--stabbed him! And he cannot live."

"Tell me the whole thing," I commanded.

"They came up here, my lord, all of them--Vlacho and all, and with

them my Lord Constantine. And the Lady Euphrosyne was away; she is

often away, down on the rocks by the sea, watching the waves. And they

came and said that a man had landed who claimed our island as his--a

man of your name, my lord. And when my dear lord said he had sold the

island to save the honor of his house and race, they were furious, and

Vlacho raised the death chant that One-eyed Alexander the Bard wrote

on the death of Stefan Stefanopoulos long ago. And they came near with

knives, demanding that my dear lord should send away the stranger; for

the men of Neopalia were not to be bought and sold like bullocks or

like pigs. At first my lord would not yield; and they swore they would

kill the stranger and my lord also. Then they pressed closer. Vlacho

was hard on him with drawn knife, and the Lord Constantine stood by

him, praying him to yield, and Constantine drew his own knife, saying

to Vlacho that he must fight him also before he killed the old lord.

But at that Vlacho smiled--and then--and then--ah, my dear lord!"

For a moment her voice broke, and sobs supplanted words. But she drew

herself up, and, after a glance at the old man, whom her vehement

speech had not availed to waken, she went on:

"And then those behind cried out that there was enough talk. Would he

yield or would he die? And they rushed forward, pressing the nearest

against him. And he, an old man, frail and feeble--yet once he was

as brave a man as any--cried, in his weak tones: 'Enough, friends, I

yield; I--' And they fell back. But my lord stood for an instant; then

he set his hand to his side, and swayed and tottered and fell, and the

blood ran from his side. And the Lord Constantine fell on his knees

beside him, crying: 'Who stabbed him?' And Vlacho smiled grimly, and

the others looked at one another. And I, who had run out from the

doorway whence I had seen it all, knelt by my lord and stanched the

blood. Then Vlacho said, fixing his eyes straight and keen on the Lord

Constantine, 'It was not I, my lord,' 'Nor I, by heaven!' cried the

Lord Constantine; and he rose to his feet, demanding: 'Who struck the

blow?' But none answered, and he went on: 'Nay, if it were in error,

if it were because he would not yield, speak! There shall be pardon,'

But Vlacho, hearing this, turned himself round and faced them all,

saying: 'Did he not sell us like oxen and like pigs?' and he broke

into the death chant, and they all raised the chant, none caring any

more who had struck the blow. And Lord Constantine--" The impetuous

flow of the old woman's story was frozen to sudden silence.

"Well, and Lord Constantine?" said I, in low, stern tones, that

quivered with excitement; and I felt Denny's hand, that was on my arm,

jump up and down. "And Constantine, woman?"

"Nay, he did nothing," said she. "He talked with Vlacho a while, and

then they went away, and he bade me tend my lord, and went himself

to seek the Lady Euphrosyne. And presently he came back with her. Her

eyes were red, and she wept afresh when she saw my poor lord, for she

loved him. And she sat by him till Constantine came and told her that

you would not go, and that you and your friends would be killed if

you did not go. And then, weeping to leave my lord, she went, praying

heaven she might find him alive when she returned. 'I must go,' she

said to me; 'for though it is a shameful thing that the island should

have been sold, yet these men must be persuaded to go away and not

meet death. Kiss him for me if he awakes.' Thus she went, and left

me with my lord, and I fear he will die." And she ended in a burst of

sobbing.

For a moment there was silence. Then I said again:

"Who struck the blow, woman? Who struck the blow?"

She shrank from me as though I had struck her. "I do not know, I do

not know," she moaned.

Then a thing happened that seemed strange and awful in the gloomy,

dark hall. For the stricken man opened his eyes, his lips moved, and

he groaned: "Constantine! You, Constantine!" and the old woman's eyes

met mine for a moment, and fell to the ground again.

"Why--why, Constantine?" moaned the wounded man. "I had yielded--I had

yielded, Constantine. I would have sent them--" His words ceased, his

eyes closed, his lips met again, but met only to part. A moment later

his jaw dropped. The old lord of Neopalia was dead.

Then I, carried away by anger and by hatred of the man who, for a

reason I did not yet understand, had struck so foul a blow against his

kinsman and an old man, did a thing so rash that it seems to me now,

when I consider it in the cold light of the past, a mad deed. Yet then

I could do nothing else; and Denny's face, aye, and the eyes of the

others, too, told me that they were with me.

"Compose this old man's body," I said, "and we will watch it. And do

you go and tell this Constantine Stefanopoulos that I know his crime,

that I know who struck that blow, and that what I know all men shall

know, and that I will not rest day nor night until he has paid the

penalty of this murder. And tell him I swore this on the honor of an

English gentleman."

"And say I swore it, too!" cried Denny; and Hogvardt and Watkins, not

making bold to speak, ranged up close to me; and I knew that they also

meant what I meant.

The old woman looked at me with searching eyes.

"You are a bold man, my lord," said she.

"I see nothing to be afraid of up to now," said I. "Such courage as

is needed to tell a scoundrel what I think of him, I believe I can

claim."

"But he will never let you go now. You would go to Rhodes, and tell

his--tell what you say of him."

"Yes, and farther than Rhodes, if need be. He shall die for it as sure

as I live."

A thousand men might have tried in vain to persuade me; the treachery

of Constantine had fired my heart and driven out all opposing motives.

"Do as I bid you," said I, sternly, "and waste no time on it. We will

watch here by the old man till you return."

"My lord," she replied, "you run on your own death. And you are young,

and the young man by you is yet younger."

"We are not dead yet," said Denny; and I had never seen him look as

he did then; for the gayety was out of his face, and he spoke from

between stern-set lips.

She raised her hands toward heaven--whether in prayer or in

lamentation, I do not know. We turned away and left her to her sad

offices, and going back to our places, waited there till dawn began to

break, and from the narrow windows we saw the gray crests of the waves

dancing and frolicking in the early dawn. As I watched them the old

woman was by my elbow.

"It is done, my lord," said she. "Are you still of the same mind?"

"Still of the same," said I.

"It is death--death for you all," she said; and without more she went

to the great door. Hogvardt opened it for her, and she walked away

down the road, between the high rocks that bounded the path on either

side. Then we went and carried the old man to a room that opened off

the hall, and, returning, stood in the doorway, cooling our brows in

the fresh, early air. And while we stood, Hogvardt said suddenly:

"It is five o'clock."

"Then we have only an hour to live," said I, smiling, "if we do not

make for the yacht."

"You're not going back to the yacht, my lord?"

"I'm puzzled," I admitted. "If we go this ruffian will escape. And if

we don't go--"

"Why, we," Hogvardt ended for me, "may not escape."

I saw that Hogvardt's sense of responsibility was heavy; he always

regarded himself as the shepherd, his employers as the sheep. I

believe this attitude of his confirmed my destiny, for I said, without

hesitation:

"Oh, we'll chance that. When they know what a villain the fellow is,

they'll turn against him. Besides, we said we'd wait here."

Denny seized on my last words with alacrity. When you are determined

to do a rash thing, there is great comfort in feeling that you are

already committed to it by some previous act or promise.

"So we did," he cried. "Then that settles it, Hogvardt."

"His lordship certainly expressed that intention," observed Watkins,

appearing at this moment with a large loaf of bread and a great

pitcher of milk. I eyed these viands.

"I bought the house and its contents," said I. "Come along."

Watkins's further researches produced a large chunk of native cheese;

and when he had set this down, he remarked:

"In a pen behind the house, close to the kitchen windows, there are

two goats; and your lordship sees there, on the right of the front

door, two cows tethered."

I began to laugh, Watkins was so wise and solemn.

"We can stand a siege, you mean?" I asked. "Well, I hope it won't come

to that."

Hogvardt rose, and began to move round the hall, examining the weapons

that decorated the walls. From time to time he grunted disapprovingly;

the guns were useless, rusted, out of date, and there was no

ammunition for them. But when he had almost completed his circuit,

he gave an exclamation of satisfaction, and came to me, holding an

excellent modern rifle and a large cartridge case.

"See!" he grunted, in huge satisfaction. "C.S. on the stock, I suspect

you can guess whose it is, my lord."

"This is very thoughtful of Constantine," observed Denny, who was

employing himself in cutting imaginary lemons in two with a fine

damascened scimiter that he had taken from the wall.

"As for the cows," said I, "perhaps they will carry them off."

"I think not," said Hogvardt, taking an aim with the rifle through the

window.

I looked at my watch. It was five minutes past six.

"Well, we can't go now," said I. "It's settled. What a comfort!" I

wonder if I had ever in my heart meant to go!

The next hour passed very quietly. We sat smoking pipes and cigars,

and talking in subdued tones. The recollection of the dead man in

the adjoining room sobered the excitement to which our position would

otherwise have given occasion. Indeed, I suppose that I, at least, who

had led the rest into this _imbroglio_ through my whim, should have

been utterly overwhelmed by the burden on me. But I was not. Perhaps

Hogvardt's assumption of responsibility relieved me; perhaps I was too

full of anger against Constantine to think of the risks we ourselves

ran; and I was more than half persuaded that the revelation of what he

had done would rob him of his power to hurt us. Moreover, if I might

judge from the words I heard on the road, we had on our side an ally

of uncertain, but probably considerable, power, in the sweet-voiced

girl whom the old woman called the Lady Euphrosyne; and she would not

support her uncle's murderer even though he were her cousin.

Presently Watkins carried me off to view his pen of goats, and, having

passed through the lofty, flagged kitchen, I found myself in a sort of

compound formed by the rocks. The ground had been levelled for a few

yards, and the cliffs rose straight to the height of ten or twelve

feet; from the top of this artificial bank they ran again, in wooded

slopes, toward the peak of the mountain. I followed their course

with my eye, and five hundred or more feet above us, just beneath the

summit, I perceived a little wooden _chalet_ or bungalow. Blue smoke

issued from the chimneys, and, even while we looked, a figure came out

of the door and stood still in front of it, apparently looking down

toward the house.

"It's a woman," I pronounced.

"Yes, my lord. A peasant's wife, I suppose."

"I dare say," said I. But I soon doubted Watkins's opinion--in the

first place, because the woman's dress did not look like that of

a peasant woman; and, secondly, because she went into the house,

appeared again, and levelled at us what was, if I mistook not, a large

pair of binocular glasses. Now, such things were not likely to be

in the possession of the peasants of Neopalia. Then she suddenly

retreated, and through the silence of those still slopes we heard the

door of the cottage closed with violence.

"She doesn't seem to like the look of us," said I.

"Possibly," suggested Watkins, with deference, "she did not expect to

see your lordship here."

"I should think that's very likely, Watkins," said I.

I was recalled from the survey of my new domains--my satisfaction in

the thought that they were mine survived all the disturbing features

of the situation--by a call from Denny. In response to it I hurried

back to the hall, and found him at the window, with Constantine's

rifle rested on the sill.

"I could pick him off pat," said Denny, laughingly, and he pointed to

a figure which was approaching the house. It was a man riding a stout

pony. When he came within about two hundred yards of the house he

stopped, took a leisurely look, and then waved a white handkerchief.

"The laws of war must be observed," said I, smiling. "This is a

flag of truce." And I opened the door, stepped out, and waved my

handkerchief in return. The man, reassured, began to mop his brow with

the flag of truce, and put his pony to a trot. I now perceived him to

be the innkeeper Vlacho, and a moment later he reined up beside me,

giving an angry jerk at his pony's bridle.

"I have searched the island for you," he cried. "I am weary and hot.

How came you here?"

I explained to him briefly how I had chanced to take possession of my

house, and added, significantly:

"But has no message come to you from me?"

He smiled with equal meaning as he answered:

"No. An old woman came to speak to a gentleman who is in the village."

"Yes, to Constantine Stefanopoulos," said I with a nod.

"Well, then, if you will, to the Lord Constantine," he admitted, with

a careless shrug; "but her message was for his ear only. He took her

aside, and they talked alone."

"You know what she said, though."

"That is between my Lord Constantine and me."

"And the young lady knows it, I hope--the Lady Euphrosyne?"

Vlacho smiled broadly.

"We could not distress her with such a silly tale," he answered; and

he leant down toward me. "Nobody has heard the message but the lord

and one man he told it to; and nobody will. If that old woman spoke,

she--well, she knows, and will not speak."

"And you back up this murderer?" I cried.

"Murderer?" he repeated, questioningly. "Indeed, sir, it was an

accident, done in hot blood. It was the old man's fault, because he

tried to sell the island."

"He did sell the island," I corrected. "And a good many other people

will hear of what happened to him."

He looked at me again, smiling.

"If you shouted in the hearing of every man in Neopalia, what would

they do?" he asked, scornfully.

"Well, I should hope," I returned, "that they'd hang Constantine to

the tallest tree you've got here."

"They would do this," he said, with a nod; and he began to sing softly

the chant I had heard the night before.

I was disgusted at his savagery, but I said coolly:

"And the lady?"

"The lady believes what she is told, and will do as her cousin bids

her. Is she not his affianced wife?"

"The deuce she is!" I cried in amazement, fixing a keen scrutiny on

Vlacho's face. The face told me nothing.

"Certainly," he said, gently. "And they will rule the island

together."

"Will they, though?" said I. I was becoming rather annoyed. "There are

one or two obstacles in the way of that. First, it's my island."

He shrugged his shoulders again. "That," he seemed to say, "is not

worth answering." But I had a second shot in the locker for him, and

I let him have it for what it was worth. I knew it might be worth

nothing, but I tried it.

"And secondly," I observed, "how many wives does Constantine propose

to have?"

A hit! A hit! A palpable hit! I could have sung in glee. The fellow

was dumb-founded. He turned red, bit his lip, scowled fiercely.

"What do you mean?" he blurted out, with an attempt at blustering

defiance.

"Never mind what I mean. Something, perhaps, that the Lady Euphrosyne

might care to know. And now, my man, what do you want of me?"

He recovered his composure, and stated his errand with his old, cool

assurance; but the cloud of vexation still hung heavy on his brow.

"On behalf of the lady of the island--" he began.

"Or shall we say her cousin?" I interrupted.

"Which you will," he answered, as though it were not worth while to

wear the mask any longer. "On behalf, then, of my Lord Constantine, I

am to offer you safe passage to your boat, and a return of the money

you have paid."

"How's he going to pay that?"

"He will pay it in a year, and give you security meanwhile."

"And the condition is that I give up the island?" I asked; and I began

to think that perhaps I owed it to my companions to acquiesce in this

proposal, however distasteful it might be to me.

"Yes," said Vlacho; "and there is one other small condition, which

will not trouble you."

"And what's that? You're rich in conditions."

"You are lucky to be offered any. It is that you mind your own

business."

"I came here for the purpose," I observed.

"And that you undertake, for yourself and your companions, on your

word of honor, to speak not a word of what has passed in the island,

or of the affairs of the Lord Constantine."

"And if I won't give my word?"

"The yacht is in our hands; Demetri and Spiro are our men; there will

be no ship here for two months."

The fellow paused, smiling at me. I took the liberty of ending his

period for him.

"And there is," I said, returning the smile, "as we know by now, a

particularly sudden and fatal form of fever in the island."

"Certainly; you may chance to find that out," said he.

"But is there no antidote?" I asked; and I showed him the butt of my

revolver in the pocket of my coat.

"It may keep it off for a day or two; not longer. You have the bottle

there, but most of the drug is with your baggage at the inn."

His parable was true enough; we had only two or three dozen cartridges

apiece.

"But there is plenty of food for Constantine's rifle," said I,

pointing to the muzzle of it, which protruded from the window.

He suddenly became impatient.

"Your answer, sir?" he demanded, peremptorily.

"Here it is," said I. "I'll keep the island, and I'll see Constantine

hanged."

"So be it, so be it!" he cried. "You are warned; so be it!" and

without another word he turned his pony and trotted rapidly off down

the road. And I went back to the house, feeling, I must confess, not

in the best of spirits. But when my friends heard all that had passed,

they applauded me, and we made up our minds to "see it through," as

Denny said.

That day passed quietly. At noon we carried the old lord out of his

house, having wrapped him in a sheet, and we dug for him as good a

grave as we could, in a little patch of ground that lay outside the

windows of his own chapel, a small erection at the west end of the

house. There he must lie for the moment. This sad work done, we came

back, and--so swift are life's changes--we killed a goat for dinner,

and watched Watkins dress it. Thus the afternoon wore away, and when

evening came we ate our goat flesh, and Hogvardt milked our cows, and

we sat down to consider the position of the garrison.

But the evening was hot, and we adjourned out of doors, grouping

ourselves on the broad marble pavement in front of the door.

Hogvardt had just begun to expound a very elaborate scheme of escape,

depending, so far as I could make out, on our reaching the other side

of the island, and finding there a boat, which we had no reason to

suppose would be there, when Denny raised his hand, saying, "Hark!"

From the direction of the village and the harbor came the sound of a

horn, blown long and shrill, and echoed back in strange, protracted

shrieks and groans from the hillside behind us; and following on the

blast, we heard, low in the distance and indistinct, yet rising and

falling, and rising again in savage defiance and exultation, the death

chant that One-eyed Alexander the Bard had made on the death of

Stefan Stefanopoulos two hundred years ago. For a few minutes we sat

listening, and I do not think that any of us were very comfortable.

Then I rose to my feet, and I said:

"Hogvardt, old fellow, I fancy that scheme of yours must wait a

little. Unless I'm very much mistaken, we're going to have a lively

evening."

Well, and then we shook hands all round, and went in, and bolted the

door, and sat down to wait. We heard the death chant through the walls

now, for it was coming nearer.

(_To be continued._)

[Illustration]

[Illustration: A BROOK IN THE DEPARTMENT OF VAR, FRANCE. FROM A

PAINTING BY HENRI HARPIGNIES.

In the galleries of the Luxembourg, Paris. First exhibited at the

Salon of 1888.]

A CENTURY OF PAINTING.

NOTES DESCRIPTIVE AND CRITICAL.--COROT AND THE MODERN PASTORAL.--THE

MEN OF 1830.--ROUSSEAU, DIAZ, DUPRÉ, AND DAUBIGNY.--FOUR FIGURE

PAINTERS OF DIFFERING AIMS.

BY WILL H. LOW.

"Pictures?" boasted Turner. "Give me canvas, colors, a room to work

in, _with a door that will lock_, and it is not difficult to paint

pictures!" This was the spirit of the older men, against which

Constable rose in his might. It was the legacy of the past; the

principle, or the lack of it, which permitted Titian (in a picture now

in the National Gallery, London) to paint the shadows of his figures

falling away from the spectator into the picture, and _towards_ the

setting sun in the background. The return to nature, however, was not

accomplished at once. It is doubtful, indeed, if a painter can ever

arrive at a respectable technical achievement without imbibing certain

conventions which prevent complete submission to nature; absolute

_naïveté_ thus becoming only theoretically possible. Constable, with

all his independence, dared not throw over all received canons of art.

And Géricault, while daring to paint a modern theme, daring still more

to embody it in forms plausibly like average humanity, and refusing to

place on a raft in mid-ocean a carefully chosen assortment of antique

statues, still did not think, apparently, that the heavily marked

shadows prevalent throughout his picture were never seen under the

far-reaching arch of the sky, but fell from a studio window. Nor do

the early pictures by Corot free themselves from the influences of the

academy at once. In the studies which he bequeathed to the Louvre--two

tiny canvases on which are depicted the Coliseum and the Castle of St.

Angelo at Rome--the conventional picking out of detail, the painting

of separate objects by themselves, without due relation to each other,

is the effect of early study; and it is only in the as yet timid

reaching for effect of light and atmosphere that we feel the Corot of

the future. These studies were painted in 1826; and as late as 1835

the same influences are manifest in the "Hagar and Ishmael in the

Desert," a historical landscape of the kind dear to the academies,

but saved and made of interest by the native qualities of the painter

struggling to the surface.

Jean Baptiste Camille Corot was born in Paris, July 28, 1796. His

father was originally a barber; but, marrying a dressmaker, he joined

forces with his wife to such effect that they became the fashionable

house of their time; and a "dress from Corot's" found its place in the

comedies of the early part of the century, very much as the name of

Worth has been potent in later days. The youth's distaste for business

(certain unfortunate experiences in selling olive-colored cloth

leading directly thereto) at length vanquished the parents' opposition

to his choice of a career; and after a solemn family conclave, it was

decided that he was to have an allowance of three hundred dollars a

year, and be free to follow his own inclinations. Procuring materials

for work, Corot sat him down the same day on the bank of the Seine,

almost under the windows of his father's shop, and began to paint. It

is prettily related that one of the shop-women, Mademoiselle Rose by

name, was the only person of his _entourage_ who sympathized with the

young fellow, and who came to look at his work to encourage him. Late

in life the good Corot said: "Look at my first study; the colors are

still bright, the hour and day remain fixed on the canvas; and only

the other day Mademoiselle Rose came to see me; and, alas, the old

maid and the old man, how faded they are!"

[Illustration: JEAN BAPTISTE CAMILLE COROT. AFTER A PHOTOGRAPH FROM

LIFE.

This portrait represents "good Papa Corot," as he was universally

known, at work out of doors.]

It was Corot's good fortune to meet at the start a young landscape

painter, Michallon, who had lately returned from Rome, where he had

gone after winning the prize for historical landscape, which then

formed part of the curriculum of the École des Beaux Arts. Michallon

died in 1824, when only twenty-eight years old, too soon to have shown

the fruits of an independent spirit which had already revolted against

the trammels of the school. Desiring to save Corot from the mistakes

which he had himself made, he adjured him to remain _naïf_, to paint

nature as he saw it, and to disregard the counsels of those who were

for the moment in authority. Gentle, almost timid by nature, having

met so far in life with little but disapproval, Corot disregarded his

friend's advice at first, and placed himself under the guidance of

Victor Bertin, a painter then in vogue, and, needless to say, deeply

imbued with scholastic tradition. In his company Corot made his first

voyage to Italy, in 1825, and thus came for the first time under the

true classic influence. The lessons taught in the school of nature,

where Claude had studied, were those best fitted for the temperament

of Corot, who has been called "a child of the eighteenth century,

grown in the midst of that imitation of antiquity so ardent, and so

often unintelligent, where the Directory copied Athens, and the Empire

forced itself to imitate Rome." It is a curious and interesting fact

that when, as in this case, the spirit of classicism reveals itself

anew, its never-dying influence can be the motive for work as

fresh and modern as that of Corot. It is also true that the rigid

enforcement of the study of drawing was a healthy influence on Corot's

early life. All the pictures of his early period show the most minute

attention to form and modelling; and when he had finally rid himself

of the hard manner which it entailed, there remained the substratum of

a constructive basis upon which his freer brush played at will.

[Illustration: A BY-PATH. FROM A PAINTING BY JEAN BAPTISTE CAMILLE

COROT.

One of Corot's later works, and treated with greater freedom than the

earlier.]

Many years, however, Corot was to wait before the memorable day when

he bewailed that his complete collection of works had been spoiled, he

having sold a picture. Living on his modest income, which his father

doubled when, in 1846, the son was given the cross of the Legion of

Honor, he was happy with his two loves, nature and painting. Little

by little he gained a reputation among the artists, especially when,

after 1835, on his return from a second voyage to Italy, he found

that the true country of the artist is his native country. After

that period his works are nearly all French in subject, many of them

painted in the environs of Paris; though, with his Theocritan spirit,

he could see the fountain of Jouvence in the woods of Sèvres, and for

him the classic nymph dwelt by the pond at Ville d'Avray. His life was

long--he died February 22, 1875--and completely filled with his work.

After Corot's death, there was exhibited at the École des Beaux Arts

in Paris a collection of several hundred of his pictures, and then,

perhaps for the first time, the genius of the man was profoundly felt.

To those who were inclined to undervalue the pure, sweet spirit which

shone through his work, and to complain of the representation of a

world in which no breeze stronger than a zephyr blew, in which the

birds always sang, and the shepherd piped to a flock unconscious

of the existence of wolves, there were shown efforts in so many and

various directions as to forever silence their reproach of monotony,

so often directed against Corot's work. There were landscapes, showing

the gradual emancipation, due to the most sincere study of nature,

hard and precise, in the early period; vaporous and filled with

suggestion, as the sentiment of the day and hour represented became

important to the painter, and his technical mastery became more

certain in later years. There were figures, none too well drawn from

the point of view of David or Ingres, but serving, to a painter whose

interest in atmospheric problems never ceased, as objects around

which the luminous light of day played, and which were bathed in

circumambient air.

[Illustration: EARLY MORNING. JEAN BAPTISTE CAMILLE COROT.

From a painting now in the Louvre. One of the best known of the works

of the master, executed during the transitional period, when he still

gave great attention to detail. The original is remarkable for its

sense of dewy freshness.]

[Illustration: DIANA'S BATH. JEAN BAPTISTE CAMILLE COROT.

From a painting in the Museum at Bordeaux.]

[Illustration: A SHALLOW RIVER. FROM A PAINTING BY THÉODORE ROUSSEAU.]

With all this variety, however, the true value of Corot's work lies in

the expression of the spirit of the man himself. It is often possible,

and it is always theoretically desirable, to separate the personality

of a painter from his production in any critical consideration of his

achievement. It is at least only fair to believe that the light which

shines from so many canvases is the true expression of many a life

which is clouded to our superficial view. With Corot, however, it

is impossible to make this separation. Every added detail of his

life--and they are so numerous that in the difficulty of a choice they

must remain unrecorded here--gives a new perception of his work. A

youthful Virgilian spirit to the day of his death, as old at his

birth as the classic source from which he sprang, he invented a method

essentially his own, in which to express his new-old message. In our

work-a-day, materialistic age, like a thrush singing in a boiler-shop,

he is the quiet but triumphant vindication of the truth that all

great art has its roots firmly implanted in the earth of Hellenic

civilization, though its expression may be, as in Corot's case,

through an art unknown to the Greeks, and even, as in the case of

the one greater man of this century than Corot--Millet--by the

presentation of types which the beauty-loving sons of Hellas disdained

to represent.

Millet's work must be considered later in these papers, but it

is useful here to make this passing comment, that with Corot he

represents what is best in our modern art; that the greatest quality

of our modern art is its steadfast reliance on nature; and that,

paradoxical as it may seem, they are alike in taking only that from

nature which is serviceable to the clarity of their expression, being

in this both at odds with the common practice of modern painting,

which usually adopts a more servile attitude towards nature. Corot

painted out of doors constantly; but in the maturity of his art his

work was only based upon the scene before him, a practice dangerous to

the student, and fraught with difficulty to the master. In the fever

of production; in the almost childish joy which the long neglected

painter felt when dealers and collectors besieged his door; and,

finally, in the necessity which arose for large sums of money to carry

on works of charity, which were his only dissipation, and which it

was his pride to sustain without impairing the patrimony which in

the course of time he had inherited, and which he left intact to his

relatives, Corot undoubtedly weakened his legacy to the future by

over-production. In addition, his work became the prey of unscrupulous

dealers (as there is nothing easier to imitate superficially than a

Corot), and the mediocre pictures signed by his name are not always of

his workmanship. Such works apart, his art has given us a message from

the purest source of poetry and painting, couched in a language which

is thoroughly of our time; and in this year, which is the centenary of

his birth, it can be said that no other painter of the century, save

the graver Millet, has held fast that which was good in the art of the

past, and so enriched it by added truth and beauty as Corot. It

was fitting that when he lay dying as cheerfully as he had lived,

contented that he had "had good parents and good friends," beautiful

landscapes flitted before his eyes, "more beautiful than painting."

On the morning of February 22, 1875, his servant urged him to eat

to sustain his strength; but he gently shook his head, saying: "Papa

Corot will breakfast in heaven to-day."

[Illustration: THE EDGE OF THE FOREST (FONTAINEBLEAU). FROM A PAINTING

BY THÉODORE ROUSSEAU.]

Eighteen years before, on December 22, 1867, there had died at

Barbizon, Théodore Rousseau, who, born in Paris, July 15, 1812, had

been the leader of the revolution in landscape painting, in which we

to-day count Corot, Daubigny, Dupré, Troyon, Diaz, Jacque, and others

who, with our mania for classification, we call the "Barbizon school."

The fact that these men, more than any painters before their time,

had, by direct study from nature, developed strongly individual

characteristics, makes this title, localized as it is by the name of a

village with which a number of them had slight, if any, connection,

a misnomer. The French name for the group, "the men of 1830," is more

correct; for it was about that time that their influence in the Salon

began to be felt, as a result of the pictorial invasion of Constable.

Lacking the poetic feeling of Corot, and more realistic in his aims,

though not always in result, Rousseau met with instant success when

he exhibited for the first time at the Salon in 1834. His picture,

"Felled Trees, Forest of Compiègne," received a medal, and was

purchased by the Due d'Orleans. The following year the jury, presided

over by Watelet, a justly forgotten painter, refused Rousseau's

pictures, and from that time until 1849, when the overthrow of Louis

Philippe had opened the Salon doors to all comers, no picture by

Rousseau was exhibited at the Salon.

[Illustration: ON THE RIVER OISE. FROM A PAINTING BY CHARLES FRANÇOIS

DAUBIGNY.

A typical French river, with the familiar figures of peasant women

washing linen in the stream. Probably painted during one of the

voyages of his house-boat studio "Le Bottin," in which the painter

passed many summers.]

[Illustration: THE STORMY SEA. FROM A PAINTING BY JULES DUPRÉ.

This powerful picture gives an idea of the dramatic force of one who

has been fitly termed a symphonic painter.]

[Illustration: A SUNLIT GLADE. FROM A PAINTING BY LÉON GERMAIN

PELOUSE.

A remarkable rendering of intricate detail without sacrifice of

general effect, this picture, nevertheless, gives somewhat the

impression of a photograph from nature.]

In the meantime, however, Rousseau's fame had grown, fostered by the

more advanced critics of the time. He lived at Barbizon, on the border

of the forest of Fontainebleau; and, basing his work on the most

uncompromising study of nature, his pictures bore an impress of simple

truth, which to our latter-day vision seems so obvious and easily

understood that nothing could show more clearly the depth of error

into which his opponents had fallen than the systematic rejection

of his work for so many years. He was by nature a leader, and in his

country home he was soon joined by Millet and Charles Jacque, while in

Paris he had the hearty support of Delacroix and his followers of the

Romantic school. While forced by circumstances to find allies in these

men, Rousseau had, however, but little of the imaginative temperament.

He was, above all, the close student of natural phenomena. He sat,

an impartial recorder of the phases of nature's triumphal procession.

Early and late, in the fields, among the rocks, or under the trees

of the forest, his cunning hand noted an innumerable variety of facts

which before him, through ignorance or disdain, the landscape painter

had never seen. It is but fair to say that, like all pioneers in the

untrodden fields of art, his means of expression at times failed to

keep pace with his intention. His work is occasionally overburdened

with detail, through the embarrassment of riches which nature poured

at his feet. Then, heir to the processes of painting of former

generations, it seemed to him necessary to endow nature with a warmth

of coloring, an abuse of the richer tones of the palette, which we may

presume he would have discarded but for the fact already noted, that

a painter carries through his earthly pilgrimage a baggage of

early-formed habits difficult to throw off _en route_. The belief that

color to be beautiful must of necessity be warm, rich, and deep in

tone was shared by all painters of Rousseau's time, and lingers still

in the minds of many, despite the fact that nature has created the

tea-rose as well as the orange. When, however, Rousseau was completely

successful--as, for instance, in the "Hoar-frost," in the Walters

gallery in Baltimore--the reward of his painstaking methods was

measurably great. In such works as this the rendition of effect, the

certainty of modelling, the sustained power throughout the work,

lift it beyond mere transcription of fact into the realm of typical

creations which appear more true than average reality.

[Illustration: A SHEPHERD AND HIS FLOCK. FROM A PAINTING BY CHARLES

ÉMILE JACQUE.

A typical example of the master, solidly painted, though, as was often

his habit, somewhat forced in effect.]

Of the life of Rousseau as the head of the little colony of painters

who for longer or shorter periods resided at Barbizon, much could

be said if space permitted. It is pleasant to think that the more

prosperous Rousseau helped with purse and influence his comrades, and

that, by nature sad and irritable, he was always considerate of them

in the many discussions which took place. Corot, ill at ease in the

revolutionary atmosphere, made an occasional appearance. Diaz, he of

meridional extraction, turbulent and emphatic, stamped his wooden leg,

and was as illogical in debate as in painting. Charles Jacque, with

the keen smile and the facility for absorbing ideas from the best of

them; Ziem even, who painted Venice for some years in the shades of

Fontainebleau; Dupré, whose nature expresses itself in deep sunsets

gleaming through the oaks of the forest; Daubigny, the youngest of the

group, and the more immediate forerunner of landscape as it is to-day,

then winning his first success; Decamps, who later sometimes left

the Imperial Court, domiciled for the moment at the palace of

Fontainebleau, and brought his personality of a great painter who

failed through lack of elementary instruction, among them; Daumier,

the great caricaturist, and possibly greater painter, but for the

engrossing character of the work which first fell in his way--all

these and more made up the constantly shifting group. The first

innkeeper of the place and his wife, whose hyphenated name,

Luniot-Ganne, commemorated their union, kept for many years on the

walls, the panels of the doors, and on odd cabinets and bits of

furniture, _souvenirs_ of the passage of all these men, in the shape

of sketches made by their hands. This little museum, created in

sportive mood, bore all these names and many more, those of men, often

celebrated, who from sympathy or curiosity visited the place. Millet

was in life, as in art, somewhat apart in the later years; but he was

the consistent friend of Rousseau, whose life closed in the darkness

of a disordered mind.

[Illustration: "THE MAN WITH THE LEATHERN BELT." PORTRAIT OF GUSTAVE

COURBET AS A YOUNG MAN, BY HIMSELF.

From the original, in the Louvre.]

Narcisco Virgilio Diaz de la Peña was the noble name of him who, born

at Bordeaux in 1807, the son of a Spanish refugee, died at Mentone,

November 18, 1876. Left an orphan when very young, he drifted to

Paris, and found work, painting on china, in the manufactory at

Sèvres. Here he met Dupré, employed like himself; and in their work in

other fields it is not fanciful to feel the influence of the delight

in rich translucent color, of the tones employed with over-emphasis

on the surface of _faïence_. After a bitter acquaintance with poverty,

Diaz produced work which brought him great popularity. The earlier

pictures were studies in the forest of Fontainebleau, whose venerable

tree-trunks, moss-grown; whose lichen-covered rocks, and gleaming

pools reflecting the sky, he rendered with force of color and strength

of effect. Gradually he began to attempt the figure, which in his

hands never attained a higher plane than an assemblage of charming

though artificial color; and these little _bouquets_, which

superficially imitated Correggio, Da Vinci, or Prud'hon, as the fancy

seized the painter, bathed in a color that is undeniably agreeable,

were and are to this day loved by the collector. Of a whimsical

temperament, Diaz was the life of artist gatherings; and his facility

in work, and its popularity, gave him the means of doing many generous

acts, the memory of which lives. But of the group of men of his time,

he has exercised, perhaps, the least influence.

[Illustration: THE STONE-BREAKERS. FROM A PAINTING BY GUSTAVE COURBET.

One of Courbet's early pictures, which, when exhibited at the Salon,

excited considerable discussion, certain adverse critics finding in it

an appeal to the socialistic elements. It represents a scene common in

France, where stones are piled by the roadsides, to be broken up for

repairing the route.]

Jules Dupré rises to a higher plane. But his work, freed from the

colder academical bondage, is pitched in a key of color which takes us

to a world where the sun shines through smoke; where the clouds float

heavily, filled with inky vapors; and the light shoots from behind the

trees explosively. It is a grave, rhythmic world, however; and if it

lacks the dewy atmosphere of Corot, it has an intensity which the more

sanely balanced painter seldom reached. Dupré, born at Nantes in 1812,

and dying near Paris, at the village of L'Isle-Adam, in 1889, made

his first important exhibit at the Salon in 1835, after a visit

to England, where he met Constable. This picture, "Environs of

Southampton," was typical of the work he was to do. A long waste of

land near the sea, the middle distance in deepest shadow, and richly

colored storm-clouds racing overhead; the foreground in sunlight,

enhanced by the artificial contrast of the rest of the picture; a

wooden dyke on which, together with two white horses near by, the

gleam of sunlight falls almost with a sound, so intensified is all the

effect, make up the picture. Dupré's work is generally keyed up to

the highest possible pitch, and it is no little merit that, with the

constant insistence on this note, it is seldom or never theatrical.

Constant Troyon, from sympathy of aim, is commonly included in this

group, although it was gradually, and after success achieved in

landscape, that his more powerful cattle pictures were produced, which

alone entitle him to the place. Born at Sèvres in 1810, where his

father was employed at the manufactory of porcelain, he was thrown in

contact with Dupré and Diaz. He first exhibited at the Salon in 1832,

and for nearly twenty years was known as a landscape painter. His work

at that time was eclectic, sufficiently in touch with Rousseau, whose

acquaintance he had made, to be of interest, but never revolutionary

enough to alarm the academical juries of the Salon. In 1849, after

a visit to Holland, he turned his attention to animal painting, and

became in that field the first of his time. In common with his quondam

comrades in the porcelain manufactory, Troyon delighted in warmth and

richness of tone and color; but in the rendering of the texture and

color of cattle the quality availed him greatly, and as objects in his

foreground the landscape environment gained in depth by its judicious

use. Troyon will be chiefly remembered by the pictures painted from

1846 to 1858. The later years of his life, until his death in 1865,

were passed with a clouded intellect.

[Illustration: THE GOOD SAMARITAN. FROM A PAINTING BY THÉODULE RIBOT.

From the Salon of 1870; now in the Luxembourg. The story of the man

who went down to Jericho and fell among thieves is here treated as a

pretext for a forcible effect of light and shade, though it is also a

novel and dramatic presentation of the scene.]

The youngest of the group proper was Charles François Daubigny, who

was born in Paris in 1817, and died there in 1878. He was the son of

a well-known miniature painter, and passed his youth in the country,

where he imbibed the love for simple nature which he afterwards

rendered with less of fervor than Rousseau, with less poetry than

either Corot or Dupré; but, in his way, with as much or more of truth.

His task was easier. In the progress which landscape painting had

made, there were hosts of younger painters, each adding a particle

of truth, each making an advance in technical skill and daring,

and Daubigny profited by it all. Corot, it is true, had never been

afflicted with the preoccupation of combining the freshness of nature

with the _patine_ with which ages had embrowned the old gallery

pictures; but Daubigny, looking at nature with a more literal eye than

Corot, ran a gamut of color greater than he. It was Daubigny who said

of Corot, in envious admiration: "He puts nothing on the canvas, and

everything is there." His own more prosaic nature took delight in

enregistering a greater number of facts. Floating quietly down the

rivers of France in a house-boat, he diligently reproduced the sedgy

banks, the low-lying distances the poplars and clumps of trees lining

the shore, and reflected in the waters. He painted the "Springtime,"

now in the Louvre, with lush grass growing thick around the apple

trees in blossom; with tender greens, soft, fleecy clouds, and the

moist, humid atmosphere of France; without preoccupation of rich

color, of "brown sauce," of "low tone," of the thousand and one

conventions which have enfeebled the work of men stronger than he.

Thus he fills a middle place between the men who made an honest effort

at painting nature as they saw and felt it, but could not altogether

rid themselves of their early education, and the lawless band who,

with the purple banner of impressionism, now riot joyously in the

fields, with brave show of gleaming color, and fearless attempt to

enlist science in their ranks.

[Illustration: SERVANT AT THE FOUNTAIN. FROM A PAINTING BY FRANÇOIS

SAINT BONVIN.

From the Salon of 1863; now in the Luxembourg galleries. A quiet

scene, essentially French from the type of the woman to the "fountain"

of red copper so often seen in French kitchens, it recalls the work

of the old Holland masters, and proves that, in our day, and with

material near at hand, one can be thoroughly modern, and yet claim

kinship with the great painters of the past.]

It is to these latter that the future must look, and it can do so with

confidence. In all the license which runs ahead of progress there

is less danger than resides in stagnation. The men of 1830, who by

ungrateful youths are now derided, had their turn at derision, and

extravagances were committed in their name, according to the

beliefs of their time. They carried their work, however, to its full

completion, and it remains the greatest achievement of this century

in painting, the greatest in landscape art of all time. What the

next century may bring is undoubtedly foreshadowed in the work of

impressionistic tendency. It has the merit of being a new direction,

one as yet hardly opened before us, but more hopeful, despite certain

excesses, than it would be to see the men of our time settle down to

an imitation of the works, however great, of those men of 1830. The

immediate effect of their example was and can still be seen in the

works of men too numerous to be enregistered here.

[Illustration: AN UNHAPPY FAMILY. FROM A PAINTING BY NICOLAS FRANÇOIS

OCTAVE TASSAERT.

In the Luxembourg catalogue, to which museum the picture came from

the Salon of 1850, is printed a long quotation from Lamennais's "Les

Paroles d'un Croyant" (The Words of a Believer), an emphatic work,

of great popularity about the time that the picture was painted. The

women represented, having fallen into poverty, are suffering from cold

and hunger, the obvious end of the tragedy being explained by these

words, "Shortly after there were seen two forms, luminous like souls,

which took their flight towards Heaven." The picture, like much of

Tassaert's work, affords an instance of misguided and morbid talent.]

In Henri Harpignies, a living painter, though now aged, the influence

is felt in the careful attention to form throughout the landscape.

The delicate branching of trees is depicted in his work with accuracy

tempered by a sense of the beauty of line, which prevents it from

becoming photographic. Léon Germain Pelouse, who was born at Pierrelay

in 1838, and died in Paris, 1891, carried somewhat the same qualities

to excess. His pictures, though undeniably excellent, are marred by

the dangerous facility which degenerates into mere virtuosity.

Charles Jacque, who was born in 1813, and lived until 1894, was of the

original group living for many years in Barbizon. He was, perhaps, of

less original mind than any of the others, but was gifted with a power

of assimilation which enabled him to form an eclectic style that is

now recognized as his own. His pictures are many in number and varied

in character, though his somewhat stereotyped pictures of sheep, done

in the later years of his life, are best known.

The limits of space render it difficult to make even a summary

enumeration of certain tendencies in figure painting which marked the

years of the growth of this great landscape school. Gustave Courbet

(born at Ornans in 1819, died in Switzerland, 1877), who might be

classed both as a figure and a landscape painter, would demand by

right a longer consideration than can be here given. Of his career as

a champion of realism, as a past master in the peculiarly modern art

of keeping one's self before the public, culminating in his connection

with the Commune in Paris in 1871, and the destruction of the column

in the Place Vendôme, there could be much to say. Courbet was, as

a painter, a powerful individuality; of more force, however, as a

painter of the superficial envelope than of the deeper qualities which

nature makes pictorial at the bidding of one of finer fibre. His claim

to be considered modern can be contested, inasmuch as it was only in

subject that his work was novel. In manner of painting he was of a

time long past, of a school of greater masters than he showed himself

to be. With this reserve, however, as a vigorous painter, both of the

figure and landscape, he is interesting; and as one of the first to

look about him and find his subjects in our daily life, his work will

live.

Curiously enough, the revival of the art of another epoch in the case

of Saint Bonvin remained absolutely modern. By nature or by choice

this painter (born at Vaugirard, near Paris, in 1817, and dying at

St. Germain-en-Laye in 1887) is a modern Pieter de Hooghe; and as

the Dutch masters addressed themselves to a painstaking and sincere

representation of the life about them, in like manner Bonvin, bringing

to his work much the same qualities, choosing as his subjects quiet

interiors, with the life of the family pursuing its even tenor (or the

still more placid progress of conventual life, like the "Ave Maria

in the Convent of Aramont," in the Luxembourg), remains himself while

resembling his prototypes. It is instructive to look at his "Servant

at the Fountain," reproduced here, compare it with many of the

pictures of familiar life like those of Wilkie, Webster, or Mulready,

published last month, and note the unconsciousness of the work before

us.

The work of a painter equally able, though suffering somewhat as

representing an art with which we moderns have little sympathy, falls

into comparison here, and undoubtedly loses by it. The unfortunate

painter, Octave Tassaert, who was born in Paris in 1800, and lived

there, undergoing constant privation, until he voluntarily ended his

life in 1874, possibly found consolation for his hard lot in depicting

scenes like that entitled "An Unhappy Family."

The lesson of the art of the men considered here is that of direct

inspiration of nature, of reliance on native qualities rather than

those acquired; and the impulse given by them has continued in force

until to day. We have before us, as a consequence, two strongly

defined tendencies which will control the future of painting. The

first and strongest, for the moment, is the impressionistic tendency,

with its negation of any pictorial qualities other than those based on

direct study from objects actually existing. This would, if carried

to a logical conclusion, eliminate the imaginative quality, and render

the painter a human photographic camera. The other tendency is that

which has existed since art was born, and which, though temporarily

and justly ignored in periods when it is necessary to recreate a

technical standard, always comes to the surface when men have learned

their trade as painters. It is the desire to create; the instinct

which impels one to use the language given him to express thought. The

two tendencies are not incompatible; and in the end the artist will

arise who, with certainty of expression, will express thought.

"SOLDIER AN' SAILOR TOO."

BY RUDYARD KIPLING,

AUTHOR OF "BARRACK-ROOM BALLADS," "THE JUNGLE BOOK," ETC.

As I was spittin' into the Ditch aboard o' the "Crocodile,"

I seed a man on a man-o'-war got up in the Reg'lars' style.

'E was scrapin' the paint from off of 'er plates, an' I sez to 'im:

"Oo are you?"

Sez 'e: "I'm a Jolly--'er Majesty's Jolly--soldier an' sailor too!"

_Now 'is work begins by Gawd knows when, and 'is work is never

through--

'E isn't one o' the Regular line, nor 'e isn't one of the crew--

'E's a kind of a giddy herumfrodite--soldier an' sailor too_!

An' after I met 'im all over the world, a-doin' all kinds o' things,

Like landin' 'isself with a Gatling-gun to talk to them 'eathen kings;

'E sleeps in an 'ammick instead of a cot, an' 'e drills with the deck

on a slue,

An' 'e sweats like a Jolly--'er Majesty's Jolly--soldier an' sailor too!

_For there isn't a job on the top o' the earth the beggar don't

know--nor do!

You can leave 'im at night on a bald man's 'ead to paddle 'is own

canoe;

'E's a sort of a bloomin' cosmopolot--soldier an' sailor too_.

We've fought 'em on trooper, we've fought em in dock, an' drunk with

'em in betweens,

When they called us the sea-sick scull'ry maids, an' we called 'em the

Ass Marines;

But when we was down for a double fatigue, from Woolwich to Bernardmyo,

We sent for the Jollies--'er Majesty's Jollies--soldier an' sailor too!

_They think for 'emselves, an they steal for 'emselves, an' they never

ask what's to do,

But they're camped an fed an' they're up an' fed before our bugle's

blew.

Ho! they ain't no limpin procrastitutes--soldier an' sailor too_!

You may say we are fond of an 'arness cut or 'ootin' in barrick-yards,

Or startin' a Board School mutiny along o' the Onion Guards;

But once in a while we can finish in style for the ends of the earth to

view,

The same as the Jollies--'er Majesty's Jollies--soldier an' sailor too.

_They come of our lot, they was brothers to us, they was beggars we'd

met and knew;

Yes, barrin' an inch in the chest an' the arms, they was doubles o'

me and you,

For they weren't no special chrysanthemums--soldier an' sailor too_.

To take your chance in the thick of a rush with firing all about

Is nothing so bad when you've cover to 'and, and leave an' likin' to

shout;

But to stand an' be still to the "Birken'ead" drill is a damn tough

bullet to chew,

And they done it, the Jollies--'er Majesty's Jollies--soldier an'

sailor too.

_Their work was done when it 'adn't begun, they was younger nor me an

you;

Their choice it was plain between drownin in 'eaps an bein mashed by

the screw,

An' they stood an' was still to the "Birken'ead" drill, soldier an

sailor too_!

We're most of us liars, we're 'arf of us thieves, an' the rest are as

rank as can be,

But once in a while we can finish in style (which I 'ope it won't

'appen to me);

But it makes you think better o' you an' your friends an' the work you

may 'ave to do

When you think o' the sinkin' "Victorier's" Jollies--soldier an' sailor

too.

_Now there isn't no room for to say you don't know--they 'ave settled

it plain and true--

That whether it's Widow or whether it's ship, Victorier's work is to

do,

As they done it, the Jollies--'er Majesty's Jollies--soldier an sailor

too_!

[Illustration]

RACHEL.

BY MRS. E.V. WILSON,

AUTHOR OF "BARBARY," "A BLIZZARD," AND OTHER STORIES.

It was the middle of a short December afternoon. From the scholars in

the little log school-house in the Stillman district rose a buzzing

sound as they bent over their desks, intent on books or mischief, as

the case might be. The teacher, a good-looking young man of twenty or

thereabouts, was busy with a class in arithmetic when a shrill voice

called out:

"Teacher, Rachel Stillman's readin' a story-book."

"Bring the book to me," said the teacher quietly; and the delinquent,

a girl of about fourteen, slowly rose and, walking to him, placed a

much-worn volume in his hands.

"Why," he said, glancing at the open page, "it is 'The Pilgrim's

Progress.' No wonder you are interested. But you must not read it

during school hours."

The child lifted to his face a pair of large blue eyes, beautiful with

timid wistfulness, as she replied:

"I know I oughtn't, sir, but I wanted to see how they got out of

Doubting Castle so bad."

He smiled. "I will give you the book after school; then you can read

it at home."

"Oh, no," she whispered; "father won't let me read story-books."

"He surely would not object to this," answered the young teacher; "but

I will keep it until recess to-morrow, and, never fear, Christian and

Hopeful will outwit the giant yet."

The wistful eyes brightened, and, with a grateful smile, Rachel

returned to her desk.

"First class in spelling, take your places," called the teacher.

Rachel belonged to this class, as did all the larger scholars, among

whom was her brother, Thomas, two years her elder. The teacher had

promised a prize at the end of the term to the member of the class

obtaining the greatest number of head marks, and consequently a good

deal of interest was taken in the lessons.

Rachel had been at the head of the class the evening before; therefore

she now took her station at its foot. Tom, her brother, now was

head, and for some time no change in position was made. But finally

"somebody blundered," and Rachel, who was one of the good spellers,

went up in the long line. Presently another word was missed, and now

Rachel walked to the head. Tom pushed her spitefully.

"Another mark, Rachel," said the teacher, "for that is the end of the

lesson."

The class resumed their seats, and, a few minutes after, school was

dismissed for the day.

"Good-evening," said the teacher, as Rachel and a younger sister,

a pretty, delicate child, passed him at the door. "Now, no worrying

about Christian, Rachel."

"I won't," she laughed. "I guess he'll get out. Didn't he stand up to

old Apollyon?"

"Like a good fellow," was the reply. "Hope I'll come off as well."

She looked at him inquiringly, but he had turned toward his desk, and

the sisters set out on their half-mile walk home.

Let us precede them and see what manner of home it is to which these

children belong.

The farm is a large one, the buildings substantial, and everything has

a prosperous, well-to-do look. Mr. Stillman, the owner of these broad

acres and the father of these three, Tom, Rachel, and Susy, as well

as of three more girls and another stalwart son, is a stout,

comfortable-looking man of forty-five or fifty. A glance at his close,

thin lips and keen gray eyes would convince an observant person that

he would make it very uncomfortable for any one in his power who might

differ from him in opinion or dispute his authority. Just now he is

chatting pleasantly with his hired man, and pays no attention to the

children, who pass him on the way to the house.

Indoors Mrs. Stillman, a slender, fair-haired woman, who looks as if

she felt she owed the world an apology for living in it, is preparing

supper, assisted by her two daughters, Elizabeth, a sad-faced woman

of twenty-four, and Margaret, a girl of eighteen, with her father's

determined mouth and chin and her mother's large blue eyes and fair

hair. The clock struck five as the school-girls entered the kitchen,

a large room which in winter did duty as dining-room as well as

cooking-room.

"Run in the sitting-room, girls, and get warm," said the mother.

"Supper is almost ready."

"Oh, we're not cold; are we, Susy? I got another head mark, mother,"

said Rachel.

The mother smiled. "I hope you or Tom will get the prize. Where is

he?" She was interrupted by a stamping of feet as the door was thrown

open and Mr. Stillman, followed by the hired man and Tom, entered the

room.

"Supper is ready," said Mrs. Stillman. "We were just going to call

you."

"Well, I guess it will keep till we're ready," answered her husband,

roughly. "Rachel, get some water; the bucket's empty, of course.

Margaret, where's the wash-basin? Nothing in its place, as usual. Pity

there wasn't two or three more girls lazyin' around!"

Nobody replied to this tirade. The hired man picked up the basin,

Margaret handed a towel, Rachel brought the water, and soon the family

were gathered around the well-spread table.

"I tell you," said Mr. Stillman, after a few mouthfuls of the savory

food had apparently put him in a better humor, "I think we'll have

fine weather for hog-killin' next week, and I never did have a finer

lot of hogs."

"Oh, father," said Margaret, "don't butcher next week. Friday is

Christmas day and--"

"Christmas!" interrupted her father. "Well, we always butcher

Christmas week, don't we?"

"Yes, I know," she said, her lips trembling in spite of her effort

to control herself. "But we never have enjoyed the holidays, and I

thought maybe this year you--"

"We will do this year as we always have," broke in the father,

angrily. "I suppose", with a look at his wife from which she shrank

as from a blow, "this is one of your plans to have your girls gadding

over the country."

"Mother never said anything about it," said Margaret, her temper

getting the better of her; "but nobody else takes Christmas times to

do their hardest and dirtiest work."

"Will you hush?" thundered the father. "What do I care what anybody

else does? I am master here."

No one spoke again. The assertion could not be denied. He was master,

and well his wife and daughters knew it.

Poor Mrs. Stillman! Two fortunate baby girls had died a few weeks

after their birth, and the tears that fell over the little coffins

were not half so bitter as those she shed when first she held their

innocent faces to her heart. When on this evening the father had shown

his authority, the two elder daughters rose from the table, and taking

a couple of large buckets, went quietly out to the barnyard, and

proceeded to milk the half dozen cows awaiting them.

It was nearly dark and very cold; but no word was spoken except to the

animals, as the girls hurried through the work and hastened back

to the kitchen, where Rachel and the mother were clearing away

the supper-table and making the needful preparations for the early

breakfast.

When all was finished the mother and daughters entered the large room

adjoining the kitchen, which served as sitting-room for the family and

bed-room for the parents, Mr. Stillman not permitting a fire kept

in any other room in the house. Mrs. Stillman sat down with her

knitting-work as close in the corner as possible; Elizabeth brought

in a large basket of rags, and she and Margaret were soon busy sewing

strips and winding balls for a carpet. The younger children were

absorbed in their lessons at the table, where the father sat reading

his newspaper.

All were silent, for to have spoken while father was reading would

have been an unforgivable offence. At last, however, Mr. Stillman

lifted his eyes from the paper, and addressing Tom, said: "Well, how

did you get along at school to-day?"

"Oh, first rate," said the boy; but that lost head mark rankled in his

mind, and he added, "Rachel was called up by the teacher."

"How was that, Rachel?" said her father sharply. Poor girl!--deep in

the mysteries of long division, she did not hear him.

"Rachel," he repeated, "what were you called up in school for to-day?"

She glanced reproachfully at Tom. "I read a little in 'The Pilgrim's

Progress,' father. It's not a story-book--"

"Never mind what it is. I send you to school to study, and you're not

to touch any but your school-books."

"May I bring it home?" she faltered.

"Bring it home, indeed! No, miss. I guess you can find enough to do at

home. Not another word more, or you will stay at home for good."

The child bent over her slate; but tears would come, and at last a sob

burst forth.

"Clear out to bed, Rachel," said her father angrily. "I want no

snivelling here."

Upstairs, in the cold, dark room, what bitter thoughts surged through

the childish brain!

Mr. Stillman loved his wife and children. He wanted them to be happy,

but in his way. He must choose their pleasures. If they could not be

satisfied with what he chose for them, it was not his fault; it was

their perversity. And as no two souls are alike, the attempt to fit a

number of them by the same pattern necessarily caused suffering to the

souls undergoing the operation.

Mrs. Stillman's sensitive organization was completely crushed; her

eldest daughter's nearly so. Martha, the second daughter, had escaped

by marrying a clever young man, who first pitied, then loved the

daughter of his employer, and persuaded her to elope with him,

assuring her of a happier home than she had with her father.

The marriage angered Mr. Stillman greatly, and all intercourse with

the disobedient daughter was forbidden.

Margaret, the third daughter, also rebelled at the fitting process;

and having a goodly portion of her father's determination, many were

the sharp words that passed between them.

So far Rachel and Susan had given no trouble. He ordered them about

as he did his dumb animals, and with no more regard to their feelings.

With his sons it was different. They would be men some day. They must

be treated with some consideration. At an early age, John, two years

older than Elizabeth, was given a share in the stock and land to

cultivate; so that when, at the age of twenty-four, he married, he had

a "right good start in the world."

But his sister toiled early and late, washing, ironing, milking,

churning, baking, nursing the younger children, sharing her mother's

labors, and paid as her mother was--with her board and a scanty,

grudgingly given wardrobe. She was now twenty-four, and had never

had a five-dollar bill to spend as she pleased in her life--for that

matter, neither had the mother. There are many Mr. Stillmans, "Are

they honest men?" If father and son have the right to be paid for

their labor, have not the mother and daughter? I leave the question

with you.

Rachel carried a heavy heart to school next morning. The tinker's

wonderful allegory to her was very real, and to leave her hero in that

awful dungeon was almost more than she could bear. When at recess the

teacher offered her the book, she did not take it.

"Father said," she began--then sobs choked her utterance. He

understood, and after a moment's silence said: "I am interested in

Christian as well as you, Rachel, and if you will sit here I will read

to you." In all her after life Rachel never forgot these readings at

intermission, which were continued not only until Christian reached

the Celestial city, but until Christiana and the children completed

their wonderful journey to the same place. Her gratitude to her young

teacher would certainly have become love had she been a few years

older. As it was, when in March the term closed, not even the prize as

the best speller--a beautiful copy of "Pilgrim's Progress"--consoled

her for the cessation of school.

As for the teacher, he was glad the winter's work--which had been

undertaken and conscientiously carried through solely for the purpose

of obtaining means to pursue the study of his profession--was over.

He liked some of his scholars very much, Rachel especially; she was

so interested in her studies, so intelligent and grateful, that when,

with eyes swimming in tears, she bade him good-by, he felt a moment's

sorrow at leaving her, and comforted her by telling her what a good

girl she had been and that he would not forget her.

"You ought to have seen Rache an' Suse cry when old Gray bid us

good-by," said Tom that evening at home.

"Did you cry?" asked Margaret.

"Guess not! Glad school's out; an' I'm never goin' any more."

"I wouldn't if I were you, bub," said Margaret; "you know enough now."

She always called him "bub" when she wanted to vex him, "But old Gray,

as you call him, will be somebody yet, see if he don't."

The entrance of Mr. Stillman closed the conversation, and Tom went

out, banging the door after him. No wonder Margaret was getting

ill-natured.

The winter was a long, dull season at Stillman's. Even her enjoyment

at the few social gatherings she was permitted to attend in the

neighborhood was marred by the knowledge that she could not entertain

her young friends in return. She had attempted once to fix up the

"spare room" and have a fire for some company, but her father had

peremptorily forbidden it. "I'd like to know," he said, "why the

settin'-room ain't good enough! If your company is too nice to be with

the rest of the family they can stay away, miss."

And "they" generally did stay away after one visit. Mr. Stillman was

not a success as a host, young people thought; and a young minister

who came home from meeting one Sunday with Elizabeth was so completely

abashed by the cool reception he met that not even the daughter's

pleading eyes could persuade him to remain in her father's presence. A

few weeks after, he went to a distant appointment; and Elizabeth's sad

face grew sadder than ever.

Jim Lansing, the son of a widow who managed a farm and two grown sons

with equal skill, was more successful. He usually brought his mother

with him; and, while she entertained Mr. and Mrs. Stillman, Jim, the

girls, and the carpet rags escaped to the kitchen.

But spring was near, and Margaret thought: "He can't keep us out of

the spare room in summer; and, besides, we can be out-of-doors."

June came, with her blue skies, her singing birds, her wealth of

beauty. But there was no time at Stillman's to enjoy it. A larger crop

than usual had been put in, and extra hands employed, but not in the

house. Why, there were five women, counting frail little ten-year-old

Susy as one, and poor, delicate Mrs. Stillman as another! What extra

help could they need, although washing and cooking must be done for

all the men? You see, "hands" could be got much cheaper if they were

boarded--and what else had the women to do?

It was true, mother was not as strong as she used to be; but she did

not complain. She was only more shadowy and quiet; and Mr. Stillman

told his daughters to "stir around" themselves, and not let their

mother do all the work.

"Oh, dear," said Margaret one morning, as she and Rachel were bending

over the wash-tubs, while Susy labored at the heavy churning and the

mother and Elizabeth were preparing dinner. "I wish we could go to the

picnic on the Fourth; everybody's going."

"Maybe we can," said Rachel, hopefully. "I heard father say the wheat

was late this year, and he did not believe it would do to cut before

the sixth. And oh, Margaret, I heard him say your calf would bring at

least ten dollars; and if he gives you the money, you can get a new

white dress and give me your old one. It is lots too small for you."

Margaret laughed. "Yes," she said; "father said if I could raise the

calf I might have it. Didn't I have a time with it, though, it was so

near dead! Of course I will fix my old dress up for you--that is, if

I get the money. Sometimes I think father's queer; he did not give

Elizabeth the money when he sold that colt he had given her." And both

girls were silent.

Out in the barnyard, as the girls worked, Mr. Stillman and Tom were

putting the pretty calf in the wagon preparatory to taking it to the

butcher in the town a few miles distant. When the girls went in to

dinner the men had finished theirs, and were lounging in the shady

yard enjoying their nooning.

As they were about to sit down at the table, Mr. Stillman handed

Margaret a package, saying, "There's your share of that spotted calf,

Margaret."

"My share!" she exclaimed. "Why, you gave me the calf; you had no

right to it."

As she spoke she opened the package and unrolled a piece of cheap

lawn--yellow ground dotted with blue. She flung it angrily on the

floor, and ran out of the room.

Mr. Stillman turned to Rachel after a moment of dumb amazement, and

said: "You can have the dress, Rachel. I'll teach Margaret a lesson."

"I don't want it," she said. "You had no right to take Margaret's

money. You did give her the calf, and when you sold Tom's pig you gave

him his money."

"Nice girls you're raising, mother," said Mr. Stillman to his

frightened wife. "They'll be turning us out of doors next. You pick up

that lawn, miss."

Rachel did so. As she folded it, he went on: "That calf was mine. I

only meant to pay her for caring for it."

"You should have told her so, then," said his daughter, facing him

with eyes keen as his own; "but you told her if she could raise it she

might have it, and, of course, she believed you."

He raised his hand as if to strike her; then, as she did not move or

drop her eyes, he turned and left the room.

July came, but the Stillman girls did not go to the picnic. Tom and

the "hands" did; and Mrs. Lansing and her boys stopped at Stillman's

on their way and offered the girls seats in their wagon. But Mr.

Stillman said his women had to get ready for the harvest hands who

were coming next day, and Margaret said to Rachel bitterly: "We

have no decent clothes to go in anyhow." And there was much washing,

ironing, cooking, and churning done as the days went on. No wonder

Mrs. Stillman grew paler and weaker, until even her husband noticed

it, and brought her a bottle of bitters, and told the girls to "keep

mother out of the kitchen," which they indeed tried to do. But how

could the mother rest when there was so much to do? The girls could

not manage as she could, and Elizabeth seemed "so poorly;" for the

patient elder daughter, as the summer dragged along, had a pitifully

hopeless look on her pale face, and went about listlessly, as if life

had lost all interest for her.

At last there came a morning when the mother did not rise for

breakfast.

"Hadn't we better send for Dr. Lewis, father?" said Elizabeth.

"Oh, no; your mother did not sleep much, it was so hot last night.

She'll be up directly. You keep her out of the kitchen, and see you

have dinner on time. We want to finish to-day, for I expect we'll have

a storm, from the feel of the air."

Noon came. Dinner for a dozen hungry men was on the table, and still

Mrs. Stillman was in bed. While the men were eating, Rachel slipped

in to her mother. She was awake, but her flushed face and wild, bright

eyes startled the girl.

"Oh, mother!" she cried, "you are very sick; you must have the

doctor."

"No, dear," the mother answered; "father is too busy now. I'll be

better after awhile. You go help wait on the table."

Rachel returned to the dining-room. "Take that fly-brush, Rachel,"

said her father. "Susy's no account; she's too lazy to keep it going."

Poor, tired little Susy, who had done a large churning that morning,

crimsoned to the roots of her hair as she handed Rachel the brush and

hurried out of the room.

When dinner was over Mr. Stillman glared into the room where his wife

lay. "She is asleep," he said. "I guess she's all right."

"She hasn't eaten a thing to-day," said Rachel. "Hadn't she better

have the doctor?"

"Well," said her father, impatiently, "if she's no better in the

morning, I'll send for him;" and he went back to the field.

Rachel went for Mrs. Lansing, for she and her sisters grew frightened

as the mother's fever increased. When that good woman came she saw at

once the serious condition of her friend.

"I saw Dr. Lewis coming down the road in his buggy as I came," she

said. "One of you hurry out and stop him."

When, about five o'clock, the rain began to fall in torrents, Mr.

Stillman had the satisfaction of seeing the last load of grain driven

inside the barn door; and, taking off his hat, he wiped the moisture

from his face, saying: "Well, boys, we beat the rain; and I don't care

if it pours down now."

He walked toward the house, and, to his surprise, saw the well-known

figure of Dr. Lewis on the front porch. "Driven in by the rain," he

thought. "I'll get him to give mother a little medicine."

"How are you, doctor?" he said, as he stepped upon the porch. "Lucky

getting my wheat in, wasn't I?"

"Very," said the doctor, gravely; "but I am sorry to say I find Mrs.

Stillman a very sick woman. You should have sent for me long ago." The

husband was startled.

"Why," he said, "she has been going about until to-day. I guess it's

this weather has made her so weak. She can't be very sick."

The physician was silent for a moment; then he said: "If there is not

a change for the better soon, I fear she will live but a few days. I

cannot understand how she has kept up;" and he turned and went into

the sick-room.

For once the men at Stillman's ate a cold supper and did the milking.

Mrs. Lansing took things into her own capable hands. John and his wife

were sent for and came, and Jim Lansing quietly hitched up a team and

went for Martha and her husband--poor Martha, who had not seen her

mother for more than a year!

All night Mr. Stillman watched by the bedside or walked up and down

the long back porch. It could not be she would die--his wife. It

was the hot weather; she was just weak and tired. That was it, Mr.

Stillman--worn out, tired; and rest was coming. When Martha came, the

mother who had so longed for her did not recognize her.

"Mother, only speak to me!" cried the daughter in anguish; but the

mother looked at her with dimming eyes that saw no more of earth,

and muttered as she turned upon her couch, "Hurry, girls, it's nearly

noon. Hurry! Father will be angry if he has to wait."

Then she grew quiet; only her restless hands, which her daughters

vainly strove to hold, kept reaching out as if to grasp that unknown

land she was so soon to enter; and before the sun was high in the

morning Mrs. Stillman had found rest.

Her husband was stunned. With haggard face he bent over his dead.

"If I had known," he said. "Oh, my wife, if I had known, I would have

taken better care of you."

Ah, Mr. Stillman, you are not the only one who with remorseful heart

cries, "If I had only known, if I had only known!"

Life went on as usual at Stillman's after the mother had left them.

For a while the father was kinder, but as time went on the old habit

was resumed. Elizabeth went mechanically about her work, and her

father did not notice her evidently failing health. Her quietness was

a relief to him; for Margaret was growing more defiant toward him, and

quarrelled constantly with Tom, who, now that his mother's influence

was withdrawn, became more and more meddlesome and overbearing in his

conduct toward his sisters. The summer following Mrs. Stillman's death

Mrs. Lansing's eldest son, Frank, took unto himself a wife; and

late in the fall the neighborhood was electrified by the unexpected

marriage of Mrs. Lansing and Mr. Stillman. Her boys, on learning her

intention, had remonstrated; but she said: "You boys do not need me,

and these girls do. Think of a young girl like Rachel saying, 'God had

nothing to do with my mother's death. It was hard work killed her!'

And when I tried to tell her of His goodness to His creatures, she

said: 'Yes; He is good enough to men. All He cares for women is to

create them for men's convenience,' And then there's little Susy, with

a face like her mother's. Why, it just haunts me!"

"Well," said Jim, "things are in a bad fix over there; but it isn't

Susy's face that haunts me, by any means."

His mother laughed. "I shall take care of Margaret," she said; "she

and Elizabeth need some one to look after them. They are being worked

to death."

Four years have slipped over the heads of the Stillmans--years well

improved by Rachel and Susy at the academy in the town near their

father's farm; years which gave Margaret's happiness into Jim

Lansing's keeping, and made Jim a young man of whom his sisters were

extremely proud. Even Elizabeth's sad face looks as if life might be

worth living; for, under the second wife, life at Stillman's had taken

on a different color. The spare room is a pretty sitting-room for the

young folks.

"We don't want them always with us," says Mrs. Stillman, as she shows

her husband the change she has made; for one of her peculiarities is

that she manages her household affairs as she thinks best, taking it

for granted that her husband will approve. As for Rachel, she enjoyed

the change for the better; but now, to the bitter feeling which she

cherished toward her father, was added a touch of contempt "See,"

she thought, "how he can be flattered into doing things; if my mother

could have managed him so, she might have lived."

Rachel was mistaken; the new wife did not manoeuvre or flatter, she

simply took her proper place as mistress of the house--not as a sort

of upper servant, to be snubbed or praised at the master's humor.

Another summer had been added to Rachel's years when, one evening,

Tom came home from town, and entering the dining-room, where she was

preparing the table for supper, exclaimed: "Rachel, do you remember

old Gray, as I used to call him, who taught our school the winter

before mother died?"

"Yes," she said, "I remember him. Mother liked him."

"Well, I met him in town to-day. He's on that Sanders case. He knew me

right off, and he's coming out here this evening; so fix up nice and

be looking your sweetest. They say he's smart. I heard some of the old

lawyers talking about him." And Tom caught his sister about the waist

and waltzed her out on the porch.

"Rachel," said Susy, as in their own room the girls were dressing

after supper, "you are very hard to please to-night and you seem

nervous. What ails you?"

Rachel smiled. "I am thinking of old days, that is all," she said. But

she entered the little parlor, where Tom and the guest were seated, in

a perfectly self-possessed manner, saying, as she held out her hand:

"Good-evening, teacher. How goes the battle with Apollyon?"

And the young lawyer sprang to his feet, exclaiming: "Rachel! is it

possible?" and he retained her hand and looked into her eyes so long

that Susy, who had followed her into the room, and Tom declared that

he fell in love then and there. However that may be, it is certain Mr.

Gray showed a wonderful interest in Stillman's district. The trial in

progress at Meywood was tedious, but his patience did not give out;

and when some of the lawyers proposed to hold night sessions of

court he objected earnestly, saying: "It would be too hard on the old

judge."

But all things must end, and the case was at last decided in favor

of Mr. Gray's client. As Rachel congratulated him on his victory, he

said, with a look that brought the color to her face:

"How long must I stay in Doubting Castle, Rachel?"

"Why, dear me," she answered, saucily, "I did not think a promising

young lawyer, as father calls you, ever got into such a dismal place!"

Then Susy came in, and the young man bade her good-by, but he

whispered promise of speedy return to Rachel, and as he travelled

homeward those wonderful eyes of hers seemed to haunt him.

"Who would have thought," he said to himself, "she could have become

such a woman? No wonder I could not find a girl to suit me when she

has been my ideal."

You see, he was trying to persuade himself he had thought of her ever

since that term of school; and it may be, unknown to himself, those

eyes had held him. At any rate, he says they did; and when, time after

time, they drew him back to Stillman's, he at last made Rachel believe

it, and with the little key of promise she delivered him from Doubting

Castle.

Let us take one more look, two years later, at the Stillman homestead.

There is a family gathering, and all the girls are present--Martha

and Margaret, with their sturdy boys and rosy girls; Rachel, with her

baby; and Susy, a gay young aunt, flits to and fro, playing with and

teasing the little ones. Elizabeth, with unwonted brightness in her

eyes, looks on, enjoying the merriment.

"Doesn't it seem odd," whispers Margaret, "that Lizzie's minister

should come back after all these years."

"Yes," answers Rachel, in the same low tone. "I am so glad. She seems

so happy."

The husbands are all present in the evening, and the old house is full

of light and gayety. Rachel slips upstairs to put baby to bed; and as

she sits in the room where so many miserable hours of her childhood

were spent, her tears fall, thinking of herself and the dear, patient

mother, who had suffered and died; and the old bitterness rises in her

heart. Baby stirs and she hushes him, then lays him gently in the old

cradle, and goes downstairs. Some impulse prompts her to enter the

sitting-room instead of the parlor, where she thinks the family are

all gathered.

As she opens the door she sees her father sitting, as of old, by the

table on which the lamp is burning, and she half turns to go out;

but something in his attitude touches her. He is not reading, for the

newspaper lies untouched--he is looking at something in his hand.

She notices how gray his hair is, and how age is tracing lines on his

face. "Are you feeling sick, father?" she asks.

"Oh, no," he says. "Look here, Rachel;" and he hands her a faded

daguerreotype of her mother taken when she was a fair young bride. "I

was thinking about her."

"How much like Susy," she said, with tears falling on the lovely face.

"Yes, only she was prettier," he answers. "I have been thinking of her

so much lately, Rachel. I am going to do something that would please

her. I have bought that pretty little place of Perry's, and I will put

Martha and her husband on it. Dick's a good industrious fellow; but

it's hard to make anything on a rented farm, and Martha's worried too

much. You don't think any of the children will object?" and he looked

anxiously in her face.

"Object? Why, they will be glad, father!" And dropping her head on his

shoulder, she puts her arm around him for the first time in her life;

and as she slips the little daguerreotype in his hand a sweet peace

fills her heart and she thinks: "The bitterness is gone, and love

fills its place." After awhile she joins the group in the parlor. They

are singing to Susy's accompaniment on the organ.

"Sing 'Coronation,' Susy," she says, as she sits down beside her

husband and glances lovingly in his face.

"What is it?" he whispers. "You are unusually happy."

"Yes," she answers. "I have had a vision of the land of Beulah, where

Love is king."

[Illustration]

CHAPTERS FROM A LIFE.

BY ELIZABETH STUART PHELPS,

AUTHOR OF "THE GATES AJAR," "A SINGULAR LIFE," ETC.

THE BURNING OF THE PEMBERTON MILLS.--THE STORY OF "THE TENTH OF

JANUARY."--WHITTIER AND HIGGINSON.--THE WRITING AND PUBLICATION OF

"THE GATES AJAR."

The town of Lawrence was three miles and a half from Andover. Up to

the year 1860 we had considered Lawrence chiefly in the light of a

place to drive to. To the girlish resources which could, in those

days, only include a trip to Boston at the call of some fate too vast

to be expected more than two or three times a year, Lawrence offered

consolations in the shape of dry goods and restaurant ice-cream, and

a slow, delicious drive in the family carryall through sand flats and

pine woods, and past the largest bed of the sweetest violets that

ever dared the blasts of a New England spring. To the pages of the

gazetteer Lawrence would have been known as a manufacturing town

of importance. Upon the map of our young fancy the great mills were

sketched in lightly; we looked up from the restaurant ice-cream to see

the "hands" pour out for dinner, a dark and restless, but a

patient, throng; used, in those days, to standing eleven hours and a

quarter--women and girls--at their looms, six days of the week, and

making no audible complaints; for socialism had not reached Lawrence,

and anarchy was content to bray in distant parts of the geography at

which the factory people had not arrived when they left school.

Sometimes we counted the great mills as we drove up Essex

Street--having come over the bridge by the roaring dam that tamed

the proud Merrimac to spinning cotton--Pacific, Atlantic, Washington,

Pemberton; but this was an idle, æsthetic pleasure. We did not think

about the mill-people; they seemed as far from us as the coal-miners

of a vague West, or the down-gatherers on the crags of shores whose

names we did not think it worth while to remember. One January

evening, we were forced to think about the mills with curdling horror

that no one living in that locality when the tragedy happened will

forget.

At five o'clock the Pemberton Mills, all hands being at the time on

duty, without a tremor of warning, sank to the ground.

At the erection of the factory a pillar with a defective core had

passed careless inspectors. In technical language, the core had

"floated" an eighth of an inch from its position. The weak spot in the

too thin wall of the pillar had bided its time, and yielded. The roof,

the walls, the machinery, fell upon seven hundred and fifty living

men and women, and buried them. Most of these were rescued; but

eighty-eight were killed. As the night came on, those watchers on

Andover Hill who could not join the rescuing parties, saw a strange

and fearful light at the north.

Where we were used to watching the beautiful belt of the lighted mills

blaze,--a zone of laughing fire from east to west, upon the horizon

bar,--a red and awful glare went up. The mill had taken fire. A

lantern, overturned in the hands of a man who was groping to save an

imprisoned life, had flashed to the cotton, or the wool, or the

oil with which the ruins were saturated. One of the historic

conflagrations of New England resulted.

With blanching cheeks we listened to the whispers that told us how the

mill-girls, caught in the ruins beyond hope of escape, began to sing.

They were used to singing, poor things, at their looms--mill-girls

always are--and their young souls took courage from the familiar sound

of one another's voices. They sang the hymns and songs which they had

learned in the schools and churches. No classical strains, no "music

for music's sake," ascended from that furnace; no ditty of love or

frolic; but the plain, religious outcries of the people: "Heaven is my

home," "Jesus, lover of my soul," and "Shall we gather at the river?"

Voice after voice dropped. The fire raced on. A few brave girls sang

still:

"Shall we gather at the river,

There to walk and worship ever?"

But the startled Merrimac rolled by, red as blood beneath the glare of

the burning mills, and it was left to the fire and the river to finish

the chorus.

At the time this tragedy occurred, I felt my share of its horror,

like other people; but no more than that. My brother, being of the

privileged sex, was sent over to see the scene; but I was not allowed

to go.

Years after, I cannot say just how many, the half-effaced negative

came back to form under the chemical of some new perception of the

significance of human tragedy.

It occurred to me to use the event as the basis of a story. To this

end I set forth to study the subject. I had heard nothing in those

days about "material," and conscience in the use of it, and little

enough about art. We did not talk about realism then. Of critical

phraseology I knew nothing; and of critical standards only what I had

observed by reading the best fiction. Poor novels and stories I

did not read. I do not remember being forbidden them; but, by that

parental art finer than denial, they were absent from my convenience.

It needed no instruction in the canons of art, however, to teach me

that to do a good thing, one must work hard for it. So I gave the best

part of a month to the study of the Pemberton Mill tragedy, driving to

Lawrence, and investigating every possible avenue of information left

at that too long remove of time which might give the data. I visited

the rebuilt mills, and studied the machinery. I consulted engineers

and officials and physicians, newspaper men, and persons who had been

in the mill at the time of its fall. I scoured the files of old local

papers, and from these I took certain portions of names, actually

involved in the catastrophe; though, of course, fictitiously used.

When there was nothing left for me to learn upon the subject, I came

home and wrote a little story called "The Tenth of January," and sent

it to the "Atlantic Monthly," where it appeared in due time.

This story is of more interest to its author than it can possibly

be now to any reader, because it distinctly marked for me the first

recognition which I received from literary people.

Whittier, the poet, wrote me his first letter, after having read

this story. It was soon followed by a kind note from Colonel Thomas

Wentworth Higginson. Both these distinguished men said the pleasant

thing which goes so far towards keeping the courage of young writers

above sinking point, and which, to a self-distrustful nature, may be

little less than a life-preserver. Both have done similar kindness to

many other beginners in our calling; but none of these can have been

more grateful for it, or more glad to say so, across this long width

of time, than the writer of "The Tenth of January."

It was a defective enough little story, crude and young; I never

glance at it without longing to write it over; but I cannot read it,

to this day, without that tingling and numbness down one's spine and

through the top of one's head, which exceptional tragedy must produce

in any sensitive organization; nor can I ever trust myself to hear

it read by professional elocutionists. I attribute the success of

the story entirely to the historic and unusual character of the

catastrophe on whose movement it was built.

Of journalism, strictly speaking, I did nothing. But I often wrote for

weekly denominational papers, to which I contributed those strictly

secular articles so popular with the religious public. My main

impression of them now, is a pleasant sense of sitting out in the

apple-trees in the wonderful Andover Junes, and "noticing" new

books-with which Boston publishers kept me supplied. For whatever

reason, the weeklies gave me all I could do at this sort of thing. In

its course I formed some pleasant acquaintances; among others that of

Jean Ingelow. I have never seen this poet, whom I honor now as much as

I admired then; but charming little notes, and books of her own, with

her autograph, reached me from time to time for years. I remember

when "The Gates Ajar" appeared, that she frankly called it "Your most

strange book."

This brings me to say: I have been so often and so urgently asked to

publish some account of the history of this book, that perhaps I need

crave no pardon of whatever readers these papers may command, for

giving more of our space to the subject than it would otherwise occur

to one to do to a book so long behind the day.

Of what we know as literary ambition, I believe myself to have been

as destitute at that time as any girl who ever put pen to paper. I was

absorbed in thought and feeling as far removed from the usual class

of emotions or motives which move men and women to write, as Wachusett

was from the June lilies burning beside the moonlit cross in my

father's garden. Literary ambition is a good thing to possess; and I

do not at all suggest that I was superior to it, but simply apart from

it. Of its pangs and ecstasies I knew little, and thought less.

I have been asked, possibly a thousand times, whether I looked upon

that little book as in any sense the result of inspiration, whether

what is called spiritualistic, or of any other sort. I have always

promptly said "No," to this question. Yet sometimes I wonder if that

convenient monosyllable in deed and truth covers the whole case.

When I remember just how the book came to be, perceive the

consequences of its being, and recall the complete unconsciousness of

the young author as to their probable nature, there are moments when I

am fain to answer the question by asking another: "What do we mean by

inspiration?"

That book grew so naturally, it was so inevitable, it was so

unpremeditated, it came so plainly from that something not one's self

which makes for uses in which one's self is extinguished, that there

are times when it seems to me as if I had no more to do with the

writing of it than the bough through which the wind cries, or the wave

by means of which the tide rises.

The angel said unto me "Write!" and I wrote.

It is impossible to remember how or when the idea of the book first

visited me. Its publication bears the date of 1869. My impressions are

that it may have been towards the close of 1864 that the work began;

for there was work in it, more than its imperfect and youthful

character might lead one ignorant of the art of book-making to

suppose.

It was not until 1863 that I left school, being then just about at

my nineteenth birthday. It is probable that the magazine stories

and Sunday-school books and hack work occupied from one to two years

without interruption; but I have no more temperament for dates in my

own affairs than I have for those of history. At the most, I could

not have been far from twenty when the book was written; possibly

approaching twenty-one.

At that time, it will be remembered, our country was dark with

sorrowing women. The regiments came home, but the mourners went about

the streets.

The Grand Review passed through Washington; four hundred thousand

ghosts of murdered men kept invisible march to the drum-beats, and

lifted to the stained and tattered flags the proud and unreturned gaze

of the dead who have died in their glory.

Our gayest scenes were black with crape. The drawn faces of bereaved

wife, mother, sister, and widowed girl showed piteously everywhere.

Gray-haired parents knelt at the grave of the boy whose enviable

fortune it was to be brought home in time to die in his mother's room.

Towards the nameless mounds of Arlington, of Gettysburg, and the rest,

the yearning of desolated homes went out in those waves of anguish

which seem to choke the very air that the happier and more fortunate

must breathe.

Is there not an actual occult force in the existence of a general

grief? It swells to a tide whose invisible flow covers all the little

resistance of common, human joyousness. It is like a material miasma.

The gayest man breathes it, if he breathe at all; and the most

superficial cannot escape it.

Into that great world of woe my little book stole forth, trembling. So

far as I can remember having had any "object" at all in its creation,

I wished to say something that would comfort some few--I did not think

at all about comforting many, not daring to suppose that incredible

privilege possible--of the women whose misery crowded the land. The

smoke of their torment ascended, and the sky was blackened by it. I do

not think I thought so much about the suffering of men--the fathers,

the brothers, the sons--bereft; but the women--the helpless,

outnumbering, unconsulted women; they whom war trampled down, without

a choice or protest; the patient, limited, domestic women, who thought

little, but loved much, and, loving, had lost all--to them I would

have spoken.

For it came to seem to me, as I pondered these things in my own heart,

that even the best and kindest forms of our prevailing beliefs had

nothing to say to an afflicted woman that could help her much. Creeds

and commentaries and sermons were made by men. What tenderest of men

knows how to comfort his own daughter when her heart is broken? What

can the doctrines do for the desolated by death? They were chains of

rusty iron, eating into raw hearts. The prayer of the preacher were

not much better; it sounded like the language of an unknown race to

a despairing girl. Listen to the hymn. It falls like icicles on snow.

Or, if it happen to be one of the old genuine outcries of the Church,

sprung from real human anguish or hope, it maddens the listener, and

she flees from it, too sore a thing to bear the touch of holy music.

At this time, be it said, I had no interest at all in any especial

movement for the peculiar needs of women as a class. I was reared in

circles which did not concern themselves with what we should probably

have called agitators. I was taught the old ideas of womanhood, in the

old way, and had not to any important extent begun to resent them.

Perhaps I am wrong here. Individually, I may have begun to recoil from

them, but only in a purely selfish, personal way, beyond which I had

evolved neither theory nor conscience; much less the smallest tendency

towards sympathy with any public movement of the question.

In the course of two or three years spent in exceptional solitude,

I had read a good deal in the direction of my ruling thoughts and

feeling, and came to the writing of my little book, not ignorant of

what had been written for and by the mourning. The results of this

reading, of course, went into the book, and seemed to me, at the time,

by far the most useful part of it.

How the book grew, who can say? More of nature than of purpose,

surely. It moved like a tear or a sigh or a prayer. In a sense I

scarcely knew that I wrote it. Yet it signified labor and time, crude

and young as it looks to me now; and often as I have wondered, from

my soul, why it has known the history that it has, I have at least

a certain respect for it, myself, in that it did not represent

shiftlessness or sloth, but steady and conscientious toil. There was

not a page in it which had not been subjected to such study as the

writer then knew how to offer to her manuscripts.

Every sentence had received the best attention which it was in the

power of my inexperience and youth to give. I wrote and rewrote. The

book was revised so many times that I could have said it by heart.

The process of forming and writing "The Gates Ajar" lasted, I think,

nearly two years.

I had no study or place to myself in those days; only the little room

whose one window looked upon the garden cross, and which it was not

expected would be warmed in winter.

The room contained no chimney, and, until I was sixteen, no fire for

any purpose. At that time, it being supposed that some delicacy of the

lungs had threatened serious results, my father, who always moved the

sods beneath him and the skies above him to care for a sick child, had

managed to insert a little stove into the room, to soften its chill

when needed. But I did not have consumption, only life; and one was

not expected to burn wood all day for private convenience in our

furnace-heated house. Was there not the great dining-room where the

children studied?

It was not so long since I, too, had learned my lessons off the

dining-room table, or in the corner by the register, that it should

occur to any member of the family that these opportunities for privacy

could not answer my needs.

Equally, it did not occur to me to ask for any abnormal luxuries. I

therefore made the best of my conditions, though I do remember sorely

longing for quiet.

This, at that time, in that house, it was impossible for me to

compass. There was a growing family of noisy boys--four of them--of

whom I was the only sister, as I was the oldest child. When the baby

did not cry (I have always maintained that the baby cried pretty

steadily both day and night, but this is a point upon which their

mother and I have affectionately agreed to differ), the boys were

shouting about the grounds, chasing each other through the large

house, up and down the cellar stairs, and through the wide halls,

a whirlwind of vigor and fun. They were merry, healthy boys, and

everything was done to keep them so. I sometimes doubt if there are

any happier children growing anywhere than the boys and girls of

Andover used to be. I was very fond of the boys, and cherished no

objection to their privileges in the house. But when one went down, on

a cold day, to the register, to write one's chapter on the nature of

amusements in the life to come, and found the dining-room neatly

laid out in the form of a church congregation, to which a certain

proportion of brothers were enthusiastically performing the duties of

an active pastor and parish, the environment was a definite check to

inspiration.

I wonder if all Andover boys played at preaching? It certainly was the

one sport in our house which never satiated.

Coming in one day, I remember, struggling with certain hopeless

purposes of my own, for an afternoon's work, I found the dining-room

chairs all nicely set in the order of pews; a table, ornamented

with Bible and hymn-books, confronted them; behind it, on a cricket,

towered the bigger brother, loudly holding forth. The little brother

represented the audience--it was usually the little one who was forced

to play this duller _rôle_--and, with open mouth, and with wriggling

feet turned in on the rounds of the chair, absorbed as much

exhortation as he could suffer.

"My text, brethren," said the little minister, "is, 'Suffer the little

children to come unto me.'

"My subject is, _God; Joseph; and Moses in the bulrushes_!"

Discouraged by the alarming breadth of the little preacher's topic, I

fled up-stairs again. There an inspiration did, indeed, strike me;

for I remembered an old fur cape, or _pelisse_, of my mother's, out

of fashion, but the warmer for that; and straightway I got me into it,

and curled up, with my papers, on the chilly bed in the cold room, and

went to work.

It seems to me that a good part of "The Gates Ajar" was written in

that old fur cape. Often I stole up into the attic, or into some

unfrequented closet, to escape the noise of the house, while at work.

I remember, too, writing sometimes in the barn, on the haymow. The

book extended over a wide domestic topography.

I hasten to say that no person was to blame for inconveniences of

whose existence I had never complained. Doubtless something would have

been done to relieve them had I asked for it; or if the idea that my

work could ever be of any consequence had occurred to any of us. Why

should it? The girl who is never "domestic" is trial enough at her

best. She cannot cook; she will not sew. She washes dishes Mondays and

Tuesdays under protest, while the nurse and parlor maid are called

off from their natural avocations, and dusts the drawing-room with

obedient resentment. She sits cutting out underclothes in the March

vacations, when all the schools are closed, and when the heavy wagons

from the distant farming region stick in the bottomless Andover mud in

front of the professor's house. The big front door is opened, and the

dismal, creaking sounds come in.

The kind and conscientious new mother, to whom I owe many other gentle

lessons more valuable than this, teaches how necessary to a lady's

education is a neat needle. The girl does not deny this elemental

fact; but her eyes wander away to the cold sky above the Andover

mud, with passionate entreaty. To this day I cannot hear the thick

chu-chunk! of heavy wheels on March mud without a sudden mechanical

echo of that wild, young outcry: "Must I cut out underclothes forever?

Must I go on tucking the broken end of the thread into the nick in the

spool? Is _this_ LIFE?"

I am more than conscious that I could not have been an easy girl to

"bring up," and am sure that for whatever little difficulties beset

the earlier time of my ventures as a writer, no person was in any

fault. They were doubtless good for me, in their way. We all know that

some of the greatest of brain-workers have selected the poorest and

barest of spots in which to study. Luxury and bric-a-brac come to easy

natures or in easy years. The energy that very early learns to conquer

difficulty is always worth its price.

I used, later, to hear in Boston the story of the gentleman who once

took a friend to see the room of his son at Harvard College. The

friend was a man of plain life, but of rich mental achievement. He

glanced at the Persian rugs and costly draperies of the boy's quarters

in silence.

"Well," cried the fond father, "don't you think my son has a pretty

room?"

"Sir," said the visitor, with gentle candor, "_you'll never raise a

scholar on that carpet._"

Out of my discomforts, which were small enough, grew one thing for

which I have all my life been grateful--the formation of fixed habits

of work.

I have seldom waited for inspiration before setting about a task to

be done. Life is too short for that. Broken health has too often

interrupted a regimen of study which ought to have been more

continuous; but, so far as I may venture to offer an opinion from

personal experience, I should say that the writers who would be wise

to play hide and seek with their own moods are few.

According to my custom, I said nothing (so far as I can remember) to

any person about the book.

It cannot be said that I had any hope of success with it; or that,

in my most irrational dreams, anything like the consequences of its

publication ever occurred to my fancy. But I did distinctly understand

that I had set forth upon a venture totally dissimilar to the safe and

respectable careers of my dozen Sunday-school books.

I was asked only the other day why it was that, having such a rare

critic at first hand as my father, I did not more often submit my

manuscripts to his judgment. It would be difficult to say precisely

why. The professor of rhetoric was a very busy man; and at that time

the illness which condemned him to thirty years of invalid suffering

was beginning to make itself manifest. I can remember more often

throwing down my pen to fly out and beg the children to be quiet in

the garden while the sleepless man struggled for a few moments' rest

in the daytime; or stealing on tiptoe to his locked door, at any hour

of the night, to listen for signs of sudden illness or need of help;

these things come back more easily than the desire to burden him with

what I wrote.

Yet perhaps that abnormal pride, whose existence I have admitted, had

quite as much to do with this restraint.

When a thing was published, then quickly to him with it! His sympathy

and interest were unfailing, and his criticism only too gentle; though

it could be a sword of flame when he chose to smite.

Unknown to himself I had dedicated "The Gates Ajar" to him. In this

dedication there was a slip in good English, or, at least, in such

English as the professor wrote and spoke. I had used the word "nears"

as a verb, instead of its proper synonym, "approaches." He read the

dedication quietly, thanked me tenderly for it, and said nothing. It

was left for me to find out my blunder for myself, as I did, in due

time. He had not the heart to tell me of it then. Nor did he insinuate

his consciousness that the dedication might seem to involve him--as it

did in certain citadels of stupidity--in the views of the book.

The story was sent to its publishers, Messrs. Ticknor and Fields, and

leisurely awaited their verdict. As I had written somewhat for their

magazines, "The Atlantic" and "Our Young Folks," I did not come as

quite a stranger. Still, the fate of the book hung upon a delicate

scale. It was two years from the time the story went to its publishers

before it appeared between covers. How much of this period the author

was kept in suspense I cannot remember; but, I think, some time.

I have the impression that the disposal of the book, so far as that

firm went, wavered for a while upon the decision of one man, whose

wife shared the reading of the manuscript. "Take it," she said at

last, decidedly; and the fiat went forth. The lady afterwards became

a personal friend, and I hope I may not forfeit the treasure of her

affection by this late and public recognition of the pleasant part she

bore in the fortunes of my life.

The book was accepted, and still this piece of good luck did not make

my head spin. I had lived among book-makers too much to expect

the miracle. I went soberly back to my hack work, and on with my

Sunday-school books.

One autumn day the customary package of gift copies of the new book

made its way to Andover Hill; but: I opened it without elation, the

experience being so far from my first of its kind. The usual note

of thanks was returned to the publishers, and quiet fell again.

Unconscious of either hope or fear, I kept on about my business,

and the new book was the last thing on earth with which I concerned

myself.

One morning, not many weeks after its publication, I received a letter

from Mr. James T. Fields. He, who was the quickest of men to do a

kindness, and surest to give to young writers the encouraging word for

which they had not hope enough to listen, had hurried himself to break

to me the news.

"Your book is moving grandly," so he wrote. "It has already reached

a sale of four thousand copies. We take pleasure in sending you--" He

enclosed a check for six hundred dollars, the largest sum on which I

had ever set my startled eyes. It would not, by my contract, have been

due me for six months or more to come.

The little act was like him, and like the courteous and generous house

on whose list I have worked for thirty years.

[Illustration]

EDITORIAL NOTES.

TWENTY THOUSAND DOLLARS FOR SHORT STORIES.

We find considerable difficulty in getting the two hundred first-class

short stories that we require each year. We are delighted to be able

to publish so many stories by eminent authors, but we should like to

get more good stories from writers whose fame is yet to be made. We

therefore announce a liberal policy in regard to payment, and invite

contributions from every one who can write a good story. The scale

of payment will be such as to please every contributor, whether he is

famous or not.

We need every year about fifty stories of from four to six thousand

words in length; about one hundred stories of from two to three

thousand words in length, and not less than fifty stories a year for

young people, about two thousand words in length. Of these stories

thirty or forty are for McCLURE'S MAGAZINE, and the remainder are

for the newspaper syndicates controlled by the publishers of this

magazine.

A regular manuscript department has been established by the editors,

and it is the intention to report upon every manuscript within a week

after it is received. We also welcome contributions to every branch of

literature represented in the magazine.

THE McCLURE'S "EARLY LIFE OF LINCOLN."

This volume contains all the articles published in the first

four Lincoln numbers of McCLURE'S MAGAZINE (November to February,

inclusive). These numbers, although repeatedly reprinted, are now out

of print, and the "Early Life of Lincoln" was published mainly to meet

a demand we could not fill with the magazine. It contains a great deal

more, both in text and pictures, than appeared in the magazine. It is

mailed to any address for fifty cents; or for one dollar, if bound

in cloth. We intend having our own plant, to reprint the March and

subsequent numbers whenever necessary.

THE McCLURE'S NEW "LIFE OF GRANT."

We have been greatly surprised, in preparing our new "Life of Grant,"

to find so much new and valuable material, especially about Grant's

earlier life. No more fascinating and dramatic story has ever been

lived. We have been especially fortunate in securing the collaboration

of Mr. Hamlin Garland to write this life of Grant. Mr. Garland was

selected for this work for two reasons--first, he has always loved and

admired Grant; second, he is familiar in general with the conditions

of life in the middle West, and is especially qualified to tell the

truth both in color and fact. The tastes and training of a realistic

novelist are an admirable equipment for a biographer, provided the

hero of his story and his environment appeal to the novelist.

_We propose to publish the best Life of Grant ever written._

We have collected a great quantity of pictures and other

illustrations, and we ask our friends to help us as they are helping

us in our "Life of Lincoln." Every one who has a contribution, either

in picture or incident, to our knowledge of this great man ought to

bring it before the two or three million readers that McCLURE'S will

have when we begin to publish the "Life of Grant" next November.

NEW PICTURES OF LINCOLN.

Almost every week we add to our collection of Lincoln pictures. Many

of these ambrotypes and photographs are of the greatest value in

adding to our knowledge of Lincoln. We hope to reach one hundred

before the end of the year. We had only fifty portraits last November.

We have eighty now.

THE ABRAHAM LINCOLN SCHOOL OF SCIENCE AND PRACTICAL ARTS.

Knox College, Galesburg, Illinois, was the scene of one of the most

important of the debates between Mr. Lincoln and Mr. Douglas. The

debate took place on a platform at the east end of the main college

building. At this memorable debate the students carried a banner on

which was inscribed "Knox for Lincoln." In April, 1860, before he was

nominated for the Presidency, Knox College conferred the degree of

LL.D. on Abraham Lincoln. At their recent midwinter meeting, the board

of trustees unanimously voted to establish a memorial to Lincoln; and

this memorial will be the scientific department of Knox College, and

will be called "The Abraham Lincoln School of Science and Practical

Arts."

The founders of this magazine are all alumni of Knox College, and are

particularly pleased at this action of their alma mater. Knox College

affords a splendid opportunity to young men and women of limited

means. The editors of this magazine can afford to pay the living

expenses and tuition for one year at this college of any young man or

woman who secures five hundred subscribers, as proposed and explained

on the second advertising page of this number of the magazine.

The editors of McCLURE'S MAGAZINE are thoroughly acquainted with Knox

College, and can recommend it, knowing that students who go there will

live under the best possible influences and receive a sound education.

All inquiries should be addressed to the president, John Finley, Knox

College, Galesburg, Illinois.

THE HOUSE IN WHICH LINCOLN'S PARENTS WERE MARRIED.--A CORRECTION.

The picture of the house in which Thomas Lincoln and Nancy Hanks

were married, printed in McCLURE'S MAGAZINE for November, 1895, was

credited by mistake to the Oldroyd collection. The photograph from

which the reproduction was made came from the Oldroyd collection;

but this photograph is, we are informed, from a negative now in

the possession of Mr. A.D. Miller of Brazil, Indiana, and credit is

therefore due to Mr. Miller.

[Note: The Table of Contents and the list of illustrations were added

by the transcriber.]